Carnival Interconnections and Reconnections; Cultural Cadence: Steelpan, Calypso and Mas and the Global Diaspora Connection;
Reflections and Overview
The Legendary Shell Invaders Illuminates the 11th Steelpan/Carnival Arts Conference in Trinidad
by Laila M.N. Shah and Haroun N. Shah
Nostalgia Steelband, Maxilla Social Club, London, W10 6SW
Chelsea Flower Show Gold Award recipient, local designer, Melissa Lee Foon’s Floral Pan Installation designed for the conference - ‘A Tribute to the Power of Pan’ See stage layout at NAPA in the text below.
The 11th Steelpan and Carnival Arts Conference marked a significant continuation of a thematic and scholarly tradition that began in 2006 by Nostalgia Steelband at the University of East London. Designed as a space to interrogate, celebrate, and document the dynamic intersections of Steelpan and diasporic identities, the series expanded in 2010 to include Carnival Arts and has become a vital forum for cultural practitioners, academics, and artists from around the world. This 11th iteration, organised in partnership with University of Trinidad and Tobago (UTT) and the newly formed International Carnival Conference Committee (ICCC), was especially momentous. Not only did it represent a symbolic and literal homecoming, but it also marked the first time the conference was held on Trinidadian soil, reuniting regional and international communities in a spirit of intellectual kinship and creative exchange. With the global famalay present, the gathering echoed the diasporic rhythms and reconnections that energise Caribbean cultural expression. Hosted over 3 days at the National Academy for the Performing Arts (NAPA), a landmark of architectural genius and cultural prestige on the edge of the historic Queen’s Park Savannah in Port of Spain, the conference embodied a return to the birthplace of Carnival’s most iconic art forms. NAPA, whose design draws inspiration from the chaconia flower, Trinidad and Tobago’s national bloom, stands as a contemporary shrine to the nation’s artistic legacy. Its striking glass-and-steel silhouette, paired with world-class acoustics and expansive interior spaces, made it an ideal venue. More than a backdrop, NAPA encapsulated the spirit of the conference itself: rooted in tradition yet attuned to global innovation. The academic programme was both robust and diverse, featuring over fifty scholarly papers, ten poster presentations, four plenary lectures, two workshops, and two curated film screenings. Topics included the evolution of steelpan innovation, the poetics of calypso, the politics of Carnival masquerade, and the role of cultural production in diasporic identity formation. The discussions were intellectually rich and deeply resonant, contributing to an expanding archive of critical thought on Caribbean cultural arts. Among the many highlights was the narrated documentary “Ellie Mannette: A Destiny in Steel,” an evocative portrait of one of Pan’s most visionary pioneers. The authors chronicled Mannette’s extraordinary contributions to the development of the instrument while underscoring the broader narrative of steelpan as a medium of resilience, invention, and cultural pride. This powerful tribute was followed by a live performance from the legendary Shell Invaders Steel Orchestra, one of Trinidad’s oldest and most treasured ensembles. Their appearance was more than a performance; it was a sonic invocation of history, heritage, and the enduring power of Pan. Enhanced by NAPA’s acoustics, their repertoire rang out with electrifying clarity, echoing through the auditorium as both reverent homage and joyful celebration. The event’s visual dimension was equally compelling. A large-scale floral installation, designed and assembled just hours before the opening by local artist, Melissa Lee Foon, framed the stage in a vivid celebration of natural beauty and artistic spontaneity (see figure above). The ephemeral yet impactful nature of the installation – ‘A Tribute to the Power of Pan’ - served as a powerful metaphor for Carnival itself, fleeting in form, yet enduring in resonance.
The conference opened at 10am on Thursday 6th March with addresses by three speakers Dr. Kela Francis, (UTT) expressing her gratitude to Nostalgia Steelband and the ICCC for partnering with the university to host the event in Trinidad, following the previous conference in Ghana. She outlined the programme and warmly welcomed participants. Professor Clement A.C. Imbert (Chair, Board of Governors, UTT) humorously acknowledged the festive dress code before highlighting Trinidad and Tobago’s Carnival as the most culturally rich pre-Lenten celebration, emphasising its year-round community engagement and global influence through festivals abroad. Haroun Shah then reflected on the deep cultural connections between Africa and the Caribbean, stressing the importance of diaspora unity and proposing a global network - a famalay - to enhance collaboration and celebrate Caribbean creativity on the world stage.
Prof. Clement Imbert during his formal opening of the conference on 6th March 2025. Photo credit: UTT
To accommodate over 50 presentations in three days, speakers (except the four Plenary Lecturers who had 30 minutes) were restricted to 10 minutes with 5 minutes for discussion. Papers were grouped together in eight sessions (see below)
The Four Plenary Lecturers:
Prof. Dawn Batson, who delivered the Plenary Lecture at the 4th conference in 2012 (The Triumph of Steelpan) and 6th Conference in 2016 (The Power of Pan) opened the conference with the first of four plenaries titled ‘Forged in Fire: The Steelpan’s Transformative Power Across Generations’, highlighting the steelpan’s impact on lifelong learning and well-being. Drawing on decades of experience, she emphasised its role in enhancing mental, emotional, and social health, positioning the steelpan as a global model for creative aging.
Prof. Dawn Batson, who delivered her 3rd Plenary Lecture at the conferences in 2012, 2016 and now in 2025. Photo credit: UTT
Four Plenary lectures:
Day 1: 10.30: Prof. Dawn Batson: “Forged in Fire: The Steelpan’s Transformative Power Across Generations.”
Day 2: 10.45: Dr. Christopher Laird: “Lost Memories, The Banyan Archive”
Day 2, 14.00: Dr. Ray Holman: “Pan on the Move”
Day 3: 13.10: Mr. Ansel Wong, CBE: “Stamping Caribbean Footprints on Britain’s Artscape”
The 2nd Plenary by Dr. Christopher Laird’s ‘Lost Memories, The Banyan Archive’ revealed a rich visual history of Caribbean Carnival arts, drawn from over fifty years of footage now digitised into 15,000 searchable records. Curated as a cultural vault, the archive captures defining voices and moments - from the rise of Soca and the steelpan to ground-breaking performances and regional expressions of Mas - preserving them against cultural loss.
Dr. Ray Holman, in presenting the 3rd Plenary reflected on his journey from a teenage prodigy with the Invaders Steel Orchestra to a pioneering arranger who transformed the steelpan repertoire with classical compositions and iconic "Bomb" competition hits. His talk, titled ‘Pan on the Move’, celebrated steelpan’s global rise and cultural resilience, positioning it as a powerful symbol of Trinidad and Tobago’s spirit and contribution to world music. The final closing presentation by Ansel Wong ‘Stamping Caribbean Footprints on Britain’s Artscape’ was a powerful closing plenary lecture chronicling his six-decade cultural odyssey, celebrating the transformative role of Caribbean creatives in shaping British identity and positioning UK Carnivals as leading sites of innovation. His lecture, alongside the broader conference, affirmed Carnival’s global power as a medium of cultural continuity, political resistance, and diasporic connection across histories of empire and expressions of joy.
Workshops:
1) Calypso Performance (Thursday 6th March) - Krisson Joseph.
2) Movement and Memory Workshop (Friday 7th March) - Sonja Dumas
The first workshop offered by Krisson Joseph was an interactive workshop - culturally rich and musically dynamic introduction to song writing and live performance, guiding participants through the process of crafting and performing original Calypso, Soca, and Rapso pieces. With a strong focus on vocal delivery, stage presence, and audience engagement, the session empowered all attendees - including beginners and experienced artists - to compose and confidently perform their own work in a supportive, energising environment.
Sonja Dumas’s 2nd workshop, held at UTT’s Dance Loft, embodied exploration of African-Caribbean history, memory, and resilience through the lens of J’Ouvert, using movement, drawing, and reflective dialogue to engage the sensate body. Through somatic practices and collaborative interpretation, the session fostered deeper awareness of how memory and cultural narrative are carried and expressed through the body.
A Destiny in Steel - Shell Invaders Performances at NAPA
The 90-minute documentary ‘Ellie Mannette: A Destiny in Steel,’ created by the 3 Trinis Film Group - Anthony Pierre, Ivor Picou, and Gregory Christmas - premiered on Day 1, drew on over twelve years of research and interviews. The presentation explored Ellie Mannette’s foundational role in transforming the steelpan through his innovations in concave sinking and note bubbling in 1941, which catalysed the "Single Pan Expansion Era" of the late 1940s and early 1950s, broadening the steelpan family of instruments. The screening was followed by a moving performance by Shell Invaders (Youth and Stage Sides), facilitated by key members of the Invaders Steel Orchestra, and highlighted by a spontaneous, soul-stirring rendition of Ben E. King’s Stand By Me featuring also the legendary pannist Ray Holman. The ensemble’s dynamic setlist and infectious energy transformed the evening into a joyous, immersive celebration of steelband music, uniting the audience in dance, song, and a shared sense of cultural pride.
Shell Invaders Steel Orchestra (Youths) performing at NAPA – 6the March 2025.
Main Conference Programme - Eight Sessions
Programme: Eight Sessions
Day 1 - 6th March
Session 1: Cultural Identity in the Carnival Tradition: Resistance in Motion
Session 2: Carnival Unbound: Exploring its Cultural Migration and Transformation
Session 3: Lyrics of the People: Calypso as a Mirror of Society
16.30: 19.00. Documentary Film Anthony Pierre, Ivor Picou, Gregory Christmas; An Analysis of Ellie Mannette’s Contribution to the Steelpan “Famalay” of Instruments.
Live performances from the Youth & Stage Side - Shell Invaders Steel Orchestra
Day 2 -7th March
Session 4: Traditions Alive: The Enduring Legacy of Carnival
Session 5: Roots of Rhythm: African Influences in Carnival Rituals
Session 6: From Oil Drums to Symphony: Music, Innovation, and Identity
17.00: Film Screening – Films
Day 3 - 8th March
Session 7: Bridging Heritage, Identity, and Sustainability in Caribbean Traditions
Session 8: Unpacking Carnival Histories and Charting New Directions
Day 1 - 6th March: Sessions 1-3
The first three sessions on Thursday, 6th March 2025, offered a rich, interdisciplinary exploration of Carnival and calypso as living, transformative traditions central to Caribbean identity, memory, and resistance. Session 1 delved into Trinidad and Tobago’s Carnival as a dynamic cultural archive and site of socio-political agency, examining masquerade, Soca, Jab Jab performances, and deaf participation as tools of emotional, historical, and inclusive expression. Session 2 expanded the conversation globally, tracing Carnival’s migration and transformation through tourism, diasporic festivals, fashion education, and music, revealing its role in sustaining identity, fostering community, and challenging dominant narratives across geographies. Session 3 focused on calypso as a lyrical mirror of society, from its historical roots in Trinidad to its diasporic evolution in the UK, underscoring its enduring function as a vehicle for public discourse, cultural preservation, and innovation. Collectively, the sessions illustrated how Carnival and calypso continue to evolve as powerful forms of resistance, belonging, and creative expression.
Day 2 -7th March: Sessions 4 - 6
Sessions 4 to 6 offered a rich and multifaceted exploration of the legacies, innovations, and diasporic evolutions of Carnival and steelpan culture across the Caribbean and beyond. Session 4, Traditions Alive, celebrated historical milestones such as TASPO’s 1951 global debut and Bobby Mohammed’s Panorama legacy, while highlighting the tensions between commercialisation and traditional mas-making. Session 5, Roots of Rhythm, traced African influences in Carnival rituals, from Ghana’s brass band masquerades to Jamaican sound systems and Yoruba aesthetics in British public art, affirming Carnival as a diasporic archive of memory, resistance, and renewal. Session 6, split into two parts, examined the evolution of the steelpan from humble oil drums to instruments of global significance. In 6A, presentations explored musical innovation, AI, pedagogy, and global outreach - from Trinidad to Japan - emphasising Pan’s cultural and educational impact. In 6B, presenters reflected on personal journeys in pan performance and tuning, as well as the institutionalisation of Carnival in Jamaica through policy and cultural economics. Together, these sessions illustrated the vibrant interplay of history, identity, creativity, and policy in sustaining and reimagining Caribbean cultural heritage across generations and borders.
Day 3 -8th March : Sessions 7 - 8 and Closing Remarks:
These sessions explored the dynamic interplay between heritage, identity, resistance, and innovation within Caribbean Carnival and creative traditions. Session 7, Bridging Heritage, Identity, and Sustainability in Caribbean Traditions, examined how traditional and contemporary cultural expressions - such as storytelling, dance, mas, and music -are preserved, reimagined, and mobilised for education, social critique, and sustainable development across the diaspora. Speakers highlighted Carnival’s role in transforming marginalisation into celebration, with practices like J’Ouvert, Dancehall, and Minstrels Mas offering resistance and healing through performance. Discussions spanned from classroom integration of arts to the global expansion of the “Orange Economy.” Ad hoc contributions enriched the dialogue, including Samuel Sanka’s insights on Carnival as cultural diplomacy and Ian Isidore Smart’s critical reflections on Carnival’s diasporic and postcolonial meanings. Session 8, Unpacking Carnival Histories and Charting New Direction, delved into Carnival’s evolving forms and meanings - from digital commodification and ecological symbolism to diasporic re-creations and heritage preservation. Papers examined phenomena like “Carnival FOMO” on social media, the reclaiming of botanical aesthetics, and the inclusion of elder Carnivalists in Notting Hill. The development of the Trinidad and Tobago Carnival Museum and Kent Karnival’s diasporic revival illustrated Carnival’s intergenerational and cross-cultural reach.
The closing ceremony of the conference featured guidance from Laila Shah on submitting papers to the International Journal of Carnival Arts, with Volume 10 dedicated to the event’s proceedings. She then announced preliminary plans for the 12th conference, “TASPO at 75: Reflections and Innovations in Carnival Arts,” scheduled for 22nd - 26th July 2026 in London, commemorating the historic 1951 TASPO performance at Southbank - the moment steelpan was introduced to the world. Professor Imbert formally closed the proceedings, extending appreciation to all participants, organisers, and sponsors, and commending the conference for its intellectual calibre, seamless coordination, and vibrant energy over three packed days with more than fifty presentations.
A spontaneous calypso jam erupted afterwards in the NAPA auditorium, with musicians and instruments arriving organically to create an hour-long celebration that captured the spirit of Carnival arts in its purest, most communal form. The event concluded on a high note, honouring the legacy of Pan while also opening space for new global dialogues, collaborations, and creative futures.
Informal group discussions captured during the conference highlight the importance of unstructured exchanges that occur in-between formal sessions. Such interactions frequently foster new collaborations, research initiatives, and professional networks. Notably featured is Mr. Ray Funk - a distinguished scholar and prolific author on carnival arts - whose presence drew considerable engagement from participants eg. with Laila Shah whom he met in London at aged 12.
Informal group discussions captured during the conference highlight the importance of unstructured exchanges that occur in-between formal sessions. Such interactions frequently foster new collaborations, research initiatives, and professional networks. Notably featured is Mr. Ray Funk - a distinguished scholar and prolific author on carnival arts - whose presence drew considerable engagement from participants eg. Prof. Clement Imbert.
Snapshot of a conference panel in progress - from Session 2, “Carnival Unbound: Exploring its Cultural Migration and Transformation.” From left to right: Byron M. Jones Jr. (UWI, Trinidad), Dexter Khan (Cocoyea Mas Band, London), Caron Bitter-Phinney (Toronto Metropolitan University), and Josephine Torrel-Brown (UTT). The session also featured a skilled sign language interpreter (standing), kindly provided by Toronto Metropolitan University. Melissa Lee Foon’s Floral Pan – ‘A Tribute to the Power of Pan’ installation adorned the stage throughout the conference.
