Calypso (along with its younger offshoot ‘soul calypso’, or soca) has long been known as the sound of Trinidad and Tobago, evolving from styles brought to the Caribbean by slaves from West and Central Africa and mixing with the popular American music of the early 20th century. With a heavy focus on lyricism, comedy and double-entendre, calypsonians originally occupied a role similar to griots, spreading the important news and gossip amongst different communities. The position has evolved into a more strictly entertainment role today, but the focus on topicality remains: until recently, calypsonians were expected to write twelve pertinent songs per year.
For a long time, calypso was a man’s game, a no-go area for women. That is no longer the case, and for that, we have Dr. McCartha Sandy-Lewis, Calypso Rose, to thank.
Growing up during the ’40s and ’50s in Tobago, Rose was the class clown, making up calypso verses about her friends, teachers and the gossip of the playground. As her reputation as a calypsonian grew and she began to write full songs, her father (a Baptist minister) and the local women’s church groups objected, calling it the devil’s music. But with a personal recommendation from the ‘Father of T&T’ Prime Minister Eric Williams (“you’re good, very good! You’re going to make it in the world!”) and by incorporating religious themes and melodies into her calypso for 1963’s Hurricane Flora, their tune eventually changed. This skill, being able to meld to her audiences’ desires while remaining steadfast in her message, is precisely why Calypso Rose is such a leader in her field.
Prime Minister Williams’ prediction came true, and Calypso Rose became the most successful female calypsonian ever. After winning the title of Calypso Queen five years in a row and being stripped of the Trinidad Road March prize after the organisers could not bear the thought of a woman winning, she decided to compete for the title of Calypso King in 1978. That the competition is now named Calypso Monarch shows how momentous Rose’s win was. She was the first woman ever to win the prize, and remained the only one until 1999.
Staying true to calypso’s origins, Rose’s lyrics balance the subjects of partying and politics – often together. As well as opening the scene for women by her very presence, many of Rose’s songs sing of female empowerment and shine a spotlight on the hypocrisy and double-standards perpetuated by the male-dominated calypso world. Where women were once only viewed in relationship to men – always admiring them, nagging them or cheating on them – Calypso Rose celebrated the woman’s independence with wit, style and class. That's not to say that her subjects are not racy, or even crude; the opposite is true, they are often gleefully so and revel in this fact, the exact reason her opponents thought calypso unfit for women, yet aspects that are celebrated and loved when performed by men.
As well as social change, Rose’s music has also led to real political change: in the 1970s, her song ‘No Madame’ highlighted the plight of domestic workers in Trinidad and Tobago (the vast majority of whom were women). It gained international recognition, pressuring the country’s government to introduce new protections for such workers into law, paving the way for similar laws across the Caribbean.
She is obviously most well-known for the calypso for which she has done so much to pioneer, but Rose is not afraid to look towards other styles – from calypso’s child, soca, to punta from Belize and the now pan-Caribbean sounds of reggae and ska. It is a sign of her greatness that she excels in all. Her adaptability has led to her taking to some of the most prestigious stages in the world (including at WOMEX 06 in Sevilla!) and even to performing with world-class artists from all over the globe, from Michael Jackson and Dolly Parton to Miriam Makeba and Bob Marley.
As a calypsonian, Rose has won every award going. In fact, it’s been claimed that she is the most decorated calypsonian ever. As well as countless competition and carnival medals, she has also been honoured with national awards by the governments of Trinidad and Tobago, Belize and Liberia for her services to culture. She is truly a living legend, in terms of her composition, performance and service to fans and human beings in Trinidad and Tobago, the Caribbean and the world – it is an honour for us to add the WOMEX 16 Artist Award to her already heavy mantelpiece.
And with a new album, produced by Manu Chao and Ivan Durán, released this year and at least 70 shows booked for 2017 already, Calypso Rose is not slowing down. But then, she doesn’t need to: “I am bringing joy to the hearts of the people. The people are giving me energy, and I am giving them back the energy. That is why I am on stage with my hands up in the air!”
Photo: Calypso Rose live at WOMEX 16, by Jacob Crawfurd.