HomeMusicSteelpan And The Indian Diaspora: Bridging Oceans Through Music

Steelpan And The Indian Diaspora: Bridging Oceans Through Music

Steelpan And The Indian Diaspora: Bridging Oceans Through Music

Steelpan And The Indian Diaspora: Bridging Oceans Through Music

Photo: Devin Ramoutar (Left), Savitri Rampersad . (Right)

By Dr. Kumar Mahabir and Shalima Mohammed

Originating in Trinidad and Tobago, the steelpan remains the only acoustic musical instrument invented in the twentieth century. Forged from oil drums and shaped by the creativity of Afro Trinidadian communities, it has become a national symbol. Yet its story is also intertwined with the Indian diaspora in the Caribbean, where musicians have embraced, reshaped and reimagined the instrument in ways that reflect their own histories and heritage.

Among the most influential figures was the legendary Jit Samaroo, whose arrangements demonstrated that Indian melodies and rhythms could live comfortably on steel. His work opened doors, but Indo Trinidadian pannists still represent a minority within the art form. In communities with significant Indo Caribbean populations, steelpan performances increasingly serve as a bridge between Caribbean belonging and Indian ancestral memory.

For Guyanese Canadian pannist Devin Ramoutar, that bridge is built consciously through repertoire and presentation. “I don’t want to just say fun, because all parts of steelpan are fun, but it felt like a more engaging approach,” he explained. “I wanted to relate not only to the older demographics but to the youths as well. This creates a space where different generations and communities can connect. You bring back the classics, but you add a rhythm that anyone can enjoy, regardless of age. That is something I try to incorporate into my steelpan performances that blend, that bridge cultures and generations.”

His approach reflects a broader movement in diaspora communities, where Bollywood hits from the 1950s sit alongside contemporary chutney and soca on the same set list.

Dr. Savitri Rampersad of Trinidad and Tobago sees this evolution as organic. “The inclusion and representation of both Indian music and descendants of the Indian diaspora are natural and inevitable,” she noted. “The level of interaction and cultural exchange has been steadily increasing, particularly through steelpan programs in schools, as well as greater tolerance and synergy among different cultural groups. Indian music has embraced many instruments that did not originate in India. It is not a stretch to say that the steelpan is one of the most fitting instruments for playing Indian music, aside from film music, because of its versatility and expressive power.”

For Kenneth Persad, the connection began in childhood. “From the time I was a small boy growing up, I was always fascinated with the steelpan,” he recalled. After watching Samaroo Jets perform at a school assembly, he told himself, “I would love to do that someday.” Today, East Indian music anchors his repertoire of nearly 150 songs, spanning Bollywood classics to modern tracks.

Technically, the steelpan proves surprisingly compatible with Indian music. “The percussive nature of the steelpan, and the way it’s played using mallets or sticks, makes it well suited for executing complex rhythmic patterns such as those found in taals in Indian music,” said Khion De Las. He added that while the instrument can reproduce intricate rhythmic structures, its limited ability to bend pitch presents challenges. “This expressive nuance is one aspect of Indian music that the steelpan struggles to fully replicate during a performance.”

Historically, Indo Trinidadian ensembles have also left their mark. Clyde Weatherhead traced the lineage of Tunapuna All Stars to the Saraswati Steel Orchestra of the 1950s, a band known for playing Indian music and making early recordings. Through changing names, sponsorships and Panorama competitions, the ensemble maintained a wide repertoire and a strong role in Carnival and community life.

Together, these voices reveal a steelpan tradition that is neither fixed nor exclusive. In the hands of the Indian diaspora, the national instrument of Trinidad and Tobago becomes a vessel of memory and innovation, carrying ragas and film songs across oceans of steel.

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