In yet another trip down the steelpan road less traveled, there are some striking similarities between Reggae/Steelpan cultural misappropriation and the Modern Reggae/Handpan phenomena. While these topics have been alluded to in a few previous blog entries, it is fitting to expand upon it now as KaribPAN has been consistently stringing the cultural misappropriation thread that runs through the steelpan culture through all of the various loops, all the while making the obvious connections between Christopher Columbus style new-world colonization as it pertains to the steelpan, and the re-discovery of the handpan via PANArt and the Handpan Mafia.
The work that we do here is not for the weak minded, nor is it for the faint hearted. Contrary to what many disgruntled readers may believe, the bottom line for us is not selling instruments or competition in the marketplace. Obviously, the controversial, yet truthful articles that we publish on our blog are far from ideal selling points from the perspective of mass appeal. At the very least, it is obvious through consideration of our numerous articles that the handpan masses are like a dog, and the Handpan Mafia is akin to the tail that is literally wagging the dog.
While making and selling steelpan instruments is partially what we do, we also consider ourselves first and foremost to be social activitists and cultural gatekeepers concerning Caribbean culture, people. and history. Additionally, we strive to promote ethical business practices in the business of pan as we have maintained from day one.
The steelpan was not invented in a vacuum, neither does it exist in one. Thus, a total, global perspective is highly beneficial when viewing the steelpan on the whole in light of the fact that the people of Trinidad and Jamaica (not to mention Guyana, Barbados. Cuba, and every other Caribbean nation) all have a shared history of ancestors who endured the transatlantic slave trade and colonization at the hands of various European colonial empires who stole and exploited our collective identity and individual intellectual property.
The Similarities Between Original Jamaican Roots Reggae and the Trinidadian Steelpan
Reggae music as we know it, has roots in various periods of Jamaican music, and draws its influences from Mento, Ska and Rocksteady among other genres. Similarly, the steelpan has its roots in various indigenous forms of Trinidadian musical instruments such as the tamboo bamboo, and ping pong, du-dup, etc.
So how did the Reggae music go from this:
Note the 666 mark of the beast symbolism in the bottom right and left and corners of the above SOJA album cover, which is the identical 666 representation we uncovered on ''sakesho'', an album that is merely one of Andy Narrell's many satanic album covers. This same 666 symbolism was also highlighted in the handpan world as being prominent marketing elements of a demon conjuring maker named Mark Garner of Saraz Handpans, as well as his boss, Kyle Cox of Pantheon Steel.
Incidentally, as in our aforementioned article on Andy Narrell where we offered proof that Andy Narrell is not a real Jew, but a member of the Synagogue of Satan, as spoken of in the book of Revelations chapters 2:9 and 3:9, Reggae also went from this:
In a similar vein, how did the steelpan go from this:
Suffice it to say, the connection should be clear. However, for the moment, we will leave the readers to ponder the questions above.