Recognising The Language of Calypso as “Symbolic Action” in Resolving Conflict in The Republic of Trinidad and Tobago

Abstract

The Calypso, which forms an integral part of the Carnival celebrations of the Republic of Trinidad and Tobago, is a syncretic popular art-form that has its origin in Africa. The art-form, having been influenced and adapted by the experiences of enslaved Africans in the Diaspora, has been fused in the vortex of plantation society. Today, the music of Carnival has evolved considerably, so that the Calypso has become one of the cornerstones of the Carnival celebration, being significantly influenced by this Camivalesque tradition. This paper looks at some aspects of those Calypsos that offer commentary on thesocio-political and/or economic issues in the Republic of Trinidad and Tobago (Trinbago), recognising them as bedded in the popular practice of ritual resistance. It examines the developments in the field of dispute resolution showing how this specific sub-set of Calypsonians can legitimately be situated in the field of Alternative Dispute Resolution (ADR). It shows how, through the medium of these Calypsos, the skilful Calypsonian, using verbal creativity, freely comments on aspects ofTrinbago's everyday life, exposing scandals of politicians and the rich, while recounting gossip, as they redress the powerful. This work argues that Calypsonians, using this localised language that is steeped in colloquialisms, to sing on the prevailing socio-political and economic ills within Trinbago, function as liminal-servants in an Indigenous, Non-Formal, Community Conflict Management Mechanism.