Music as a Political Resource in the Twentieth-Century Caribbean

This paper analyzes the use of music as a political resource in the Caribbean throughout the 20th century. It focuses on popular music forms in the Anglo-Caribbean nations of Trinidad and Tobago and Jamaica. The calypso and steelpan music genres were developed by the lower-class African population in Trinidad and Tobago. Both genres were important symbols of resistance and self-identification before and during the independence era. Calypso, in particular, was known for its harsh criticism of colonial authorities and the independence politicians who succeeded them. Tassa drumming was another art form that came to prominence in Trinidad during the 20th century. Brought to the country by indentured workers, tassa elevated Indo-Trinidadian culture at a time when African music and art were being prioritized by the government. Politicians such as Eric Williams capitalized on the popularity and power of music to gain political victories and alter the state of the nation. In Jamaica, reggae music, which was deeply influenced by the Rastafari tenets of anti-capitalism and anti-colonialism, became a subversive genre. In a similar manner to calypso, it was developed by Jamaica’s Black lower class. The lyrics often contained themes of freedom and Pan-Africanism, emphasizing the importance of identity. Reggae was also used by political actors and became a central part of Jamaican elections during the 1970s. Music was and continues to be a powerful political tool employed by individuals and social groups in the Caribbean.