After years of discussions and eagerness from the U.S. pan community, the first ever NSSBE (National Society of Steel Band Educators) conference took place on March 10, 2018 on the Miami University Campus in Oxford, Ohio. The event spanned from 9am to 4pm and featured four seminars, a networking lunch and an exhibitor’s room with five steelpan vendors, consisting of Pan Ramajay, Pan Tuner, Wetzel Pan Stands, Angel Lawrie and Engine Room Publishing.
The event featured clinics by Dr. Jason Koontz (director of percussion studies, Eastern Kentucky University), Dave Longfellow (Mannette Festival of Steel, Virginia Beach Pan Fest) and steelpan virtuoso Victor Provost, who closed out the event with a performance that featured his own jazz quartet and the Miami University Steel Band.
The Turnout and Results
The event had 65 registered attendees, with only a handful absent from the event after all was said and done. Among them was world-renowned steelpan builder, tuner and educator, Emily Lemmerman, who took part in a panel discussion about the state of steel band education in the United States. During the discussion, the topic of how to use the engine room came up and she chimed in.
“In a steelpan conference so much of what we are talking about is percussion, but often I end up working with bands before concerts. That’s the first thing that is so off with the final product. During dress rehearsal they start throwing out cowbells and shakers. As a curriculum, it’s important to treat the engine room as something that is scripted,” she said. “One of the things I worked on over the years is time management. There are so many different types of players and schedules. It’s helpful to be deliberate about the way you’re using your time to see that a larger portion of students are engaged during class time. If you dig in too deep with exercises or reading, you’re going to lose some of the kids who saw it as fun. Make sure everybody is engaged and at the end of the day everything they do is a joyful thing.”
End of the Day
Was a date set for a next conference?
Living in Australia, I envy you guys in the US for the way you’ve managed to introduce and integrate pan programs into the wider musical culture – especially into universities. Here in Australia, we struggle to find wide acceptance of steelpans/steelbands, and are very under-resourced for tuners and accomplished pan educators. I congratulate you on your achievements and, speaking as a Trinidadian, feel honoured that you have embraced T & T’s national instrument and music.
There is one issue though that I am particularly pedantic about, which (because of the way that the US, as a dominant culture has a disproportionate influence in the wider world) is the terminology that is/has been used to name the instruments and the collective ensemble. It struck me as slightly ironic that the NSSBE has settled on using the term “Steel Band”, rather than “Steelband” – which is widely regarded as the ‘correct’ terminology in T & T. I was most heartened to read that there was discussion by the panel as to the correct nomenclature for the pan itself. There should be no doubt that it is not a steel drum – but rather, a steelpan. Even though there is not a convincing logical argument in favour of ‘pan’ over ‘drum’ (both being somewhat misleading words), there is the undeniable fact that they are called pans, or steelpans, by the people who invented them and made them their national instrument. So, I would argue, that is reason enough to refer to them as steelpans and steelbands.
Here endeth my pedantic rant!!!
Thanks for the opportunity to comment, and congratulations on the great work that you are all doing towards pan education and development.
Matt Davies