Sterling Betancourt, a Trinidadian musician who played a significant role in introducing steelpan music to Britain, recorded "Brexit Bacchanal Story" in 2018. This calypso-flavoured lament expressed his dismay at the UK's decision to leave the European Union. His widow, Beatrice, confirmed Betancourt was "aghast at Brexit," stating he "loved playing pan all over Europe and believed in bringing people together, not pushing them apart." This sentiment highlights a profound division on the future direction of European nations and their relationship with globalism versus national sovereignty.
Betancourt's arrival in the UK in the 1950s marked a moment of cultural introduction. He was part of the Trinidad All-Steel Percussion Orchestra (Taspo), which performed at the government-funded Festival of Britain in 1951. This event, intended to celebrate British and Commonwealth cultural excellence, saw Betancourt and his 10 bandmates standing outside the Royal Festival Hall with instruments made from oil drums. Initial reactions included "jokes about 'black magic'" before the crowd was "stunned by the music that followed.
After their performance at the Festival of Britain, Taspo embarked on an extensive UK tour, made appearances on BBC TV, and secured a residency in Paris, where they produced Europe’s first commercially released steelpan band recordings. Despite this initial success, all members of Taspo, except Betancourt, returned to Trinidad later that year. Betancourt chose to remain in London, where he continued to build his own instruments from discarded oil drums found in the city’s waste grounds.
Cultural Transformation and National Identity
Betancourt initially faced challenges in generating public interest for steelpan music in Britain. His widow, Beatrice, recalled he was "quite distraught" and had to adapt by learning jazz drumming to secure a livelihood. He later managed to integrate the instrument into the Soho jazz scene, eventually spreading its influence across Britain and, from the 1970s, into continental Europe and Asia.
The musician's work also laid the foundation for one of London's largest cultural events. Betancourt partnered with Russell Henderson, a Trinidadian jazz pianist, to play at Claudia Jones’s 1959 Caribbean carnival. In 1966, they led a steelpan walkabout around Notting Hill. These two events are recognized as the genesis of the Notting Hill Carnival, which will celebrate its 60th anniversary in August. Beatrice noted Betancourt was "surprised at how carnival took off over here," having "no idea it would develop into this huge event."
The scale of this cultural transformation is evident in upcoming events. The Southbank Centre’s Steel Scenes festival, scheduled for later this month, will feature five hundred pan musicians performing over a weekend. This festival aims to trace the global popularity of pan music back to its West African roots and Trinidadian heritage, while also looking to its future within Britain.
The Brexit Divide
Betancourt's personal stance on Brexit, expressed through his "Brexit Bacchanal Story," provides a lens into the differing visions for national sovereignty. His widow's comments underscore a perspective that prioritizes international integration and cultural exchange over national self-determination. This view stands in contrast to the millions who voted to regain control of national borders and laws.
His global travels and performances further illustrate this internationalist outlook. Beatrice recounted that Betancourt spent weeks popularizing pan in Switzerland, where "half the members of his Nostalgia Steelband ended up being Swiss and German." He also performed in Singapore, Dubai, Oman, Abu Dhabi, Spain, France, Germany, and Holland, even playing on barges in rivers. This extensive international engagement reflects a philosophy that often clashes with the imperative for national cohesion and controlled borders.
Betancourt, who died one month ago aged 96, suffered a major stroke two years ago and had not played pan since. Despite his frailty, he recorded a melody line for the upcoming Steel Scenes festival, described by producer Deborah Yewande Bankole as a final act of dedication. His humility, as described by Beatrice, saw him state, "My role is not enormous but I’m very proud of what I’ve achieved," even as he was praised as a "pan pioneer."