The other day, while flipping through channels, I stumbled upon a film noir marathon featuring Robert Mitchum in both Night of the Hunter and Cape Fear. Shortly after, I was listening to FIP Radio Paris and heard Maya Angelou singing a calypso tune. This sparked a curious thought: what could these two seemingly disparate icons possibly have in common? The answer, surprisingly, is Calypso music.
Calypso, a vibrant and rhythmic genre, is more than just music; it’s a cultural expression deeply intertwined with dance and storytelling. The very word “calypso” may originate from the Ibibio Nigerian term “kaa iso,” meaning “continue” or “go on,” possibly used to encourage dancers in Limbo contests, a dance form brought to Trinidad by Africans where calypso took root in the 17th century. Evolving in the French Antilles with the arrival of African slaves and French planters in the early 1800s, Calypso flourished in Trinidad and Tobago, mirroring the role of griot music in West Africa as a medium for oral history, social commentary, and the dissemination of topical news.
Lord Kitchener, a prominent Trinidadian calypsonian, performing in London, showcasing the global reach of calypso music and dance culture.
The infectious rhythms of calypso music and dance soon transcended the Caribbean. In the 1950s, Trinidadian calypsonians like Lord Kitchener made their way to England, captivating the expatriate community and beyond. His hit song, “London is the Place for Me,” alongside Young Tiger’s “I Was There at the Coronation,” became anthems of this era. The global calypso wave intensified with Harry Belafonte’s 1956 sensation, “Day-O (The Banana Boat Song),” catapulting calypso music into mainstream popularity and inspiring various interpretations and parodies.
Interestingly, before Maya Angelou became a celebrated literary figure, she was known as a talented entertainer who sang and danced to calypso music in San Francisco clubs. Her manager even suggested she adopt the stage name “Maya Angelou” to better reflect the energy and spirit of her calypso dance performances. Capitalizing on the burgeoning calypso craze sparked by Belafonte, she released her album, Miss Calypso, in 1957, showcasing her vocal talents in this genre. Angelou’s engagement with calypso extended to the silver screen as well, with her starring role in the movie Calypso Heat Wave. This early chapter of her career highlights the captivating blend of calypso music and dance that defined her performances.
Lord Kitchener, a prominent Trinidadian calypsonian, performing in London, showcasing the global reach of calypso music and dance culture.
Robert Mitchum’s connection to calypso music emerged during the filming of Heaven Knows, Mr. Allison in Trinidad and Tobago. There, he encountered and was captivated by the renowned calypsonians Mighty Sparrow and Lord Invader. Mitchum, already known for his singing voice in films, found himself inspired by the local music scene. This inspiration led him to record Calypso is Like So…! in 1957, coinciding with Maya Angelou’s calypso album release. This album demonstrated another facet of Mitchum’s artistic persona, revealing his appreciation for and engagement with calypso rhythms.
Calypso music and dance represent a vibrant and influential cultural phenomenon. From its origins in Trinidad and Tobago to its global spread, embraced by artists like Maya Angelou and Robert Mitchum, calypso has left an indelible mark on the world of music and performance. Its rhythmic energy continues to inspire and entertain, proving its enduring appeal.
Robert Mitchum’s album cover, “Calypso is Like So…!”, showcasing his venture into calypso music inspired by Trinidad and Tobago.
