The Evolution of Calypso Music in Limon, Costa Rica: A Cultural Journey

Alfonso Alexandro, also known as Donald William Servirle, is a musician who writes songs, composes, and performs with the group Cable Calipso. He hails from Turrialba and comes from a family of musicians who migrated from Paraiso de Cartago and Cachi. His father, Sebastian Salazar, was a music teacher and musician in the municipal band, playing various instruments like the bass, banjo, guitar, and mandolin.

Alfonso Alexandro was born in Turrialba on a street called Calle Bien, parallel to the Turia River. He belongs to a family of musicians who migrated from Paraiso de Cartago and Cachi. His father, Sebastian Salazar, was a music teacher and musician in the municipal band, playing multiple instruments and managing various musical activities in the community.

Diana Avella, born in Limon, is a percussionist who is part of a calypso group called Leche de Coco. She is passionate about music, teaching, and composing.

Rodolfo Vargas works primarily with the university in Siquirres and Talamanca, focusing on cultural management. He has been involved in a calypso group that engages young people from Siquirres, Guacimo, and Matina in cultural activities for almost six years.

Alfonso Alexandro's early exposure to music came from his family, including his grandmother who played the piano in church, and a maternal uncle who was a trompetista. Growing up surrounded by musical instruments like the piano, trombone, and trumpet, as well as being inspired by family members who were musicians, fueled his passion for music from a young age.

Alfonso Alexandro's inspiration to pursue music further came from watching musicians perform in bands during his school years. This motivated him to join the band in third grade, where he learned to play drums and developed a strong passion for music.

In fourth grade, the speaker became the director of a band in school, influenced by observing carnival practices in Limón. He gradually took on the role until sixth grade, where he played the piano and organ in the school's kitchen area.

The speaker learned about Calypso music from Panamanian radio stations, particularly from a station called BCP RCP Radio. The vibrant Calypso scene in Panama left a lasting impression on him, with songs like 'Qué Banana' and 'Varias Más' becoming ingrained in his memory.

The speaker's friend, Mulá, played the dulzaina at home, creating a musical environment with a bottle of Fanta, a camping stove, and kitchen utensils. This early exposure to music at Mulá's house, along with a family friendship, shaped the speaker's musical upbringing.

In 1974, the speaker arrived in a new location, drawn by the joy of the Easter season. Despite having roots in Limón, he decided to stay due to the allure of the surroundings, the people, and the lush vegetation that combined to create a unique environment.

The speaker's passion for music led him to teach others to play guitar, emphasizing the importance of 'feeling' in music. Through his interactions with various musicians and friends, he found joy and fulfillment in sharing his musical talents.

In the early 1970s, musicians like Don Walter Ferguson composed songs like 'National Park' and 'Guata' in response to the declaration of a national park in the region. These compositions were performed by musicians such as Caroline and Kevin, reflecting the cultural and historical context of the time.

In the late 1970s, efforts were made to preserve and research folklore and cultural traditions in Costa Rica. The Department of Folklore, later restructured as the Department of Anthropology, focused on creating a historical heritage and conducting investigations despite limited funding. This department played a crucial role in disseminating cultural knowledge through various media channels.

By 1979, the Ministry of Culture established the concept of 'historical heritage,' leading to the formation of the Center for Research and Conservation of Cultural Heritage. This center, initially named differently, emphasized interdisciplinary collaboration in archaeological and historical research. It became a hub for anthropologists, contributing significantly to the cultural preservation efforts in Costa Rica.

A project called Project Limón was created as a result of an initiative to explore the cultural richness of the Limón province in Costa Rica. The project involved a multidisciplinary team, including anthropologists and historians, and was co-financed by the OAS, the Venezuelan government, and the Costa Rican government. Extensive research and promotion of different cultures in the province were conducted under this project.

The Institute of Ethnomusicology and Folklore (INIDEFE) was an organization of the OAS based in Caracas, Venezuela. Founded by Isabel Ares, a musicologist, INIDEFE had a collection of indigenous and Afro-Caribbean music from Costa Rica dating back to the 1940s. The institute aimed to preserve and promote cultural heritage through its extensive music collection.

Costa Rica had a significant cultural richness in terms of music from the Caribbean and indigenous regions, which was largely unknown and undervalued by the rest of the country. Efforts were made to recover and promote these cultural expressions through publications, audiovisual productions, and other means to make them accessible to the wider population.

Margarita Bolaños and Fernando González spearheaded initiatives to preserve and promote Costa Rica's cultural heritage. They assembled a professional team, acquired equipment such as cameras and accessories, and received training to carry out projects aimed at documenting and disseminating cultural values and expressions.

Field observations were conducted in Costa Rica to detect key informants along the route to Cabo. The journey involved traversing difficult terrain, sometimes requiring illegal river crossings or using a jeep. The route followed the train line due to the lack of asphalt roads at the time.

Various modes of transportation were used to reach Limón, including walking from Barra Colorado to Sexta Ola, traveling by air, and navigating through different areas like Tortuguero. Interactions with local communities, musicians, and fishermen were essential for gathering information.

Multiple key informants were identified and interviewed along the Costa Rican coast, including interactions in barber shops, pulperías, cantinas, bars, hotels, and brothels. The information gathered from these key informants was synthesized into a cohesive narrative.

In-depth interviews were conducted with musicians like Roberto in Limón, exploring their musical backgrounds, instruments played, and preferred genres. The musicians showcased a diverse range of musical styles, including Caribbean music, salsa, boogaloo, and boleros.

A memorable experience was recording the Carnival of 1978, capturing the vibrant atmosphere and music of the event. The recording process involved setting up microphones and capturing the essence of the carnival through music and laughter.

Engaging with multicultural individuals like a Haitian named Jean Françaix in Venezuela provided unique insights. Language barriers and cultural exchanges, such as encountering a French-speaking individual in Cahuita, added richness to the intercultural experiences.

In 1980, the multinational project 'Plan Multinacional de Proyecto Limón' was initiated, aiming to develop the Limón region. This project marked a significant investment in the area's infrastructure and economic development.

The speaker describes a musician who was a Haitian, spoke French, English, and Creole, played the guitar, had it modified by Cadiz Ferguson, and had three fingers on his right hand. He sang a mix of calypso and other genres, recorded a 45 rpm vinyl with Buddha and his band, and released the first discographic production.

The speaker mentions collaborations with Pitt, Nana, and Good, where the musician broke his shell eco. He also participated in the carnival with a Venezuelan cuatro, showcasing a diverse musical repertoire.

The speaker recalls recording experiences with Buddha, using a 45 rpm vinyl, collaborating with musicians from Limon, and achieving acceptable quality by recording in Don Walter's house with an open reel tape recorder.

The speaker emphasizes community involvement by publishing music and albums first for the community. He mentions distributing the extended play to the public and receiving emotional reactions from listeners, creating beautiful experiences.

The speaker recounts a touching moment during a recording session where a musician played the concertina, moved the audience to tears, and created a memorable experience with emotional depth.

The speaker describes recording a work song about buzzing a tree, showcasing the diverse range of musical themes and genres explored during recording sessions.

In Aragón, there is a traditional logging ceremony where a large tree is felled. The process involves using a 12-hour pink and soft rope, known as 'lambe lambe,' to control the rhythm of the stone's movement. It is crucial for the safety of the loggers to keep a distance from people distributing water, aguardiente, harmful gin, and women distributing food. The ceremony includes a relay of axemen and is considered a significant event.

The discussion delves into the current relevance and cultural significance of traditional ceremonies like the logging ritual. It is noted that such ceremonies harken back to the old days when people believed in their importance, even though some aspects may have faded over time.

In 1978, the Ministry of Culture in Costa Rica rented an office near the University of Costa Rica along the railway line to Salar. This building housed the Ministry of Culture, Youth, and Sports, specifically the Department of Historical Heritage. The department was divided into sections for conserving historical heritage and preserving traditional customs. It also contained a recording studio and a darkroom for developing black and white photographs.

The Ministry of Culture engaged in preserving audiovisual materials by transcribing and categorizing tapes. Original materials from projects developed by the Organization of American States (OAS) and the National Institute of Folklore (INEF) were stored in Caracas. Copies of these materials were distributed for research purposes, leading to the creation of newsletters to inform the community about ongoing investigations, such as the 'Lemon Tradition' research project.

To motivate community involvement in research, newsletters were distributed to inform musicians and informants about the 'Lemon Tradition' investigation. This initiative aimed to prepare the community for upcoming research activities. Additionally, small advances were made to encourage participation, such as distributing materials to each informant individually.

A total of nine books were published on various topics of Limonense culture, along with the first mass-produced music albums for the dissemination of Afro-Costa Rican music. This included the production of a double album with children's rounds, calypso music, and the music of the cuadrilla, featuring the famous Mr. Coleman.

A relationship was established with an Italian organization that requested tapes for editing a disc titled 'Calypso: Popular Music of Afro-Limonense.' The album was accompanied by extraordinary photographs from a Swiss photographer, enhancing the overall presentation.

Despite a commercial production of the album 'Calypso: Popular Music of Afro-Limonense' in a different format years later, the original materials were still valuable. Various radio stations, including Radio Nacional and Radio Reloj, distributed the albums, with some dedicating programs to promote the recordings.

The project received a warm reception from the bilingual people of Limón, facilitating effective communication. The publication of traditional stories, especially those of cuentos de análisis, resonated well with the audience, leading to subsequent editions by Editorial Costa Rica.

Despite being young non-natives, the team faced no resistance while documenting the cultural heritage of Limón. This lack of obstacles allowed them to meet wonderful individuals who contributed significantly to music, storytelling, culinary traditions, and traditional medicine.

The project played a role in raising awareness of Afro-Costa Rican culture, bringing its manifestations in music, gastronomy, and dance closer to the central regions of the country. While recognition may not have been immediate, the satisfaction of pioneering this cultural documentation and leaving a legacy for future generations was paramount.

In 2017, with the use of coconut milk, there was an opportunity to participate in a program at Casa Caníbal. The program consisted of a live concert and a recording session. This experience was significant as it allowed for the study of old calypso recordings, rediscovering the essence of calypso music and appreciating its roots and sincerity.

The evolution of percussion in music has seen significant changes, especially in the use of patterns influenced by Latin percussion like salsa and Cuban versions. This evolution has impacted the way percussion is perceived, requiring listeners to discern subtle sounds and rhythms to identify specific music genres accurately.

A discussion on musical instruments highlighted the use of 'el güiro' and 'la peineta' as instruments with cultural significance. 'La peineta' serves as an invitation from the producer to explore the versatility of the 'güiro' as an instrument and improvisational tool. The intricate process of crafting 'la peineta' involves making holes, adding reeds, and simulating trumpet sounds during play.

Cultural differences in playing maracas were noted, with Cuban and indigenous styles differing in technique. While Cubans use two maracas in a specific manner, indigenous communities typically use only one maraca in a different style. This cultural distinction is evident even in Venezuela, where the style of playing maracas varies based on cultural heritage.

In Cumaná, craftsmen in Talamanca modify and stretch iguana leather to simulate small shabaks, while in Talamanca, larger shabaks are made by replacing the iguana leather with cowhide. The craftsmen use an African-style latch and create a tomb shape resembling a truncated cone or cup.

The banjo was introduced in Talamanca at the end of the 19th century through ships from the banana company. Initially, it had four strings, with the fifth string removed by African musicians. The banjo gained popularity over the guitar due to its unique sound and was often used in ensembles with clarinets, guitars, and double basses for playing various rhythms.

Musical instruments like the banjo evolved in Talamanca, with craftsmen mixing materials to create unique sounds. The introduction of new instruments like the banjo led to the formation of ensembles with diverse instruments like clarinets, guitars, double basses, and tumbas to play different musical styles.

The evolution of the calypso music genre in Talamanca reflects changes in societal contexts, leading to shifts in the way calypso is performed and the messages it conveys. The execution and musical aspects of calypso have undergone substantial differences over time.

In the past, calypso music was created using simple instruments like percussion made from animal hides or pressed horns, resonant boxes, and old guitars. The magic of simplicity and using everyday instruments to make music was emphasized, highlighting the essence of sound and feeling in the music.

Musicians creating calypso music should delve deep into the history of the genre to truly grasp its essence. Understanding the origins, influences, and evolution of calypso music is crucial for creating authentic and meaningful compositions.

Over time, calypso music has evolved to include a wider range of instruments, such as brass instruments like trombones, flutes, and more complex percussion arrangements. The introduction of these instruments marked a significant shift in the sound and complexity of calypso music.

Calypso music in Limón has diversified by incorporating elements from various musical genres like guaracha, Cuban son, cumbia, merengue, and even reggae. This fusion of different styles has enriched the musical landscape, creating a unique and diverse sound in calypso.

The discussion highlights the evolution of calypso music, noting that newer songs like the album 'Back to Our Roots' by Cawer focus more on historical narratives and cultural heritage. The lyrics of these songs reminisce about events like the 'Pact of Ruta' and 'Caribbean Food,' emphasizing historical memory and cultural legacy. There is a noticeable shift in song composition and musical styles, with some songs serving as celebrations while others act as social commentary or demands for justice.

The speaker expresses a desire for traditional calypso music to continue thriving, mentioning a growing trend of wanting to return to the roots of calypso music. This sentiment includes a wish to explore old recordings to understand and interpret their lyrics, cadences, and nuances in order to enrich contemporary calypso music.

The importance of preserving the essence of calypso music is emphasized, with a focus on maintaining the genre's tradition of reflecting everyday life and societal issues. Despite evolving contexts, the core essence of calypso remains rooted in addressing social themes and cultural elements unique to the Caribbean region. Musically, the fundamental instrumentation of calypso, including strings, bass, percussion, and vocals, continues to be a defining feature.

There is a recognition of the need to adapt calypso music for younger audiences who may prefer a faster-paced style. However, the speaker emphasizes the importance of not losing the essence of calypso, which lies in narrating everyday experiences and social issues. The essence of calypso music remains consistent in addressing contemporary contexts while retaining its cultural and social relevance.

The speaker discusses their musical influences, mentioning that they primarily do reggae and calypso, which are fused with Afro-Caribbean influences. They highlight a song they composed that positions Cahuita as the land of calypso.

The conversation shifts to the evolution of reggaeton, with the speaker explaining that it originated from reggae roots. They mention how the youth in Puerto Rico embraced reggaeton, which retained some elements of the original genre while attracting a new audience.

The speaker emphasizes the importance of preserving the essence of calypso while incorporating new elements. They use the analogy of cooking rice and beans, stating that adding too many different ingredients can dilute the original essence of the dish.

The speaker reflects on their family's musical tradition, expressing a deep connection to music that has been passed down through generations. They convey a sense of nostalgia and cultural heritage associated with their family's musical practices.

The speaker acknowledges that the audience's reaction is positive and expresses optimism about the future. They hint at anticipation for what is to come, suggesting a sense of excitement and anticipation for future musical endeavors.