Introduction

In this short introduction, I will explore the various elements of Trinidadian parang.  First, here are some attempts to define parang by local cultural scholars...

The local revelry that is parang is the visiting of merrymakers to the homes of family, friends or patrons to sing songs in Spanish to the accompaniment of certain musical instruments; usually, the guitar, the cuatro, the maracas or chac-chacs, the mandolin, the bandolin, the violin and the bandola and sometimes the cello.  There is also dancing and the eating and drinking of fare appropriate for festivity. (Taylor 1977, 15)

'Parang' is the present Trinidadian interpretation of the Spanish word, parranda .  Parranda is the action of merrymaking and also refers to the group of carousers who serenade their friends throughout the year.  The word parranda in general Spanish is used mainly in the expression andar de parranda, which in the modern Trinidadian vernacular is 'to go paranging,' akin to the Venezuelan parrandear, meaning not only merrymaking in the original sense, but also 'liming' or enjoying oneself, with or without music, moving from place to place with no time limit in mind. (Moodie-Kublalsingh 1994, 65-66).

To synthesize, parang is the act of merrymaking, music, dance, and food typical of the Hispanic community of Trinidad.  While it is most actively performed during the Christmas season, parang (in its reference to music, dance and food) is also used in other festivals and ceremonies throughout the year.   The most notable of these are the Santa Rosa Festival at the end of August, the velorio del cruz (or cross-wake), and the Seyboucan festival in May.  In Trinidadian vernacular, parang is a signifier of "Spanish" or Hispanic-derived culture on the whole, in a similar fashion to "East Indian music" or "Chinese music".   While its meanings are multifaceted and sometimes fuzzy, I will attempt to give some  framework to the tradition(s) in their local contexts. 
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Parang music includes a "core"  instrumentation of the following:

• Cuatro
• Guitar
• Violin
• Mandolin
• Bandolin
• Box bass or string bass (and more currently, electric bass)
• Maracas (or "chac-chac")
• Wood block (or "toc-toc")

In contemporary parang ensembles, the following instruments are also added to/substituted for core instrumentation, especially the mandolin or bandolin.  As I will explain later, the addition of certain instruments is due to recent experimentation in mixing the genre with other styles, such as soca, reggae, or calypso.

• Flute
• Scratcher, or guiro
  
• Drum machine
• Electric bass
• Latin percussion (i.e., congas, timbales , etc.)
• Steel pan
  

Parang encompasses a number of religious and non-religious song types.  Here is a list of the song types encountered by the author during her fieldwork in Trinidad.  Audio examples are included as they become available.

Song Type	Characteristics	Audio Example (all samples in MP3 format)
Aguinaldo Anunciacion Nacimiento Serenale Despedia	6/8, slow-moderate tempo announces the coming of Christ celebrates the birth of Christ sung at the door during serenading Sung leaving a private house parang	"Alegria" by Daisy Voisin "Gloria del Nacimiento" by Los Alumnos de San Juan "Abriendo Puertas" by Sharlene Flores with Flores de San Jose
Castillian (Vals)	3/4, slow waltz tempo, secular song	"El Diablo Suelto" by Daisy Voisin
Crucifixion	(celebrated at Easter)
Estribillo (Serenal)	6/8, moderate tempo, secular song
Galeron	6/8, moderate tempo, improvised Spanish lyrics	"Galeron" by Rebuscar
Gaita	(from Venezuela), secular song	"Hay Que Cantar" by Robert Munro
Gavilan	6/8, quick tempo, secular song	"Gavilan" by Rebuscar
Guarap	6/8, quick tempo, secular song	"El Guarapo" by Daisy Voisin
Joropo	(from Venezuela)	"El Desafio" by Robert Munro
Manzanares	6/8, moderate tempo, secular song	"El Manzanare" by Las Estrellas
Soca-parang	6/8 over 2/4, quick tempo, English lyrics	"Piece ah Pork" by Scrunter
Velorio del Cruz (Cross-Wake/Vielle Croix)	6/8, galeron is the typical song performed for this ritual	"Galeron" by Rebuscar

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In parang, there are two primary dance styles:  a slow castillian waltz, and the quicker duple-feel gavilan style.  The castillian waltz always brings the older parranderos to the dance floor, the remnants of a rural Trinidadian cocoa-estate community.  The couple in this first photo are dancing the castillian, a waltz-style dance in a slow, stately pace.  In this dance, the couple must maintain a "respectable" distance apart from each other, as in the European ballroom waltz.  The couple is almost always male-female in this dance, and it is rare to see someone dancing solo.   In the quicker parang style, the couple will usually dance much closer, and thus more sexual tension is exhibited.  It is more common to see solo dancers in this style (as illustrated above), since it always draws many more participants onto the dancefloor.  The quicker style is related to a larger number of song types, including the aguinaldo, gavilan, guarap, galeron, manzanares, and nacimiento, since each of these songs are based upon a 6/8 rhythmic feel. 
 
In the contemporary settings of nationalized competitions, "latin" songs bring a greater variety to the dance, adding Dominican merengue and Puerto Rican salsa to the repertoire.  These song styles are more popular with a younger group of participants, primarily young middle-class and also the expat/visiting Venezuelan youth.  As one can guess, these dance styles have also influenced the quantity and quality of crowd that follows the competition fetes, in the popularization of this formerly rural, non-competitive tradition.  Additionally, the more intricate dance-steps of salsa have inspired Trinidadians to attend Latin dance classes and, for the afficionados, Latin music nights at nightclubs in urban areas (i.e., Port of Spain, San Fernando).  
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The foods typically found at a parang event are also traditional Christmas fare to most Trinidadians:  pastelles (steamed chicken or pork-filled cornmeal patties), empanadas(fried version of pastelle), paime (sweet pastelle), sorrel (a spicy cider), ginger beer, rum, "babash" (home-brewed alcohol), wild meat (i.e., wild game); and at more intimate family gatherings, roast pork, pelau (chicken and rice), and sometimes cassava bread (an Amerindian tradition). Here are some recipes for preparation of the parang delicacies.  I would gladly accept any contributions to this section from chefs or food afficionados!

Cristo's Homestyle Pastelles* 1 lb. beef or pork, minced 2 onions, chopped 1 bunch chive & thyme hot pepper to taste 2 cloves garlic Cilantro (Shadon Beni) 1 tsp. black pepper salt to taste CRUST 2 c. cornmeal 3 c. tepid water 4 tbsp. corn oil or 1/4 lb. margarine 1 1/4 tsp. salt Season beef with onion, chive and thyme (2 kinds), cilantro, garlic, hot pepper, black pepper and salt. Cook well Heat 2 cooking spoons of oil.  When oil is properly hot, put two tablespoons of roocoo (annato extract) for coloring Adjust salt and pepper to taste Mix cornmeal, tepid water, salt and oil to make soft balls Using a pastelle press or hands, press balls of corn on leaf.  Put 1 tbsp. or more of meat mixture and fold neatly.  Tie. Place in steamer or colander and steam for 20 minutes. Note:  Use banana leaves, warmed over open fire to make pliable, then cut and cleaned. Ponche de Creme 6 eggs 3 tins evaporated milk (large low-fat) 1-1/2 tins condensed milk 1/2 c. rum 1 tsp. Angostura bitters grated nutmeg Beat eggs with lime peel until light and fluffy Add evaporated milk Sweeten to taste with condensed milk. Add bitters, grated nutmeg, and rum according to taste. Remove lime peel and served with crushed ice.

Ginger Beer 1 lb. fresh green ginger 4 c. granulated sugar (2 lbs.) 1/4 lb. potatoes 4-6 grains cloves 1 stick cinnamon 8 c. boiling water Wash, remove skin and grate 1 lb. green ginger Peel and chop potatoes in medium pieces Put ginger, potatoes, clove, cinnamon and sugar in a large bottle or jar. Pour boiling water over ingredients.  Sitr and cover; allow to brew for 2-4 days. Strain and bottle. Serve with ice and Angostura bitters.  Ginger can be diluted with water if the flavor is too strong. Paime 1 grated coconut 1 lb. cornmeal 1 tsp. black pepper 2 tsp. salt 4 oz. dried fruit banana leaves 1 lb. pumpkin 1 oz. shortening 1 oz. margarine sugar to taste 1/2 pt. water twine for tying Grate coconut and pumpkin Add all other ingredients Stir in enough water to make a dough of dropping consistency Wipe banana leaves and heat them to make them pliable Cut into pieces about about 8" by 8" Place about 2 tbsp. mixture on each piece Roll up, fold over and tie. Place in boiling water and boil for about 20-30 minutes.  Test one to see if it has set, if not, cook for a longer period of time, depending on size of paime.

Source:  Naparima Girls' High School Diamond Jubilee 1912-1987, Trinidad & Tobago Recipes *Pastelle recipe courtesy of Cristo Adonis, Calvary Hill, Arima

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Works Cited

Moodie-Kublalsingh, Sylvia.  1994.  The Cocoa Panyols of Trinidad:  An Oral Record.  London:  British Academic Press.
Naparima Girls' High School.  1988.  Naparima Girls' High School Diamond Jubilee 1912-1987: Trinidad & Tobago Recipes.  Trinidad:  RPL Ltd.
Taylor, Daphne Pawan.  1977.  Parang of Trinidad.  Port of Spain, Trinidad:  National Cultural Council of Trinidad and Tobago.
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