In defence of Pan Trinbago initiative

THE EDITOR: The argument that grassroots pan lovers are being pushed out of the North Stand by corporate sponsors is not just misleading – it’s fundamentally flawed. While it’s easy to appeal to emotion by suggesting that the people who built this art form are being sidelined, the reality is far more nuanced.

Pan Trinbago’s initiative to allocate a portion of the North Stand seating to sponsors is not an exclusion of grassroots supporters, but rather a strategic move toward financial sustainability, one that primarily affects a segment of patrons who have historically been more invested in the lime than in the performances themselves.

For decades, the true grassroots pan lovers – the ones deeply connected to the steelband movement – have rarely populated the North Stand in large numbers. Their heart and home have always been along the Drag, where they engage with the bands up close, soaking in the live energy of each performance.

They are the ones who frequent panyards in the lead-up to Panorama, where they experience the music in its rawest, most intimate form. These are not the people paying $500 for a ticket to the semifinals when they can enjoy the very same performances, free of charge, in the panyards and on the Drag.

The North Stand, on the other hand, has long been dominated by a different crowd – middle-income revellers looking for a party atmosphere, many of whom admittedly pay little attention to the bands performing on stage.

This is further proven by the fact that when the finals roll around – arguably the most prestigious night for Panorama – the North Stand is rarely at capacity, sometimes only 60 per cent filled, despite the influx of tourists and increased demand for tickets.

This alone should debunk the idea that there is a core audience of grassroots pan lovers being locked out.

Pan Trinbago’s decision to allocate less than 50 per cent of the North Stand to sponsors is, in essence, a reallocation of space away from disinterested-in-pan patrons rather than an exclusion of any dedicated supporters. More importantly, it represents a necessary shift toward financial self-sufficiency.

For years, the organisation has been heavily reliant on government funding, a model that is neither sustainable nor desirable in the long run. By creating revenue streams through corporate sponsorship, Pan Trinbago is making a responsible move that ensures the steelpan’s long-term growth without placing an additional burden on the national treasury.

And if the argument is that these sponsor allocations are unfair to the so-called grassroots, then the question must be asked: What exactly is the alternative? Should ticket prices be slashed to $100 to accommodate a group that has historically never populated the North Stand in large numbers? And if so, who fills the financial gap? Are we to return to an outdated model where the Treasury bears the burden, perpetuating dependence rather than fostering sustainability?

Moreover, it’s no secret that the real pan lovers – those who come to truly absorb the music – opt for the Grand Stand, where the sound is clearer, the acoustics better, and the focus is on the performances rather than the party.

The idea that passionate steelpan supporters are being pushed out simply doesn’t hold up when you consider that those who genuinely care about the music have never relied on the North Stand for their Panorama experience.

The reality is that financial independence isn’t just about keeping Panorama afloat – it’s about securing the future of the steelpan itself. A well-funded Pan Trinbago means better support for panyards, youth programmes, and grassroots initiatives, ensuring that the very people some claim are being sidelined actually receive greater opportunities to engage with and benefit from the art form.

What’s truly disingenuous is ignoring these long-term benefits in favour of short-term political grandstanding.

At its core, this initiative does not disenfranchise or exclude the grassroots. It does not take away their access to pan. It does not silence their presence in panyards, on the Drag, or even in other sections of the stands. What it does do is create a financial model that prioritises sustainability over sentimentality – one that ensures that Panorama, and by extension the steelpan, remains viable for generations to come.

HOWARD DOTTIN

pan enthusiast

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