Discovering The Beauty of Steelpan: A Conversation with Keishaun Julien.
The steel pan, considered by some to be one of the most essential instruments created in the 20th century, was developed in Trinidad and Tobago in the 1930s during the Carnival festivities of that time period. Over the next couple of decades, individuals like Winston “Spree” Simon, Bertie Marshall, and Ellie Mannette contributed to developing the pan we know and love today.
The magic of the steel pan goes beyond its captivating sound. The instrument has the ability to bring together people and create lasting friendships. while preparing this interview I couldn’t help but reflect on my own history with the steel pan. I picked up my first pair of pan sticks during my first year of primary school, and admittedly, it was initially something that was forced upon my brothers and I, but over the years, my love for the instrument grew stronger and stronger.
I vividly recall a moment from my own childhood where, in a moment of youthful enthusiasm, my brothers and I innocently “borrowed” money from our grandfather’s pocket, thinking it wasn’t a big deal, and used it to pay for our friends to start pan practice. Little did we know that this impulsive decision would not only spark our lifelong passion for the instrument but also bring us closer as a family and forge friendships that have endured the test of time.
It’s truly a privilege to be able to share a part of Keishaun’s story and discover the unique journey that has led him to where he is now. Let’s dive into this interview!
Can you take us back to your childhood in Trinidad and Tobago? What were some of your most cherished memories as a child and do you think any of those moments helped to shape you into the man you are today?
Keishaun: Some of my most cherished childhood moments would be riding my bike, going to the beach, and driving around the island enjoying the scenic view of Tobago. These activities shaped me into an individual with gratitude for the simple things in life.
Could you share with us your experience as a 10-year-old participating in your very first Panorama competition? What were the emotions and memories that stood out to you during that significant moment in your steelpan journey?
Keishaun: I would say that I got thrown into the lion’s den from the get-go. When I first entered the pan yard at Our Boys Steel Orchestra in January of 2006, I had no idea the band was preparing for competition. My dad had taken me there to learn the instrument and I thought everyone was playing for fun. It wasn’t until a couple of days later I realized that the band was preparing for the competition.
At the time I didn’t understand the magnitude of the competition and that I had to learn 8 minutes of music of music by rote. As a 10-year-old that seemed impossible, and I was fascinated that people were doing that. In fact, I only learned the verse and chorus of that first panorama song which was “Good Times” sung by Denyse Plummer and arranged by Clifford Alexis.
However, I was very grateful to have Leeandro Noray as my section leader as he took me under his wing and was very patient with teaching and refamiliarizing me with the instrument. I think those initial reactions with him at Our Boys Steel Orchestra are one of the main reasons I am still playing the instrument to date.
During your time studying at the University of the West Indies, what were some of the most transformative experiences or insights gained that not only deepened your understanding of music but also influenced your personal and artistic growth?
Keishaun: While at the University of the West Indies, I was exposed to a slate of knowledgeable lecturers who have really helped shape my learning process. Two notable lecturers were Mr. Jessel Murray, who was the head of the department/Music Director for UWI Arts Steel, and Mr. Khion De Las, who was my personal instructor.
The lessons I have learnt from these individuals I have taken with me into my professional life as an artist, educator, and creator. One of my most cherished experiences while studying at UWI was when I got the opportunity to travel with the UWI Arts Steel to perform in Belize and Mexico where we also conducted workshops.
Are there any musicians, locally, regionally, and internationally, who have inspired your journey as a pannist?
Keishaun: I have been inspired by many artist in many ways that’s not only limited to music but extends to fashion, or even in the perspective of business. However, from a music perspective, some of my influences in the steel pan fraternity include Duvone Stewart, Liam Teague, Dr. Len Boogsie Sharpe, Dr. Jit Samaroo, Roger Sardinah, Khion De Las and Leeandro Noray.
Can you share with us the pivotal moment or realization that led you to not only pursue a career as a performer but also embrace the role of an educator in the world of music?
Keishaun: During my time in secondary school, somewhere around 3rd or 4th form was when I realized that I wanted to pursue a career in music. This is because I was already being booked for weddings and other events before I was an adult.
I thought to myself, “If I am only a student and can already make money from my talents, imagine what I can do as an adult.” That was the idea that led me to continue working on my craft which later led me to pursue a Bachelor in Musical Arts at the University of the West Indies. Though I was teaching privately before, my university experience enabled me to have a better approach to my methodology in being an educator.
As a musician and educator, could you speak to the significance of music during a child’s developmental years? How does exposure to music and musical education contribute to a child’s overall growth, cognitive abilities, and emotional well-being?
Keishaun: There are so many benefits to being exposed to music from an early age. Some of these include help with the child’s development of emotional skills, numeracy, and social skills. In my experience, music has tremendously helped me with my social skills.
I was shy growing up, and to an extent, I still am. However, being in the pan-yard environment helped me to be able to function effectively in social environments amongst people of different races and classes in society. Music has also helped me to have a deeper appreciation for different cultures and even my own history.
During my teen years, I personally struggled to grasp the importance of music theory and was more inclined towards the performance aspect of music. How do you approach students who may share a similar mindset and help them recognize the value of understanding music theory?
Keishaun: The feeling is mutual. As a child, I paid very little emphasis on music theory because it seemed boring. However, I realized that learning the steelpan by rote helped make theory easy for me when I started focusing on it. That is because I already had a good understanding of my instrument, so it was basically for me to make that connection between the knowledge I have of my instrument and what I was learning in theory classes.
Overall, I wouldn’t say there is one way to do it because there are some persons who are natural-born players and others are just better at theory, however, having a balance between both theory and practical really makes you stand out as a musician, especially being a pannist.
Your YouTube videos have garnered hundreds of thousands of views, and your TikTok account boasts an impressive following of over 137,000 followers. What do you attribute to your ability to create content that resonates with such a wide audience?
Keishaun: I believe my musicianship, combined with the quality, consistency, and variety of genres in my content are the main factors that lead to my content resonating with such a wide audience. I think that people of all ages and cultures can relate to my content in one way or another.
What strategies do you employ to maintain engagement and growth across different platforms?
Keishaun: Over the years, the social media algorithm has changed and one of the main things I had to learn to do was adapt. For example, the early days of YouTube were more about long-form content. In recent times with emerging platforms like TikTok, it’s all about short-form content. Nevertheless, what I have found to work for me is my consistency and my commitment to high-quality content.
Sometimes I put out content and it doesn’t get the response I’m looking for. However, I try not to let this deter me. I am not an overnight sensation. I have been putting in years of work, research, and investing in good quality instruments and equipment to deliver high-quality content for the steelpan to be displayed as it should.
Take us through the process of how Glamour Magazine approached you for a feature and how it felt to have your talent recognized on such a prestigious platform.
Keishaun: I was contacted via email by a producer from Condé Nast which is one of the top publishing companies in the world. They are the publishers of Vogue Magazine, GQ Magazine, and Glamour Magazine just to name a few.
At the time of contact, I had no idea who they were, and it honestly seemed like one of those “pie in the sky” emails. However, upon doing some research on the company, I grew some curiosity. We had some back-and-forth emails and decided to set up an interview.
Until the point of the interview, I had no idea what the interview was about which was unusual for an interview. However, when I got on the interview via Zoom, I spoke with the producer for a bit then they sent me the link to Halle Bailey’s reaction to my steelpan cover of “Under The Sea.”
To think that there are so many steelpan covers of “Under the Sea” on social media but they chose mine is crazy. It was a reminder that I must always put my “best foot forward” when creating content for online consumption.
When you saw Halle Bailey’s reaction to your cover of “Under the Sea” in Glamour’s Youtube video, what was going through your mind and how did her reaction make you feel on a personal level, knowing that your musical abilities touched someone directly involved in the world of “The Little Mermaid”
Keishaun: I was in disbelief and was left speechless as the world saw. On a personal level, getting approval from Halle Bailey felt very rewarding. My heart melted when I heard her pronounce my name. I was like “WHAT IN THE WORLD IS THIS”?
Knowing that I am just a passionate pannist from the island of Tobago achieving such monumental reach in the digital space has been a really fulfilling feeling for me.
As we wrap up this interview, what message or piece of advice would you like to share with aspiring musicians, especially those who are passionate about steel pan?
Keishaun: I want to say to aspiring steel pan musicians to think “out of the box.” There are so many opportunities waiting to be created. If you have an idea, go full 100 with it. Sometimes you have to be brave and charter your own path fearlessly in order to achieve the impossible. Never forget, it’s only impossible until it’s possible.
Just as I found myself drawn to the beautiful sound of pan from a very young age, Keishaun’s own journey into the world of music and his dedication to his artistry reminds us of the value of hard work, consistency, and dedication. The steel pan has left indelible marks on the hearts of myself, Keishaun, and many other individuals from all over the world.
I hope those of you reading can walk away from this conversation with a sense of pride for our country’s national instrument and be inspired by Keishaun’s journey with music. Be sure to check out Keishaun on all relevant social media platform such as Instagram, TikTok, and YouTube and be sure to comment and share this article.
