The National Parang Association of Trinidad & Tobago

The National Parang Association was formed in 1971 with a mandate to preserve and promote the art form and its inherent culture as well as to seek the interest of all stakeholders: Instrument makers, musicians and their children, those involved in the culinary arts and more importantly, the fans.

In 2011, this organization achieves its 40th Anniversary, a milestone in our artistic history when one considers the enormous strides this organization accomplished through some of the most difficult circumstances..

Over those years, there have been numerous competitions governed essentially by the spirit of camaraderie and the pursuit of excellence.

NPATT has grown from an original membership of seven bands in 1971 to an overall membership of forty-five senior bands and a Junior Parang Festival Competition that attracts more than forty school band competitors.

Some of our members have received National Awards in honour of their contributions to the development of culture and the national identity that is essentially Trinidad & Tobago.

What is even more significant is the debt many other artistes owe to this art form: Black Sage, the Extempo Monarch of quite a few years, is still a longstanding member of one of our member bands and sees no end to his participation in Parang. Shirly King was a member of Sabor del Caribe; Jit Samaroo, originally a Parrandero, still arranges his music by means of his Cuatro; The Honourable Minister Winston Peters openly admitted at the 2010 Launch that he was a firstly a Parrandero. The list is enormous and need not detain us.

This Association plays its part in the social transformation process. Music determines the mindset of our citizenry by the very words to which we attach ourselves emotionally. By offering this positive outlet for the creative energies our the youth, Parang informs the thinking of the next generation. NPATT is always keenly interested in the edification of those who will determine the direction this country takes.

In our recent past, we have achieved tremendous strides in changing the perception that the Parrandero is a raucous inebriate who knows little or no music, nor Spanish. As a matter of fact, the average Parrandero has emerged from this milieu to a well educated, articulate musician who plays a pivotal role in the thrust for Spanish as our second language.

The mere requirement in our competitions that the songs must be original compositions lead to this linguistic development and has encouraged many to return to classes to ensure that their Spanish is up to an elevated standard.

Workshops have always been the key element in the development of the art form. We have collaborated on numerous occasions with the Embassy of the Bolivarian Republic of Venezuela, the University of the West Indies, the UTT and many other esteemed organizations in the desire to teach the music, the history, language, the making of instruments, the cuisine and the contribution made by the Parrandero to the development of this country and the national community.

Since its inception by Errol Mohammed and the seven founding bands in 1971, it has grown into an institution of National Pride and looks towards the future with a clear vision: to make Parang music a serious instrument for social transformation and development; to elevate the art form to internationally recognised standards while preserving the original concept of the unity of musical art and poetry in the incarnation of a uniquely magnificent music; to achieve sustainability and growth by implementing rigorous and innovative management structures and methodologies; to develop and keep Parang a viable and attractive outlet for the creative abilities of the next generation.

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