Wesley Gibbings
He would probably not approve of the comparison, but meeting pan connoisseur and historian Ian Franklin at a panyard the morning after competitive drama is like momentarily occupying library space—soft, measured tones, polite restraint, and a vastness of readily accessible knowledge and wisdom.
His ‘Panorama Finals from 1963 to Present’ is now in its 17th edition, updated and polished from an original version to reflect results up to 2025. He did not need the book for the numerous citations delivered during the panyard chat.
With a reminder that he is “old school,” Franklin arrived at the Desperadoes premises ahead of time and looked on at the shiny chrome pans finding rare peace for this time of year.
With preliminary judging hours before, the relatively new Desperadoes space, under cloudy skies, barely reflected the afterglow of a strong performance that earned the band a tied fifth position.
Cleanup was under way. We tidied the steeldrum table as Franklin cleared his throat.
What does he think about the value of pan, and how does he assess the prospects for the instrument and its supporting institutions?
“In my time, we took pans seriously, all right. I came back to Trinidad (he lives in Florida), and I see bass pans with water in them, chrome pans on the ground,” he said.
“They don’t have the same value we did a long time ago. This is a very expensive instrument. It’s an instrument that should be treated as such, you know, so I’m disappointed in that aspect,” he added.
Franklin is, however, optimistic about the musical direction of pan and insisted throughout the conversation that he holds great hope for the current generation of players.
“I’m happy that the young guys are learning music. We played by rote, so when the arranger played, he gave us what to play. But now a guy could hear something and know exactly what to do, which is very good.”
On that basis—and despite his reservations about genuine appreciation for the economic value of the instrument - he believes that, with the high level of youth interest, pan remains “in good hands.”
“I don’t think it’s that bad. I think the government should get involved and help out the young ones who want to learn music, at least,” Franklin said.
However, he was quick to argue that steelbands have a unique duty to help develop positive attitudes toward the instrument.
“A panyard is like a sacred, sacred ground, right, and so it needs to be treated with respect, and the instrument needs to be treated with respect,” he said.
What is important in developing such an attitude, he added, is “orienting young people to respect the instrument, and also to see the panyard as a place where they can grow.”
“We, the elders, we don’t teach the young ones,” he complained. That said, he also regrets that steelbands do not do enough to highlight the work of veterans.
This comment came without reference to the fact that two of his seven published volumes - without much opinion or commentary - itemise the successes of past steelband leaders and players.
His ‘Winners of Various Pan Competitions’, for instance, lists 309 “winners in various categories from 1952 to 2024.”
Though short on meticulous design and editing, the volume records a lengthy catalogue of “bands, arrangers, leaders, tuners (and) singers in the pan world.”
Franklin believes past contributors to the development of the instrument, in all its manifestations, need to be recognised and their roles made more evident in the future development of steelpan music.
As a Desperadoes supporter, he was quick to cite the discipline imposed by late leader Rudolph Charles, who took the band to victory in 10 competitions, including six Panoramas, over the course of 30 years.
“He was a strict guy who ran a strict band,” Franklin said.
Such discipline, he argues, will be key to the future success not only of Desperadoes but of the entire steelpan movement.
Another major pet peeve is what he describes as a lack of unity within the pan movement.
“We are still not together. Somehow, we’re still not together as one. We will have a meeting here, we decide, ‘listen, we’re going to do this and say this,’ and when the time comes, you look back and you are the only one in front,” he said.
The 77-year-old pan player, aficionado, and organiser is currently associated with the Lauderhill Steel Ensemble in Florida and was formerly with the Despers USA Steel Orchestra in New York. He believes that whatever the current gripes, there is hope for the future.
“Although we’re not together, somehow we still click,” he said. “But it will change. It will change.”
He is convinced it is not all fanciful optimism. He sees bright lights in the distance.
