Lara Brothers Sweet Prang

THE CONCEPT

Parang identifies a social custom derived from Trinidad’s Hispanic heritage. The word itself is a colloquial term for parran, an adulteration of parranda, the Spanish word for spree. The custom was introduced to Trinidad by Spain’s Capuchin monks of the Order of St. Francis, somewhere between 1686 and 1689 and adapted to the social environment of the island, mainly by the native Amerindians and African slaves. It has been heavily influenced by neighbouring Venezuela. Parang kept flourishing even after the Spanish capitulated to Britain in 1797 and has been crystallized into the Christmas season in Trinidad.

The revelry consists of the visiting of merrymakers, called parranderos to the houses of family, friends or patrons. They may sing songs called aguinaldos related to the annunciation, flight into Egypt and nativity of Jesus Christ. Alternatively, the songs may relate to events of their daily life. The singing is in adulterated Spanish to the accompaniment of guitars, cuatros, maracas, mandolins, acoustic and box basses, and more recently the steelpan. There is also dancing and the consumption of fare considered appropriate for the festivity – pastelles, arepas, wild meat, roast pork, sorrel, rum and ginger beer.

It is interesting to note that after the Cedula of Population in 1783 the Spanish moved gradually to the rural areas of Trinidad, where they continued their traditional parang. It is no surprise, therefore, that the main cultural centres for parang today are the remote towns and villages of Trinidad, notably Santa Cruz, Lopinot, Moruga, Valencia, Caura, Sangre Grande, Maraval, Siparia and Rio Claro, most of which still carry Spanish names. There is little or no parang activity in the sister island of Tobago, since it was never under Spanish rule.

THE MUSICIANS

THE RECORDING

The music was recorded on Sunday, September 17, 1995, at The Village Hall, Hotel Normandie, situated on the old La Fantasie Estate, St. Anns, Trinidad. The room is a very large, natural acoustic space with lots of wood and excellent reverberation characteristics that are very suitable for live recordings. The atmosphere was one of total relaxation and spontaneity and there was little need for repetitive “takes”.

We take this opportunity to thank the directors of the Normandie Hotel, the Chin Lee’s, their management and staff, for affording us the opportunity to use their facilities to capture the true spirit of Parang.

©1995 Simeon L. Sandiford

Technical Information