“Unfair judging,” a phrase as familiar as the calypso tunes themselves, has long echoed through the rich history of Calypso. Whilst the President of the Dominica Calypso Association (DCA) Davidson ‘Observer’ Victor, has acknowledged this and the lingering discontent that frequently follows the competitions, he has emphasized the necessity of maintaining a delicate balance between artistry and adjudication.
“It is nothing new,” he told Dominica News Online (DNO). “Calypsonians will always make comments about unfairness in judging and we have always been concerned about that sentiment by Calypsonians because it is never a good thing when we get complaints about the judging.”
According to Victor, the DCA has always endeavoured to address these grievances through various initiatives. Workshops and training sessions for judges serve as vital resources, aimed at providing them with the necessary tools to navigate the intricate tapestry of Calypso performances. Yet, Victor concedes, the human element remains beyond their control, as judges may still apply their subjective perspectives during the night of judgment.
“We have a judging criteria for Calypso,” Victor asserts, “but at the end of the day, we still don’t have total control over what the judges actually do on the night of the competition, because they are human beings and only they have control over what they actually do.”
Judges are implored to base their assessments on the criteria provided by the DCA rather than succumbing to personal biases or emotions. The goal, Victor states, is to foster an environment of fairness and balance, ensuring that merit reigns supreme amidst the fervour of competition.
“What we are doing is to ensure that they have enough training and enough knowledge to do the best that they can in keeping with the said criteria provided to them by the Calypso Association…and as much as possible, try to be as fair and balanced as possible against that criteria.”
However, the spectre of discontent looms large, as Calypsonians, disheartened by perceived injustices, ponder retirement and withdrawal from the competition. Recently, renowned veteran calypsonian Joey Lloyd, recognized in the calypso arena as Explosion, and his son Jamaal Lloyd, a prominent figure in the entertainment scene known as Black Diamond, have jointly declared that this year will mark their last participation in the national Calypso Competition citing victimisation, favouritism and unfair criticism in the art form.
Victor says the DCA recognizes the gravity of such decisions, acknowledging the potential ramifications for the longevity of the art form itself.
“It is always of concern to us when Calypsonians echo the sentiments of not just feeling that they were unfairly judged but to take it to the point where they would probably announce their retirement. If we have an outpouring of such situations, this can be very detrimental to the Calypso art form and the sustenance of the Calypso genre in Dominica.”
He added, “So we just encourage the judges to do the best that they can do and use the criteria, training, and the knowledge that they have gained when judging. And we’re just hoping that at the end of the day, they can be as fair as possible.”
As the discourse unfolds, Edgar Hunter, a Calypso analyst, also aired his resignation from his position citing dismissive attitudes and unwarranted attacks. He stated that despite expecting moments of disagreement, the relentless nature of these behaviours led him to make the difficult decision to step down. Hunter emphasized his commitment to honesty, frankness, and fairness in analysis, which he believes are crucial for the integrity and growth of Calypso.
However, the DCA’s President says, that while the Association lacks direct control over these pundits, he stressed the importance of their impartiality and responsibility in portraying the essence of each performance.
“Commentators are tasked with painting a picture,” Victor contends, emphasizing their role in elucidating the nuances of on-stage dynamics for listeners tuning in from afar. Yet, he advocates for restraint, urging commentators to refrain from dissecting the intricacies of Calypso components, allowing listeners to form their impressions organically.
“From a Calypso Association standpoint, notwithstanding that we don’t have total control over the calypso analyst or commentators, we still continue to publicly encourage them to try as much as possible to be fair in their comments, and sometimes even reach as far as trying to encourage them not to actually comment on the components of the Calypso itself, but more to comment on the performance of the Calypso on the night,” Victor posited.
“Because the responsibility of the commentators really is to paint a picture for the persons who are not there physically to visualize what is happening… so there’s no need for somebody to give you the intricacies of the components of the Calypso. You are listening to the calypso yourself and you will make your own judgment as to whether the Calypso is a good, a strong Calypso, or not so good and so forth.”
Amidst the intricate realm of Calypso, Victor acknowledges the limitations of the Association’s influence, respecting the autonomy of individuals in their assessments and expressions. Nevertheless, amidst the clamour of differing opinions and the ever-shifting tides of controversy, he pledges that the DCA will persist in promoting an unwavering dedication to integrity and impartiality.
“At the end of the day, it’s up to every individual to do their best,” Victor concluded.
It matters not how many workshops are carried out for the judges, the fact of the matter is they have their biasness towards certain calypsonians and who they want will always go through to the finals.