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“Parang Competition Back after Six Years.” Parang Competition Back after Six Years | The Trinidad Guardian Newspaper, 10 Oct. 2016, www.guardian.co.tt/news/2016-10-10/parang-competition-back-after-six-years. Accessed 15 Apr. 2017.

“Parang.” NALIS, www.nalis.gov.tt/Resources/Subject-Guide/Parang. Accessed 18 Apr. 2017.

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My grandfather

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I was fortunate enough to have been born into a family where I have both Latin(Venezuelan) and Trinidadian roots, where I learnt about both cultures simultaneously. I decided to choose Parang as my topic as my grandfather was one of my main influences, starting from my grandfather go back, is a long line of Venezuelan ancestors who were well skilled and would often play Joropo, however when my grandfather and his siblings came to Trinidad, they took up the tradition of Parang and they have never stopped playing. Each and every Christmas my grandfather and his children would prepare and almost for the entire Christmas day, they would sing and play Parang. I enjoyed the Caribbean Civilization course because it helped me to learn more about my Caribbean-Trinidadian culture. The photo below is a picture of my grandfather for whom I thank a lot for providing me with some of the history of my family and also a picture of my mother and myself,to show the last three generations of my family.

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10th October, 2016
El Futuro de Parang.
As can and always d the future is uncertain and anything can happen. The organization known as NPATT hopes that for the future they are able to bring their dream to life by attempting to bring Parang to its fullest potential and to not only be played and represented around the Christmas season, but year round, for example, having Parang at Carnval in Trinidad and Tobago, or having Parang at other festivals as a way of representing the hispanic culture and its heritage left in Trinidad and Tobago. They would like for Parang to become a bigger aspect in Trinidad and hopefully to expand  to other countries in the neighboring Caribbean countries. The organization hopes that Parang really does have a better and brighter future, so that it can be played at all different times during the year, like a Christmas in July may be considered one of those times where Parang can be played. The future of Parang will be considered one of the only legacies which was left by hispanic, latinoamerican settlers in Trinidad, therefore it is a critical part of the Trinidadian culture.
http://www.guardian.co.tt/news/2016-10-10/parang-competition-back-after-six-years

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21st October, 2016
Parang in Trinidad has not been the biggest part of Trinidadian culture in recent years. However, there is an organization known as the National Parang Association of Trinidad and Tobago or NPATT, . They usually hold competitions and attempt to bring the Parang culture to life, engaging more and more citizens each time year round. Preservation of this Parang culture will be appreciated due to it being related to the Latin or Hispanic roots in Trinidad. Apart from the Parang culture, there are not many Hispanic cultures in Trinidad, only reminiscences of things which the Hispanic persons did, such as names of places in Trinidad. Therefore, preservation of the Parang will be considered the greatest surviving aspect of the Hispanic heritage in Trinidad and Tobago.

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17th September, 2016
Over the years, Parang has been a large part of the culture of Trinidad, particularly around the Christmas season. It is usually seen as a symbol that Christmas is fast approaching and it is an enjoyable feature of the Trinidadian Christmas experience, inter alia, such as the food and beverages. It has also undergone changes, however the traditional form still co-exists alongside variations of Parang such as Soca Parang. Soca parang is an evolved form of Parang, however even the language has been changed, meaning that, whereas with the language traditional Parang songs being in Spanish, Soca Parang has been modified to include both English and Spanish or in some cases English alone. The rythm has changed a bit also, keeping most of the traditional instruments such as the Cuatro, Box Bass, Maracs or Chac Chac and Guitar in some cases, however, in Soca Parang, other non-traditional instruments were added such as Drums and Flutes.Even the meaning of the lyrics in the songs of Soca Parang has changed to multiple things, for example in the following song which was sung by Edwin"Crazy" Ayoung and released in September,2016. The lyrics are as follows,
Verse 1
We say we are true Trini’s
But do we - know - o’r history
For Christmas we get caught up
Buying - foreign - fruits non stop
I - myself - was just so
Blanking - fruits - Trinbago
Is back - to roots - We stray too much years
No more Grapes - Apples and Pears

Chorus
Tonca Bean - And Tangerine (Ah Eating)
Five Finger - And Balata (Ah Eating)
Mango Ven - And Pommcythere
Carmu Carmu - Padoo and Cashew
Ah going back to meh roots
Ah only eating local fruits

Verse 2
When I was young growing up
I use to eat fruits non stop
When people see me coming
They fruit trees they start watching
I pelt fruits in St Ann’s
In meh buss up short pants
Ah pelt in Picton and the Quarry
Those days - had fruits in Lavantee

Chorus
Sour Tambran - Tambran Dayzan
Gru Gru Beff - and - Chinette
Caimito - Marbolo
Gri Gri - Berries - Akee and Series
Ah going back to meh roots
Ah only eating local fruits

Verse 3
The fruits - grown in Trinbago
Is natural fruits - we all know
We own fruits - we ignoring
And foreign ones - we buying
Peaches and Strawberries
Apricots and Kiwis
Figs - Persimmons and Raspberries
There are some - That don't have seeds

Chorus
Sapodilla - Banana
Sugar Apple - Mamie Apple
Cachima - And Peewah
Just look at me - No more big belly
Ah sticking to meh roots
Ah only eating local fruits
Ah going back to meh roots
Ah only eating local fruit.
The instrumental and part of the song can be heard in the following audio extract

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25th December, 2016
Parang is a genre of music in Trinidad and Tobago which came about as being influenced by a type of music known as Joropo in Venezuela. In the earlier years the words, lyrics and rhythm of Parang music was coupled together as a way of acknowledging Mary and Jesus as can be seen and heard from traditional songs such as "Ay Maria" or "El Angel Gabriel", in other words, it followed a religious path, particularly that of Christianity. In Trinidad in the very early years of Parang, persons would get up very early in the mornings on Christmas and even few days before and after Christmas and they would set out with their bands of merry men and women with their instruments and go to sing at the houses of other persons, usually neighbors, villagers and family houses. It was usually community based and usually fostered some level of integration. In some ways, it helped to bring persons in the communities together and help them form bonds with each other, this in turn would have had a positive effect in society and would help to teach the younger ones the values of forming bonds together with each other. The following video is a short video of my family and I engaging in playing Parang.