Panorama 2026 Single Pan Bands Finals

 

A Night to Remember

Saturday November 29,  2025: under the warm Port‑of‑Spain night sky, the Queen’s Park Savannah pulsed with life, pride and heritage. The air was thick with anticipation. The crowd included a cross‑section of the nation: long‑time steelpan lovers, youths, first-time spectators, steelpan musicians, diaspora visitors, families and friends all gathered with flags, band colours, and national red‑white‑black gear, ready for what would become a defining evening for steelpan.

The theme of the season - Legacy: Ours to Love. Ours to Cherish - set the tone: this was more than competition. It was cultural memory, reclamation and celebration.

For many, the Single Pan Finals is where the soul of the steelpan lives - raw, intimate, personal. No massive engine rooms, no hundreds of players, but each panist’s touch, every arranger’s vision, every note bearing history. And on this November night, that soul spoke loud and clear.

The Drag - Where Legacy Warms Up

No Panorama experience is complete without a visit to the Drag, the stretch of road just adjacent to the Grand Stand at the Queen’s Park Savannah. Here, in the hours before the Single Pan Bands Finals officially begin, the steelbands make their final preparations, tuning their instruments, running through arrangements, and perfecting every roll, every harmony.

For generations, the Drag has been more than a rehearsal space - it is a ritual of the steelpan. Crowds gather, leaning over barriers or strolling along the perimeter, ears attuned to the warm, metallic resonance of steelpans in mid-practice. Families, friends, and even curious tourists stop by, soaking in the anticipation, watching panists concentrate, adjust, and perform for an audience that is intimate yet impassioned.

The Drag captures the raw essence of the music - stripped of the fanfare of the Grand Stand, yet alive with authenticity, energy, and community spirit. Here, the young tune their instruments beside veterans; arrangers call out cues; drummers keep precise counts; every note is tested, polished, and imbued with heart.

For many steelpan enthusiasts, listening to the bands at the Drag is as much a part of Panorama as the finals themselves. It is where tradition meets preparation, where anticipation builds into celebration, and where the legacy of the steelpan is both preserved and performed. When the bands eventually move from the Drag to the Grand Stand, they carry not just their instruments, but the energy, warmth, and spirit of the Drag - a piece of the nation’s musical soul onto the big stage.

 

Opening Ceremony - A Tribute to Heritage and Spirit

The show officially opened with the national anthem, played with pride and solemnity, followed by heartfelt prayers delivered by Emmanuel Joseph, a member of the Pan Trinbago Youth Arm. This moment of reflection reminded all present of the spiritual and communal dimensions of Panorama, grounding the spectacle in respect, gratitude, and national pride.

Immediately after, the Malik Folk Performing Company Limited took the stage for a spiritual dance performance, weaving traditional movements with storytelling that paid homage to Trinidad and Tobago’s rich cultural tapestry. The performance set an energetic yet reverent tone, connecting past and present, tradition and innovation.

Following the cultural presentations, remarks were made by Mrs. Beverley Ramsey-Moore, President of Pan Trinbago, and Mr. Peter Kanhai, Chairman of the National Carnival Commission. Both speakers highlighted the importance of the steelpan as a national treasure, its role in youth development, community cohesion, and the safeguarding of cultural legacy. Their words reminded the audience that Panorama is not just a competition - it is a living testament to creativity, resilience, and national identity.

The Spirit of “Legacy”

Walking into the Grand Stand that evening felt like entering a living archive; steelpans tuned and polished, uniforms crisp, flags waving, hearts open.

Before the first note, there was a hush - a collective breath held by audience and players alike. Then came the first pan strikes. The reverberation carried across the Savannah, bouncing off concrete and legendary wooden beams, making the ground vibrate with memory.

Between performances, the crowd murmured in expectation: “Who’s coming after?” “Is this the one that will take it tonight?” The enthusiastic, die-hard supporters, elders with knowing smiles, youngsters with mobile phones raised, capturing moments to last a lifetime. There was dancing, there was shouting and stomping, there was the silent nodding of heads, there was awe.

Vendors sold pholourie, corn soup, cold drinks - the scent of street food mixing with night air and steelpan smoke. In that space, music was not just heard; it was lived. It was community, culture; it was home.

The dramaturgy of the evening was enhanced by the fact that these were single‑pan performances: small groups, fewer instruments, but every hit, every tone, every harmony was exposed. There was nowhere to hide; which meant every note had to count, every heart had to be in it. And the bands delivered.

Spotlight on the Champions: San Juan East Side Symphony

Song: “Jumbie” | Arranger: Duvone Stewart

Reigning champions San Juan East Side Symphony defended their crown in spectacular fashion, with a fiery, magnetic performance of “Jumbie.”

Arranged by the world-renowned Duvone Stewart, their rendition was a masterclass in control, spirit, storytelling, and pure musical intelligence.

When their Steelband struck the first notes of “Jumbie”, the Grand Stand seemed to pause and then exhale.

Every phrase was textured, every dynamic shift intentional, and every break electrifying. It was a performance that felt possessed, in the best way possible and the crowd knew long before the scores were read that they had witnessed something special.

From the opening roll of the steelpans to the final resonant tone, their performance was a masterclass in timing, control, musicality and soul. The melody soared, the rhythm carried power, the harmonies wove richness and depth. Their 285‑point score affirmed it: this was more than just skill - it was poetry.

As the final chord faded, the crowd erupted. Applause, cheers, some tears. For many, it was more than a win - it was validation of legacy, continuity, and the undying power of pan to unite, uplift, and heal.

For San Juan East Side Symphony, it added another chapter to an already impressive legacy. This was their 9^th title. For steelpan lovers across the nation - it reaffirmed that in the hands of dedicated musicians and arrangers, pan remains not only relevant, but radiant.

Other Top Performances 

The finals were a thrilling showcase of steelpan mastery, with several standout performances lighting up the stage. La Creole Pan Groove set the tone early with a fiery rendition of “Pan By Storm,” arranged by Dejean Cain, delivering an electrifying performance that had the audience on their feet. Their bold energy and flawless execution earned them 282 points, bringing them tantalizingly close to the crown.

Chord Masters Steel Orchestra, no strangers to victory, commanded attention with André White’s meticulous arrangement of “Showdown (Band Meet Band).” Every note was precise, every rhythm perfectly timed, earning them 280 points and third place, a reminder of why they remain one of the most respected names in the steelpan arena.

Representing Tobago, Metro Stars Steel Orchestra brought a distinct island flavour with Kersh Ramsey’s arrangement of “Kettle Pot,” blending vibrant Caribbean rhythms with expert pan technique to finish fourth, adding rich geographic and cultural diversity to the finals.

The intensity of the competition was further evident in the tie for fifth place between New Age Trendsetters and Hope Pan Groovers, both scoring 274 points. Their spirited performances of “Mystery Band” and “Like Ah Boss” resonated deeply with both judges and fans, proving that the battle for supremacy was fierce and that every band brought its own unique voice to the stage. From high-octane energy to meticulous craftsmanship and local flair, the night was a testament to the brilliance and enduring legacy of steelpan music.

The rest of the top‑ten, including the ensembles from institutions such as the Police and Prisons Service, and community-based bands like Epic Koskeros and Woodbrook Modernaires, added diversity, range, and a sense of national participation to the finals; a reminder that pan is everywhere, belonging to every region and community of Trinidad & Tobago.

   

📝 Results - Full List of Finalists (Top 25)

Because every band that made it to the finals deserved recognition, here’s the full list of finalists (top 25) and their selections:

Rank	Band Name	Song Selection	Arranger(s)	Points
1	San Juan East Side Symphony	“Jumbie”	Duvone Stewart	285
2	La Creole Pan Groove	“Pan By Storm”	Dejean Cain	282
3	Chord Masters Steel Orchestra	“Showdown (Band Meet Band)”	André White	280
4	Metro Stars Steel Orchestra (Tobago)	“Kettle Pot”	Kersh Ramsey	277
5 (tie)	Hope Pan Groovers	“Like Ah Boss”	Ojay Richards	274
5 (tie)	New Age Trendsetters	“Mystery Band”	Nicholas Joseph & Myles Phillips	274
7	Trinidad & Tobago Prison Service Steel Orchestra	“Moving (To The Left)”	Amrit Samaroo	273
8	Trinidad & Tobago Police Steel Orchestra	“Toro Toro”	Esan Smith	270
9 (tie)	D’Original Woodbrook Modernaires Steel Orchestra	“Ah Cyah Wait”	Hanif Goodridge	269
9 (tie)	Epic Koskeros Steel Orchestra	“Toco Band”	Kion Robinson	269
11	La Famille United Steel Orchestra	“Suck Meh Soucouyant”	Arddin Herbert	268
12	Trinidad East Side Symphony	“Bahia Girl”	Damyon Alexander	267
13	LA 47 Steel Orchestra	“Showdown (Band Meet Band)”	Shaquille “Flogo” Forbes	266
14 (tie)	Pan Jammers Steel Orchestra	“Government Boots”	Elijah “Patchy” Beckles	263
14 (tie)	Trinidad & Tobago Fire Service Steel Orchestra	“Doh Back Back”	Terrance “BJ” Marcelle	263
16 (tie)	Harlem Syncopators	“Carnival Time Again”	Tisham Kevin Williams	262
16 (tie)	Uni Stars Steel Orchestra	“Marajhin”	Kareem Brown	262
18	San Juan All Stars Steel Orchestra	“Park It”	Shaquille Vincent	260
19 (tie)	Arima All Stars Steel Orchestra	“Caribbean Connection”	Gillian “Toby” Tobias	258
19 (tie)	Nayal Hill School of Music Steel Orchestra	“This Melody Sweet”	Nathanael Flemming	258
21	La Romaine Super Vibes	“Ah Feeling To Rock”	Darren Sheppard	256
22	Nu Pioneers Pan Groove	“Feeling It”	Triston Marcano	255
23	East Phonics Steel Orchestra	“Swing”	Kendell Bowen	253
24	Scrunter’s Pan Groove	“Dead or Alive”	Janine Jones & Alexis Hope	251
25	Pan Stereonettes	“Four Lara Four”	Dreason “Dre” McPherson	248

What This Means - Legacy in Motion

The 2026 Single Pan Finals proved beyond doubt that the steelpan remains vibrant, evolving, alive. A few reflections:

• Regional representation: Bands from all regions - Eastern, Northern, Tobago, South/Central - made the finals. This highlights how pan is not confined to any one area; it pulses through the whole country.
• New voices, new energy: Bands like New Age Trendsetters (South/Central) and Epic Koskeros showed that pan is thriving beyond traditional landscaping - new faces, newer communities, newer fans.
• Tradition meets innovation: While the heritage of pan is honoured, the arrangements; modern, fresh, creative - demonstrate evolution. “Jumbie”, “Pan by Storm”, “Showdown (Band Meet Band)” are not old‑school power‑runs but musical statements.
• Community & culture over glamour: Single Pan Finals is stripped‑down, intimate, authentic. Without the massive orchestras, lights, dancers - what remains is pure music, community pride, heart.

For Panorama 2026, this finals night sent a message: the legacy of pan is not just remembered - it’s lived, nurtured, and passed on.

Conclusion - Legacy That Echoes

At the end, when the champions were announced, there was pride. There was celebration. There was unity.

It was a tribute to the pioneers, the unsung heroes whose hands and hearts gave birth to the steelpan - an instrument born from struggle, from resourcefulness, from community

As the final trophies were handed out, as the pans were packed away, as the crowd dispersed into the streets of Port‑of‑Spain, one thing was clear: the night was not over.

For many, the final note of “Jumbie” still reverberated in their veins. Conversations about next year, about new bands, fresh arrangements began. Videos and audio; whether recorded on phones or professional feeds - would circulate, keeping the memory alive.

More importantly; the dream of pan, of community, of legacy - remains. Because the steelpan isn’t just an instrument. It’s identity, resistance, culture, joy. It’s us.

To every band, every arranger, every panist, every supporter: you upheld a promise. You honoured the past; you helped build the present and every pancestor will contribute to the steelpan’s future.

As we count down to Panorama 2026, the Single Pan Finals served as the perfect spark to ignite the season. Under the banner “Legacy – Ours to Love! Ours to Cherish!”, the steelpan community continues to honour its past while shaping a vibrant, innovative future.

The bands have played.
The judges have spoken.
The people have celebrated.

Now, the journey to Panorama 2026 continues - stronger, prouder, and more united than ever.

 

 

Ellie Mannette - Crafting the Steelpan into a Global Voice

 

“Ellie Mannette – from San Souci to Port-of-Spain to the global stage”

Introduction

When a young boy in Port-of-Spain spent his childhood hammering lids, tins, and oil drums, he could not have imagined the legacy he would leave. Yet that boy, Ellie Mannette would grow into the defining figure of the modern steelpan: the instrument-maker, tuner and teacher whose innovations transformed scrap metal into an orchestral instrument heard across the world. From pounding metal in dusty streets of Trinidad to teaching generations of pan builders at a U.S. university, his life charts the journey of the steelpan from local Carnival alleyways to concert halls and classrooms globally.

 

Early Life and First Steps (1927 - 1945)

Ellie Mannette was born on 5 November 1927 in Sans Souci but later his family migrated to the Woodbrook area in Port-of-Spain, Trinidad.
As a boy, he was drawn to Carnival rhythms and percussion - but formal musical instruments were often denied to young, poor Afro-Trinidadians. Instead, they repurposed discarded metal: biscuit tins, paint cans, drums, even dustbins - fashioning rudimentary “instruments.”

At the age of 11, Mannette joined a group called Alexander's Ragtime Band (also known as New Town Cavalry Tamboo Bamboo), which used traditional percussion and improv metal containers as instruments.

By 1940 he helped organize Oval Boys - which later evolved into the legendary Invaders Steel Orchestra.

These early years weren’t formal training - they were a self-taught apprenticeship: hammering, listening, experimenting. Mannette developed an intuitive grasp of how metal vibrated - how dents, thickness, impact point, and shape affected pitch, tone and sustain - insights that decades later would form the foundation of scientific methods for pan tuning.

Experimentation and Innovation: shaping steelpan technology (1945–1950s)

In the midst of widespread steelpan experimentation, Mannette began to diverge dramatically from ad-hoc tinkering. His machinist’s background and relentless curiosity led him to refine and systematize the art of pan-making.

Sinking the Drum: From convex dents to concave “crown”

Traditionally, early pan-makers hammered convex dents into flat metal surfaces to produce notes. Mannette reversed that - he “sank” (domed) the surface of a 55-gallon oil drum downward into a concave bowl-shaped crown. This was a revolutionary step: the concave surface allowed greater isolation between adjacent note-areas, more efficient use of space, and more stable, richer vibration patterns.

According to historical pan-making accounts, around 1946 Mannette’s first 55-gallon drum pan emerged - among the first of its kind to combine concave design and large-drum geometry.

Designing full pan voices: tenor, double, cello, bass, orchestra layout

Mannette didn’t just innovate a steelpan - he architected a family of instruments, each with voice-specific range and layout. He redesigned the first “tenor pan” layout that encompassed a chromatic range spanning multiple octaves (from low B up four octaves), allowing steelpan a melody that was capable of full-scale chromatic tunes.

He also developed other essential steelpans such as the-: double seconds, cellos, basses, contributing to what would later become the modern steel orchestra.

In addition, he pioneered the use of rubber-tipped playing sticks - a now-standard feature that softens the attack and produces a mellower, more musical tone, rather than a harsh clang.

Through these innovations, Mannette laid the groundwork for a fully organized steelpan orchestra - where different voices (lead, harmony, bass) could blend and perform arranged, harmonically rich music.

1951 and International Breakthrough: Trinidad All Steel Percussion Orchestra (TASPO) and the Festival of Britain

In 1951 the government of Trinidad & Tobago formed TASPO and chose a select group of steelband pioneers to represent the nation at the Festival of Britain - the first-time steelpan would be showcased internationally. Mannette was among those chosen.

For the tour, Mannette not only played, but served as a principal instrument builder and tuner. According to his own recollections, he was asked to build a bass pan from a 55-gallon drum - a challenge, since prior to that, bass pans used lighter, smaller barrels. He initially doubted it could be done: “they were just too heavy and would not create the sound” – but he succeeded.

Expansion, Migration and the U.S. Chapter (1960s–1990s)

After TASPO’s success, the steelpan’s prestige and visibility rose, but Mannette’s ambitions extended further. His technical mastery and international vision opened doors abroad.

• In 1963, he was invited by the U.S. Navy to develop a “Navy steel band” - build instruments and train the players.
• By 1967, Mannette relocated permanently to New York, beginning work with inner-city youth, establishing instruments and founding new steel bands. His company - eventually known as Mannette Musical Instruments (or “The Mannette Touch”) -became a central source of steelpan instruments in the USA. Over decades, he worked with more than 350 school and community programmes across the United States, bringing the steelpan into American educational and cultural spheres.
• In 1991, Mannette accepted an invitation to teach at West Virginia University (WVU). What was meant as a guest semester evolved into a long-term residency and the formation of the “University Tuning Project,” a program to build, tune, teach and perform with steelpans.

Through this U.S. chapter, Mannette institutionalized steelpan-making and tuning - giving birth to a formal education and craft lineage far from its Caribbean birthplace. He effectively globalized the instrument, ensuring future generations would learn standardized pan-making and tuning methods.

Timeline of Key Life Events & Milestones

Year / Date	Event / Milestone
1927 Nov 5	Birth — Ellie Mannette born in Sans Souci.
~1937 (age 11)	First performance in Carnival with Alexander’s Ragtime Band.
1940	Co-founded Oval Boys band (later Invaders).
1946	Built first 55-gallon oil drum pan, using concave “sinking” method.
1946–50s	Developed full steelpan-family layouts (tenor, double, cello, bass), rubber-tipped sticks, and systematic tuning methods.
1951	Selected for TASPO to perform at the Festival of Britain; built & tuned instruments for the tour.
1959	Invaders Steel Orchestra signed contract with Columbia Records.
1963	Invitation by U.S. Navy to build a Navy steel band - first step to U.S. relocation.
1967	Mannette relocates permanently to the U.S.; creates new bands; launches Mannette Musical Instruments; works with hundreds of US schools.
1991	Begins residency at West Virginia University - founding the University Tuning Project.
1999	Awarded the NEA National Heritage Fellowship - US’ highest honour in traditional arts.
2000	Receives honorary doctorate from University of the West Indies (St. Augustine) and awarded the Chaconia Medal (Silver) by Trinidad & Tobago.
2003	Inducted into the Percussive Arts Society Hall of Fame.
2012	Instruments and archives recognized by institutions including the Smithsonian Institution.
2018 Aug 29	Death - Ellie Mannette passes away in Morgantown, West Virginia.

 

Recognition, Awards & Honors

Over his long career, Mannette accrued numerous formal honours - a testament to his innovations and cultural impact:

• 1969 Hummingbird Medal (Silver) - awarded by Trinidad & Tobago for steelpan innovation.
• 1999 NEA National Heritage Fellowship (USA) - recognising his lifetime contribution to traditional music and cultural heritage.
• 2000 Honorary Doctorate (UWI, St. Augustine) & Chaconia Medal (Silver) - for outstanding national cultural achievement.
• 2003 Induction - Percussive Arts Society Hall of Fame.

Public recognition by institutions (e.g. museums, universities) further cemented his role in global musical and cultural heritage.

Teaching, Legacy & Global Diffusion

Perhaps Mannette’s greatest legacy is not only in the instruments he made; but the people he taught, the methods he codified, and the international network of pan makers and players he spawned.

• Through his company and work with schools, Mannette brought steelpan music to hundreds of communities across the United States, creating bands, youth programmes, and educational pathways.
• At West Virginia University, the University Tuning Project trained generations of pan builders and tuners - turning an informal street-born craft into a structured pedagogy.
• His methods - concave sinking, rubber-tipped sticks, voice-specific layouts, note-area mapping, harmonic tuning - became foundational for modern steelpan building worldwide. Even today, most quality pans are still built using methods he pioneered.
• His global vision opened the pan’s social geography: from underprivileged neighbourhoods to concert halls and academic institutions; from Caribbean streets to international music curricula.

Mannette once reflected:

“I always knew in my heart one day that my work would find its way … I figured it all through for all of you to see today.”

Final Years and Passing (2000s–2018)

In his later years, Mannette continued to tune, teach and consult - working with institutions, students, and pan enthusiasts.

He passed away on 29 August 2018 in Morgantown, West Virginia, at the age of 90. His death prompted tributes from cultural institutions, former students, pan pioneers, and national media in Trinidad & Tobago - all acknowledging the vacuum left by one of the steelpan’s founding fathers.

Yet his legacy lives on in the pans played worldwide and the generations of makers and musicians who continue his tradition.

 

Reflection: Why Ellie Mannette still matters

Ellie Mannette’s life shows how an informal, marginalised art - born out of colonial suppression, African diasporic resilience, and street-level improvisation - can be transformed by craftsmanship, discipline, and generosity into a globally respected instrument.

He did not just build drums: he built a craft, a pedagogy, a lineage, and a bridge between Trinidad’s Carnival culture and world music stages. Whenever a steelpan rings out - rich, harmonic, sustained - there is a bit of Mannette’s genius in the metal.

 

“Mannette Methods, 101”

Below is a draft technical guide based on documented accounts of Ellie Mannette’s methods, as well as standard practices in traditional pan building that derive from his innovations. Use this as a conceptual and practical starting point; actual results depend heavily on experience, metal consistency, and tuning ear.

Basic Materials & Starting Blank

• Use a 55-gallon oil drum as the starting material. This size was first adopted by Mannette and remains standard for full-sized pans.
• Prior to shaping, fire the drum (or heat treat/anneal) to soften the metal, making it more workable and reducing brittleness - this improves acoustic response. Mannette reportedly “fired” the metal to improve acoustic properties.

Shaping the Drum: Sinking the Crown

1. Secure empty 55-gallon drum upside-down (so the lid becomes the playing surface).
2. Heat/anneal the metal to make it more malleable (traditional method: open-fire or forge; modern: kiln or controlled furnace).
3. Hammer systematically to sink the lid - gradually and evenly - forming a concave “crown.” The goal is a smooth bowl-shaped surface. This increases the usable playing area and allows better separation between notes. (Mannette’s adoption of concave sinking is regarded as a major leap.)
4. Once concave, re-anneal or normalize the metal to relieve stresses.

Designing Note Areas & Layout

• On the concave crown, map note-areas according to voice type (tenor, double, cello, etc.). For example, Mannette’s tenor pan design encompassed a chromatic range across four octaves, from B (1st octave) to E (4th octave).
• Size and proportion of note-areas should be consistent (relying on a template or scaled layout), ensuring ergonomic access and acoustic isolation.
• Use shallow grooving or demarcation between note-areas to help isolate vibrations and prevent sympathetic resonances. Mannette's note-area separation improved clarity and allowed for more notes on one pan.

Tuning Method: Partial-Tuning & Harmonic Tuning

• Begin by hammer-tuning the fundamental pitch by ear or rough strobe - strike each note area with hammer at center, listen, rough-tune.
• Then adjust for harmonics/partials: aim for a clean fundamental with consonant overtones - especially octave partials. Mannette insisted on harmonic tuning rather than simple fundamental-matching.
• Use a strobe tuner (or another precise tuner) to calibrate to concert pitch (A = 440 Hz) if intended for ensemble or concert use. Mannette adopted this standard during his U.S. work.
• Iteratively refine: small changes (hammering, fine-tuning of dome, note-area edges, metal tempering) - play, listen, adjust - until partials are stable, harmonics clean, sustain even, tone balanced. This iterative, sound-centered approach was central to Mannette’s pedagogy.

Finishing & Playing Accessory

• After tuning, apply finishing touches - smooth edges, maybe light coating/paint (as per band’s aesthetic), but ensure metal remains free to vibrate.
• Use rubber-tipped mallets/sticks - a Mannette innovation - to soften the attack and produce a rounder, more musical tone instead of a harsh, metallic clang.

 

Bibliography (Chicago Manual Style)

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https://afropop.org/articles/ellie-mannette-1928-2018.

Caribbean Muslims. National Icons of Trinidad and Tobago 2013. PDF resource. Accessed January 2025.
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NALIS (National Library and Information System Authority). “Steelband.” Trinidad and Tobago Content Guide. Accessed January 2025.
https://www.nalis.gov.tt/resources/tt-content-guide/steelband/.

National Endowment for the Arts. “Elliott ‘Ellie’ Mannette.” National Heritage Fellows. Accessed January 2025.
https://www.arts.gov/honors/heritage/elliott-ellie-mannette.

NIHERST (National Institute of Higher Education, Research, Science and Technology). “Elliot Mannette.” Icons of Trinidad and Tobago. Accessed January 2025.
https://niherst.gov.tt/icons/icon/elliot-manette-tt1/.

Pan on the Net. “The Mannette Touch.” Accessed January 2025.
https://www.panonthenet.com/tuners/ellie-mannette.htm.

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https://weteachpan.org/wp-content/uploads/2019/04/Steel-Times-VOL2_1-Final-Version.pdf.

Trinicenter.com. Terry Joseph. “UWI to Honour Pan Pioneer.” October 2000.
https://www.trinicenter.com/Terryj/2000/Oct/Mannette.htm.

Trinidad & Tobago Newsday. “Ellie, a Pan Legend.” September 2, 2018.
https://newsday.co.tt/2018/09/02/ellie-a-pan-legend/.

Trinidad & Tobago Newsday. “Ellie Mannette Dies at 91.” August 29, 2018.
https://newsday.co.tt/2018/08/29/ellie-mannette-dies-at-91/.

Wikipedia. “Ellie Mannette.” Last modified October 2024.
https://en.wikipedia.org/wiki/Ellie_Mannette.