Divali 2004

Volume 5. 6. Number 2. November 2004. Trinidad & Tobago http://www.geocites.com/icc_tt/

indo-caribbean cultural council

ISSN 1683-5026

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Caribbean Indian Fashion - Editorial Indian jewellery, garments and accessories have become versatile. Mehendi art, for example, is now used by many masqueraders to decorate their body for Carnival. The theme of this year’s magazine is Indo-Caribbean fashion. This publication carries articles on, and photographs of, local designs of clothes, jewellery and accessories that have become an undiluted and unbroken tradition from India to the Caribbean for over 150 years. As a matter of fact, while other influences have made inroads into language, food, music and dance, fashion remains one cultural expression of which consumers insist on authentic and original styles direct from India. But there are scores of local artistes who merge East and West, tradition and modern, and India and the Caribbean in fabrics that catch the imagination. The photographs and articles in this magazine capture the rich Caribbean Indian cultural heritage of dhotis, kurtas, Nehru jackets, saris, shalwars, nose-pins, necklaces, bangles, anklets, eyeliners, mehendi markings and forehead tikkas/bindis. The creations of artisans, designers, tailors, seamstresses, choreographers and models are showcased in this glossy full-colour publication. It is expected that this magazine will benefit culture in the national community by encouraging, inspiring, and promoting the talent of all those who are involved in the fashion and design industry. The results anticipated are (a) the local, national and regional community will be more appreciative of Caribbean Indian fashion, (b) fashion shows and exhibitions will increase in popularity among low- and middle-income groups, and (c) Caribbean artists will add more of their trademark touch to traditional Indian garment creations. Indian garments have become famous for their majestic tapestry. Fabrics are now decorated with sparkling sequins in a splendid array of colours to suit figure, taste and tone. Jewellery pieces like the nak-phul (nose rings), bayra (bangles) and anklets have served as finishing touches to complete the attire of Indian women. The choice of garment reflects elegance, sets the mood, and speaks directly to the degree of modesty, grace and sanctity ascribed by Indian society to the adorning of the human body. Indian garments, jewellery and accessories have become enduring and versatile. Mehendi art, for example, is now used by many masqueraders to decorate their body for Carnival. Up to the 1960s, tattoo was part of an Indian tradition that had to be worn by newly-married women on their arms. Nowadays, a tattoo is worn by anyone and placed anywhere on the body. Young women today prefer the lower back region because it complements the popular low-rise jeans and also adds a sensual look to their exquisite saris/sarees. Bindis have also have become the rave of teenage girls and young women. They sometimes place them around their navel as an expression of artistic freedom.

It is without doubt that the Caribbean Indian fashion industry is on a path of growth. Indian fashion fairs, exhibitions and shows are now held all year round and attract a wide cross-section of society. There were the Miss Fem India Beauty Pageant, Miss Indian Heritage, Hindi Foundation Dinner and Fashion Show, and the Miss Indian Arrival World T&T Beauty Pageant. Not to be left out was the fashion show produced by ISPAT Ladies Club at Crowne Plaza Hotel in October 2004. But the performance that really showcased Indian fashion to the wider society was the smash movie cum play Kuch Kuch Hota Hai [There is Something Happening in My Heart]. This production – the second largest in the country after Carnival Messiah - produced a 76-member cast with women of all races and religions sporting resplendent saris, shalwars and gararas. The play represented a unity that knits the diverse strands of our colourful social fabric. It has now become a tradition at every Divali festivity to stage a fashion show. This aspect of culture has a philosophical basis that is grounded in the celebration of the bodily attributes of poise, beauty and attire. Indeed, Mother Lakshmi herself is often depicted wearing a red sari with golden embroidery. She is also bedecked with various types of jewellery. The red in her sari is symbolic of activity, while the golden embroidery indicates that she is always busy showering wealth and prosperity on her children who worship her wholeheartedly. The authors are responsible for the content of their articles. The opinions expressed therein are not necessarily those of the publisher. Copyright © 2004 by ICC ICC is an independent non-profit educational organisation recognised by the Government of Trinidad and Tobago. It is dedicated to publishing two magazines a year - a Divali souvenir magazine, and an Indian Arrival Day commemorative magazine. Dr Kumar Mahabir, Editor and Chairman Indo-Caribbean Cultural Council (ICC) E-mail: [email protected], [email protected] Tel: (868) 674-6008. Tel/fax: (868) 675-7707 Cover depicts a model at the Hindi Foundation Fashion Show Photos in Florida and Trinidad by Kumar Mahabir Contributing writer Annesia Gunness Cover and page design by Preddie Partap

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Greetings on the occasion of Divali 2004 Once again it is my pleasure to extend greetings to the National Community as we celebrate Divali 2004. This religious festival is one among many bequeathed to us by our forebears who crossed the Kala Pani. This dazzling festival of the "Row of Lights" is as philosophical and spiritual as it is colourful, and celebrates the triumph of light over darkness and good over evil. This is true of Deepawali in the ancestral homeland of India and all over the world where there are Hindu communities. However, an important distinction is that in Trinidad and Tobago it is celebrated by the wider society. Divali's rich philosophical and spiritual content has accordingly impacted the lives of our citizens regardless of colour, creed or class. Yearly, our people of diverse religious and cultural backgrounds bedeck themselves in Indian garb befitting the occasion, participating in our Ramleelas and the lighting of the deyas, not to mention sharing delicacies as part of the conviviality of the occasion. How often has it been said that paradoxically, while religion is intended to bring people together, it can and has been used for the opposite effect? It is therefore to the credit of the people of our Republic that in celebrating our religious festivals we aspire more towards the sublime intent and continue to be purposed differently. The Bhagavad Gita warns that "as an individual can drink from any side of a full tank, so too the skilled theologian can wrest from any scripture that which suits his purpose." In consequence, we are further guided: "They are forever free who renounce all selfish desires and break away from the ego-cage of "I", "me", and "mine" to be united with the Lord." Further, that those who follow the path of spiritual wisdom see that "where there is One, that One is me (God); where there are many, all are me; they see my face everywhere." Accordingly, we must never deviate from the illumined path that allows our religious celebrations to strengthen our spirituality through appreciation of the love and majesty of God, as reflected in all his human creations. Let us continue to make of our Deepawali one among our annual cavalcade and coming together for the spiritual rejuvenation of our nation. Shubh Divali to one and all.

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Divali Greetings 2004 Senator the Honourable Joan Yuille Williams, Minister of Community Development, Culture and Gender Affairs

I am extremely happy to extend greetings to the East Indian Community on the occasion of Divali, 2004. The Festival of Lights, has commanded the attention of citizens beyond the attraction of illuminated deyas and the generosity of the Hindu households. The Festival awakens the national consciousness to the ideals of the triumph of light over darkness, good over evil, justice over injustice and knowledge over ignorance. In a multicultural society built on the contribution of our diverse ethnic population, these are ideals which must be revered and become embedded in the daily lives of our citizens. The publication of a souvenir magazine by the Indo-Caribbean Cultural Council provides the ideal opportunity for keeping alive this process of assimilation. I complement your organization for this informative publication which targets the richness of the Indo-Caribbean Culture. I commend the magazine to a wide readership. Shubb Divali

Senator the Honourable Joan Yuille Williams

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I am happy to learn that Indo - Caribbean Cultural Council is bringing out a souvenir magazine to mark Diwali celebrations for the year 2004. The Council has been bringing out such publications every year on the occasion of Diwali and I wish to commend their efforts and the service they are providing to the readership in the form of informative and well-researched articles. I also wish to congratulate the publishers for selecting the theme, "Indo - Caribbean Fashion" for this year's publication. This would appear to be an appropriate theme for the festival of Diwali since in India it is a well-established tradition for people to wear new clothes on that occasion. I understand that the magazine will carry articles on local design of clothes, jewellery and ornaments, which would reflect on the rich cultural heritage of the East Indians in the Caribbean. The festival of Diwali has now begun to feature prominently in the cultural calendar of a large number of countries around the world, particularly those where there are significant Indian diaspora communities. The scope and extent of celebration in Trinidad & Tobago and the enthusiasm with which everybody participates in the festivities makes Diwali here an altogether unique and enjoyable experience and I regard myself particularly blessed and fortunate at having got the opportunity to share in these celebrations for the fourth year consecutively. Diwali celebrations here epitomize the care and perseverance with which the East Indians have preserved and nurtured the traditions brought by their forefathers from India. It is a joy to see programmes of Indian dance and music along with religious ceremonies being organized in every nook and corner of the country. The festival has indeed provided to the people of Indian descent here an opportunity to express their close and continuing emotional bonds with Indian culture. While Diwali is, no doubt, about merry making and artistic expression as well as aesthetic presentation in its most traditional splendour, it has a much deeper meaning and significance for the Hindus. It is, above all, a time for reflection and introspection, for self-cleansing and for reminding us to always tread the path of truth and justice no matter what maybe the obstacles since 'good eventually prevails over evil', which indeed is the eternal message of Sanatan Dharma. On the joyous occasion of Diwali, I extend my greetings and best wishes for continued well-being, happiness and prosperity to everybody in Trinidad and Tobago

Virendra Gupta

The history of Indian fashion designs in Trinidad By Dr. Harry Ramnath

Indian women wear more jewellery than any other women in the world Clothings worn by early immigrants were very simple. The men wore dhotis or paijamas. [The word pyjama is derived from the Hindi pai, which means legs, and jama which means garment or dress]. A kurta [tunic or shirt] and a pagree [head-wrap] completed the dress. The present-day Indians, who are children and grand children of the Indian immigrants, wear this type of clothes on special religious occasions only. They all dress in European style clothes for daily routine activities. Indian women wear saris which are known the world over as being one of the most beautiful feminine clothing. White clothing is preferred by both men and women. Yet there is every imaginable colour of saris, some of which may cost thousands of dollars. Saris are generally worn in Trinidad, Guyana and Suriname on festive and religious occasions. Indian women wear more jewellery than any other women in the world. I have recently seen in Mysore, South India, women completely dressed with jewellery on their heads, arms, wrists, necks, ankles, toes and fingers at work in a maize field. As time went by, women of the Caribbean began leaving out some of their jewellery because cane and rice field work was not similar to field work in India. Some aged women in Guyana, Trinidad and Suriname continue to wear the chooria [arm bands] and kara [ankle rings]. The jewellery worn by Indian women in the Caribbean today are usually anguthi [rings, sometimes connected to the five fingers], bairwa [bracelets and bangles] and kamphool [earrings with floral designs]. Jhumka and tarkee are ornaments for the ears. Necklaces in the Caribbean are very elaborate and very costly. Hasoolie [neck ornament] has always been the favourite ornament of Indian women through the ages. Caribbean Indian women are nowadays dressed in European-styled garments. One may see a piece of the sari worn by some women in the Caribbean on their heads called an odhani, orhani or doopata. It looks more like a veil worn by Spanish and Italian women. Two names of ornaments Indian women used are hasoolie [necklace] and nathooni [ringed ornament worn between the nostrils where the nose ends above the top lip. Nakphool, made with a floral designs, is worn on the

left side of the lower part of the nose. There are also kara [ankle rings] and sirrbandhi [head-tie ornaments]. Nathia is another type of nose ornament. Bajoo, baaka, chooria, kankan, and bairwa are all arm and waist ornaments. Chanda har [moon-shaped] and haikal are two types of necklaces which are elaborately decorated and are larger than the hasoolie, reaching across the lower chest. All these types of jewellery are made of gold or silver and are inlaid with jade, ruby or crystals. The types of jewellery that are common among Indian women of the Caribbean, and have an Indian origin are the bairwa [bangle], and jhumka [long earring]. The sari is worn by many Indian. Among the men the Nehru-style tunic or kurta is very popular. Many Ministers of government and Prime Ministers are wearing them now. Chappals [slippers] have been worn by many West Indians throughout the Caribbean. Kurta, paijama and dhoti [loin cloth] are worn by pandits [Hindu priests] when performing ceremonies. Pandits should wear their robes and paraphernalia at all times with equal reverence as a Christian Priest, Muslim mulvi or Jewish Rabbi. All uniforms should be worn with dignity like the badge of the high office of its wearer, the crown on a monarch, the gown and wig of a judge, and the robe and regalia of the Pope. The bars, stripes and stars of General and Admiral are equally respected by all. Indians in the Caribbean should be proud to wear clothes designed and styled in India. Many West Indian blacks are wearing African-styled clothing with pride. Let us look at several points for consideration in wearing Indian-type clothing in the West Indies. First, it is cooler than the stuffed English suiting for the hot, humid climate of the islands. Second, it is much more economical and easier to launder. Third, it is dignified in its simplicity and purpose. It is a pity that jackets, coats, pants, shirts, socks, choker and tie [phanda or hangman rope as it is called in Hindi] have become the standard requirements for being well-dressed in these hot Caribbean countries.

Dr Ramnath is the author of the India came West (1980), and The Unwritten Laws of Hinduism (1982)

Fashion and symbolism of Mother Lakshmi This magnificent Goddess appears to be the most beautiful deity in the Hindu female pantheon. Lakshmi, the gracious Mother of the World, is worshipped by Hindus particularly during Divali, the Festival of Lights. Seen as the Goddess of Light, Wisdom and Wealth, thousands of deyas [clay lamps] are lit in her honour on the darkest night of the year. According to the Vishnu Purana (1,000 B.C.), she emerged from a primeval ocean of milk when the gods and demons churned it to obtain the drink of immortality. She is known to have been worshipped since 300 B.C. in India. No temples are built in her honour, but Lakshmi is revered generally all over the world as a household deity. She represents the Hindu notion of the all-active principle with the power to divide herself into many forms and roles. Lakshmi is a favourite subject for artists, painters, sculptors, poets and musicians. Her image is placed on the doors of homes and stores to bring fortune, good luck and ward off evil. This magnificent Goddess appears to be the most beautiful deity in the Hindu female pantheon. There is great symbolism in every aspect of her infinite beauty. Lakshmi is depicted wearing a red sari with golden embroidery, and she is bedecked with various types of jewellery. The red in her sari is symbolic of activity, while the golden embroidery indicates that she is always busy showering wealth and prosperity on her children who worship her whole heartedly. She is depicted as having four arms which represent the four goals of human life. These are dharma (righteous conduct), kama (fulfillment of righteous desires), artha (acquirement of wealth through honourable means), and moksha (liberation from the cycle of birth and death). Her four arms also symbolise the four directions of space (east, west, north and south), and is indicative of her omnipresence and omnipotence. Her front hands are shown bestowing blessing upon her devotees.

Golden coins are seen flowing from her front right hand indicating that she grants wealth and prosperity to the pure-hearted who worship her. She holds two lotuses in her back hands which signify that one must perform all of one's duties in life in accordance with the law of dharma (righteous conduct). These duties would eventually lead to moksha (liberation from the cycle of birth and death). Lakshmi emerged from the ocean seated on a large lotus. In all her representations, she is always depicted as either sitting or standing on this lotus. Her lotus posture suggests that her devotees are entitled to enjoy the wealth and pleasures of the material world without becoming attached or obsessed. Although the lotus thrives and blooms in a muddy pond, it remains untainted and pure. Two attendant elephants are usually seen on either side of Lakshmi. In some artistic versions, the elephants continuously sprinkle water on the Goddess. The action signals that by good persistent efforts, a person can attain material as well as spiritual prosperity.

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Divali 3,000 years ago in ancient India Retold by William Buck

… there was not one person without some gift. Evening came and the Sun set as Ayodhya sang her twilight prayers. The Kosalas gave the animals new clothes and fine ornaments, and when Bharata served free food from the royal kitchens, Ayodhya maidens carried tasty treats to monkeys and bears lying on soft beds or on grass in the parks. For Fair Ayodhya, all the sorrow in the world was used up. People poured into town from the countryside; they danced and heard music … and watched tumblers and plays on the street corners. The holy trees were hung with ribbons and brahmanas [priests] blessed everyone. In the early evening countless candles [deyas] burned outdoors like blossoms of light and incense rose into the air. Lanterns glistened and torchlights burned. The night was warm and the stars were clear. Then late at night Sita sat by a fountain in the palace while Rama slept on a bed in an open room nearby, and Manthara the hunchback came to her. Manthara knelt, "Forgive me for remembering those two wishes.” Sita was beautiful. She answered, "Not only men, but even the gods have been freed from fear of Ravana. Death had surrendered to the Demon King; the Moon and Sun were his subjects; and Indra King of heaven was a captive." "Lord!" said Manthara. Sita said, "Rama killed Ravana only because of what you did," Manthara smiled, and sat beside Sita. "Queen Sita, I am always your faithful servant." "Yes," said Sita. After fourteen years awake and watching over Rama every night, Lakshmana slept, held fast in sleep beside his loving wife. The night passed quickly by. Soon the sky grew light and the morning Sun rose red for Rama to see him. Bharata had brought the Ayodhya throne from Nandigrama village to the royal park by the palace so everyone could see Rama made king. Rama came out, like a lion coming out of his cave, and girls tossed fragrant flowers from windows and rooftops. He walked to the park with Lakshmana holding a seven-tiered white parasol over him. White cows were tied all along the way. Bharata and Sugriva the monkey King stood behind the throne holding white yaktail fans. Rama sat on the throne facing east, and Sita sat on a lower chair beside him, on a deerskin cover trimmed in gold. The animals and demons and men gathered there sat down on the grass.

Virgin maids brought spotless white cattle with gold-plated horns, and unthreshed heads of grain for Rama to touch, Then Vasishtha entered the park holding a hollow horn wrapped in silver wire and a little dipper. First the priest stopped by Hanuman and dipped some of the river water of all the world into the horn. Four brahmanas unsealed four brimful stone jars of seawater. Four Ayodhya girls set before Rama a handful of jewels and one of seed, a handful of herbs and one of sea pearls. Vasishtha put some of the waters of the Eastern Sea in his horn from the first stone jar. Four more girls came forward and put before Rama a jar of honey, parched grain dyed with saffron, a bowl of milk and some incense unlit. Vasishtha dipped water out of the Western Sea, whose waters smell like camphor. Four more beautiful maidens brought Rama turquoise and blue water flowers, a lump of silver and a dish of curds. Vasishtha added the black seawater of the cold North Sea; and the last four maidens set down by Rama's throne a fresh-loomed cloth unbordered, and corals, and beautiful seashells and white garlands. Then Vasishtha took water from the Southern Sea waterjar. Finally at noon Vasishtha stood by Rama and emptied the water over his head, and made him King and Lord of Earth; the Solar King of Fair Ayodhya, the Kosala Lord, and Sita was his one Queen with him. Rama gave many presents - horses and cows, earrings and bracelets, rings and bells and a silver crest for Sugriva, and round Sita's neck he fastened a smooth pearl necklace, Sita held the strands in her hand and looked at them, and looked at Rama, and looked at the animals. Rama said, "Give those pearls to whom you please!" Lotus-eyed Sita gave them to Hanuman. He knelt before her and she put the pearls around his neck and smiled at him. The necklace seemed to glow like little moons nestled in his white fur. "This gift is for your courage and strength, your valor and bravery and skill, and for your faithful service." Rama said to all his people, "I am pleased that you have gathered here to welcome me." They cheered back - King Rama! Rule forever! From Ramayan by William Buck, 1978 Courtesy: University of California Press

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The designs and patterns on the ornaments represented the amalgamation of Hindu and Islamic thought.

Indian jewellery in Jamaica By J. Gopal Thakur and Laxmi Mansingh The collection of photographs in the Institute of Jamaica reveals the traditional blending of richness and refinement in the jewellery the Indians wore, and the simplicity of their life-styles. They wore jewellery at all times, as part of their 'sohag' make-up [auspicious ornaments worn by married women]. Almost all the women who came to Jamaica had some piece of jewellery on them and acquired more locally, as their financial position improved. They brought mostly silver, and some gold ornaments which included bichwa [toe-ring], payal [anklet], kardhani [waist belt], anguthi [ring], kara [bracelet], churi [bangles], chur [2-6 inches wide bangles], Bajuband [armlet], haar [necklace], hasli [thick one piece solid neck band], tonk [heavy and thick neck band], tabiz [necklace or armband with charm pendant], tarki [tops], jumkha [earring], chunchi [nose pin], nathini [nose ring], and benda or tika [forehead ornament], and sir bandi [belt around the waist]. These ornaments were made strictly according to the instructions laid down in Silpasastras [codes of handicraft in Atharvaveda scriptures [c. 1,000-500 B.C.]. Rigid conventions require that particular materials should be used for different categories of ornaments and separate designs for the different parts of the body. The designs and patterns on the ornaments represented the amalgamation of Hindu and Islamic thought. Since Islam prohibits the

representation of human figures, intricate geometrical designs were engraved. In keeping with Hindu traditions, ornaments were shaped to represent heads of many characteristically auspicious animals. The ends of bangles, bracelets, neckbands and anklets were made into lions', elephants' or snakes' heads [symbolizing bravery of heart, prosperity, and wealth respectively]. The peacock's head on the forehead piece or the fish's head in the pendants symbolise prosperity and good luck. The Islamic emblems of stars and crescent also appeared prominently in nose pins, nose rings and earrings. The ornaments were made with stone inlay or settings, filigree, wire patterns and solid or hollowed bands with engravings or embossing of various patterns. These techniques were well mastered by the established jewelers in Indian villages and regularly imparted to the apprentices and under-trainees, who were always their close or distant relatives.

Extract of a paper presented at the Conference on East Indians in the Caribbean, UWI, St Augustine.16-23 September, 1979.

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The kurta shirt and suit The kurta top can also be worn separate from the trousers for a comfortable, trendy, casual look.

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he kurta shirt is a traditional Indian male wear, although some women wear pastel-colored cotton kurtas as shalwars during pregnancy. The loose-fitting kurta is a very original and versatile piece of clothing. Since its simple origins in India, the kurta suit has evolved to become a popular man's attire at religious and official civil events. In the 1960s, the kurta shirt became quite popular during the hippie revolution in the United Kingdom. The light, airy top was the “cool” choice for the long hot summers. The kurta usually reaches to the knee. It is long-sleeved and often heavily embroided with gold, silver and copper metallic-looking threads. The modern kurta comes with short-sleeves, shirt collars, and is of mid-thigh length. The kurta top can also be worn separate from the trousers for a comfortable, trendy, casual look. Kurta shirt prices can range as little as TT $150.00 to as much as $1,000.00 for an elaborate hand-woven unique outfit. Usually the dulaha [groom] would wear this on his wedding day to conjure the appearance of a Rajah [King] in the eyes of the dulahin [bride].

The kurta shirt and suit The kurta suit includes the shirt and a pair of loose-fitting trousers. The kurta trousers come in three varieties: the wrap-on-yourself dhoti, the ready-made-wrapped dhoti, and the western-styled pants which are the most popular. The trousers match the shirt in texture, colour, style. and pattern The more expensive kurtas suits come with an elegant waist coat and a shawl that adds understated savoir-faire and finesse. With news styles constantly evolving, kurta suits have taken different strides. The kurta suit has been tailored for a more formal appearance for official and ceremonial occasions. This style comes with a jacket/blazer which is described as a 3-piece kurta suit.

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Seer bindi – the forehead chain and pendant

It is worn mainly by brides, models and dancers Seer bindi is a chain with a pendant that drops from the middle path of the head to the centre of the forehead. It is held in place by two linked chains on either side of the head clipped on the hair. This fashion piece has evolved from a simple ornament that was made of gold to an exquisite accessory. This complementary Indian wear now ranges from simple

designs to intricate patterns. They come in silver and costume forms which are just as striking as gold. Seer bindi (also called mangra tikka or tikli) was once worn by women as a symbol of marriage. In the Caribbean today, women of all states and ages have adopted/adapted the seer bindi as a fashion ornament. In Trinidad and Tobago, it is worn mainly by brides, models and dancers.

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Jewellery from India to Trinidad – and back During Indentureship in Trinidad (1845-1917), Indian women could have hardly have been said to have dressed in an impoverished or depraved style. They were a walking reposition of the wealth of their husbands. Some were almost grotesquely laden with silver and gold bangles. Unfaithful wives could run off with the savings of several years and this aspect of their defection was perhaps one of the reasons for crimes of violence. A missionary’s description of the sumptuously adorned wife of an Indian shopkeeper in the late 1860s, a time when some Indians were becoming wealthy, reveals how the more successful could display their riches: She had seventeen bracelets of silver and one of gold on each arm; these were mostly of solid metal, two being very massive and of fine workmanship. Around her neck were thirteen silver ornaments most solid, some being as much as three – quarters of an inch in the front and tapering towards the back of the neck. With fifteen fingerings, four heavy rings to each ear and over the head and shoulders a shady veil – you can imagine the effect! (S.E. Morton John Morton of Trinidad, Toronto 1918:50-51). Coins were melted down to make these, ornaments and smiths who had completed their industrial residence found an eager and profitable market for their skill. In 1862, one had opened a small shop at the corner of Cumberland Street in Port of Spain; others were at work in San Fernando.

Photo of linguist Dr Peggy Ramesar-Mohan in her Rajastan bridal outfit and her Trinidad-made jewellery. New Delhi, 1975.

Source: Donald Wood, Trinidad in Transition: The Years after Slavery. London: Oxford University Press, 1986:156-157.

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The village goldsmith in St James in 1880

Outside the Indian goldsmith’s cabin, palm shadows are crawling slowly to and fro in the white glare, like shapes of tarantulas. Inside, the heat is augmented by the tiny charcoal furnace which glows beside a ridiculous little anvil set into a wooden block buried level with the soil. Through a rear door came odours of unknown flowers and the cool brilliant green of banana leaves…. A minute of waiting in the hot silence; - then noiselessly as a phantom, the nude-limbed smith enters by a rear door, - squats down, without a word, on his mat beside his little anvil, and turns towards me, inquiringly, face half-veiled by a black beard, - a turbaned Indian face, sharp, severe, and slightly unpleasant in expression. “Vié béras!” explains my Creole driver, pointing to his client. The smith opens his lips to utter in the tone of a call the single syllable “Ra!” then folds his arms. Almost immediately a young Hindu woman enters, squats down on the earthen floor at the end of the bench which forms the only furniture of the shop, and turns upon me a pair of the finest black eyes I have ever seen, - like the eyes of a fawn. She is very simply clad, in a coolie robe leaving arms and ankles bare, and clinging about the figure in gracious folds; her colour is a clear bright brown - new bronze; her face a fine oval, and charmingly aquiline. I perceive a little silver ring, in the form of a twisted snake, upon the slender second toe of each bare foot; upon each arm she has at least ten heavy silver rings; there are also large heavy rings about her ankles; a gold flower is fixed by a little hook in one nostril, and two immerse silver circles, shaped like new moons, shimmer in her ears. The smith mutters something to her in his Indian tongue. She rises, and seating herself on the bench beside me, in an attitude of perfect grace, holds out one beautiful to me that I may choose a ring.

The arm is much more worthy of attention than the rings: it has the tint, the smoothness, the symmetry, of fine statuary’s work in metal; - the upper arm, tattooed with a bluish circle of arabesques, is otherwise unadorned; all the bracelets are on the forearm. Very clumsy and coarse they prove to be on closer examination: it was the fine dark skin which by colour contrast made them look pretty. I choose the outer one, a round ring with terminations shaped like a viper heads; - the smith inserts a pair of tongs between these ends, presses outward slowly and strongly, and the ring is off. It has a faint musky odour, not unpleasant, the perfume of the tropical flesh it clung to. I would have taken thus ; but the smith snatches it from me, heats it red in his furnace, hammers it into a nearly perfect circle again, shakes it, and burnishes it.

Then I ask for children’s béras, or bracelets; and the young mother brings in her own baby girl, - a little darling just able to walk. She has extraordinary eyes; the mother’s eyes magnified (the father’s are small and fierce). I bargain for the single pair of thin rings on her little wrists; - while the smith is taking them off, the child keeps her wonderful gaze on my face.

A visit to Peru Village, St James, Trinidad, in 1880 Extract from Lafcadio Hearn, Two Years in the French West Indies, 1890

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Visual representations of Indian women In picture after picture, the jewellery is so clearly prominent as to provide a kind of Indian inventory in which viewers spontaneously begin to name sovereign hasooli, sirbhandi, churia, beera ... By comparison, the iconic studio portaits of East Indian women were arranged as seated figures, with primary focus addressed to the face, upper body and arms. The studio back drops are bare, the only prop a lumpy arm rest draped in burlap or a stool covered by a woven rattan mat. The very minimization of extraneous visual elements and the absence of props, indeed the very absence of a "room," are marked. This bare setting draws immediate attention to the central message of these images, the elaborate array of jewellery adorning the East Indian women. In picture after picture, the jewellery is so clearly prominent as to provide a kind of Indian inventory in which viewers spontaneously begin to name sovereign, hasooli, sirbhandi, churia, beera ... valorizing the different traditional jewels of the forehead, nose, neck, upper arms, hands, etc. More than a few images are labeled "A Wealthy Coolie' Merchant's Miss." Garment selection is also noteworthy in the East Indian studio photographs. The fabrics are close to our eyes. There are bright cotton jhoolaa or choli trimmed with rows of rickrack, and ghungaree or chunia and petticoats of soft white cotton eyelet bands with wide borders of cotton pique edging, all draped into place with three meter orhnis of soft cotton or silk printed in very large and very colorful cabbage roses. These costumes were fabricated entirely with cotton goods from the English market, no doubt a true reflection of fabric in general use, rather than an artifact of the photographers' choice. Emma Tarlo (1996:46) documents the popular enthusiasm in India for the introduction of these analine dyed machine-woven British goods in the 1890s. Among the studio portraits of East Indians, there is some evidence of the postcard market's special taste for erotica in orientalist garb. An example is a depiction of a girl clearly too young to have chosen her attire or her pose. These images are addressed to the same European commercial market which Malek Alloula documented in The Colonial Harem (1986), a groundbreaking study in which Alloula

Visual representations of Indian women

By Dr. Judith Johnson

collected, arranged and annotated the first three decades of this century. Alloula examines these postcards not only as academic material but as a cultural "wound."

Extract of The “Long Time” Project: Locating Representation, Identity and Ethnography in Visual Images of the Caribbean East Indian Diasopra.

Dr Judith Johnson is a Professor of Anthropology at Adlephi University, USA

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“The experience that I have gained from this contest has made me proud to be part of a culture that is so rich … it brings out the best from within us.”

Miss India Heritage Trinidad Beauty Pageant

Twelve charming young women all dressed in elaborately designed Indian outfits vied for the Miss Heritage Queen Title. The event was organised by the New-York based entertainment company Deeraj Cultural Foundation Incorporated. Deeraj flew in Bollywood heartthrob Aftab Shivdasani to perform his dances at the event. His energetic dances evoked screams of appreciation from the teenage members of the audience. At the end of the show, they rushed to get his autograph and touch his hands. The "Miss India Heritage Trinidad" Beauty Contest captivated the minds and hearts of all present on Saturday May 8th 2004. The models spun a charm of magic at The Centre Pointe Mall in Chaguanas that night. They modelled in an array of multi-coloured Indian garments. Bedecked in a heavily decorated blue garara with silver workings, Charmain Sookram, 23, copped the Miss Heritage Queen title. In an interview with a reporter, Sookram revealed that she is pursing a Master’s degree. She said: “The experience that I have gained from this contest has made me proud to be part of a culture that is so rich … it brings out the best from within us.” Nadya Ramrath, 25, won the judges approval and attained first runner-up. She was dressed in a fabulous but simple yellow garara. Third runner-up, Diana Ramroopsingh, modelled in a sophisticated black garara embroided with gold workings. All contestants wore matching Indian jewellery such as bangles, bindis and anklets to complement their outfits. Their garments portrayed the unique beauty and allure of Indian attire. There was also an intelligence aspect of the pageant which demonstrated the dictum that beauty and brains go together. The event was sponsored by Newsday, Western Union, Priya's Creation, Radio 90.5FM and Travelspan/Amrals Travel. This event was well-received and illustrates that Indian fashion has been making strides on the catwalk. For more information, call 684-3300 or 689-4284

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Miss Indian Arrival World Beauty Pageant There will be a World Beauty Pageant in 2005 to commemorate the 160th anniversary of the arrival of Indians to the Caribbean. The Rudranath Learning Resource Centre at Mc Bean Couva came alive on May 29, 2004 with stunning oriental Indian wear. The Miss Indian Arrival World T&T beauty pageant was held to commemorate the 159th anniversary of the arrival of Indians to Trinidad and Tobago. The gala event was produced by Jordis Fashion Designs Limited of Isaac Junction Couva. The directors, Mr. Inshaan Dookran and Mr. Steve Harry, have been working together in the show-business for the past ten years. They have both produced many fashion shows both locally and internationally. They have also designed numerous evening gowns and costumes for contestants in many competitions, and have both encouraged contestants to join a charity organisation, especially one helping underprivileged children. The contestants represented a wide cross-section of Trinidad – from Gasparillo to Arima. The women were dressed in finely designed Indian outfits. There were eleven contestants between 18-22 years of age who represented a diverse range of professions, from teachers to store clerks. Miss Sindy Ragoonath, 20 years old, won the coveted Miss Indian Arrival World T&T title. She took home the first prize which included $3,000 in cash, among other attractive gifts. Ragoonath represented Miss Gem Shop. She donned an exquisite brown sari with gold workings and authentic Indian jewellery. The first runner up Miss Sabrina Gangasingh, 21, represented Miss International Carpeting Limited. She

modelled an elegant, deep blue sari matched with silver jewellery. Gangasingh won $2,000 among other lovely prizes. Miss Tropical Pharmacy, Miss Nirmala Matmungal, 20, copped $1,000 in cash, and much more, with the second runner up title. She wore a light blue sari embroidered with gold workings and exquisite gold jewellery to compliment her unique outfit. Sponsorship of the cultural event was not lacking since all other contestants received a return ticket to Tobago as well as other gift vouchers. The women were selected after rigorous interviews since there were no preliminary rounds of the competition. Other awards were given to Miss Intelligence, Miss Amity, Miss Elegance, Miss Photogenic, Best Gown Design and People's Choice. The contestants were encouraged to continue to let their combined beauty and intelligence shine forth even after the contest was over. The producers expressed their hope that these young and talented Indian women would continue to participate in cultural events. They said that the Miss India World T&T Pageant would affiliate itself with similar organisations globally. These beauty contests highlight the sophistication and elegance of Indian wear. There are high hopes for this contest since a World Pageant is carded for 2005 to commemorate the 160th anniversary of Indians to the Caribbean. For more information, call 687-0800 or 687-0653

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The Light of Divali in Caroni By Ken Kalloo

The entire place was magically transformed - old buildings became new, tired worn-out faces glowed with pride, and crying babies were incarnated into angels. It seems so long ago and yet feels if it took place just yesterday. Although I was born at Woodbrook in Port of Spain my first few and formative years were spent in the little village of Caroni situated on the bank of the river and hemmed in by the sugar cane fields and the Old Southern Main Road. The dominant picture that crowds my mind when I think of my boyhood years is that of the Caroni Sugar Factory – a most impressive cluster of buildings and to a little boy, always a source of wonder and amazement. That sugar factory towering over the countryside was probably the single most important structure in the lives of all those who lived in its shadows, both physically as well as metaphorically. From where we lived in the Head Teacher’s cottage, one looked across the savannah past the Medical Clinic and Nurses’ Quarters to those rather imposing buildings that made up the factory site. On one side of the factory was located the offices, labs, residences and the club house for the overseers and other expatriate staff while on the far side almost hidden away beyond the blacksmith’s shop were the barracks – not far away from the sugar cane fields and the Caroni river. Even as a little boy, I remember being unhappy and unwilling to go near the barracks – it appeared so gloomy and cramped and unkempt – it seemed almost an afterthought. I can never ever obliterate the picture in my mind of the little kitchens sticking out in front of the long line of barrack rooms, with the choking smoke and the smells of the many pots at evening time. It appeared to me a most unattractive place and, if not, a little frightening. As a little boy, I rolled my roller up and down and in and out of all kinds of places and even down to the rivers edge, but the barracks was almost always a self imposed ‘out of bounds’ area. Almost instinctively I abhorred that place of so much misery. It seemed to me to have so little laughter and gaiety – it was always so full of quarreling, fighting, crying and wailing of little popos .

But there was one bright spot that I will always remember - something that I will forever cherish and still shines throughout all these years. And that is why I said – it happened so long ago but it seems as if it took place just yesterday. There was one area of life that brought about a ‘miracle’ in that place I disliked so much. In those days it was called ‘Deya Deewali.’ At the far end of the barracks lived a tremendously fat man and his family. His name was Chote, whether it was a nickname or his real name I do not know, but I do know that at Deya Deewali time the barracks and Chote’s house in particular stood out as the proverbial beacon. The entire place was magically transformed - old buildings became new, tired worn out faces glowed with pride, and crying babies were incarnated into angels - to a little boy it was awe inspiring. On that night I was no longer afraid. In fact I looked forward eagerly to visiting in the barracks. And the best part of it all; in front of Chote’s house was a spinning horizontal wheel, beautifully lit with tiny flickering lights. As the wheel spun around and around the lights of the deyas seemed to get brighter and brighter even as the little flames seemed to touch and join each other. As the flames jumped and flickered and played with each other, the darkness and the ugliness and the gloominess of the barracks dissipated completely Amidst the background of the ever present canefields and the everflowing river and the all pervading sugar cane factory, the lights of Deya Deevali spread a glow both within and without. I like to think that however dimly, however faintly, a little boy was able to perceive in some miniscule, imperceptible way that the light of the deya represented a symbol and a hope; surely a symbol of a higher hope and a better day. Surely the light of the deya shall overcome the darkness that threatens to encompass us all. Ken Kalloo is a retired school teacher in Trinidad.

ad tied to the past, and interwoven to form the fabric 0

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Retailoring tradition – the new-look kurta

The traditional garb of Hindu men, once disdained, is now making a splash in social circles and bringing in cash for trendy designers. Most of the nation [in India] still gropes for some thread of national identity. The majority of middle-class males in India long-ago donned a Western persona through their widespread adoption of business suits, blue jeans, and t-shirts as the dress du jour. But current fashion trends indicate that men of means are changing. Traditional Hindu attire is gaining renewed support among fashion designers, retailers and image-conscious customers. The classic dhoti kurta, kurta pajama and churidar kurta are being retailored with increased functionality, and a definite dash of panache. Men are even beginning to wear them out of the home.

By Rajiv Malik

The surge in popularity of the kurta is confined mostly to the upper classes. At upscale family functions, parties, dinners and other social venues, Hindu clothing has become the rage. The designer kurta sets worn on these occasions are loud - boldly embroidered with new cuts and innovative styles. Gaurav Chabbra, a freelance fashion designer who worked for seven years with the prestigious boutique Diwan Saheb claims, "You have to create a successful balance between tradition and modernity in order to take the present generation back to its roots. To revive the rich Indian culture, to preserve the age-old hand embroidery tradition, and at the same time design acceptable evening wear, the old-style dresses have to be given a modern touch, but carefully. They have to be practical." The focus has, therefore, turned to vogue kurta sets for occasional use; and upon probing, one finds that it is more out of fashion concerns than for love of Hindu culture and traditions that these garments are in demand. Designers promote the "newfound" kurta purely as a business proposition. They can make much more money in creating an embroidered traditional dress for a groom than they can in making a Western suit. And here also the media has played an important role. Popular Hindi movies and television serials have been depicting Hindu dress worn by men during functions and special occasions throughout the story lines. The excitement has worked even to charm youth into trying out the increasingly hip Hindu togs. "We get all kinds of age groups and all kinds of family backgrounds," says Charu Sharma, sales manager of Fab India. "They include young college students to people seventy or eighty years of age." Rajiv Malik is a fashion journalist with the Hindustan Times group of publications. Extract courtesy Hinduism Today December 1999

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Indian designers woo French elite “Indian fashion designers will soon woo the French elite after two popular retail chains in Paris agreed during a seven-day fashion showcase here [in France] to display their collections,” an official said.L’eclaireur and Maria Luisa, two large French retail outlets have struck deals with Indian designers Anamika Khanna, Sabyasachi Mukherjee, Manish Arora and Rana Gill to show, distribute and sell their collections to French buyers. “We have managed to put the Indian flag in France. This is the biggest achievement of the event of this year,” said Vinod Kaul, executive director of Fashion Design Council of India, the organizer of the fashion extravaganza that wound up here Thursday evening. The India Fashion Week (IFW) is aimed at providing Indian fashion industry professionals the space to develop business opportunities. The highlights of the IFW have traditionally been fashion shows by leading Indian designers showcasing their collections – Pret-a-Porter (ready to wear) and diffusion (between ready to wear and high-fashion). “The two French retail chains have agreed to display the collections of these designers and the likes of John Galioni. It’s a significant development as the entire continent opens for us now,” Kaul told AFP. “Indian designs have been displayed and distributed in England and US already. But France is a big one.” He said business deals for other overseas markets, especially Dubai and Saudi Arabia, were being struck by other designers.

Indian designs have been displayed and distributed in England and US already. But France is a big one. “What we have managed this year is to take the entire fashion industry forward on a strong growth path that will lead to a 25 to 30 percent annual growth (and) a turnover of 10.0 billion rupees (216.6 million dollars) by 2007.” Indian designers who have been displaying their collections for the past seven years described the response from buyers and potential customers this year as “encouraging.” “My entire collection shown Thursday is already sold out to buyers from London, Hong Kong and Dubai,” designer Payal Jain told AFP after her show, which was largely targeted at western and European customers. Top Indian models displayed her “Voyage-The Fall Winter Collection” that included crush velvet jackets with elaborated detailing in rich brocade and gold borders, blends of chikankari and block prints on lycra and embellishments in earthly colours. “My collection was more of forecasting the trend this year in western and European countries,” Jain said. The week-long event saw good responses to the shows of ace designers such as Tarun Tahiliani, Rohit Bal, JJ Vaaya and Sabyasachi Mukherjee. Tahiliani’s show treated the audience to an array of exquisite embroidery, quilting and draping in fabrics with wide and flowing trousers. While the event was largely dominated by western and European styled collections, designer Valaya compensated with his range of traditional Indian garments. On the racks of his stall at the venue complex is a range of glittering Indian garments and touches of funky denim fabrics. “The event was largely dominated by western and European collections as the local Indian wear is very much established and perfect with little scope for more innovation,” said Kaul. He said the hot pink colours, striking georgette skirts and denim pants had generated an encouraging response. “We have a platform. Now what we look for is corporatisation of the industry with fresh corporate investments to take our fashion industry leaping ahead,” Kaul added. The event which began with Bollywood favourite Rock S collections was to end with a display of Goa-based Wendell Rodricks’ collection, a blend of ancient Indian geometry with a relaxed Goan attitude. Fifty-seven designers displayed their works during the extravaganza. Source: Agence France Press (AFP), Bombay, 2003

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Kaajar [eyeliner] for a mysterious seductive look

Kaajar [eyeliner] for a mysterious seductive look

Most people of the Caribbean, especially in Trinidad and Guyana, have heard of najar. This ailment or malady is also known as bad-eye or mal-jo [maljeaux]. These concepts are easy to understand. It is believed that when one person watches another with intense jealousy or evil thoughts, the victim becomes afflicted with najar, bad-eye or mal-jo. A person affected with najar becomes sick with fever and stomach pains. In the form of a tikka, kaajar [eyeliner] can be used to ward off such afflictions. Another preventative measure is to wear a jantar [amulet] made by a pundit [a Hindu priest]. Kaajar (pronounced kaa-jar) is defined as a black paste made from sooth collected from a lamp chimney. The cosmetic is applied in a thin line at the base of the eyelashes. It, and more so the tikka, is believed to be especially protective of little children who are attractive to evil spirits. Kaajar was used long ago as an eye-cleanser by men. Today, it is worn mainly by women to enhance the beauty of their eyes. It is used by men in the Caribbean during the Hindu wedding ceremony. Kaajar pencils are available in most cosmetic stores. They vary in price according to brand and size. There is a home-made method of making kaajar. On Divali night, a deya [clay lamp] with a thick cotton wick is filled with ghee. The wick is lit. An empty deya is strategically placed up-sided down over the flame. They are left for a few hours, after which the over-turned deya becomes filled with a soot-like substance known as kaajar. Some people use a stainless-steel table spoon in place of the over-turned deya. Manufactures have long come up with an invention to collect the kaajar over the flaming wick. It is made up of two tiny cup-shaped containers held together by two six-inch flat rod clamp. The rim of one container is fixed against the rim of the other. This device is called a kaajar-aa.

The saree/sari

There is something about the saree that has charmed everyone. Maybe it is the way that it is warped around a woman’s body, or the grace that it conveys to her poise.

Dated back to over 5000 years ago when the Indian epic Mahabarata was written, the saree/sari was described as an enduringly attractive piece of women’s clothing. Today, it is common in India and other part of the Indian Diaspora. The saree was introduced in the Caribbean in the 1800s during the immigration of indentured immigrant women labourers from India. It is a flat, rectangular piece of cloth that measures between five to nine yards. It comes in a myriad of patterns, textures and colours. The colours range from bold red to chocolate browns to dark ebony to the lightest whispers of pastel. Some are hand-dyed and woven with intricate embellishments. The textures range from cotton to the finest silks. The patterns are hand-woven or machine-made. They can be intricate and elaborate or very plain and simple

with an unstated elegance. Modernisation and technology have produced sarees that are pre-sewn with folds already pleated in place. There are many choices to make, and it is not difficult to find one tailored to suit your figure and the occasion. The price range is as economical as TT $150.00 to as expensive as several thousands of dollars.The bridal sarees are usually expensive. The saree can be worn for any occasion form work to party, from pooja to wedding, and from house to mall. Except for the older folks, many Indo-Caribbean women today do not wear their sarees on an every-day basis. They dress up in them only on special ceremonial occasions such as weddings, poojas, graduations, dinners, etc. During festivals like Phagwa, Ramleela, and Divali, women don this alluring attractive garment Some women of other backgrounds in multi-ethnic Trinidad wear the saree on special occasions to enhance their beauty. There is something about the saree that has charmed everyone. Maybe it is the way that it is warped around a woman’s body, or the grace that it conveys to her poise. Perhaps it is style of the wraps, folds and tucks of this formless, seamless piece of material that holds it mystery. Many onlookers have marvelled at this simple piece of fabric. The saree holds an ageless charm that has bewitched many on the international fashion circuit. Actresses have always worn the saree on the silver screen in Bollywood since time immemorial. The Americans and Europeans have become increasingly interested in the elegance of this garment. It is now beginning to gain favour with women and designers in the major world fashion markets. The versatility of this wear cannot simply be replicated with any other garment. The way it adapts and conforms to a women's shape is just remarkable. It is truly the Chameleon of Garments as it can be draped to suit every form and size. As with all clothing, there are a few necessary pointers to follow. When looking for a saree, one should take note of the following to ensure that the best possible saree is choosen for your body type. A short woman should buy a saree with small borders, or no borders at all. Borders tend to create the illusion of being taller. Slim women should wear sarees made of organaza or cotton. This choice would emphasize a women's beauty but also give her a fuller effect. On the other hand, thicker women should avoid sarees with wide borders and lots of elaborate workings. These would give a broader appearance. Opt for a simple saree with elegant embellishments and colours that are not bright. Bright colours tend to highlight one’s weight. Happy Shopping!!!

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We build complete radiators oil coolers industrial radiators. Wealso do servicing and re-coring of radiators re-lining of gas tanks. Automotive & Industrial Radiators is one of the mostleading manufacturing radiator company in thecaribbean. Automotive & Industrial Radiators, where you get qualitybuilt radiators at your lowest and most competitive prices. WeAlso Stock A Wide Variety of: B13,814,815, PRIMERA, HONDA CIVIC, MAZDA323F, E23/24 MAXIS, CK20, ERF andmany more radiators off the shelf. PleaseContact Us At 665-3270I / 7813 /689-2696 Or Come In And Visit Us At Comer Kenneth & Fitt Streets Montrose,Chaguanas Where You Meet Our Friendly Staff. E-MAIL: [email protected]

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The Miss Fem India Trinidad and Tobago Pageant A treat of glamour and glitter at a gala event On May 22, 2004, the glamorous Miss Fem India Trinidad and Tobago pageant climaxed in the ballroom of Crowne Plaza, Port of Spain. Twelve (12) beautiful delegates competed for over $30,000 in scholarships and prizes, and a drive away in a BMW motorcar. The show was organized by “D” Vikash Youth Cultural Group of Chaguanas and hosted by Sharda Maharaj. The theme of the prestigious gala event was "Bridging the Gap.” Each contestant had to show similarities between two historical sites or monuments in Trinidad and Tobago and India. Two winners were selected to represent T&T at the Miss India International pageant in 2004, and Miss India world-wide pageant in 2005. The elegant models appeared publicly in beautiful, traditional Indian wear for many months preceding the finals. Some delegates wore two-toned saris that were wrapped perfectly and professionally. These were complemented with matching jewellery. There were also single-coloured saris which looked just as splendid. Some saris were bordered in sequins while others ended in thick, rich folds. Many of the saris were modern-styled pieces, yet they were wrapped in the traditional way. This creativity revealed that even though the materials, designs and decorations have changed, the traditional way of wrapping of a sari has been preserved. There were also some who preferred the gorgeous, yet simple look of the garara. One such delegate won the prestigious event. Indira Misir, clothed in a resplendent garara embroidered with hundreds of sparkling crystals, took the title of "Miss Fem India" as well as "Miss Best Smile" and "Best Hairstyle." She was also voted "People's Choice." The first runner-up was Iyanla Eccles and the second was Kamla Ramoutar The shalwar is another piece of traditional Indian wear that has gone through modernization and change, yet it has preserved its cultural style. The shalwars worn by the models were rich, tasteful garments that brought out the grace of the women. The colours at the show were quite breathtaking. There

was every imaginable colour present, and the hues were also magnificently blended with each garment. There were pieces of clothing with up to four different shades of the same colour, as well as other pieces with four to five different colours on one garment. This rainbow of colours added to the splendour of the competition. The combination revealed that every colour can be used to create a new look in the fashion world, and that each colour has a different appeal. The delegates looked ravishing in their matching attire and this gave flavour to the competition. Another tradition which has prevailed to this day, and which has shown itself in the competition, is the use of gold jewellery. Sometimes the girls wore costume pieces to match their clothing, but most of the jewellery worn was made of gold. The models wore thick and thin gold chains, bracelets, beras, slave bands, anklets, and nose-rings. There were also head pieces and the new craze of wearing gold rings on the navel. Another notable fashion fad was bindi/tika. This has traditional value and a new-age look to it. Today's bindis are creatively done in many colours to match clothing and complexion. Bindis were featured prominently in the make-up accessory of the models at the Miss Fem India show. The delegates were described by the show organizers as "progressive women who have made a difference in their communities through volunteerism and service.” They were all educated women between the ages of seventeen and twenty-three. These beauties, swaying gracefully in their gossamer-like apparel, looked culturally rich and stunning in their blends of traditional Indian wear. It boggles the mind to imagine what the delegates will look like next year. Interested participants for the 2005 show can contact the organizers at 671-8034 or 757-7552. Or e-mail: [email protected]. Website: www.vikashdancers.com

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MovieTowne with its catch of colorful neon lights

Here is the opportunity to experience the excitement of the newest Hollywood and Bollywood blockbusters. From the vantage point of the Long Circular Road lookout if one were to peer out along the southwestern coastline of Port of Spain on a clear evening, they would see a bright red glow warming the horizon. A sharp eye would probably make out the details of the colorful neon lights of MovieTowne, but anyone familiar with the location would probably suggest it had a lot to do with the intense energy that radiates from the Caribbean’s top entertainment and shopping destination! Born from not much more than a dream and a swampland just over two years ago, MovieTowne has quickly defined itself as one of this country’s best pieces of real estate and the premier destination of choice for families. The ambience there is unlike any other found elsewhere on the island. Those who have explored all that the facility has to offer frequently report that they were hooked from the very first time they visited. Everything to tickle the senses awaits you whether your main aim is to shop or ‘catch a flick.’ From the aroma of fine perfumes to the mouth watering scent of fresh buttered popcorn; the opportunity to experience the excitement of the newest Hollywood (and Bollywood!) blockbusters, or to enjoy a casual evening lime with a few friends dining out or just relax at the open air cocktail bar - it’s all there, readily available at one location. Few other places can lay claim to being able to cater a complete wholesome ambience for the entire family. MovieTowne touts itself as the next best thing to home as it offers attractions to keep everyone from Dad to Junior occupied. As with all truly great things though, MovieTowne always searches for ways to get better. There is always something fresh and different happening whether it is one of the many promotional or entertainment activities at the Mall or exciting movie premium offers and giveaways at the Cinema.

Although it may not have the largest Mall, MovieTowne boasts an extremely diverse lineup of retail offerings including some of the country’s finest dining facilities, boutiques and specialty item stores which, despite popular belief, are neither overpriced nor expensive but are generally some of the best bargains locally available! The 100% tenanted Mall is significantly over subscribed and in order to cater for growth, the franchise is preparing to expand. Already on the drawing board is the development of an additional 45,000 square feet of rentable premises, which will include international quality bars, themed restaurants and other nightlife type businesses which are worlds apart from anything else presently available. The project is set to be completed in early 2005. On the cinema side of things, phenomenal growth is taking place too. In November 2002, MovieTowne added 10 top of the line screens to the then existing total line up of just about 16 cinemas in Trinidad. During the course of 2005, however, the Cineplex intends to broaden its horizons by developing at least 16 more screens in locations across Trinidad and even in the sister isle of Tobago. It’s a true advertiser’s dream as many have already found their most captive audiences relaxing in the plush reclining seats of MovieTowne-Port of Spain. Have you been to MovieTowne yet? Ask anyone who has visited and you’ll quickly learn how much you’ve been missing out on. Stop looking from a distance and hearing from others what the buzz is all about. Be a part of the energy, adventure and attraction. Enjoy some of the best shopping while you’re at it and experience movies at their very best. There’s only one place to be - MovieTowne! Are you there yet?

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Shringaar A cultural evening of food and fashion

For every woman, Shringaar means a beautiful experience of being adorned with a saajar flower clipped on her hair. The Centre of Excellence at Tunapuna came alive with a special sumptuous dinner, scintillating music and a fashion show. The occasion was Shringaar, contextualised in the expression: “For every woman, Shringaar means a beautiful experience of being adorned with a saajar flower clipped on her hair.” Shringaar was hosted by The Hindi Foundation of Trinidad and Tobago on Friday 2nd July 2004 at 7:00 p.m. There was a rainbow of beautiful Indian outfits donned by guests and models alike. The array of Indian garments ranged from gararas and shalwaars to saris and kurtas. The highlight of the evening was two fashion segments which were presented by Priya's Creations. Models included Mala Hargobin, Parbatee Dipnarine, Kavita Persad, Sherry Narine, Devika Teelack and Kerry Gobin. There were dances by the Sophia Mustapha Nirvana Dance Group and songs by Indar Kanhai, the melody king. There were also musical items by saxophonist Narendra Maharaj and violinist Shivanand Maharaj. Dinner included non-vegeterian dishes such as stewed chicken and curried goat. The vegetarian menu consisted of fried bodi, tofu and soya with pigeon peas, mango anchar and parathi roti. Dessert comprised of sumptuous Indian delicacies such as rasgullah, ghulab jamon and custard fruit cocktails. The event was held under the patronage of Their Excellences The President of Trinidad and Tobago, President George Maxwell Richards, and his wife Dr. Jean Ramjohn-Richards. Other dignitaries at the event included the President of the Hindi Nidhi Foundation Shri Chanka Seetaram who delivered the Chairman's Opening Remarks, and the High Commissioner of India, Mr. Virendra Gupta.

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- the forehead dot that blends with clothes, colour and jewellery The bindi is no longer worn only between the eyebrows, but now also graces every part of the body. Over time, the bindi has evolved from a simple dot to a decorative stick-on pattern worn for poojas/pujas, outings and special occasions. The bindi is no longer worn only between the eyebrows, but now also graces every part of the body. It is no longer the painstakingly-drawn wobbly circle grandmothers and great grandmothers drew. It is now the contemporary fashion statement worn by the modern women to accentuate their dazzling and alluring outfits. The bindi is one of the sixteen mythical and immortalized solah sringara or beauty accoutrements. It is also referred to as the teeka, tika, tilak, pottu and kumkum. The bindi is an ornamental accessory compared to the tikka, which is used mainly as a religious symbol. The black-coloured bindi is perhaps still worn to ward of najar [evil-eye] and bring good luck. The red round bindi on a woman's forehead proudly signals that she is married. The red colour of the bindi is supposed to bring prosperity. Women who are not married have taken to wearing this colour today. The bindi originated in India and is as ageless as the stars with angels. In the northern part, the icon denotes a woman's social status, and is worn by every bride from her wedding day onwards. In the southern part of India, the preferred color by all girls is black. The emergence of bindis began with mercury, lead, charcoal, turmeric, saffron, clay and sandalwood. It is no longer a holy mark of matrimony, and has become a fashion symbol of the liberated woman. There are many myths associated with the effect of the bindi. A popular myth is that if a boy places a bindi on the centre of the eyebrows of a girl, she will fall in love with him forever. Bindis come in many colours, makes and patterns. The most popular shapes are the circle and teardrop. Some bindis come with rhinestones, glitter dust and miniature beads to add an extraordinary look. A difficult question to answer is which bindi should be worn with which outfit.

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The Nirvahna Weight Management Clinic Wise words from Dr Dev Ramoutar Strict vegetarians hardly ever get fat; starch-Arians and fruit-Arians often do. There can be no Satyam (truth) or Shivam (Godliness) without Sundaram (beauty). Beauty is the bedrock of truth and Godliness. We overestimate the power of exercise and underestimate the power of fat. Walk thirty miles to lose one pound of fat. The success of most social functions depends on a large extent on the fatal attraction of food. Fat is a banking account of food around the waist to ensure our survival in lean times, flood, earthquakes, winter and famine. It is time to create a famine to get rid of waste around the waist. The road of Sundaram (beauty) culminates in the throne of Satyam (truth) and Shivam (God). Practice the Bhakti of right eating and be rewarded with the Shakti of healthy living. Kali Yug has arrived! The children of the Rishes (Saints) go to Kashhi Temple at night, and KCF the next morning; whereas the children of Ravana (evil) are eating the Satvic (heavenly) food and experience cosmic vibration. Everyday we slowly and surely dig our graves with our forks and knives. A high stomach is the abode of chronic illness.

The average successful man spends the first fifty years of his life sacrificing his health to create wealth, and then spends the next ten years trying to buy back his health with his acquired wealth. In the end, he succeeds in losing his wealth and health.

How confused is the mind of man! Our vegetarians have become starch-arians and fruit-arians - and innocently claim to be vegetarians.

Eating should not be a substitute for living.

To lose weight you must yearn long enough, exercise long enough, and eat little enough.

Blessed are those who are flexible in dietary matters, for they shall regain their sublime shape.

To flirt fearlessly with fatness is to flirt with death.

A distorted body is the product of distorted eating. The price of weight maintenance is eternal vigilance. If you don't trust the messenger, you will not trust the message. The messenger is now the message.

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Exim House, #30 Queen's Park West, Port of Spain, Trinidad, W.I. Tel: (868) 628-2762, 628-1382 Fax: (868) 628-9370 Email: [email protected] Website: www.eximbanktt.com "A Platform For An Explosion In Trade"

Indian fashion in the movie Troy The order for a few necklaces, hairpins (modelled on the hair combs worn by Indian women in the old days), coloured glass pendants and earrings were placed by the makers of the film …

By Kanika Gahlautt If the studded gown of this year's Miss Universe, Australia's Jennifer Hawkins, was traced back to an export house in Gurgaon, guess why those hoops and necklaces worn by the cast of the epic film Troy, including the hunky Brad Pitt, look so familiar? So much so that when Kolkata designer Sabyasachi Mukherjee saw the film, he remarked that he could swear that some of the pieces had been picked up from Janpath in Delhi. There was something to his suspicion. It turns out that some of the jewellery was Indian indeed - from the Jaipur-based design house Amrapali. Rich in antique designs and beautiful gem stones, Jaipur as a hub of jewellery sourcing for the West is now old hat. While John Galliano's trip to Rajasthan and Mathew Williamson's tie-and-dye inspiration find their way into the media, the Jaipur-based jewellers who sell their stones and intricate meenakari to international jewellery designers go largely unapplauded. For Amrapali, the 25-year-old jewellery house known for contemporising antique designs and with four outlets across India, the Troy assignment was a prized one. The order for a few necklaces, hairpins

(modelled on the hair combs worn by Indian women in the old days), coloured glass pendants and earrings were placed by the makers of the film at Amrapali's Selfridges outlet in April last year. "They came to the store and felt that some of the jewellery shown would go well with the costumes in the film, so we did not have to change the designs much," says Anil Ajmera, director, Amrapali. The jewellery, like all other pieces in Amrapali stores, was made in Jaipur. These are antique-looking pieces-silver items with gold-plated finish that went with the period Greek saga over the battle of Troy. While the jewellery house, which has clients like supermodel Naomi Cambell, actors Dimple Kapadia and Rekha, has designed some contemporary pieces for Pooja Bhatt's Paap and Jism, this is their first for Hollywood. So in the theatres near you this week, watch out for Helen of Troy's Indian connection Source:http://www.indiatoday.com/itoday

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The orhani/orhini – head scarf As a fashion piece, the orhani stirs up an air of mystery and innocence for the woman who dresses in it.

The orhani [head scarf] is worn by Indian women as a sign of modesty and respect. Only women wear orhani; men wear turbans and phagrees. The orhani/orhanee/orhini or dupatta is worn over the head, completely covering the hair and sometimes part of the forehead. Part of it usually falls over the shoulder and is draped over the bosom in a triangular folded form. At the shoulder, it is fastened with a brooch. In the past, women with dresses would wear a matching waistband under which one end of the orhani would be tucked. The orhani is often used during religious and ceremonial occasions. One end of the sari/saree is used as an orhani by women performing poojas, and brides during their wedding ceremonies. Up to the 1960s, elderly women wore this broad piece of unstitched cloth in the presence of strangers, particularly men. Nowadays, it is used mainly at temples, poojas and yagnas by participants and members of the audience, but many young women today can be seen draping it around their necks and over their shoulders. The orhani is a light, soft, lovely accessory that is sometimes worn with elegant classic clothing. All brides wear this type of head scarf during the Hindu wedding ceremony, and dancers veil themselves in it to add mixture and mood. Black orhanis are worn at funerals and cremations by women of all age groups as a sign of condolence. As an evening wear, younger women today prefer to opt for Western scarves and shawls. As a fashion piece, the orhani stirs up an air of mystery and innocence for the woman who dresses in it. Worn with other traditional attire, it creates a flowing graceful look. Some orhanis are decorated, patterned and cut in various styles at the edges. Some come in a variety of pastel colours, and some are multi-coloured. Others are rich in colour with streams of gold and glitter cascading down the length of fine silk. Some are heavily beaded or sequined, and edged off with soft fringes. Others are designed with beads on the edge to add form and weight. The most common choice is just a plain black or white orhani.

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Lungi

– the fashionable man’s skirt or kilt A long waist coat or shawl with tassels adds a sophisticated dash of class. The lungi is a piece of woven cotton cloth. Measuring up to nine yards, its rectangular length is wrapped around the waist like a towel or skirt. The lungi is unstitched like the sari/saree, dhoti and turban. This apparel is worn by men and boys throughout India as the kilt is donned in the Scottish Highlands. Many indentured laborers wore the lungi on their voyage to the Caribbean. They continued to wear it as everyday dress in the plantations as was the custom in India. Over the years, men gravitated towards kurta suits and dhoti pants. In Trinidad and Tobago, it is very rare to see a man wearing a lungi. The kurta is worn at formal functions and special occasions. The lungi makes its appearance only on religious occassions at home and temples during poojas and yagnas. The lungi comes in an assortment of colours and printed patterns. The most common is the white lungi with colored narrow border, or no border at all. It is wrapped around and tucked in at the waist with a pleat that falls on the left leg. The simple lungi is accompanied by a long kurta-like or Nehru-necked top that reaches the knees. The top is usually heavily embroided with gold, copper or silver threads. A long waist coat or shawl with tassels adds a sophisticated dash of class.

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Garments during in the 1870s

Illustration and text by Charles Kingsley, At Last: A Christmas in the West Indies. London: Macmillian, 1873. His [indentured immigrant’s] wife walks about, at least on high-days, bedizened with jewels: nay, may you see her, even on work-days, hoeing in the cane-piece with heavy silver bangles hanging down over her little brown feet: and what wealth she does not carry on her arms, ankles, neck, and nostril, her husband has in the savings’ bank. … The dress of many of the men was nought but a scarf wrapped around the loins [dhoti]. Women wore nought but the longer scarf [orhani] that she contrived to arrange in a most graceful manner, as well as a perfectly modest covering [sari], even for the head and feet. These garments, and perhaps a brass pot, were probably all the worldly goods of most of them …

The Oriental instinct for harmonious hues, and those at once rich and sober, such as may be seen in Indian shawls, was very observable even in these coolies, low-caste as most of them were. There were bangles and jewels among them in plenty; and as it was a high day and a holiday, the women had taken out the little gold or silver stoppers in their pierced nostrils [nakphool], and put in their place a great gold ring which hangs over the mouth, and was considered by them, as learned men told us it was by Rebekah at the well, a special ornament.

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The scanty navel-baring look is fading out Now you see it. Soon you won’t. In a trend sure to be relief to some and a disappointment to others, women will cover up instead of baring it all next season as the “slutwear” look comes to an end. Demure designs have replaced scanty navel-baring looks on the catwalks of this week’s semi-annual run of fashion shows, a reliable sign of what shoppers can expect to find in stores next spring. “The slut is out now. She’s dead,” said Godfrey Deeny, senior fashion critic at Fashion Wire Daily. In recent seasons, fashion has been filled with skimpy tops exposing midriffs, cleavage-revealing necklines and jeans slung so low that precious little was left to the imagination-looks mpossible to avoid on such pop icons as Paris Hilton and Britney Spears. This season, blousy linen took the place of sheer chiffon, while shades of white chased away an edgier black. Necklines were up, while hemlines were hovering down at the knee. “It’s very ladylike. It’s not jump into-bed fashion,” Deeny said of the new look on runways as established powerhouses to new designers trotted out more fabric and less skin than in seasons past. Marc Jacobs showed 1950s’ style sweater sets and dresses of florals and gingham; Carolina Herrera showed knee-length Bermuda shorts; Kenneth Cole had pleated skirts and wide-legged trousers and Oscar de la Renta showed bouche suits. Alice Roi, Rebecca Taylor and Cynthia Steffe brought out loose, Bohemian style peasant skirts and dresses. Women who actually buy fashion may have sent a message to designers who have been preoccupied dressing rock stars, said Paco Underhill, chief executive of Envirosell, a market research company, and author of “Why We Buy.” “There was too much slutwear,” he said. “Slutwear doesn’t play in the boardroom and it doesn’t play in the office. “Designers also recognized that women are desperately looking for solutions Monday through Friday. The money is in Monday through Friday,” he said. Trend forecaster Merrill Greene called the new look “prim and improper.” “It’s what’s under the clothes, something seething underneath. We won’t be showing it so much on the surface.”

Designers predict more fabric and less skin is coming.

She said the less-bare look may be a response to the world around us. “It’s a way of protecting oneself. We might feel insecure about showing off, of looking too out there and too American,” she said. Underhill suggested the new modesty may be backlash to the “slutwear” look creeping into the children’s market and young girls trying to copy the revealing, belly-baring looks of pop stars such as Spears. Harsh media attention surrounding cases such as the murder of Lacey Peterson and the sexual assault accusations, now dropped, against basketball’s Kobe Bryant “highlighted the dark side of lots our sexuality,” he added. Retailer Robert Burke, vice president and senior fashion director at Bergdorf Goodman, took a more benign view of the latest trend. “Fashion goes in cycles, and I think that cycle kind of played out,” he said. “It’s the end of overtly sexy clothes. As a retailer, it’s especially good because it’s very wearable. That’s a positive for us,” he said. Source: Reuters, New York, 2004.

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The pandit’s robe in 1880

“A babagee [Hindu priest] in easy circumstances may be recognized by the conspicuous whiteness and amplitude of the embroidery trimming about his costume. His voluminous kapra takes more the form of pyjamas, reaching nearly to his feet, while that of the low-class Indian is much more contracted.” J. H. Collens, Guide to Trinidad. London: Elliot Stock, 1886.

The pandit’s robe in 1880

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Vegetarianism grows in popularity

The outbreak of Asian Flu and Mad Cow disease has led people to turn to vegetarianism

It seems that with each outbreak of Asian Flu or Mad Cow disease, people are either adopting a vegetarian diet or reaffirming their lifestyle choice if they are already vegetarian. Interviewing vegetarians from various regions of India, Saikat Neogi has uncovered a wide array of vegetarian followers. Vidyanidhi Dalmia, Chairman of Dalmia Continental Private Limited, who was brought up a vegetarian and has now resumed the diet says, "Eating nonveg was always uncomfortable for me, and the very thought of killing a living being for consumption was abhorrent. And late last year I decided to turn vegetarian." Raj Khosla, director of Shelters comments, "I was going for a meeting and got struck in a traffic jam. Ahead of our car was an uncovered lorry carrying slaughtered chickens and their blood was flowing on the street. Every time the lorry used to brake, a splash of blood would hit our windscreen. It was very detesting. It was then that I decided to quit non-vegetarian food." Chelan Seth, chairman and managing director of Chemon adds, "I was a carnivore and ate every kind of meat under the sun. But after going through a couple of spiritual lessons, I decided to give up non-vegetarian food. The quality of meat in India is not very

good and can lead to diseases." All three men are happy with their vegetarian food choices and say that globally vegetarian food is now easier to find than it used to be. Dilip Modi, CEO of Spice Communications says, "There is a plethora of fruits and vegetables available all over. So, being a part of the herbivorous food group one can enjoy a variety of cuisine in every country. It is hardly a sacrifice to be vegetarian like many may think and one can enjoy the vast variety of vegetarian food, apart from the fact that it is healthier." Dr. Umesh Kapil, Professor in the Department of Gastroenterology & Human Nutrition at All India Institute explains, "The high content of fibre in the vegetarian diet can prevent constipation which is responsible for diseases like diverticulosis, hiatus-hernia and varicose vein. Similarly, a vegetarian diet prevents one from being exposed to zoonotic diseases which spread because inadequate examinations are done on animals before they are slaughtered."

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Garara

-the gorgeous bodice and skirt

For generations, skirts have been the defining attire of women. It is said that they bring out the feminine beauty and modest quality of a woman. In the fashion world of Indian garments, there is only one garment that is elegantly graceful second to the sari. It is the garara (pronounced ga-ra-ra). It is a remarkably simple outfit that lends an enchanting allure to a woman. This outfit makes a smart appearance as it consists of a bodice and skirt. The bodice varies in length from under the bust to just above the hips. It is usually more decorated than the skirt. The skirt is flowing and often floor-length. It complements the bodice, but it has less working of beads and needlework. Both pieces are often hand-embroidered with fine-quality sequins and nylon treads. They are both made of lovely oriental patterns of various designs. Gararas come in every colour imaginable

to tantalize the eyes. They range from light pastels to dark somber colours. Gararas are made with various materials that range from cotton to silk. Some gararas come in thin fabrics well-suited for hot tropical days. The choice is endless. One can easily spend a day browsing through a collection at an Indian clothes store. To select one is a difficult choice to make. They are all so gorgeous. This is an appropriate wear for any occasion - from weddings to pujas to everyday use. The cost of a garara varies with the type of handiwork that was done on the fabric. The price ranges from as low as $200 to as high as $10,000 in Trinidad and Tobago. The expensive gararas can be quite eye-catching. The bead sequin and careful hand-embroidery combine to give a stunning ensemble that can surely turn heads.

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Bridal bindis … a pattern of coloured dots on the body

In addition to their exquisite clothing and jewellery, women adorn themselves with fine removable bindis [dots]. Seen mainly on Indian dancers and brides, they are commonly placed above the eyebrows. These bindis span the length of both eyebrows and enhance the innocent, seductive look that Indian clothes seem to evoke. These bindis come in a wide variety to match the outfit of the wearer, but the most common choices are silver, red, and black with gold detailing. They have become the rave of teenage girls and young women. Bridal bindis are also worn as body art. And because they are made up of individual units and are removable, each one can be used to create both intricate and simple designs to suit the specific occasion. Sometimes, they are placed around the navel, and on the lower and upper back as an expression of artistic freedom.

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Tikka – the sacred forehead dot It is placed between the two eyebrows which is the seat of contemplation, and also the inner or yogic/third eye of higher perception. The tikka/tilak [forehead mark] is the defining symbol of a Hindu. It is a dot-like paste worn by both male and female, and is usually applied as part of a Hindu ritual during a puja/pooja [ceremonial worship]. The tikka usually takes the shape of a large dot or long stroke. It is very cool to the touch. Sometimes it is mistakenly called the bindi. But the distinction between the tikka and the bindi is that the bindi is exclusive to women. The tikka it is also a sacred symbol unlike the bindi which is an ornament. The tikka is usually placed on the centre of the forehead where one of the three principal nerves ends. This part of the forehead between the two eyebrows is the seat of contemplation, and also the inner or yogic/third eye of higher perception. It is believed to help an individual focus during meditation. In the past, it signified accomplished adulthood and the ability to think for oneself. During puja, the tikka is made from chandan a chalk-like substance mixed to form a sandalwood paste. A designated person or the pundit would place a tikka on the centre of the forehead of all persons in attendance. The paste is usually applied with the third finger from the thumb (ring finger) of the right hand.

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Americans should adopt Hindu values

Chris Satullo argues that Hindu philosophy does not try to paint the world into polar opposites. Instead, it tries to look at the unity underlying those dualities.

Chris Satullo, a columnist with the Philadelphia Inquirer, believes a lot of problems facing the U.S. economy will be over if Americans learn to be Hindu. And he seriously states his case in this very unusual editorial for a major US newspaper. Satullo thinks the current crop of politicians in the United States think much like the way the Christian doctrine tries to look at the world: good/evil, white hat/black hat. So they tend to blame the current ills faced by the American economy-job losses, lack of new jobs-on free-market capitalism. This means that free-market capitalism is bad, says this review of Mr.Satullo's recent editorial. What the country, and its politicians, need now is more of Hindu monistic philosophy, Satullo says. His argument is that Hindu philosophy does not try to paint the world into polar opposites. Instead, it tries to look at the unity underlying those dualities. So, Satullo points to Siva being both the creator and the destroyer. "Siva embodies a central paradox of life. To create the new, you must destroy the old. To create fire, you must destroy wood. To make oil, animals must die. For the automobile to prevail, blacksmiths must suffer. For Bill Gates to rise, the typewriter repairman must fall," says Satullo. Free-market capitalism, according to Satullo, is like Siva. It creates and destroys. But it is not a zero-sum game either. As free-market capitalism does its Tandava dance, it leaves behind more wealth and more

health for more people. And also much suffering, injustice, inequality, and corruption, much strain on families and on nature. In other words, according to Satullo, free-market capitalism is Siva. It is neither all good nor all bad; it is what it is, at once creative and destructive. So, President Bush's rigid mind thinks in black and white. "He worships capitalism, no; make that the corporate perverters of it who fund his ambitions. He has one answer to every economic situation: tax cuts. Not only isn't he much of a Hindu; he needs work on the Christian thing too," says Satullo. The Democratic challenger to Bush, John Kerry is worse. He (and other Democrats) harp on "protectionism, mindless business-bashing that ignores the value of entrepreneurship, the use of public dollars to make bad bets on losing industries," he adds. "I'm looking for a sign, for someone who knows how to dance with Siva," Satullo concludes.

References:http://www.philly.com/mld/inquirer/news http://economictimes.indiatimes.com/articleshow INDIA, March 18, 2004:

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Religion and residence in Trinidad

By Kuniko Chijiwa

The respective proportions [of Hindus and Muslims] are 67.6% in urban areas and 73.4% in rural areas …. it is also evident that the percentage of those who adopt Christianity … is higher in urban as compared to rural settings. The gradual growth of an (East) Indian population in Trinidad radically changed the demographic, social, and economic structure of Trinidad and Tobago. Increases over time in the Indian population have generated a perception among Africans of the Indians being in control economically and, in the past, politically. On the eve of independence from Britain, Trinidad was 43.3 percent African, 36.5 percent Indian, 16.3 percent mixed, 1.9 percent white and 2.0 percent other. The Indian population has steadily increased, while the African population has become a mixed population. The 1990 census indicates that the Indian population finally exceeded the African population in Trinidad with respective proportions of 41.9% Indian and 37.4% African. The effects of these demographics can be seen in the various spheres of Trinidadian life: religious, economic, geographic and political. The religious affiliation marks a clear distance between African and Indians. A large number of Africans affiliate with the Anglican, Baptist, and Roman Catholic churches. Indians predominate in Hinduism, Islam and Presbyterianism. Trinidad also has many other religious institutions. In the first column in Table 1.1, the 1990 census shows that 29.2% Trinidadians were Roman Catholic, followed by the Hindus 23.2% and the Anglicans 10.5%. The other non-Catholic Christian churches were 21.3%. The trend of religious affiliation in Trinidad is that the number of worshippers of large institutions such as Roman Catholicism and Hinduism has declined census by census, while Pentecostal and other non-Anglican Protestants have drawn noticeable numbers of people from both ethnic groups since 1970. It must be pointed out that, though there are Indians in various Christian denominations, Indians on the whole restrict themselves to the practice of Hinduism, or rather the variant thereof that has emerged in Trinidad. My study on ethnic differentiation in Trinidad relies on the two data sets in order to explore the character of the differences between the African and the Indian populations in Trinidad. In keeping with the pluralist theories of race and ethnicity in Trinidad, we hypothesize that the two groups will differ significantly in terms of such variables as religion, marital status, and educational attainment. Table 1.2 shows the religious affiliations among the two major ethnic groups. The patterns that are shown in the Table are not surprising: Among Indians, the major religions

are Hindu and Muslim (57.4% and 14.0% respectively). However, it is also evident that a small but not significant number of Indians are also Christians. Nearly 12% declare ‘Other Christian” as their religion, while around 6% to 7% are Roman Catholic and Presbyterian, respectively. Since most immigrated Indians originally worshiped Hinduism or Islam, we can conclude that those who declared themselves to be members of Christian sects in 1987 must have been converted to Christianity. In contrast to the Indians, the Christian religions predominate within the African descent population. Within the Christian general category, it is also apparent that some denominations are more prevalent than others. As shown in Table 1.2, most Africans are Roman Catholic (38.5%), followed by Anglican (19.7%) and Methodist/Baptist (17.0%). Another Table [not shown] is concerned with findings that bear upon the association between religious affiliation and ethnic backgrounds, controlling for respondents’ place of residence. To facilitate the analyses, nine categories are collapsed into three categories; Roman Catholic, Protestant (Anglican, Methodist/Baptist, Presbyterian, Seventh Day Adventist and other Christians) and Hindu/Muslim. Since the percentage of respondents who declared to worship non-Christian religion and no religion is so low (14 cases), these respondents were excluded from this analysis. The results show that, among African respondents, Protestantism clearly draws a large number of people in both urban (56.7%) and the rural areas (64.4%) in rural areas. Indians respondents largely declare affiliation to Hinduism or Islam. The respective proportions are 67.6% in urban areas and 73.4% in rural areas. The rural-urban distinction sheds further light on the Indian population with respect to the tendency to be affiliated with Christian religions. Whereas the findings in Table 1.2 shows that Hindu/Muslim religions dominate within this ethnic group, it is also evident that the percentage of those who adopt Christianity (especially Catholicism) is higher in urban as compared to rural settings. In other words, even though the percentage of people is comparatively small, the tendency to find Christian Indians is predominantly an urban phenomenon. Chijiwa grew up in Japan, and studied at the University of Florida for her M.A. in Latin American Studies.

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Table 1.1 Religion Distribution: Census 1990 and DHS Data % of denomination belonging to each ethnic group African East Indian

% in population Religion

Census: 1990

Roman Catholic Anglican Methodist/Baptist Presbyterian Seventh Day Adventist Other Christian Hindu Muslim No Religion Other or Not Stated

29.2% 10.5% 4.4% 3.5% 3.9% 9.5% 23.2% 5.7% 0.9% 9.2%

50.7% 75.9% 83.8% 0.9% 69.0% 40.9% 0.6% 3.5% 40.0% 38.5%

11.2% 4.7% 3.0% 92.7%. 17.2% 40.4% 97.8% 93.5% 20.0% 23.1%

Source: Annual Statistical Digest 1998 (Table l3, p. 15) Demographic and Health Survey, Trinidad and Tobago, 1987

Table 1.2 Religious Affiliation by Ethnicity and Place of Residence Place of Residence Total Urban Rural

Ethnicity Religion Protestant Catholic Hindu/Muslim Protestant Catholic Hindu/Muslim Protestant Catholic Hindu/Muslim

African

East Indian

59.9% 38.9% 1.2% 56.7% 42.1% 1.2% 64.4% 34.4% 1.2%

22.0% 6.3% 71.7% 20.3% 12.2% 67.6% 22.8% 3.8% 73.4%

Note: Two categories of other religion' and 'non-religion' were excluded from this table. Concequently, the total cases in this analysis is 2,286. Source: Demographic and Health Survey, Trinidad and Tobago, 1987 Significance: Both urban and rural are significant at .000

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India makes fashion statement in the world By R.L. Saggar

New marketing thrust is now aimed at untapped markets like South and Central Africa, CIS and East European countries, Latin America and Australia. India’s new generation designers have in recent years made their collections a winning combination. Leading and famous fashion labels are being associated with Indian products. The garment industry has made sustained efforts to put the country on the global map. As a labour intensive industry, it is next only to agriculture, having an estimated work force of three million. Contributing towards 6% of the Gross Domestic Product, the garment industry is vital to the economy of the country. Its share in the foreign exchange earnings is nearly 18%. Today, not only is the apparel export graph rising upwards, interest and enthusiasm among overseas buyers are also at a high. Numerous varieties of garments are produced by the industry, some of them in line with contemporary fashion, having exquisite Indian workmanship. Leading garment export units have put together bold and contemporary designs. They have incorporated extraordinary innovations, unique designs, embellishments and motifs from across cultures. The motifs have been sourced from dated artistic pieces such as paintings, carvings, etc. Besides the established names like Hemant Trivedi, Ritu Kumar, Ravi Bajaj, Satya Paul, J.J Valaya, Ritu Beri, Rohit Bal, et al, new talented designers have also emerged. They include Siddartha Tytler, Leena Singh, Prasad Bidapa, Ranna Hill, Rohit Gandhi and Rahul Khanna. They consider fashion very much an art form; each design should be uncluttered and aesthetically satisfying. There is a growing realization that the way we dress is a statement of our taste and lifestyle. It projects our preferences and personality, transcending economic classifications. Traditionally, India possesses a vast variety of styles, a myriad of dress designs and creative craftsmanship capable of producing unimaginable collections. Stunning combinations such as blending fur with denim, crystal components with the finest black beads, signature embroidery with chiffons of unusual shades and antique kundan jewellery mixed with rhinestone have made their mark.

Fashion designers have been bringing out collections suited to sharply varied seasons across the country. Fall winter collection is all about detailing, lots of extra pockets, zippers and surface ornamentation. There is the fabric treated by handcrushing or with pintucks. Trousers for men are loose. The uppers have a Kaftan feel this season. According to designer Rohit Gandhi, “People are knowledgeable and since they travel a lot now, they are well-versed with international prices too. They want good quality at a fair price.” In fact, Indian consumers have become as demanding as their western counterparts when it comes to quality. During the last two decades, major developments have provided powerful impetus into the industry. The establishment of the network of the National Institute of Fashion Technology at Delhi, Mumbai, Ahmedabad, Bangladore, Calcutta and Hyderbad and similar institutes in the private sector, coupled with the fashion trend forecasts, setting up of Fashion Design Council of India, participation in international fashion shows, organizing exclusive garment fairs in India and abroad have given tremendous push, making the industry the highest net foreign exchange earner. According to provisional estimates, the business will be worth approximately Rs. 20,000 crores (US $4.65 billion) in the current financial year. New marketing thrust is now aimed at untapped markets like South and Central Africa, CIS and East European countries, Latin America and Australia. With the expected abolishing of the quota regime, the garment industry is expecting major gains.

Courtesy: India Perspectives, March 2004

Canada’s multicultural model – respecting differences of culture With no pressure to assimilate and give up their culture, immigrants freely choose their new citizenship because they want to be Canadians.

The Canadian Multiculturalism Act commits federal institutions to carry out their activities in a manner that is sensitive and responsive to the multicultural reality of Canada. Section 8 of the Act requires the preparation and tabling in Parliament of an annual report on the operation of the Act. Canadian multiculturalism is fundamental to our belief that all citizens are equal. Multiculturalism ensures that all citizens can keep their identities, can take pride in their ancestry and have a sense of belonging. Acceptance gives Canadians a feeling of security and self-confidence, making them more open to, and accepting of, diverse cultures. The Canadian experience has shown that multiculturalism encourages racial and ethnic harmony, and cross-cultural understanding, and discourages ghettoisation, hatred, discrimination and violence. Through multiculturalism, Canada recognizes the potential of all Canadians, encouraging them to integrate into their society and take an active part in its social, cultural, economic and political affairs. In 1971, Canada was the first country in the world to adopt multiculturalism as an official policy. By so doing, Canada confirmed the value and dignity of all Canadian citizens regardless of their racial or ethnic origins, their language, or their religious affiliation. The 1971 Multiculturalism Act is fundamental to our belief that all citizens can keep their identities, can take pride in their ancestry and have a sense of belonging. Acceptance gives a feeling of security and self-confidence, making them more open to, and accepting of, diverse cultures. The Canadian experience has shown that multiculturalism encourages racial and ethnic harmony and cross-culture understanding, and discourages

ghettoisation, hatred, discrimination and violence. Mutual respect helps develop common attitudes. New Canadians, no less than other Canadians, respect the political and legal process, and want to address issues by legal and constitutional means. All Canadians are guaranteed equality before the law and equality of opportunity regardless of their origins. Canada’s laws and policies recognize Canada’s diversity by race, cultural heritage, ethnicity, religion, ancestry and place of origin, and guarantee to all men and women complete freedom. Their dignity is guaranteed through Canadian citizenship, Canadian Constitution, and Charter of Rights and Freedoms. Multiculturalism has led to higher rates of naturalization than ever before. With no pressure to assimilate and give up their culture, immigrants freely choose their new citizenship because they want to be Canadians. As Canadians, they share the basic values of democracy with all other Canadians who came before them. At the same time, Canadians are free to choose for themselves, without penalty, whether they want to identify with their specific group or not. Their individual rights are fully protected and they need not fear group pressures. Their diversity is a national asset. Recent advances in technology have made international communications more important than ever. Canadians who speak many different languages and understand many cultures make it easier for Canada to participate globally in areas of education, trade and diplomacy. Multiculturalism is a relationship between Canada and the Canadian people. Their citizenship gives them equal rights and equal responsibilities. By taking an active part in our civic affairs, we affirm these rights and strengthen Canada’s democracy, ensuring that a multicultural, integrated and exclusive citizenship will be every Canadian’s inheritance. Website: Canadian Heritage www.pch.gc.ca

Men’s Indian Wear

Choli - the charismatic Indian blouse Choli - the charismatic Indian blouse

The latest fashion trend developing in Trinidad is the short mid-riff choli that is laced up at the back. It is worn with low-rise jeans for casual occasions. Choli, also known as the Indian blouse, has been around since the days of the Vedas (1,500 BC). It is a complementary piece of attire that goes with the sari/saree or lehenga. It is worn as a matching blouse under the sari and as a top piece for the lehenga. It is considered by many reviewers to define a woman's taste and style of fashion. The choli is donned for the specific purpose of complementing and enhancing a woman's figure. It is therefore, considered a very important piece of attire. It is extremely beautiful and flattering to all female shapes. Throughout generations, the choli has evolved with the times to accommodate new tastes of the changing society. When buying this exquisite Indian garment, women can be assured of infinite sizes, inspirational colours and intricate beaded designs. Some tops have full length sleeves, some capped and others with puffed sleeves. Sequins, crystals, and beads have been sewn onto the fabric to give a whole new look. Some designers have been experimenting with the choli to make it more appealing to teenage girls. The back is usually laced to expose a little skin. Some cholis drop to the mid-thigh to suit the more conservative woman. The latest fashion trend developing in Trinidad is the short mid-riff choli that is laced up at the back. It is worn with low-rise jeans for casual occasions. The choli gives a charismatic effect to the wearer as the pattern and embroidery evoke an exuberance of style. The rich vibrant blend of colours enchants all those who see the attire. For the woman who models this piece, it induces awe-inspiring admiration. Boys and men are fascinated by this wear because it gives a woman a sleek new look. The very versatile choli lends itself to the taste of a wide cultural spectrum of our rainbow society. For the rich and the poor, the Indian and the non-Indian, this fashionable blouse is a "must have" for every woman's closet.

– a temporary tattoo in demand for Carnival too Many teenagers prefer to have mehendi done as a temporary tattoo on various parts of their body to complement their racy outfits when going to parties. With the resurgence of Indian fashion - anklets, bangles and bindis - the wearing of mehendi has caught up with the trend. Unlike tattoo, mehendi is a temporary body decoration that would show only for a few days - much to the relief of some conservative parents. The application of this plant pigment has a cooling sensation and no side effect on the skin. Although mehendi is traditionally associated with Hindus, it has become an intrinsic part of the multi-ethnic culture of Trinidad and Tobago. Many teenagers prefer to have mehendi done as a temporary tattoo on various parts of their body to complement their racy outfits when going to parties. Mehendi is a boundless art-form with a limitless scope for various designs, shapes, colours and patterns. This traditional art originated from India and requires skill, imagination and patience. Today, mehendi paintings are in great demand during Carnival in Trinidad today. Celebrants decorate their bodies to match their colourful beads, feathers and costumes. To masqueraders, it is exciting to indulge in the ancient practice of body art. Indian dancers also wear mehendi to embellish their hands and feet. There are many designs from which to choose. Basically, there are floral patterns from the Middle East, geometrical shapes from North Africa, and the block outlines from South Asia. The popular choice in the Caribbean is the intricate lacy inter-woven lines that are

the hallmark of the Indian and Pakistani styles. The word mehendi has become synonymous with marriage. On the dulahin's or bride's wrists, palms, outer hand, ankles and feet, mehendi plays a significant part of the traditional Hindu wedding rite in Trinidad. The ceremony would be considered incomplete if the dulahin is not adorned with mehendi. Indeed, mehendi is considered a sacred “ornament” of a bride. For this occasion, the design takes the form of fine lines of lacy floral and paisley patterns. The designs are done on the entire hands, palms, feet and shins by women artists. The sessions allow other women to socialize, bond and offer advice of all sorts to the bride. Natural ink is derived from the dried leaves of the Lawsonia inermis tropical plant. The leaves are dried, ground and soaked in green tea overnight. The rusty-red pigment is then mixed with eucalyptus oil to produce an inky paste called henna. It is this ink that is painted to create the labyrinthine designs on the wrists, palms, hands, ankles and feet. Mehendi is applied with a cone-shaped tool through which the paste is piped. After painting, the ink must be left to dry for eight hours to penetrate the skin before it is washed off. These days, mehendi can be bought in packs for self-application. However, intricate creations done by a professional cost from TT $45.00 to $250.00, and are available from the growing number of women artistes who work from their homes and beauty salons.

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