History of the National Council of Indian Culture (NCIC)

A brief history of the National Council of Indian Culture in Trinidad and Tobago Dr. Primnath Gooptar The National Council of Indian Music and Drama (NCIMD) [now the National Council for Indian Culture (NCIC)] was established in 1964, a full 119 years after the arrival of the first batch of Indian immigrants in Trinidad. Prior to the formation of NCIMD there were no caretaker cultural groups operating at the national level to assist impoverished local East Indian artistes in cultural promotions, teaching of the art forms or alleviating financial distress. However, individual patrons such as Babu Ramsingh, Sukeran Sharma, Manmohansingh and Paul Harris provided assistance to needy artistes in various parts of the country. The promotion of Indian culture in Trinidad was done in a very haphazard manner with no centrally organized effort to preserve the traditional art forms and ensure its survival. Individual and group practitioners of Indian culture were therefore left on their own in terms of learning and teaching of the forms, the promotion of these art forms and transmission from one generation to the next. In addition to the traditional East Indian art forms that were bought from India and practiced in the Indian settlement communities new forms of music, songs and dances were introduced to Trinidad in 1935 when Indian movies made its appearance here. The new filmi culture overshadowed many aspects of the traditional cultural art forms and led to the establishment of Indian orchestras, East Indian film dancing and other filmi related cultural activities in Trinidad. One of the earliest Indian orchestras was the Naya Zamana Indian Orchestra, whose leader was Nazir Mohammed. In the early 1960s, he fell ill and passed on the mantle of leadership of the orchestra to Narsaloo Ramaya. Nazir Mohammed's illness required him to travel to a foreign land for treatment. His family could not afford the expenses. Ramaya and Naya Zamana Indian Orchestra decided on a fundraising effort to augment medical expenses for Nazir's treatment. The funds raised through these fundraising efforts by the Naya Zamana Indian Orchestra were far below what was required for Mohammed's medical treatment. In frustration, Ramaya turned to Bisram Gopie, cultural promoter and social and community worker from San Fernando for assistance. This resulted in the formation of the NCIMD whose mandate was to look after the welfare of Indian artistes in Trinidad. It must be noted that East Indian artistes learned and performed their arts in very difficult circumstances as they were literally cut off from India culturally. There were no culture teachers from India to teach them their art and no official support for their cultural art forms either locally or from India. With the introduction of Indian movies in Trinidad in 1935, a new cultural movement arose and the old traditions slowly gave way to the new developments of modern styles of film songs and dances. In addition East Indian music and East Indian artistes in Trinidad received a massive fillip in 1947 with the introduction for the first Indian radio programme hosted by Kamaluddin Mohammed on Radio Trinidad. Several East Indian artistes and Indian orchestras were regularly featured on this radio programme. It is amazing to note that despite the lack of cultural teachers and any central cultural coordinating organization, East Indians in Trinidad were, over the years, able to retain, propagate and pass on traditional and nontraditional aspects of Indian Culture from one generation to the next. Hundreds of East Indian singers, dancers, musicians and actors (dance dramas) formed the core of the various East Indian art forms throughout the country. Many were individual performers while others were part of Indian orchestras or dance groups. This was the situation that confronted Narsaloo Ramaya in the 1960s when he attempted to seek assistance for Nazir Mohammed when Nazir fell ill. Faced with this predicament and nowhere to turn in terms of national organizational support, Ramaya decided to seek the assistance of Bisram Gopie, a humble, unassuming, ex-sugar worker turned Indian cultural activist, philanthropist and social worker. He championed the cause of the poor and downtrodden and fought for the promotion of Indian Culture in the country. By the 1960s, he was a household name in Trinidad and he was well-known for his assistance to charitable causes and the promotion of Indian Culture in the country. Narsaloo Ramaya was recognized as the first East Indian violinist in Trinidad and had played a major role in the establishment of the Naya Zamana Indian Orchestra in the 1940s. Nazir Mohammed was recognized as the founder and first leader of the Naya Zamana Orchestra and was the son of the veteran Ustad Fakeer Mohammed, who was accredited with the introduction of the first roving Indian Dance Drama in Trinidad – the Indar Sabha in the 1920s.He was also responsible for the introduction and popularization of the first Harmonium in Trinidad in the early 1920s. Now his son was in dire need and two great stalwarts in the local East Indian community were coming together to assist him (Nazir). In 1964, when Ramaya met with Bisram Gopie to discuss Nazir’s plight, they agreed on a second meeting to discuss proposals for assisting Nazir Mohammed. Present at that second meeting were Bisram Gopie, Narsaloo Ramaya, Amjad Farzan Ali and B. Bhattachaarya, an Indian national working in Trinidad. After lengthy discussions, it was agreed to form an East Indian-based organization to look after the welfare of East Indian artistes and to promote Indian culture at the same time. A third meeting was proposed to finalize plans and to establish an organization for the purposes as mentioned above, and it was decided to invite all persons involved in the promotion of Indian culture to that meeting. This historic meeting took place on the 19th of July 1964 at the Gandhi Ashram College in San Fernando with an attendance that exceeded 100 persons. The organization was duly formed and an executive put in place. It was agreed that the name of the organization, as proposed by Bhattachaarya, would be the National Council of Indian Music and Drama (NCIMD). The first executive that was elected on July 19th, 1964 comprised as follows: President: Bisram Gopie 1st Vice-President: Sham Mohammed 2nd Vice-President: Narsaloo Ramaya Secretary: Amjad Farzan Ali 1st Assistant Secretary: Baldeo Maharaj 2nd Assistant Secretary: Gayadeen Sampath Treasurer: Ramdhanie Sharma Trustees: Justice Ralph Narine, Yacoob Mohammed Advisor: B. Bhattacharaya Patrons: Bhadase Sagan Maharaj, Kamaluddin Mohammed. During the next six years the organization undertook several projects in the fulfillment of its objectives but was often met with obstacles and competitive cultural promotions of a similar nature. The following projects stand out in the early years of the organization. Organizing local and international singing competitions to celebrate Trinidad and Tobago’s independence anniversaries. Cultural missions to Guyana Hosting artistes from Guyana and Suriname and competitions with local artistes. The organization of competitions to showcase local Indian classical singing, chowtal singing and drumming. Junior singing Indian Cultural competitions. The national presentation of the play Shakuntala produced and directed by Prof. Bhattachaarya. The contribution of a home for blind singer Vidoor and Donation of funds for the India Famine Relief Fund (1966) The executive had established the organization on a sound footing and had literally made it a household name in the country. However, Bisram Gopie was getting on in age and did not stand for reelection in 1970. That year, the mantle of leadership of the organization was passed on to Gopie’s nominee, Hansley Hanoomansingh, a sitting Member of Parliament who also hosted several Indian radio programs on 610 Radio. Joining the executive in that year were also persons such as Deokinanan Sharma (now President of NCIC), Bob Ramroop, Dhanraj Siewnarinesingh and Richard Ramlakhansingh who became leaders in their own right and contributed immensely to the further development of the organization. A few years after the new executive took office it was decided to change the focus of the organization from the organization of competitions which had been its main plank of operation to a more all-embracing vision that encompassed its original objectives yet allowed the organization room for teaching, preservation and exploration of aspects of Indian culture locally and abroad. To this end, a new Constitution was drafted and accepted with a change of the name for the organization. Under the leadership of Mr. Hansley Hanoomansingh, the organization changed its name in the 1970s to the present NCIC. The NCIC forged links with the Indian High Commission in Trinidad and the Indian Council for Cultural Relations (ICCR), India and thus began a new chapter in the life of the organization. The organization hosted several groups from India and held numerous workshops, tutorial classes and other activities related to the promotion of Indian Culture in Trinidad. Among the artistes hosted by the NCIC over the years the following stand out: Kumudini Lakia, Shobha Naidu, and Shehnai specialist Ustad Bismillah Khan, folk groups such as Maya Rao and the Shri Ram Bharatiya Kala Kendra Ramleela Ballet. In addition movie stars and playback singers such as Asha Parekh, Dharmendra, Hema Malini and Lata Mangeshkar were also hosted by the NCIC. Indian experts in dance and music were also contracted by the NCIC to conduct classes in classical and folk dances, (Kathak and Odissi), tabla and Indian music. Some of the teachers who worked in the country under the umbrella of the NCIC included the husband and wife team, Pratap and Priya Pawar, Pundit Vishnanath Mishra, Pradeep Shankar, Prof. Sudhir Varma and others. Those classes helped to revive local interest in classical dance and music in the country and many local artistes such as Sandra Sookdeo and Rajesh Seenath, who received their initial training through NCIC went on to India for more specialized training. On the academic front, the Council has also been a partner in many academic conferences in association with UWI, UTT and the Indian High Commission. Among those that stand out are the weeklong conference in 1995 organized for the 150 anniversary of Indian Arrival; the International Indian Diaspora Conference held at UWI, UTT and NCIC in June 2011 and the NCIC International Indo Diaspora Conference (2014) at NCIC. The Council has also hosted from time to time several local and international dignitaries, including the President of India, Dr. Shankar Dayal Sharma (1995); Presidents Robinson and Max Richards, Prime Ministers such as Robinson, Panday, Manning and Kamla Persad Bissessar. The NCIC has also been represented on several state boards and committees, including the Prime Minister’s Race Relations Committee, National Carnival Commission, Queen’s Hall Board, and National Planning Committee for Carifesta. In its thrust to internationalize the organization and to reintroduce Indian culture among East Indians in the Caribbean, the NCIC has forged cultural links with East Indians and East Indian-based organizations in Jamaica, Martinique, Grenada, St. Vincent and Guadeloupe. Indian culture was virtually extinct in those countries and the NCIC has undertaken to assist in the revival of Indian culture in those countries by sending tutors and by the exchange of cultural visits. While paying attention to the needs of those countries the NCIC has maintained strong cultural relations with Guyana and Suriname. Divali Nagar Since 1986, the NCIC’s flagship event has been the internationally acclaimed Divali Nagar which has become the largest public Divali Celebration outside of India. The event is preceded by a seven night Yagna and runs for nine days. Some of the cultural activities include bhajan groups, drama, classical singing, folk singing, classical, film and folk dances, Indian orchestras and cultural competitions. Added attractions include a commercial section that comprised several booths where merchants sell a variety of goods. In addition, Hindu groups and NGOs wishing to participate are allocated booths, free of charge to educate the public about their organizations. Each year a theme is selected as the rallying point of the Nagar activities and there is always a mammoth educational display that draws audiences from far and wide. Although the cost of hosting such a huge undertaking is exorbitant,entrance to all Divali Nagar activities is free. Funding is sourced from private sector sources and government. In the first few years of the Divali Nagar the event was staged at the Mid-Centre Mall in Chaguanas with the NCIC setting up temporary offices on the site months before the event.In 1991, the Government of Trinidad and Tobago, under then Prime Minister ANR Robinson, granted to the NCIC, 15 acres of land for Divali Nagar and the Headquarters of the NCIC. Awards Thirteen members of the NCIC have over the years received national independence awards for their contribution to culture and national life. The organization itself has also been awarded the Hummingbird Gold Medal from the Government and has also received awards from several organizations such as the Couva Tabaquite Talparo Regional Corporation, Trinidad Hilton Award, Chaguanas Borough Corporation, Citizens for a Better Trinidad and Tobago, Hindu Seva Sangh, Caroni Cricket Association, and the Gayelle Television’s Annual Pierrot Award. Internationally, on January 09 2008, the NCIC, through its President, received from the Government of India, the prestigious Pravasi Bharatiya Samman Award. The award was presented during the Pravasi conference by India’s first Lady President, Her Excellency Pratibha Patil, at the Vigyan Bhavan in New Delhi. In addition, The NCIC issues its own awards to locals who have contributed to Indian culture and nation building. Since 2004 the organization has honored more than sixty persons who have been inducted into the NCIC’s Hall of Pioneers. The NCIC continues organizing competitions, mainly in local classical singing, thereby assuring the survival of this art form. In addition, the organization has successfully organized competitions, including Saaj Sammelan (Indian Orchestras), Ladies Singing competition, memories of Rafi, Kishore Kumar and Mukesh competitions and assisted many artistes in need such as Hanif Mohammed, KB Singh, Hari Om Sharan and Bansraj Ramkissoon. For an organization that came into being through the adversity of an East Indian artiste, the NCIC has made a valuable contribution to the religious and cultural landscape of the country. Is has helped to create tremendous awareness and appreciation for Indian Culture and Hinduism in Trinidad and abroad. Its flagship event, Divali Nagar, has popularized Divali more than all other similar organizations on the religious and cultural front. In the words of Hansley Hanoomansingh, “the Nagar has showcased the talents of hundreds of our local sons and daughters and others from the Caribbean and has made the NCIC a household name locally and internationally.”