Divali 2013

Ramleela: Free open-air folk theatre in Trinidad and Tobago.
2013. Trinidad & Tobago Volume 14, Number 2.

ISSN 1683-4143
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bbean Divali Publication Ltd. 2013 Indo-Caribbean Divali Publication Ltd. 2013 Indo-Caribbean Divali Publication Ltd. 2013
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Carnival, Divali is the second largest open-air national festival Divali After in multi-ethnic Trinidad and Tobago. The Hindu Festival of Lights marked by the lighting of millions of deyas [clay lamps] on split Festival in is bamboo tubes bent in artistic designs. It is estimated that over ten Trinidad and million deyas are lit in households, temples, streets, offices and parks in week. The lights twinkle in the shadows of free public performances Tobago one by actors, models, drummers, dancers, musicians and singers. During the days and nights preceding Divali, non-Hindus and nonIndians actively join in the celebration by lighting deyas, wearing ethnic Indian clothes, and partaking in traditional Indian foods and sweets. The festival climaxes with a display of resplendent fireworks on Divali night, which has been pronounced by the state as a public holiday since 1966. Hindus comprise the second largest religious group in Trinidad and Tobago after Roman Catholics. Most Indians are Hindus, and Indians represent more than half of the population of the tiny Caribbean twinisland state (1.3 million). ISSN 1683-5026 Volume 14, Number 2 Copyright 2013 by the respective authors and photographers Advertising: Mera Heeralal and Ramona Harripersad Cover and page design: Preddie Partap Consultants: Dr. Primnath Gooptar and Mrs. Kamalwattie Ramsubeik Proof-readers: Vindhar Suraj and Kristina Mohammed Editor-in-Chief and Chairman: Dr. Kumar Mahabir Indo-Caribbean Divali Publication Ltd. (IDP). 10 Swami Avenue, Don Miguel Road San Juan, Trinidad and Tobago West Indies Tel: (868) 674-6008 Tel/fax: (868) 675-7707 E-mail: [email protected] Website: http://icctrinidad.wordpress.com Cover photo depicts a scene from Stichting Ramlila in the Netherlands. Photo by Amrika R. Anroedh from Suriname
The 2005 edition of the ICC magazine on the theme Temples and Tourism in Trinidad won an Excellence-in-Journalism Award.
holds the unrivalled record of being Ramleela: definitely the only play being performed at dozens of Free open-air venues for over 100 consecutive years in the folk theatre in region. Trinidad and Produced by community groups throughout country, villagers all serve without the Tobago the expectation of payment. The attractions include
is perhaps the oldest living form of Editorial Ramleela free outdoor folk theatre in the Caribbean. It
the performances of actors in their glitzy costumes, their opening parades through the streets, their rhythmic stylized dancing, the colourful stage dcor, the spectacular giant effigies, and the thunderous tassa drumming. Villagers play the roles of animals, clowns, humans, saints, gods and demons through masks, costumes, props, gestures and body movements. They do not often speak but mime to the songs and dialogues of a pundit [priest] who narrates through a loudspeaker in Hindi and English. The performance takes place in a large flat space in a playing field fenced off by bamboo trunks. The spherical stage allows the crowd to have unrestricted view from all vantage points. The final scene of the play climaxes with the torching of the 30-foot effigy of the giant demon, Ravan. He turns into a towering inferno in the dark night until he totters and comes crashing down to the ground with thunderous applause from the audience. Dr. Kumar Mahabir Chairman, Indo-Caribbean Divali Publication Ltd. (IDP) Assistant Professor, University of Trinidad and Tobago (UTT)
Part of the appeal of Ramleela is I am pleased, on behalf of the that it has always been a commuGovernment of the Republic of nity affair. It brings together Trinidad and Tobago, to extend many peoples from all walks of Divali greetings to the Indolife to experience and participate Caribbean Divali Publication in something truly magnificent. Ltd., the Hindu community, I am indeed heartened by the and all citizens of our country unity, harmony, and togetherness as we celebrate this most holy that the observance of Ramleela and auspicious occasion. nurtures throughout the length and breadth of Trinidad and I wish to recognize the work of the Tobago. There is indeed, strength Indo-Caribbean Divali Publication in diversity, and the occasion of Ltd.and its commitment to building Divali affords us all, yet again, bridges between Hindus/Indians the hope-filled opportunity to and other ethnic and religious advance positively, emboldened groups in our cosmopolitan twin- by the light of truth and beauty. island nation. Through the publication of this magazine, and another On this beautiful occasion of the commemorating Indian Arrival Festival of Lights, celebrated by Day, the knowledge produced all peoples of goodwill, I am of constitutes a significant bridge to the firm view that when we all understanding, mutual respect, work together all the dark places appreciation and acceptance. of our country will experience the light of hope, of peace, of Honourable Kamla Persad-Bissessar, As the general theme of this years brotherhood, and of prosperity. edition of your magazine focuses This is our task and all of us must S.C., M.P. on Ramleela, I believe it is quite Prime Minister of the Republic of embrace it wholeheartedly. Let Trinidad and Tobago fitting as this is synonymous with us embrace this opportunity to the victory of good over evil. reaffirm our commitment to peace It commemorates the triumph and prosperity for all and strive to of Lord Ram, the incarnation make our country a better place. of God, over the evil Rawan, symbol of unrighteousness. May Mother Lakshmi shower your hearts and homes with her bountiAs you are aware, Lord Rama ful blessings today and always. provided various lessons to humanity, through his own example, by Shubh Divali. displaying the ideal qualities of a son, brother, prince, student, husband, friend, and king. These are indeed lessons for all of us,
Greetings from the Prime Minister of the Republic of Trinidad and Tobago
especially for the young people of our country who look to us for the right examples, proper guidance, and protection.
On behalf of the Ministry of the Arts and Multiculturalism, I wish to extend warm greetings to the people of Trinidad and Tobago and specifically members of the Hindu faith, as we observe the national holiday and religious festival of Divali. Celebrating the Festival of Lights is a deeply rooted tradition which inspires a lasting commitment to the notion of victory of light over darkness. We join our lights together to repel any darkness, including the most insidious of all - ignorance. Divali also renews our unreserved devotion to God, family and community. As we witness the beauty and power of the deyas burning brightly throughout the length and breadth of our country, let us celebrate the triumph of good over evil. The unmistakable message of the festival must be a genuine attempt to break free of any form of darkness in our lives, and walk and prosper in the light. In his famous French novel, Les Misrables, Victor Hugo writes "The true division of humanity is between those who live in light and those who live in darkness. Our aim must be to diminish the number of the latter and increase the number of the former. That is why we demand education and knowledge." As Minister of the Arts and Multiculturalism, I am keenly aware that in this 50th anniversary year of our Independence we have a great deal about which we can feel justifiably proud. We celebrate our accomplishments together as one people in this culturally diverse society. Best wishes to all citizens for a safe and prosperous Divali, and may the light, joy and good cheer of this divine festival lead us to being the best that we can be for ourselves, family, community and our nation. Shubh Divali!
Statement by Minister Douglas at his Ministrys Divali celebrations in 2012.
Statement by the Ministry of the Arts and Multiculturalism
The Honourable Dr. Lincoln Douglas Minister of the Arts & Multiculturalism
Divali Greetings from the Ministry of National Diversity and Social Integration.
It is my honour in my new portfolio as Minister of National Diversity and Social Integration to offer this message to the Indo-Caribbean magazine as we celebrate Divali, the Festival of Light, in our beautiful twin-island state of Trinidad and Tobago. The theme of Ramleela: Free open-air folk theatre in Trinidad and Tobago, for this years publication is so apt, in that just two months ago our Ministry collaborated with the University of the West Indies and the University of Trinidad and Tobago to host the first International Ramleela Conference in Trinidad and Tobago. The Conference explored the significance of Ramleela to community, culture, and consciousness. I am aware that Ramleela is a faith-based, open-air, community event that recounts the life and message of Sri Ram, the avatar of Lord Vishnu, who is the supreme reality in the Vaishnava stream of Sanatana Dharma. Ramleela has been performed in communities across Trinidad as a form of community collective prayer called a Yajna. It provided the early indentured Indians with spiritual sustenance, recreation, education, and an important point of pilgrimage as people walked
long distances to participate in the Ramleela that was nearest to them. The traditional Hindu devotee comes to Ramleela for Darshan, i.e. to catch a glimpse of God as depicted in the Leela or play. Today, Ramleela continues to be performed in over 30 venues in Trinidad. The traditional Trinidad open-air Ramleela performance is the longest running annual epic performance in the Caribbean and perhaps in the western hemisphere. The fact that the Hindu community has been able to preserve this aspect of their religious and cultural heritage is a testimony to their resilience as a people and also to the religious freedom which our people have been able to experience over the many years of our coexistence as a nation. Ramleela, characterized by its folklore, realism, natural expressions and everyday movement as opposed to the highly-stylized dramatic conventions of a stage, represents a unique form of storytelling. The folk and village nature of Ramleela bring a special flavour to community life with all having a role in this performance. They participate as performers, organizers, devotees, financial donors, or ordinary viewers. Ramleela has served therefore over the years to strengthen community bonding. It is my understanding that people of all races and religions in a village contribute to Ramleela in one way or the other. I daresay, this type of intercultural and interreligious exchange is a notable feature of our country and can be considered as one of our strengths.
The Honourable Dr. Rodger Samuel Minister of National Diversity and Social Integration
Divali Greetings from the Ministry of National Diversity and Social Integration.
- continued
In 2005, UNESCO proclaimed Ramleela to be one of the worlds intangible heritages to be protected and in 2008 this was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. Towards the recognition of the preservation of these open-air spaces, the Ministry is in the process of listing these sites to be legally protected by the state. These include the natural amphitheatres at Felicity and Cedar Hill.
As we engage in reflection during this time of Divali, we continue to celebrate the vase of love that is our Trinidad and Tobago identity. The story of Ramleela, is not only the story of a journey but it is a story of faith. It is a story of the triumph of good over evil. It is a story of loyalty, determination, and true love. Its cultural significance has allowed for an inclusion of persons of various races, ethnicities and background; and what we have gained is an expression of this story which ends, as always, with the demolition of the portrayer of evil.
The Honourable Dr. Rodger Samuel Minister of National Diversity and Social Integration
The Ministry of National Diversity and Social Integration expresses Shubh Divali to the citizens of Trinidad and Tobago. Let us unite in celebration of light over darkness and good over evil. Let is unite for sustainable development Our peoples in their rich diversity and for nationhood; recalling bring together great civilizations always the credo of our Ministry: of the world in shared space that I am, you are, we areTrinbago. is our great and beloved Trinidad and Tobago. We have the First Peoples, the Indians, the Africans, the Chinese, the Syrian Lebanese, the French, Spanish and English influences, and various mixtures of these, that make us such a unique people in the global world. Ramleela allows for the free expression of this self. And it is not only an Indian self. The self despite creed and race is any person who immerses him or herself in the Leela.
The History of Ram Leela in Trinidad and Tobago

By Kamalwattie Ramsubeik,President of NRCTT Inc.
Professor Reggio, who teaches Shakespeare in the USA, found some limitations to the progress of Ramleela in Trinidad.
photograph by Kumar Mahabir
Hindu religious organisations such as The Sanatan Dharma Maha Sabha, SWAHA and independent community groups played a crucial in promoting and propagating Ramleela in Trinidad and Tobago. Ram Leela/Ramleela survived continuously, in some instances for over 100 years, and in some cases, 50. Some old Ramleela groups were located in villages such as Dow Village, Cedar Hill, St John's Trace (Avocat), Felicity, Pierre Road, Sangre Grande and St. Augustine.
The underlying reasons for the stationary number of groups spanning several decades (1950-1980) must be examined. Milla Cozart Reggio, a Professor in Literature at Trinity College in the USA, found the following contributing barriers and limitations: gender, caste, age and language. In the 1950s, most rural Indians spoke Bhojpuri, a variety of Hindi. Therefore, memorising, understanding and chanting the Ramcharitmanas, and watching and playing Ramleela posed no
problem. By the 1970s and 1980s, English had replaced Bhojpuri, which had become central to the lives of children of Indian parents. This language shift was brought about by schooling in English and exposure to the entertainment media (films, television, etc.).The language loss had a corresponding loss of familiarity with the Ramcharitmanas, which is a poetic retelling of the events of the Hindu epic, The Ramayana, centered on the narrative of Lord Rama.
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Indo-Caribbean Divali Publication Ltd. Divali Magazine 2013 Ramleela: Free open-air folk theatre in Trinidad and Tobago.
Ramsubeik continued
In 1956, and again in 1958, protests forced Ram Leela in Felicity to be cancelled.
The 1950s saw the exclusion of females in Ram Leela/Ramleela, but the 1960s saw the inclusion of a few pre-pubescent girls playing minor roles. The 1970s saw more pre-pubescent girls being given minor roles. As the years moved on, the gender barrier seemed out of step with women's expanding roles in the wider society. The third reason was the exclusion of those persons who were not of the Brahmins or Kshatriyas castes from playing the more prestigious roles. This exclusion resulted in eventual protest. In Felicity, in the years 1956, and again in 1958, Ramleela was cancelled because of protests.
The unification of all-twelve existing Ramleela groups in 1991 to form a National Ramleela Council (NRC) was indeed one of the catalysts to fast track the Ramleela movement in Trinidad and Tobago. The initial motivation was to acquire state funding to help to enhance Ramleela performances. Having achieved this goal, the organization engaged in other activities such as magazine publications and media releases. The year 2001 saw a revitalized, now-renamed National Ramleela Council of T&T (NRCTT) with an increase in the number of groups, totalling 17. By 2007, 37groups had become members of the NRCTT. Many programmes, strategies and activities of the organization played a pivotal role in catapulting Ramleela forward nationally, regionally, and internationally.
photograph by Amrika R. Anroedh
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The Trinidad Ramleela/ Ram Lila

By Pandita Indrani Rampersad, Ph.D., Senior Research Fellow in Ram Lila,
The University of Trinidad and Tobago (UTT)
Ram Lila is perhaps the oldest annual open-air enactment of an epic in the western world. It came to the Caribbean in the intellectual baggage of the indentured Indians from India.
Ram Lila was held in a centralised location for people from neighbouring villages to make it their destination for an annual pilgrimage.
This open-air folk performance was already a tool of protest against colonial rule in North India in the mid-19th century during the British rule of India, and a form of agitation for self-rule. This folk performance would have been in the forefront of the consciousness of activists, some of whom had migrated to Trinidad to avoid persecution for their activities against British rule.
The first Ram Lila performances would have been held in an open community space that was available and accessible, and that was central enough for people from neighbouring villages to make it their annual pilgrimage destination. Indeed, Ram Lila was seen as a pilgrimage site, as it still is even today for bhaktas of the Vaishnava-Sanatana Dharma, i.e. devotees whose religious path incorporate devotional worship of Vishnu as the highest form of Divinity. In the case of Ram Lila, Divinity takes the form of Sri Ram who is the avatar [incarnation] of Vishnu. In the case of Krishna Lila, it is Krishna, another avatar of Vishnu, who is worshipped.
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Rampersad continued
The devotee who sees Ram Lila does so in interactively by imbibing the rasa-s or emotions, reacting to them, and experiencing his/her own divine realisation.
The absence of mandir-s [temples] in the early indentureship period in Trinidad, and the hoary tradition of pilgrimage in the Hindu tradition, would easily make Ram Lila a popular site of pilgrimage that incorporated physical, mental and spiritual
photograph by Preddie Partap
photograph by Mitra Maharaj
discipline in order to get Darshan of the Divinity that is Ram. In Darshan, the devotee, through the eye, makes contact with the physical form of Divinity and receives the empowering spiritual glance from the Divinity. This, in the Bhakti tradition, is what a devotee craves. Usually, it is a life-changing experience.
It is this direct experience of Divinity that the Vaishnava devotee seeks when s/he comes to participate in Ram Lila.
forest, the kidnapping of his princess, Mother Sita, the many battles fought against Ravan, the victory over Ravan, and the final reinstatement of a spiritual and political Ram Lila is not merely a spectator order, called the rule of Ram or activity for the devotee. It is a Ramrajya. The devotee who sees deeply interactive activity for the Ram Lila does so in interactive devotee who already knows the fashion, imbibing the rasa-s or sacred epic story of Sri Ram, his emotions, reacting to them, and loss of kingdom, his exile in the experiencing his/her own epiphany.
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Rampersad continued
It is in this sacred space that these divinities play with ordinary human beings.
Ram Lila space is made sacred through rites and rituals. Organisers first select an accessible, common space, and may use this site on an annual basis, depending on availability. It is in this space that the various devi-s and devata-s [deities] of the Puranic worldview come to reside for the period of the Ram Lila that usually lasts for ten or more days. It is in this sacred space that these divinities play with ordinary human beings. Ram Lila performances also move from one geographical location to another, depending on availability of space the owners of the space being either the state
photograph by Jeremy Anil Mangalsingh
or a private landowner. It was the panchayat [village court], by communal consent, that organised and supervised the religious and cultural life of the villagers under its administration. The panchayat had the power to organise and choose the performers for the Lila. It was the culture of Caribbean indentured Indians to work in a cooperative spirit. This spirit was part of the village life of India
from where workers or their fore-parents came. There was the spirit of sharing, cooperation and mutual respect. It was, therefore, not uncommon to find Hindus, Muslims and Christians coming together to host and support each others cultural expressions. Ram Lila was one such performance that brought them all together, even if some participants were not devotees.
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Rampersad continued
In early Ram Lila performances, the role of divine characters or swaroopa-s was given only to pre-puberty, Brahmin [high Ram Lila would have started in and Indians started reconstitutcaste] males. In those days, Trinidad once community life was ing the village life and culture women did not perform in public stabilised in the new settlements that they once knew in India. By space. The sons of the Brahmins outside of the plantations after 1870, most Indians were living on would be the first choice for the indentureship contracts had ended, estates, and after endentureship swaroopa-s, especially if they were
Trinidad can boast of having the oldest style of Ram Lila in the world which has been derived from the ancient form in villages in India.
ended in 1917, at least 75 per cent of them remained in Trinidad in order to forge a new life.
photograph by Roger Seepersad of R|V Foto. www.rvfoto.com
fair-skinned with soft, almostfeminine features. These were the preferred types, especially for the role of Ram and Sita. Trinidad can boast of having the oldest style of Ram Lila in the world which has been
modelled after ancient forms in villages in India. In this style, the performance takes place in the open-air with two structures at either end of the space, one in the North representing Ayodhya, and the other in the South representing Lanka. Additionally,
while the Ramacharitmanas is being narrated in traditional chanting style, performers mime the dialogue and action. The style is called Lokadharma i.e. realistic, amateurish, and passed on through the folk tradition.
photograph by Gavindra Maharaj
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Shubh Divali Trinidad & Tobago!

courtesy e brand we know e brand we trust e brand our ancestors have been using for generations
Cow Brand Ghee always played a significant part in the tradition of Trinidad & Tobago, which accompanies the celebration and observance of the cultural, religious and social festivals of our diverse communities.
ADM Import Export Distributors Ltd Tel: 667-2514 website: www.admtnt.com
The introduction of Ramleela in the school curriculum

Satnarayan Maharaj,
Secretary General of the SDMS
The introduction of Ramleela in the school curriculum by the Maha Sabha added impetus to the renaissance of this from of folk theatre.
has taken place. The introduction of Ramleela in the school curriculum by the Sanatan Dharma Maha Over the decades that followed the Sabha (SDMS) has added impetus arrival of Indians to this country, to the renaissance of Ramleela. Ramleela was a popular and wellsupported cultural activity in many In 2009, the SDMS mandated communities populated by Indian its schools to include Ramleela labourers. As time passed, this celebrations in its calendar of tradition started to disappear, espe- activities. This proved to be a cially along the east-west corridor, success far beyond the SDMS with a handful of southern and Education Boards expectations. central areas retaining its practice. The principal of the Daljit Moosai El Dorado South Hindu School, However, within the last 10 years, CB Panday, wrote, At first, we a revival of this cultural tradition were a bit doubtful of our ability to
accomplish this goal as it has never been attempted by any member of staff before. Panday continued, I must say that I was deeply proud of the ultimate production. Ramleela serves not only to re-establish the normal spiritual and religious code of conduct among our children, but as principal of St Helena Hindu School, Vimala Tota-Maharaj outlines, it is also in keeping with the curriculum developed by the Ministry of Education.
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Maharaj continued
Involved directly or indirectly are 20,000 students and 1,200 teaching and auxiliary staff members in the Maha Sabha schools.
Principal Vimala Tota-Maharaj states, Ramleela assists as a vehicle to implement subjects on the curriculum as established by the Ministry of Education. Ramleela allows for the teaching of art, craft, music, dance, drama, poetry, social studies, language arts, and religious and moral education. celebrations were concluded across the country for yet another The use of Ramleela to faciliyear with the burning of Ravan, tate the implementation of the the evil figure of the episode. curriculum has been recognised by the authorities, and the Minister Many have expressed the view that in the Ministry of Education, 2010 has seen a renewed interest Clifton De Coteau, has not only and an increased participation commended the SDMS for this by schools and communities in initiative, but also requested Ramleela, as the communities copies of a Ramleela magazine realised its potential to stabilise produced by the SDMS. On the religious and moral anchor October 16, 2010, Ramleela of our children. Derek Walcott,
West Indian playwright, in his acceptance speech when he was awarded the 1992 Nobel Prize for literature, recognised the colourful and theatrical tradition of Ramleela as a significant component in the whole of Trinidad culture. He did not confine the Ramleela drama to Hindus whose faith embraces the Ramayana, but saw it as part of the cultural landscape of T&T.
Source http://www.guardian.co.tt/archives/commentary/columnist/2010/10/28/ramleela-renaissance#sthash.mCH9Qted.dpuf
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Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013 The role of libraries in documenting and archiving the Ramleela legacy in Trinidad and Tobago: practice and prospect
The Alma Jordan Library, The University of the West Indies (UWI), St. Augustine & Corinth Campus Library, University of Trinidad and Tobago (UTT) Trinidad and Tobago
Ms. Kumaree Ramtahal and Mrs. Marilyn R. Kumar
photograph by Gavin Maharaj
This paper looks at the role that libraries play in providing materials on Ramleela. It also examines how these resources are made visible and accessible for use by researchers, students and interested persons. A review will be presented examining what Ramleela resources, if any, are available in the libraries at the University of the West Indies (UWI), the University of Trinidad and Tobago (UTT) and others.
Ramleela is celebrated every year in Trinidad and Tobago preceding the countrys Hindu festival of Divali, and is a significant and major part of our cultural expression. Considerable time and effort are expended by various groups and organizers to produce and enact this folk theatrical form of cultural expression which is based on the Ramayana. But how do we document and preserve what is created and enacted during the Ramleela celebrations so that it could be used by future generations or researchers interested in this genre of our culture? What can libraries do to make Ramleela visible and make Ramleelarelated resources accessible?
photograph by Dinesh Arjoon
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Abstract Continued
If resources are available at these libraries, then the scope of the work done on Ramleela would be looked at. With emerging trends in information technology, innovative techniques are being adopted by libraries to digitize and preserve cultural heritage, traditions and memorabilia. The prospects, therefore, seem to be very good in terms of utilizing digitization to create virtual displays, images, museums or galleries on Ramleela. This paper will show how digitization
photograph by Lennox Daniel
can be exploited to augment the important role libraries play in keeping our cultural heritage alive. In addition, this paper would also highlight the need for libraries to play an active role in Ramleelarelated collection development and archiving so that the body of work on Ramleela can be expanded, documented, preserved and also made visible and accessible to researchers and others.
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Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013 Ramleela as a complement to the education thrust of the Swaha Gyaan Jyoti Mandali
Pundit Jaidath Maharaj
Spiritual Leader of Swaha Gyaan Jyoti Mandali Trinidad and Tobago
photograph by Shawan Singh
The Swaha Gyaan Jyoti Mandali has engaged in Ramleela for over 16 years, and has seen many innovations and evolutions in its existence. Ramleela remains one of the most powerful tools for teaching in the context of the socioeconomic status and the level of educational accomplishment within the vicinity of Madras village in Trinidad. As a tool for teaching, Ramleela caters to the varied intelligences of persons and so encourages maximum participation from community members. The paper will focus on Ramleela as a complement to the overall educational trust of the Swaha Gyaan Jyoti Mandali and the evident benefit of the various intelligences used in Ramleela to the development of the participants.
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Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013 Women on the field: notions of sanctity and purity
Ms. Krystal Ghisyawan
The University of the West Indies (UWI), St Augustine Trinidad and Tobago
Having played Ramleela in Palmiste Park for many years as a teenager, my sister and I would fast and prepare ourselves for the act that we saw as a religious, sacred performance. As we performed multiple roles, missing a day often
photograph by Sunil Ramdas
meant that someone who was lessprepared would have to fill in for us. According to some Hindu texts, particularly those of Brahmanical sects, women are made impure by menstruation. How do we problematize purity and impurity? Does menstruation make me more impure than someone who has not fasted or disciplined their mind, or who comes to the field smelling of alcohol? Is purity then material or is it symbolic? What does this mean for womens participation in Ramleela, as performers, make-up artists, prop directors, etc.? In this paper, I will assess notions of purity in Hinduism and the relationship that it has with performance.
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Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013 Ramleela and youths
SWAHA Gyaan Deepak Kirtan Mandali Trinidad and Tobago
Ms. Shivani Boodram
Ramleela is an integral part of Indian culture and represents one of the most anticipated events in Hindu organizations. Ramleela is depicted in celebrations of different calibre throughout Trinidad and Tobago. Even though there may be a profound emphasis on the external attractions of Ramleela, such as the elaborate costumes, the scintillating scenes by the versatile actors or the magnificence of the fire that consumes the effigy of Ravana, Ramleela can also deliver on intangible aspects which are not only felt once a year but can continually be felt
as an inward positive momentum that builds the human spirit. Social benefits of Ramleela include the engagement of youths in meaningful activities that not only contribute to their well-rounded development, but also educate them about their religion. Further to this, preparation and participation in Ramleela serves to foster a family-like bond within the community. Also Ramleela can build a sense of community-pride and worth when people are passionate about perfecting their performances.
While Ramleela may attract members of a community together with a common interest in performance, a conflict of interest may arise. If there exists a generation gap within a Ramleela performance group, there may be difference in opinions. This represents a challenge in managing Ramleela in a westernized society depending on the point of view of those involved.
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May the glow of the deeyas, And the echo of the music Fill your life
Shubh Divali
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Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013 The impact of Ramleela on holistic development
Mr. Mitra Maharaj and Mr. Amral Persad
This presentation seeks to show that participation in Ramleela has assisted in the holistic development of its youths. A holistic approach to child development seeks to simultaneously address the physical, emotional, relational, intellectual and spiritual aspects of a childs life. Using this definition of holistic development, our presentation shows how Ramleela impacts on, and improves each aspect of
Knox St. and Environs Sports and Cultural Association, San Fernando Trinidad and Tobago
a childs life. While we concede that this definition does not fully encompass holistic development, as there are other aspects of life, we believe that these are the main aspects that should be emphasized. One of our main points, and one of the driving forces behind doing this presentation, demonstrates to parents that Ramleela is not a distraction to their childrens
education. We also show examples of youths over the years participating in Ramleela, who emerged to be successful in the academic field. Furthermore, we discuss how Ramleela, used as an extra-curricular activity, aids in acceptance into top universities worldwide and is an excellent addition to any resum.
photograph by Avinash Bridglal
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Abstract Continued
Using the example of the Ramleela produced by the Knox Street and Environs Sports and Cultural Association in San Fernando, we highlight how Ramleela fostered responsibilities in its participants. In this case, we see that the very youths who portrayed minor roles as children, at the inception, are now directing, producing and narrating the entire production. Youths apply this responsibility outside Ramleela and are able to hold executive positions in various groups, where they can contribute to society and promote Sanatan Dharma.
Without a doubt, the benefits of Ramleela in the multifaceted development of children and adolescents are indeed insurmountable. As we move forward towards empowering our youths and providing them with a variety
of strengths to make them wellrounded individuals, it is clearly illustrated that Ramleela greatly helps in character-building at many levels. With time, we hope that this cultural catalyst to development is recognized and further
expanded so that it can become more available. Eventually, the abilities of our younger generation would grow exponentially as we look into the future. We hope Ramleela would become a stepping stone in this direction.
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Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013

Ramleela is an ancient open-air theatre dramatizing the Shri Ramcharitmanas, Ramayana - a masterpiece in diversity, spiritual and secular. This paper focuses Ms. Pricilla Bickramdass Dow Village Ramleela Committee on the importance of Ramleela, its boundaries and limitations, as Trinidad and Tobago seen through the eyes of the Dow Village Ramleela and Cultural Organization Incorporated.
Boundaries and limitations of the Ramleela
Today, the performance is bombarded by many limiting factors and unavailability of resource such as space (Ramleela site); time management (astrological); availability of Dharmarchar; financial constraints; loss of ancient talents; lack of innovation; lack of human resources, coordination, communication, and
collaboration; inter-generational issues due to limitation of knowledge; and the inability to adhere to rules and regulations prescribed by the Vedas.
of income, thereby, boosting our small industries and increasing the creation of employment opportunities. The balance of payment situation is improved automatically by applying such monetary policies, In performing a PEST Analysis, resulting in a higher standard of we realise that political support living. Ramleela awareness motiassists us in gaining recognition in vates our youths by creating mindpromoting our culture, impacting awareness, intellect-equilibrium positively on the economy, thereby and increases in spiritual practice, attracting Hindus, non-Hindus, thus, resulting in a reduction of students and tourists alike. This crime and wasted time. Technology automatically increases the flow enhances the depiction, captivates
attention, enhances spiritual teachings, archiving and so on. In conclusion, in overcoming these boundaries and limitations, we overcome the obstacles, thereby becoming more enthusiastic and courageous. Just like Shri Hanumanjis true gain, fulfilment and success in his dedication to ceaseless service to Prabhu Shri Ramas Sewa.
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Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013 Ramleela: a historical perspective
Mrs. Kamalwattie Ramsubeik
President, National Ramleela Council of T&T Inc. Trinidad and Tobago
Land acquisition in rural sugarcane villages by Indians, whose indentureship contractual obligation had ended, inspired them to embed their Indian acquired memories on those spaces in Trinidad. Land ownership meant more than setting up a habitat in which to dwell. It was also significant and meaningful to them to establish their identity as a people in a
concrete way. One of the ways that they planted their roots was through their religious and cultural expressions. Ramleela was one of the expressions that they planted in their space. It is the play of the story of Prabhu Shri Ram. This is the story of their popular Hindu scripture, the Ramayan. Moreover, it brought their community together in performance, song, dance and music but more
importantly, it depicted a story that was akin to their situation as exiles in a foreign land where, like Prabhu Shri Ram, they were undergoing trials and tribulations. The story was also popular because it showed them how to triumph over adversities. This story continues to be played out in Trinidad, fulfilling a range of other significant meanings to those who get involved in it: players, audiences and others.
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Abstract Continued
This paper seeks to provide an overview of the historical perspective of the development of Ramleela in Trinidad and Tobago. The paper will also show developments and stridesthat have taken place in Ramleela over the years such as the inclusion of female players, the breaking down of age barriers, the removal of caste requirements for certain major roles. Developments such as increased community participation, and the introduction of Ramleela
photograph by Alvin Saltan
on stage, are some of the areas that will be discussed. The examination of these issues, it is hoped, will lead to an understanding of how Ramleela has been sustained for such a long time. The paper will also outline the role the National Ramleela Council of Trinidad and Tobago Inc. has played in unification of groups, increase in Ramleela groups, and national,
regional, and international interaction, improvement of Ramleela performances, and state recognition and funding. Included in this paper will be an outline of the many initiatives made with various institutions such as The Creative and Festivals Arts Centre, U.W.I., St. Augustine, to assist budding artistes in honing their artistic skills and talents.
46
Universal Foods
Abstract
First International Ramleela Conference, Trinidad, July 12-14, 2013 Ramlila (Ramleela) in the Netherlands
This paper provides a historical background into the development of Ramlila (Ramleela) in the Netherlands since 2006, showing how it evolved from an outdoor to an indoor event. The first-open air Ramlila was organized in Rotterdam, Nederlands, in 2006 after several years of preparation. This event was an overwhelming success which attracted over 15,000 visitors from not only the Netherlands, but also Belgium, Germany, Surinam and the United States.
Mr. Amrika R. Anroedh

Suriname
In 2008, a second Ramlila event was planned in Rotterdam, but due to some unforeseen circumstances, the venue had to be relocated to Schiedam, a neighbouring city, in the Princess Beatrix Park. Although the concept of the event was the same, the necessary steps were put in place to avoid any problems due to lessons learnt from the 2006 Ramlila. The event received tremendous support
from the municipal authority and was hosted by the mayor who gave a welcome speech at the opening ceremony. It was also promoted as a main activity in the city of Schiedam. However, because of the rainy weather conditions, the event was only able to attract about 5,000 visitors. This was the turning point to consider a different concept of the
Ramlila; it was switching from an outdoor to an indoor event. The indoor event was organised in less than a year because of the track record we had and a dedicated organizing project team. Although we had a different set of regulations, we had to make practical changes to perform the story. The Ramlila 2009 was a major success.
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Over 30 years of Service.
A turning point for Ramleela worldwide

Dr. Primnath Gooptar,
Chairman, First International Ramleela Conference, 2013
The theme of the conference was Ramleela in the Global Village: Traditions, Innovations and Future Directions.
The First International Ramleela Conference held in Trinidad from the 12th to 14th July 2013 was a turning point for Ramleela in the international community. The conference center was located at the UWI, St. Augustine, Trinidad. The conference brought together local as well as international Ramleela participants and scholars to discuss various features of this age-old tradition. The conference was formally opened by the Minister of National Diversity and Social Integration,
Mr. Clifton De Coteau on Friday, 12 July 2013 at 6 p.m. during a gala opening ceremony at the UWI. The formal opening of the conference was followed by a reception hosted by Prof. Funso Aiyejina, Dean of the Faculty of Humanities and Education, UWI. The theme of the conference was Ramleela in the Global Village: Traditions, Innovations and Future Directions. During the conference, participants shared various Ramleela experiences, made recommendations and pointed
the way forward for the future of Ramleela in the global village. Some of the international participants were drawn from countries such as India, Mauritius, Holland, Suriname, USA and Guyana.
50
Gooptar continued
During the three- At the opening ceremony on 12th July 2013, the day conference, Friday, Minister of National Diversity an average of 260 and Social Integration, Mr. De Coteau, delivered one persons attended, Clifton of the keynote addresses while and 32 papers other keynote addresses on the were presented. opening night were delivered by
Prof. Molly Kaushall from India and Dr. Purnima Ragoobar from Mauritius. Prof. Kaushall, who is a Professor of Performance Studies and Head of the Department of Janapada Sampada (Oral and Living Heritage) Division at the Indira Gandhi National Center
for the Arts, New Delhi, spoke of her work among the Ramleela communities in India, and the need to share experiences of the various forms of Ramleela worldwide. Dr. Purnima Ragoobar, who is a Senior Lecturer, School of Indological Studies, Mahatma Gandhi Institute, Mauritius, spoke of Ramleela and Ramayan traditions in her country. During the three-day conference, attended by an average of 260 persons, local and international participants presented more than 32 papers during the formal sessions on Saturday 13th and Sunday 14th July. Conference papers were
presented on sub-themes such as (a) The Heritage and Historical Contexts, (b) Ramleela and the Visual and Creative Arts, (c) The Intangible Aspects of
Ramleela, (d) Technology and e-Ramleela, (e) Boundaries and Limitations of the Ramleelas, (f) The Evolution of Ramleela, and (g) Gender Issues in Ramleela.
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Gooptar continued
One of the major outcomes of the conference was the founding of the World Ramleela Council.
One of the major outcomes of the conference was the founding of the World Ramleela Council. This is a bold step into the future for Ramleela worldwide as it would help to link Ramleela in the various countries, one with the other. With regards to the World Ramleela Council, a decision was taken to locate both the Chair and the Secretariat of the Council in Trinidad with the understanding that the Council Chair will be handed over to
the country hosting the World Ramleela Conference in 2015. The option will be repeated each time a country hosts a World Ramleela Conference. The World Ramleela Council conferences are tentatively slated for 2015 (India), 2017 (Mauritius) and 2019 (Suriname).
Kamalwattie Ramsubeik explained on the opening night of the conference: The idea for the conference came from Dr. Primnath Gooptar who approached the National Ramleela Council with the suggestion to host an international conference in Trinidad on Ramleela. The Council accepted the suggestion But how did this First International and Dr. Gooptar was asked to chair Ramleela conference come about? the conference organizing committee. The rest is now history. As the President of the National Ramleela Council of Trinidad and Tobago Incorporated, Mrs.
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Gooptar continued
A series of eight Ramleela outreach seminars were organized outside of the formal conference structure.
One of the initiatives that distinguished this conference from others was the concept of taking part of the conference out of the UWI and into the communities, where international delegates had the opportunity to meet and socialise with local Ramleela communities. In turn, members of the outlying districts who could not attend the formal part of the conference had an opportunity to meet international participants from the conference. A series of eight Ramleela outreach seminars
well-attended and the international delegates such as Dr. Kaushal (India), Dr. Ragoobar (Mauritius), Dr. Richard Schechner (USA), Some of the communities touched Shree Raju Mohit (Mauritius), Dr. Geetapersad Gangaram during the outreach programs included Barrackpore, Avocat, Panday (Suriname), Pt. Balram Dow Village, Sangre Grande, Patandin (Suriname), Pt. Bhashkar Diego Martin and Aranguez. In Sharma (Guyana/Canada) and Dr. Rampersaud Tiwari (Canada) addition, two outreach sessions spoke to audiences in the outlying were held at NALIS (National Library) in Port-of-Spain and the communities and shared their SAPA (Southern Academy for the experiences on Ramleela and Performing Arts) in San Fernando. Ramleela-related activities. These outreach sessions were were organized outside of the formal conference structure in the outlying districts of Trinidad.
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Gooptar continued
At each of the outreach sessions, members of the audience were encouraged to ask questions to the international delegates.
At each of the outreach sessions, videos were shown of Ramleela in the countries from which the speakers emanated, and local videos were also shown of Ramleela in the communities. For example, at Barrackpore where Dr. Ragoobar and Mohit spoke, videos of Ramleela in Mauritius were shown followed by videos of Ramleela held in Barrackpore by the Bluebirds
Cultural Organization, the group which runs Ramleela at that location. Similarly, when Prof. Molly Kaushal spoke at Dow Village and Sangre Grande, she exhibited short video clips of several different Ramleelas or what she referred to as Ramkatha in India, and this was followed by local videos of Ramleela at Dow Village and Sangre Grande respectively.
At each of the outreach sessions, members of the audience were encouraged to ask questions to the international delegates and there were very lively discussions about the various Ramleelas. Raju Mohit remarked that he felt that the outreach programs, organized as part of the conference, provided international delegates with an experience that they would not have had if the entire conference had remained at the conference centre at the UWI in St. Augustine.
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Gooptar continued
One of the major objectives was the establishment of an international organization to point the way forward for future Ramleela conferences.
Raju Mohit commended the chairman and the conference organizing team for the foresight in exposing the international delegates to the outreach communities where the sessions were held. In addition, on behalf of the international delegates he also expressed thanks for the opportunity to meet and socialise with the members from the outreach communities.
It is important to note one of the fundamental arguments for a conference of this nature is the belief that global efforts favour organizations and individuals who can reach across boundaries effectively and collaborate with their partners across the seas. As a result, performance excellence is no longer about individual players and administrators - it
is about effortless coordination and orchestration across borderless boundaries. To thrive in this environment, it was felt that the opportunity should be taken to optimise the performance of the global Ramleela community - from the smallest group to the largest international organizations in both academia and practice. In
planning the conference, one of his major objectives, as embedded in the theme of the conference, was the establishment of an international organization to point the way forward for future Ramleela conferences and associated outcomes. This was achieved through the establishment of the World Ramleela Council.
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Gooptar continued
Another important aim of the conference was to promote the concept of Ramleela as an intangible cultural heritage.
Another important aim of the conference was to promote the concept of Ramleela as a cultural heritage, not only for Trinidad and Tobago, but internationally. The conference committee felt that this would lead to a greater understanding of Ramleela as an inherent world cultural heritage, and that countries involved in promoting
Ramleela would begin the process of archiving and sharing Ramleela resources globally. The studies and researches which were featured at the conference provided a strong support base to take Ramleela to the next level, globally. Papers presented at the conference would be published as a single volume in the first half of 2014.
photograph by Avinash Bridglal
The Ministry of National Diversity and Social Integration, Ministry of Arts and Multiculturalism and The University of Trinidad and Tobago (UTT) ably supported the conference. The co-conveners of the conference were the National Ramleela Council of Trinidad and Tobago (NRCTT) and the Faculty of Humanities and Education, University of the West Indies (UWI), St. Augustine.
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Ram Leela is receiving renewed interest at home and abroad

By Raviji
There seems to be a welcome growing wind of change in the air.

This year (in 2006), there has been a growth in the awareness of Ramdilla. It is significant, therefore, that UTT is hosting Ramleela Samelan under the theme Ramleela as we Know, Practice and Remember it. It is designed to discover the stories behind the making of the ten-day performance in the community. These stories are very revealing of the community challenge
circles. This part of our national heritage has been outside the pale of an education designed to support the psychological, academic and artistic bases generic that organisers face in mountto this cultural expression. These ing this complex performance. forms of support are necessary to For one thing, it embraces, at secure a greater understanding of least six languages: Avadhi, the tradition and its contemporary Bhojpuri, Hindi, Sanskrit, value. It is removed from securCreole and English. ing a mastery of the skills that could uplift the art forms that The story of organising a perforare embedded in Ramdilla. The mance of such magnitude is largely organisers and performers have the story of a heritage which has done remarkably well to keep languished for long outside the Ramleela/Ramdilla alive. There active sympathy of Government, seems to be a welcome growing wind of change in the air. corporate citizens and academic
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Raviji continued
There is a growing interest to meaningfully examine theworth of this aspect of our Trinidadian heritage.
Two educators from the USA, Professors Milla Riggio and Paula Richman, were my guests for Ramdilla 2006. They made their way from Connecticut and Ohio, respectively, to have a firsthand
look at the events hosted in different communities. Their journeys, which had them criss-crossing Trinidad, left them animated at what they saw. Both have determined to return next year. Richman, a student of the Ramayan for 20 years, edited the book, Many Tellings of the Ramayan. She has visited Ramleelas across the globe and worked a must-read paper on
Ramleela in Southhall. Riggio has directed one of her students to make a documentary on Ramdilla. She has attached herself to Matilda Ramleela. It will serve the art form well for the host community to widen and deeper its interest in the performative and socio-anthropological features of Ramleela/Ramdilla. It will also be a sign that official circles and corporate citizens
are not blind to the cultural life of a significant part of the population if some meaningful support is given to development of Ramleela/Ramdilla research, teaching and staging. It ought to be help if all concerned understand the implications of Ramdilla as a source of cultural capital.
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Ramleela inscribed in UNESCOs List of the Intangible Cultural Heritage of Humanity

D.H. Singh,
Hindu Writers' Forum (Trinidad)
Gone are the days when our culture was confined to the villages, and viewed as communal, and not integral to the national society.
It is interesting to note that at the World Ramleela Festival held every four years, the winner of the first place has always been the Balinese from Indonesia. This demonstrates that one does not have to be phenotypically Indian in order to participate in, appreciate and cherish Ramleela. I am happy to learn that in 2008, UNESCO had inscribed Ramleela as one of the 43 new masterpieces of the Intangible Cultural Heritage of Humanity. It is heartening to read that Ramleela can be pursued as a course of studies at the University of Trinidad and Tobago (UTT). It is clear that Ramleela has
a universal message that should be the biggest cultural stage in shared with all mankind irrespec- the Caribbean i.e. Carifesta. tive of colour, caste or creed. Appreciation must go to the thousands of people who have I want to congratulate the laboured over the years to keep Ramleela groups for boldly the Ramleela theatre alive in entering the arena of Carifesta 9 in 2006, in a most direct and Trinidad. Year after year, with very little resources, but with the impressive manner. This initiative, without doubt, demonstrates yearning and desire to promote the philosophy of Sri Ram, that Hindus are confident of the value of their cultural heritage our ancestors have toiled and sweated to keep the tradition and are willing to display it in
alive, so that their descendants can take it to another stage. Special tribute must be extended to the Dow Village Ramleela Committe which has kept alive this tradition for more than 132 years. Swargeeya Buchoon, a member of that Committee, has spent 75 years of his life in Ramleela. This is certainly a feat that all Caribbean peoples should acknowledge and salute with pride.
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57
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Divali greetings to the people of Trinidad & Tobago
costumed actors from the village 1992 were assembling on a field strung with different-coloured flags, Nobel Prize winner in Literature, Derek Walcott, on Ramleela
Felicity is a village in Trinidad on the edge of the Caroni plain, the wide central plain that still grows sugar and to which indentured cane cutters were brought after emancipation, so the small population of Felicity is East Indian, and on the afternoon that I visited it with friends from America, all the faces along its road were Indian, which, as I hope to show, was a moving, beautiful thing, because this Saturday afternoon Ramleela, the epic dramatization of the
Hindu epic the Ramayana, was going to be performed, and the costumed actors from the village were assembling on a field strung with different-coloured flags, like a new gas station, and beautiful Indian boys in red and black were aiming arrows haphazardly into the afternoon light. Low blue mountains on the horizon, bright grass, clouds that would gather colour before the light went. Felicity! What a gentle AngloSaxon name for an epical memory.
Under an open shed on the edge of the field, there were two huge armatures of bamboo that looked like immense cages. They were parts of the body of a god, his calves or thighs, which, fitted and reared, would make a gigantic effigy. This effigy would be burnt as a conclusion to the epic.
Source: http://www.nobelprize.org/nobel_prizes/literature/laureates/1992/walcott-lecture.html
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Walcott continued
I had often thought of but never seen Ramleela, and had never seen this theatre
Drummers had lit a fire in the shed and they eased the skins of their tables nearer the flames to tighten them. The saffron flames, the bright grass, and the hand-woven armatures of the fragmented god who would be burnt were not in any desert where imperial power had finally toppled but were part of a ritual, evergreen season that, like the cane-burning harvest, is annually repeated, the point of such sacrifice being its repetition, the point of the destruction being renewal through fire. Deities were entering the field. What we generally call "Indian music" was blaring from the open platformed shed from which the
epic would be narrated. Costumed actors were arriving. Princes and gods, I supposed. What an unfortunate confession! "Gods, I suppose" is the shrug that embodies our African and Asian diasporas. I had often thought of but never seen Ramleela, and had never seen this theatre, an open field, with village children as warriors, princes, and gods. I had no idea what the epic story was, who its hero was, what enemies he fought, yet I had
photograph by Yashti Singh
recently adapted the Odyssey for a theatre in England, presuming that the audience knew the trials of Odysseus, hero of another
Asia Minor epic, while nobody in use pervertedly because that is the Trinidad knew any more than I did kind of remark you can still hear in about Rama, Kali, Shiva, Vishnu, Trinidad: "apart from the Indians". apart from the Indians, a phrase I
72
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In 1917, the last ship taking indentured labourers from India to the sugar plantations of British Guiana sets sail, taking with it Rampat and Parvati, a childless couple looking for a new future. During a furious storm at sea, a child is born and put into their arms as the unwed mother dies. They adopt the child and call her Neela. From the outset, Neela's birth engenders talk of the mystery surrounding the legend of the sea goddess, Ganga. Fifteen years later, and Neela seems to imbibe some of this adoration and fear herself, viewed as both divine and human; a destroyer and saviour. Neela's story, told against the backdrop of the growing racial conflict between Indians and Africans, reveals a country and a people shaped by history and mythological superstition.
Weaving Water
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The chapters in the book are classified into four sections: emotions, assimilation, identity, and adaptations. The first section illustrates the neglect of emotions and feelings in the historiography of the people of the Bhojpuri areas in India who migrated to the plantation colonies in the Caribbean, and elsewhere. The second section analyses assimilation, mainly in the form of Christian conversion of Hindu and Muslim migrants, which resulted in the absence of mandirs and mosques, and the virtual lack of traditional Indian festivals and ceremonies in Belize, Venezuela and St. Lucia. The third section in the collection deals with the plurality of ethnic identities, which is in fact the opposite of assimilation. The last section discusses the social adaptations and reproductions in forms such as Islamic spaces in politics as well as Bollywood movies. This compilation of scholarly work includes new areas of study and fresh perspectives of timeworn topics
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Walcott continued
It was as if, on the edge of the Central Plain, there was another plateau, a raft on which the Ramayana would be poorly performed in this ocean of cane, but that was my writer's view of things, and it is wrong. I was seeing the Ramleela at Felicity as theatre when it was faith.
what I presumed was happening to the actors of this epic. But they were not actors. They had been chosen; or they themselves had chosen their roles in this sacred story that would go on for nine Multiply that moment of selfafternoons over a two-hour period conviction when an actor, made-up till the sun set. They were not and costumed, nods to his mirror amateurs but believers. There was no theatrical term to define before stopping on stage in the belief that he is a reality entering them. They did not have to psych themselves up to play their roles. an illusion and you would have
They were not amateurs but believers. There was no theatrical term to define them.
Their acting would probably be as buoyant and as natural as those bamboo arrows crisscrossing the afternoon pasture. They believed in what they were playing, in the sacredness of the text, the validity of India, while I, out of the writer's habit, searched for some sense of elegy, of loss, even of degenerative mimicry in the happy faces of the boy-warriors or the heraldic profiles of the village princes.
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Indian Diaspora in the Caribbean
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Walcott continued
parodic, even degenerate. These purists look on such ceremonies as grammarians look at a dialect, as cities look on provinces and empires on their colonies. Memory I was polluting the afternoon with costumed characters appearing; that yearns to join the centre, a doubt and with the patronage of a delight of conviction, not loss. limb remembering the body from admiration. I misread the event The name Felicity made sense. which it has been severed, like those bamboo thighs of the god. through a visual echo of History - the cane fields, indenture, the Consider the scale of Asia reduced In other words, the way that the evocation of vanished armies, to these fragments: the small white Caribbean is still looked at, illegititemples, and trumpeting elephants exclamations of minarets or the mate, rootless, mongrelized. "No stone balls of temples in the cane people there", to quote Froude, "in - when all around me there was quite the opposite: elation, delight fields, and one can understand the the true sense of the word". No in the boys' screams, in the self-mockery and embarrassment people. Fragments and echoes of of those who see these rites as real people, unoriginal and broken. sweets-stalls, in more and more
I was polluting the afternoon with doubt and with the patronage of admiration.
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Walcott continued
Here in Trinidad I had discovered that one of the greatest epics of the world was seasonally performed
The performance was like a dialect, a branch of its original language, an abridgement of it, but not a distortion or even a reduction of its epic scale. Here in Trinidad I had discovered that one of the greatest epics of the world was seasonally performed, not with that desperate resignation of preserving a culture, but with
an openness of belief that was as steady as the wind bending the cane lances of the Caroni plain. We had to leave before the play began to go through the creeks of the Caroni Swamp, to catch the scarlet ibises coming home at dusk. In a performance as natural as those of the actors of the Ramleela, we watched the flocks come in as bright as the scarlet of the boy archers, as the red flags, and cover an islet until it turned into a flowering tree, an anchored immortelle. The sigh of History meant nothing here. These two visions, the Ramleela and the arrowing flocks of scarlet ibises, blent into a single gasp of gratitude. Visual surprise is natural in the Caribbean; it comes with the landscape, and faced with its beauty, the sigh of History dissolves.
78
Medicinal and Edible Plants used by East Indians of Trinidad and Tobago
Kumar Mahabir
1991, 2001. Third edition 2008. xx +167 pp. 5 x 8 inches. Paperback. ISBN 976-8001-73-9 TT$100. or US$25. (includes handling, registration and local/foreign postage)
This book contains valuable information on sixty-three local plants, each of which is described and given a botanical name. Their medicinal uses include arthritis, diabetes, high blood pressure, headaches, strokes, impotence, sterility, ulcers and skin infections. Chakra Publishing House Ltd.
Available at Chakra and major bookstores
Caribbean East Indian Recipes Kumar Mahabir

1992. Reprinted 2001, New edition 2009. xx + 120 pp. 5 x 8 inches. Paperback. ISBN 976-8012-75-7 TT$100. or US$25. (includes handling, registration and local/foreign postage)
This cookbook represents a comprehensive collection of over 70 traditional vegetarian recipes. They have been handed down by indentured immigrants from India by word-of-mouth and practical example for over four generations. From delightful snacks to dinner-party specials each recipe has been kitchen-tested and, therefore, meets a high standard of accuracy. Some of the dishes are beautifully illustrated in color to Available tempt your appetite. at Chakra
and major bookstores

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Ramleela: Free open-air folk theatre in Trinidad and Tobago.

2013. Trinidad & Tobago Volume 14, Number 2.

Statement by the Ministry of the Arts and Multiculturalism

The History of Ram Leela in Trinidad and Tobago

photograph by Kumar Mahabir

photograph by Kumar Mahabir

photograph by Kumar Mahabir

photograph by Amrika R. Anroedh

The Trinidad Ramleela/ Ram Lila

photograph by Amrika R. Anroedh

photograph by Kumar Mahabir

photograph by Amrika R. Anroedh

photograph by Preddie Partap

photograph by Preddie Partap

photograph by Preddie Partap

photograph by Mitra Maharaj

photograph by Jeremy Anil Mangalsingh

photograph by Kumar Mahabir

photograph by Roger Seepersad of R|V Foto. www.rvfoto.com

photograph by Gavindra Maharaj

Shubh Divali Trinidad & Tobago!

ADM Import Export Distributors Ltd Tel: 667-2514 website: www.admtnt.com

The introduction of Ramleela in the school curriculum

photograph by Jeremy Anil Mangalsingh

photograph by Amrika R. Anroedh

photograph by Preddie Partap

photograph by Mitra Maharaj

photograph by Preddie Partap

Ms. Kumaree Ramtahal and Mrs. Marilyn R. Kumar

photograph by Kumar Mahabir

photograph by Gavin Maharaj

photograph by Dinesh Arjoon

photograph by Lennox Daniel

photograph by Roger Seepersad of R|V Foto. www.rvfoto.com

photograph by Shawan Singh

photograph by Roger Seepersad of R|V Foto. www.rvfoto.com

photograph by Gavindra Maharaj

photograph by Sunil Ramdas

Ms. Shivani Boodram

photograph by Dinesh Arjoon

photograph by Gavindra Maharaj

photograph by Gavindra Maharaj

139-141 Abercromby Street, Port of Spain 624-2688

Branch Office (South)

Branch Office (Tobago)

photograph by Amrika R. Anroedh

photograph by Avinash Bridglal

photograph by Dinesh Arjoon

photograph by Amrika R. Anroedh

photograph by Dinesh Arjoon

First International Ramleela Conference, Trinidad, July 12-14, 2013

Boundaries and limitations of the Ramleela

photograph by Gavindra Maharaj

photograph by Amrika R. Anroedh

photograph by Amrika R. Anroedh

photograph by Kumar Mahabir

photograph by Amrika R. Anroedh

photograph by Jeremy Anil Mangalsingh

photograph by Kumar Mahabir

photograph by Kumar Mahabir