divali 2013

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1/84 Divali Publication Ltd. 2013 Indo-Caribbean Divali Publication Ltd. 2013 Indo-Caribbean Divali Publication Ltd. 2013 Ind

ISSN 1683-4143

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

http://icctrinidad.wordpress.com

2013. Trinidad & Tobago Volume 14, Number

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After Carnival, Divali is the second largest open-air national festival

in multi-ethnic Trinidad and Tobago. The Hindu Festival of Lights

is marked by the lighting of millions ofdeyas [clay lamps] on split

bamboo tubes bent in artistic designs. It is estimated that over ten

million deyas are lit in households, temples, streets, ofces and parks in

one week. The lights twinkle in the shadows of free public performances

by actors, models, drummers, dancers, musicians and singers.

During the days and nights preceding Divali, non-Hindus and non-

Indians 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 reworks 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 twin-

island state (1.3 million).

ISSN 1683-5026 Volume 14, Number 2Copyright 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

Divali

Festival inTrinidad and

Tobago

The 2005 edition of the ICCmagazine on the theme Templesand Tourism in Trinidad won anExcellence-in-Journalism Award.

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Ramleela is perhaps the oldest living form of

free outdoor folk theatre in the Caribbean. It

denitely holds the unrivalled record of being

the only play being performed at dozens of

venues for over 100 consecutive years in the

region.

Produced by community groups throughout

the country, villagers all serve without theexpectation of payment. The attractions include

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

efgies, 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 at space

in a playing eld fenced off by bamboo trunks.

The spherical stage allows the crowd to have

unrestricted view from all vantage points.

The nal scene of the play climaxes with the

torching of the 30-foot efgy 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.

EditorialRamleela:

Free open-airfolk theatre inTrinidad and

Tobago

Dr. Kumar Mahabir

Chairman, Indo-Caribbean Divali Publication Ltd. (IDP)

Assistant Professor, University of Trinidad and Tobago (UTT)

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Honourable Kamla Persad-Bissessar,S.C., M.P.Prime Minister of the Republic ofrinidad and obago

Greetings from thePrime Minister of theRepublic of Trinidadand TobagoI am pleased, on behalf of the

Government of the Republic ofTrinidad and Tobago, to extend

Divali greetings to the Indo-

Caribbean Divali Publication

Ltd., the Hindu community,

and all citizens of our country

as we celebrate this most holy

and auspicious occasion.

I wish to recognize the work of the

Indo-Caribbean Divali Publication

Ltd.and its commitment to buildingbridges between Hindus/Indians

and other ethnic and religious

groups in our cosmopolitan twin-

island nation. Through the publica-

tion of this magazine, and another

commemorating Indian Arrival

Day, the knowledge produced

constitutes a signicant bridge to

understanding, mutual respect,

appreciation and acceptance.

As the general theme of this years

edition of your magazine focuses

on Ramleela, I believe it is quite

tting as this is synonymous with

the victory of good over evil.

It commemorates the triumph

of Lord Ram, the incarnation

of God, over the evil Rawan,

symbol of unrighteousness.

As you are aware, Lord Rama

provided various lessons to human-

ity, through his own example, by

displaying the ideal qualities of

a son, brother, prince, student,

husband, friend, and king. These

are indeed lessons for all of us,

especially for the young people

of our country who look to us

for the right examples, proper

guidance, and protection.

Part of the appeal of Ramleela is

that it has always been a commu-

nity affair. It brings togethermany peoples from all walks of

life to experience and participate

in something truly magnicent.

I am indeed heartened by the

unity, harmony, and togetherness

that the observance of Ramleela

nurtures throughout the length

and breadth of Trinidad and

Tobago. There is indeed, strength

in diversity, and the occasion of

Divali affords us all, yet again,the hope-lled opportunity to

advance positively, emboldened

by the light of truth and beauty.

On this beautiful occasion of the

Festival of Lights, celebrated by

all peoples of goodwill, I am of

the rm view that when we all

work together all the dark places

of our country will experience

the light of hope, of peace, of

brotherhood, and of prosperity.

This is our task and all of us must

embrace it wholeheartedly. Let

us embrace this opportunity to

reafrm our commitment to peace

and prosperity for all and strive to

make our country a better place.

May Mother Lakshmi shower your

hearts and homes with her bounti-ful blessings today and always.

Shubh Divali.

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Statement by theMinistry of the Artsand Multiculturalism

Te HonourableDr. Lincoln DouglasMinister of the Arts &Multiculturalism

On behalf of the Ministry of the Arts and

Multiculturalism, I wish to extend warm greetings

to the people of Trinidad and Tobago and speci-

cally members of the Hindu faith, as we observe thenational 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 burn-

ing brightly throughout the length and breadth of ourcountry, 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 dark-

ness 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 justiably 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 befor ourselves, family, community and our nation.

Shubh Divali!

Statement by Minister Douglas at his Ministrys Divali celebrations in 2012.

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Divali Greetingsfrom the Ministry ofNational Diversityand SocialIntegration.

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 inTrinidad 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 rst

International Ramleela Conference

in Trinidad and Tobago. The

Conference explored the signi-

cance 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 communi-ties 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 beperformed 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 commu-

nity has been able to preserve

this aspect of their religious and

cultural heritage is a testimony

to their resilience as a peopleand 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 expres-

sions and everyday movement

as opposed to the highly-stylized

dramatic conventions of a stage,

represents a unique form of story-

telling. The folk and village nature

of Ramleela bring a special avour

to community life with all having

a role in this performance. They

participate as performers, organ-

izers, devotees, nancial donors,

or ordinary viewers. Ramleela has

served therefore over the years to

strengthen community bonding. It

is my understanding that people ofall races and religions in a village

contribute to Ramleela in one

way or the other. I daresay, this

type of intercultural and inter-

religious exchange is a notable

feature of our country and can be

considered as one of our strengths.

Te HonourableDr. Rodger SamuelMinister of National Diversity

and Social Integration

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Divali Greetingsfrom the Ministry ofNational Diversityand SocialIntegration.

- continuedIn 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-airspaces, the Ministry is in the

process of listing these sites to

be legally protected by the state.

These include the natural amphi-

theatres at Felicity and Cedar Hill.

Our peoples in their rich diversity

bring together great civilizations

of the world in shared space that

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

inuences, 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.

As we engage in reection 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. Itis a story of loyalty, determina-

tion, and true love. Its cultural

signicance 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 demoli-

tion of the portrayer of evil.

The Ministry of National Diversityand Social Integration expresses

Shubh Divali to the citizens of

Trinidad and Tobago. Let us unite

in celebration of light over dark-

ness and good over evil. Let is

unite for sustainable development

and for nationhood; recalling

always the credo of our Ministry:

I am, you are, we areTrinbago.

Te HonourableDr. Rodger SamuelMinister of National Diversity

and Social Integration

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14/8412 Indo-Caribbean Divali Publication Ltd. Ramleela: Free open-air folk theatre in Trinidad and Tobago.Divali Magazine 2013

The History of Ram Leelain Trinidad and Tobago

Professor Reggio, who

teaches Shakespeare

in the USA, found

some limitations to the

progress of Ramleela in

Trinidad.By Kamalwattie Ramsubeik,President of NRCTT Inc.

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 span-

ning several decades (1950-1980)

must be examined. Milla Cozart

Reggio, a Professor in Literature

at Trinity College in the USA,

found the following contributingbarriers 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 entertainmentmedia (lms, television, etc.).The

language loss had a correspond-

ing 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.

photograph by Kumar Mahabir photograph by Kumar Mahabir

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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 ofa 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 expand-

ing 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 unication 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 perfor-mances. Having achieved this

goal, the organization engaged in

other activities such as magazine

publications and media releases.

The year 2001 saw a revital-

ized, 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 catapult-

ing Ramleela forward nationally,

regionally, and internationally.photograph by Kumar Mahabir

photograph by Amrika R. Anroedh

Ramsubeik continued

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The Trinidad Ramleela/ Ram Lila

Ram Lila was held in acentralised location for peoplefrom neighbouring villages tomake it their destination for anannual pilgrimage.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.

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 aform 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.

By Pandita Indrani Rampersad, Ph.D.,

Senior Research Fellow in Ram Lila,The University of Trinidad and Tobago (UTT)

The rst Ram Lila performances

would have been held in an open

community space that was avail-

able and accessible, and that was

central enough for people from

neighbouring villages to make it

their annual pilgrimage destina-

tion. 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.


photograph by Kumar Mahabir


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The devotee who sees Ram Liladoes so in interactively by imbibingthe rasa-s or emotions, reactingto them, and experiencing his/herown divine realisation.

The absence ofmandir-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

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 Vaishnavadevotee seeks when s/he comes

to participate in Ram Lila.

Ram Lila is not merely a spectator

activity for the devotee. It is a

deeply interactive activity for the

devotee who already knows the

sacred epic story of Sri Ram, his

loss of kingdom, his exile in the

forest, the kidnapping of his prin-

cess, Mother Sita, the many battlesfought against Ravan, the victory

over Ravan, and the nal reinstate-

ment of a spiritual and political

order, called the rule of Ram or

Ramrajya. The devotee who sees

Ram Lila does so in interactive

fashion, imbibing the rasa-s or

emotions, reacting to them, and

experiencing his/her own epiphany.

Rampersad continued

photograph by Preddie Partap photograph by Preddie Partap

photograph by Preddie Partap photograph by Mitra Maharaj

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It is in thissacred spacethat thesedivinities playwith ordinary

human beings.Ram Lila space is made sacred

through rites and rituals.

Organisers rst select an acces-

sible, 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 avail-

ability of space the owners of

the space being either the state

from where workers or their

fore-parents came. There was

the spirit of sharing, coopera-

tion and mutual respect. It was,therefore, not uncommon to nd

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.

or a private landowner. It was

thepanchayat[village court], by

communal consent, that organised

and supervised the religious andcultural life of the villagers under

its administration. Thepanchayat

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

photograph by Jeremy Anil Mangalsingh


Rampersad continued

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Trinidad can boast of havingthe oldest style of Ram Lilain the world which has beenderived from the ancient formin villages in India.

ended in 1917, at least 75 per

cent of them remained in Trinidad

in order to forge a new life.

In early Ram Lila performances,

the role of divine characters

or swaroopa-s was given only

to pre-puberty, Brahmin [high

caste] males. In those days,women did not perform in public

space. The sons of the Brahmins

would be the rst choice for the

swaroopa-s, especially if they were

Ram Lila would have started inTrinidad once community life was

stabilised in the new settlements

outside of the plantations after

indentureship contracts had ended,

and Indians started reconstitut-ing the village life and culture

that they once knew in India. By

1870, most Indians were living on

estates, and after endentureship

fair-skinned with soft, almost-

feminine 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 inthe North representing Ayodhya,

and the other in the South repre-

senting Lanka. Additionally,

while theRamacharitmanas

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

photograph by Gavindra Maharaj

Rampersad continued

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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.

e brand we knowe brand we truste brand our ancestors havebeen using for generations

Shubh Divali Trinidad & Tobago!courtesy

ADM Import Export Distributors Ltd

Tel: 667-2514 website: www.admtnt.com

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The introduction ofRamleela in the schoolcurriculumSatnarayan Maharaj,Secretary General of the SDMS

The introductionof Ramleela in theschool curriculum

by the Maha Sabhaadded impetus tothe renaissance ofthis from of folktheatre.

has taken place. The introduction

of Ramleela in the school curricu-

lum by the Sanatan Dharma Maha

Sabha (SDMS) has added impetus

to the renaissance of Ramleela.

In 2009, the SDMS mandatedits schools to include Ramleela

celebrations in its calendar of

activities. This proved to be a

success far beyond the SDMS

Education Boards expectations.

The principal of the Daljit Moosai

El Dorado South Hindu School,

CB Panday, wrote, At rst, we

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 tore-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.

Over the decades that followed the

arrival of Indians to this country,

Ramleela was a popular and well-

supported cultural activity in manycommunities populated by Indian

labourers. As time passed, this

tradition started to disappear, espe-

cially along the east-west corridor,

with a handful of southern and

central areas retaining its practice.

However, within the last 10 years,

a revival of this cultural tradition



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Involved directlyor indirectly are20,000 studentsand 1,200 teachingand auxiliary staffmembersin theMaha Sabhaschools.

Principal Vimala Tota-Maharaj

states, Ramleela assists as a vehi-

cle to implement subjects on thecurriculum 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.

The use of Ramleela to facili-

tate the implementation of the

curriculum has been recognised by

the authorities, and the Ministerin the Ministry of Education,

Clifton De Coteau, has not only

commended the SDMS for this

initiative, but also requested

copies of a Ramleela magazine

produced by the SDMS. On

October 16, 2010, Ramleela

Source http://www.guardian.co.tt/archives/commentary/columnist/2010/10/28/ramleela-renaissance#sthash.mCH9Qted.dpuf

celebrations were concluded

across the country for yet another

year with the burning of Ravan,

the evil gure of the episode.

Many have expressed the view that2010 has seen a renewed interest

and an increased participation

by schools and communities in

Ramleela, as the communities

realised its potential to stabilise

the religious and moral anchor

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 signicant component in thewhole of Trinidad culture. He did

not conne the Ramleela drama

to Hindus whose faith embraces

theRamayana, but saw it as part

of the cultural landscape of T&T.

photograph by Mitra Maharaj

Maharaj continued

photograph by Preddie Partap

photograph by Preddie Partap

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

The role of libraries indocumenting and archiving theRamleela legacy in Trinidad andTobago: practice and prospect

Ms. Kumaree Ramtahal and Mrs. Marilyn R. KumarThe Alma Jordan Library, The University of the West Indies(UWI), St. Augustine & Corinth Campus Library, University ofTrinidad and Tobago (UTT)Trinidad and Tobago

Ramleela is celebrated every year

in Trinidad and Tobago preceding

the countrys Hindu festival of

Divali, and is a signicant and

major part of our cultural expres-

sion. 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 theRamayana. But how dowe document and preserve what

is created and enacted during the

Ramleela celebrations so that it

could be used by future genera-

tions or researchers interested in

this genre of our culture? What

can libraries do to make Ramleela

visible and make Ramleela-

related resources accessible?

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.

photograph by Dinesh Arjoon

photograph by Gavin Maharaj


Abstract

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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, there-fore, 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

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 toplay an active role in Ramleela-

related collection development

and archiving so that the body

of work on Ramleela can be

expanded, documented, preserved

and also made visible and acces-

sible to researchers and others.



photograph by Lennox Daniel

Abstract Continued

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Ramleela as a complementto the education thrust of theSwaha Gyaan Jyoti MandaliPundit Jaidath MaharajSpiritual Leader of Swaha Gyaan Jyoti Mandali

Trinidad and Tobago

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 thesocioeconomic 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 participa-

tion 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 benet of the various intel-

ligences used in Ramleela to the

development of the participants.



photograph by Shawan Singh

Abstract

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Women on the field: notions ofsanctity and purityMs. 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


meant that someone who was less-

prepared would have to ll 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 eldsmelling 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.


Abstract

photograph by Sunil Ramdas

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Ramleela and youthsMs. Shivani Boodram

SWAHA Gyaan Deepak Kirtan Mandali

Trinidad and Tobago

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 differ-

ent calibre throughout Trinidad and

Tobago. Even though there may

be a profound emphasis on theexternal attractions of Ramleela,

such as the elaborate costumes,

the scintillating scenes by the

versatile actors or the magnicence

of the re that consumes the

efgy 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 benets of Ramleela

include the engagement of

youths in meaningful activities

that not only contribute to their

well-rounded development, butalso educate them about their

religion. Further to this, prepara-

tion 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 conict of inter-

est may arise. If there exists a

generation gap within a Ramleela

performance group, there may

be difference in opinions. Thisrepresents a challenge in manag-

ing Ramleela in a westernized

society depending on the point

of view of those involved.

photograph by Gavindra Maharaj photograph by Gavindra Maharaj


Abstract

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Shubh Divali

May the glow

of the deeyas,And the echo

of the music

Fill your life

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The impact of Ramleela on holistic developmentMr. Mitra Maharaj and Mr. Amral PersadKnox St. and Environs Sports and Cultural Association, San Fernando

Trinidad and Tobago

This presentation seeks to show

that participation in Ramleela hasassisted in the holistic development

of its youths. A holistic approach

to child development seeks to

simultaneously address the physi-

cal, emotional, relational, intel-

lectual and spiritual aspects of a

childs life. Using this denition of

holistic development, our presenta-

tion shows how Ramleela impacts

on, and improves each aspect of


a childs life. While we concede

that this denition does not fullyencompass 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 exam-

ples of youths over the yearsparticipating in Ramleela, who

emerged to be successful in the

academic eld. Furthermore, we

discuss how Ramleela, used as

an extra-curricular activity, aids

in acceptance into top universi-

ties worldwide and is an excel-

lent addition to any resum.


photograph by Dinesh Arjoonphotograph by Avinash Bridglal

Abstract

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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, arenow directing, producing and

narrating the entire production.

Youths apply this responsibil-

ity 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 benets

of Ramleela in the multifaceted

development of children and

adolescents are indeed insur-

mountable. As we move forward

towards empowering our youths

and providing them with a variety

of strengths to make them well-

rounded individuals, it is clearly

illustrated that Ramleela greatly

helps in character-building at many

levels. With time, we hope that

this cultural catalyst to develop-

ment is recognized and further

expanded so that it can become

more available. Eventually, the

abilities of our younger genera-

tion would grow exponentially

as we look into the future. We

hope Ramleela would become a

stepping stone in this direction.



Abstract Continued

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Boundaries andlimitations of theRamleelaMs. Pricilla BickramdassDow Village Ramleela Committee

Trinidad and Tobago

Ramleela is an ancient open-air

theatre dramatizing the Shri

Ramcharitmanas,Ramayana - a

masterpiece in diversity, spiritual

and secular. This paper focuses

on the importance of Ramleela,

its boundaries and limitations, asseen through the eyes of the Dow

Village Ramleela and Cultural

Organization Incorporated.


Today, the performance is

bombarded by many limiting

factors and unavailability of

resource such as space (Ramleela

site); time management (astrologi-

cal); availability of Dharmarchar;

nancial constraints; loss ofancient talents; lack of innova-

tion; lack of human resources,

coordination, communication, and

collaboration; inter-generational

issues due to limitation of

knowledge; and the inability

to adhere to rules and regula-

tions prescribed by the Vedas.

In performing a PEST Analysis,

we realise that political support

assists us in gaining recognition in

promoting our culture, impacting

positively on the economy, thereby

attracting Hindus, non-Hindus,

students and tourists alike. This

automatically increases the ow

of income, thereby, boosting our

small industries and increasing the

creation of employment opportuni-

ties. The balance of payment situ-

ation is improved automatically byapplying such monetary policies,

resulting in a higher standard of

living. Ramleela awareness moti-

vates our youths by creating mind-

awareness, intellect-equilibrium

and increases in spiritual practice,

thus, resulting in a reduction of

crime and wasted time. Technology

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 enthu-

siastic and courageous. Just like

Shri Hanumanjis true gain,

fullment and success in his

dedication to ceaseless service

to Prabhu Shri Ramas Sewa.

photograph by Amrika R. Anroedhphotograph by Gavindra Maharaj

Abstract

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Ramleela: a historical perspectiveMrs. Kamalwattie RamsubeikPresident, National Ramleela Council of T&T Inc.

Trinidad and Tobago

Land acquisition in rural sugarcane

villages by Indians, whose inden-

tureship contractual obligation hadended, 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 signicant 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 culturalexpressions. 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 commu-

nity 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, likePrabhu Shri Ram, they were under-

going 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, fullling

a range of other signicant mean-

ings to those who get involved in

it: players, audiences and others.

photograph by Kumar Mahabir photograph by Amrika R. Anroedhphotograph by Amrika R. Anroedh

Abstract

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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 develop-

ments and strides that have taken

place in Ramleela over the years

such as the inclusion of female

players, the breaking down ofage barriers, the removal of caste

requirements for certain major

roles. Developments such as

increased community participation,

and the introduction of Ramleela

on stage, are some of the areas that

will be discussed. The examinationof 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

unication of groups, increase in

Ramleela groups, and national,

regional, and international

interaction, improvement ofRamleela 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.


photograph by Alvin Saltan



Abstract Continued

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Universal Foods

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Ramlila(Ramleela)in theNetherlands

Mr. Amrika R. AnroedhSuriname

This paper provides a historical

background into the develop-

ment of Ramlila (Ramleela)

in the Netherlands since 2006,

showing how it evolved from an

outdoor to an indoor event. The

rst-open air Ramlila was organ-ized 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.

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 theopening 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 lessthan a year because of the track

record we had and a dedicated

organizing project team. Although

we had a different set of regula-

tions, we had to make practical

changes to perform the story. The

Ramlila 2009 was a major success.

Abstract

photograph by Amrika R. Anroedhphotograph by Preddie Partap


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Over 30 years of Service.

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A turning point forRamleela worldwideDr. Primnath Gooptar,Chairman, First International Ramleela Conference, 2013

The theme of the conferencewas Ramleela in the GlobalVillage: Traditions, Innovationsand 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 waslocated at the UWI, St. Augustine,

Trinidad. The conference brought

together local as well as inter-

national 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 ofHumanities and Education, UWI.

The theme of the conference was

Ramleela in the Global Village:

Traditions, Innovations and Future

Directions. During the confer-

ence, 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 partici-

pants were drawn from countries

such as India, Mauritius, Holland,

Suriname, USA and Guyana.




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During the three-day conference,an average of 260persons attended,and 32 paperswere presented.

At the opening ceremony on

Friday, 12th July 2013, the

Minister of National Diversity

and Social Integration, Mr.

Clifton De Coteau, delivered one

of the keynote addresses while

other keynote addresses on the

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 confer-

ence, 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.



Gooptar continued

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One of the major outcomesof the conference wasthe founding of the WorldRamleela Council.

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 RamleelaCouncil conferences are tentatively

slated for 2015 (India), 2017

(Mauritius) and 2019 (Suriname).

But how did this First International

Ramleela conference come about?

As the President of the National


and Tobago Incorporated, Mrs.

Kamalwattie Ramsubeik explained

on the opening night of the confer-

ence: The idea for the conference

came from Dr. Primnath Gooptar

who approached the NationalRamleela Council with the sugges-

tion to host an international confer-

ence in Trinidad on Ramleela. The

Council accepted the suggestion

and Dr. Gooptar was asked to chair

the conference organizing commit-

tee. The rest is now history.

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 itwould help to link Ramleela in

the various countries, one with

the other. With regards to the

World Ramleela Council, a deci-

sion 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



Gooptar continued


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A series of eight Ramleelaoutreach seminars wereorganized outside of theformal conference structure.

One of the initiatives that distin-

guished this conference from

others was the concept of taking

part of the conference out of the

UWI and into the communities,

where international delegateshad 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

were organized outside of the

formal conference structure in the

outlying districts of Trinidad.

Some of the communities touched

during the outreach programsincluded Barrackpore, Avocat,

Dow Village, Sangre Grande,

Diego Martin and Aranguez. In

addition, two outreach sessions

were held at NALIS (National

Library) in Port-of-Spain and the

SAPA (Southern Academy for the

Performing Arts) in San Fernando.

These outreach sessions were

well-attended and the international

delegates such as Dr. Kaushal

(India), Dr. Ragoobar (Mauritius),

Dr. Richard Schechner (USA),

Shree Raju Mohit (Mauritius),

Dr. Geetapersad GangaramPanday (Suriname), Pt. Balram

Patandin (Suriname), Pt. Bhashkar

Sharma (Guyana/Canada) and

Dr. Rampersaud Tiwari (Canada)

spoke to audiences in the outlying

communities and shared their

experiences on Ramleela and

Ramleela-related activities.

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

Gooptar continued

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At each ofthe outreachsessions,members of theaudience wereencouraged to

ask questions tothe internationaldelegates.

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 inMauritius were shown followed

by videos of Ramleela held in

Barrackpore by the Bluebirds

Cultural Organization, the group

which runs Ramleela at that loca-

tion. 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 videosof 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 discussionsabout 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. photograph by Dinesh Arjoon


Gooptar continued

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One of themajor objectiveswas theestablishment ofan internationalorganization to

point the wayforward forfuture Ramleelaconferences.

Raju Mohit commended the chair-

man 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 andsocialise 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 excellenceis no longer about individual

players and administrators - it

is about effortless coordinationand orchestration across border-

less 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 ofhis 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 associ-

ated outcomes. This was achieved

through the establishment of

the World Ramleela Council.



Gooptar continued

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Anotherimportant aim ofthe conferencewas to promotethe concept ofRamleela as an

intangible culturalheritage.

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 understand-

ing of Ramleela as an inherent

world cultural heritage, and thatcountries 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 singlevolume in the rst half of 2014.

The Ministry of National Diversity

and Social Integration, Ministry

of Arts and Multiculturalism andThe University of Trinidad and

Tobago (UTT) ably supported the

conference. The co-conveners of

the conference were the National


and Tobago (NRCTT) and the

Faculty of Humanities and

Education, University of the West

Indies (UWI), St. Augustine.


photograph by Avinash Bridglal

Gooptar continued

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Ram Leelais receivingrenewedinterest athome andabroad

There seems to be a

welcome growing wind of

change in the air.

By Raviji

This year (in 2006), there has

been a growth in the awareness

of Ramdilla. It is signicant,

therefore, that UTT is hostingRamleela 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 reveal-

ing of the community challenge

that organisers face in mount-

ing this complex performance.

For one thing, it embraces, at

least six languages: Avadhi,Bhojpuri, Hindi, Sanskrit,

Creole and English.

The story of organising a perfor-

mance of such magnitude is largely

the story of a heritage which has

languished for long outside the

active sympathy of Government,

corporate citizens and academic

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

to this cultural expression. These

forms of support are necessary to

secure a greater understanding of

the tradition and its contemporaryvalue. It is removed from secur-

ing a mastery of the skills that

could uplift the art forms that

are embedded in Ramdilla. The

organisers and performers have

done remarkably well to keep

Ramleela/Ramdilla alive. There

seems to be a welcome grow-

ing wind of change in the air.

photograph by Gavindra Maharaj photograph by Amrika R. Anroedh

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There is

a growing

interest to

meaningfully

examine

the worth 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 rsthand

Ramleela in Southhall. Riggio

has directed one of her students

to make a documentary on

Ramdilla. She has attachedherself to Matilda Ramleela.

It will serve the art form well for

the host community to widen and

deeper its interest in the performa-

tive and socio-anthropological

features of Ramleela/Ramdilla.

It will also be a sign that ofcial

circles and corporate citizens

are not blind to the cultural

life of a signicant part of the

population if some meaningful

support is given to develop-ment 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.

look at the events hosted in differ-

ent communities. Their journeys,

which had them criss-crossing

Trinidad, left them animatedat 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



Raviji continued

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Ramleelainscribed inUNESCOsList of the

IntangibleCulturalHeritageof Humanity

Gone are the days when our culturewas confined to the villages, andviewed as communal, and notintegral to the national society.

I am happy to learn that in 2008,

UNESCO had inscribed Ramleelaas 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 hasD.H. Singh,Hindu Writers' Forum (Trinidad)

alive, so that their descendants

can take it to another stage.

Special tribute must be extendedto 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.

the biggest cultural stage in

the Caribbean i.e. Carifesta.

Appreciation must go to thethousands of people who have

laboured over the years to keep

the Ramleela theatre alive in

Trinidad. Year after year, with

very little resources, but with the

yearning and desire to promote

the philosophy of Sri Ram,

our ancestors have toiled and

sweated to keep the tradition

a universal message that should be

shared with all mankind irrespec-

tive of colour, caste or creed.

I want to congratulate the

Ramleela groups for boldly

entering the arena of Carifesta

9 in 2006, in a most direct and

impressive manner. This initia-

tive, without doubt, demonstrates

that Hindus are condent of the

value of their cultural heritage

and are willing to display it in

It is interesting to note that at the

World Ramleela Festival heldevery four years, the winner of

the rst 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.

photograph by Roger Seepersad of R|V Foto. www.rvfoto.comphotograph by Mitra Maharaj

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57

Divali greetings to the people of Trinidad & Tobago

www.facebook.com/Eniaths.Upholstering

E-mail: [email protected]: www.eniaths.com/upholstering/index.htm

7/22/2019 Divali 2013


1992NobelPrize

winner inLiterature,DerekWalcott, on

Ramleela

costumed actors from the villagewere assembling on a eld strungwith different-coloured ags,

Felicity is a village in Trinidad on

the edge of the Caroni plain, the

wide central plain that still grows

sugar and to which indenturedcane cutters were brought after

emancipation, so the small popula-

tion 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

Source: http://www.nobelprize.org/nobel_prizes/literature/laureates/1992/walcott-lecture.html

Hindu epic theRamayana, was

going to be performed, and the

costumed actors from the village

were assembling on a eld strungwith different-coloured ags, 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 Anglo-

Saxon name for an epical memory.

Under an open shed on the edgeof the eld, 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, tted and

reared, would make a gigantic

efgy. This efgy would be burnt

as a conclusion to the epic. photograph by Roger Seepersad of R|V Foto. www.rvfoto.com

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I had often thought of but never seenRamleela, and had never seen thistheatre

Drummers had lit a re in the shed

and they eased the skins of their

tables nearer the ames to tighten

them. The saffron ames, thebright grass, and the hand-woven

armatures of the fragmented god

who would be burnt were not in

any desert where imperial power

had nally toppled but were part

of a ritual, evergreen season that,

like the cane-burning harvest, is

annually repeated, the point of

such sacrice being its repeti-

tion, the point of the destructionbeing renewal through re.

Deities were entering the eld.

What we generally call "Indian

music" was blaring from the open

platformed shed from which the

use pervertedly because that is the

kind of remark you can still hear in

Trinidad: "apart from the Indians".

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

Trinidad knew any more than I did

about Rama, Kali, Shiva, Vishnu,

apart from the Indians, a phrase I

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, anopen eld, 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 photograph by Amrika R. Anroedh

photograph by Mitra Maharaj

Walcott continued

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The chapters in the book are classified intofour sections: emotions, assimilation,identity, and adaptations. The first sectionillustrates the neglect of emotions andfeelings in the historiography of the people

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They were not amateurs butbelievers. There was no theatricalterm to dene them.

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 wasseeing the Ramleela at Felicity

as theatre when it was faith.

Multiply that moment of self-

conviction when an actor, made-up

and costumed, nods to his mirror

before stopping on stage in the

belief that he is a reality entering

an illusion and you would have

what I presumed was happening

to the actors of this epic. But they

were not actors. They had beenchosen; or they themselves had

chosen their roles in this sacred

story that would go on for nine

afternoons over a two-hour period

till the sun set. They were not

amateurs but believers. There

was no theatrical term to dene

them. They did not have to psych

themselves up to play their roles.

Their acting would probably be

as buoyant and as natural as those

bamboo arrows crisscrossing theafternoon 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

proles of the village princes.




Walcott continued

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Chakra Publishing House Ltd.10 Swami Avenue, Don Miguel Road, San Juan, Trinidad and Tobago, West Indies

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This book consists of a wide range of papers on

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The Legacy of Indian Indenture: 150 Years of East Indians of TrinidadMahin Gosine, Dipak Malik and Kumar Mahabir

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I was polluting the afternoon withdoubt and with the patronage ofadmiration.

I was polluting the afternoon with

doubt and with the patronage of

admiration. I misread the event

through a visual echo of History- the cane elds, indenture, the

evocation of vanished armies,

temples, and trumpeting elephants

- when all around me there was

quite the opposite: elation, delight

in the boys' screams, in the

sweets-stalls, in more and more

costumed characters appearing;

a delight of conviction, not loss.

The name Felicity made sense.

Consider the scale of Asia reduced

to these fragments: the small white

exclamations of minarets or the

stone balls of temples in the cane

elds, and one can understand the

self-mockery and embarrassment

of those who see these rites as

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

that yearns to join the centre, a

limb remembering the body from

which it has been severed, like

those bamboo thighs of the god.In other words, the way that the

Caribbean is still looked at, illegiti-

mate, rootless, mongrelized. "No

people there", to quote Froude, "in

the true sense of the word". No

people. Fragments and echoes of

real people, unoriginal and broken.

photograph by Amrika R. Anroedhphotograph by Amrika R. Anroedh

photograph by Gavindra Maharajphotograph by Jeremy Anil Mangalsingh

Walcott continued

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2010. 32 pp. 9 x 7 inches.

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divali 2013

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