ncic newsletter - issue 1 - may 2012

NCIC Issue 1 May 2012

The history of indentured Indians is not

fully covered by the secondary school syl-

labus. A history, which is not being taught

in our schools, is not being thought

(about). This is history that belongs not

only to the descendants of indentured

labourers or to Indians, but to the nation,

the region and indeed, the world. The his-

tory of any of the peoples of Trinidad and

Tobago is a history that belongs to all of

us: it is a part of our collective history as a

nation and of the wider Caribbean region.

And history, we would like to note, is not

only about dry and dusty dates, compli-

cated names and things that happened to

other people in other times. We are all

living history day by day, and what we ex-

perience is coloured and informed by our

collective pasts. As the saying goes, “You

can’t know where you’re going, unless you

know where you’ve come from.” If we

don’t wish to be passively pushed into the

future, but to truly shape our own desti-

nies, we need to understand ourselves and

how we have come to be. Our histories

need to be taught/thought. A more apt

title for this article might therefore be

“Thinking Indian Indenture.” Here are

some of the things that you might have

thought you knew: but have to think again.

After slavery ended in 1838 British colonial

plantations were faced with a labour

shortage for the cultivation of crops and

they looked to India to meet this need. So

it was that the first batch of indentured

Indians arrived on the shores of Trinidad

on May 30th 1845. Yet Indians had already

been taken abroad as indentured

labour before being brought to

Trinidad: in 1829, over a decade

earlier, Indians had been inden-

tured to estates in Mauritius. Ante-

dating even this migration, how-

ever, was the long history of Indians

traveling overseas for labour. They

were taken as slaves to the French

territories of Reunion and Mauritius

in the 18th century and to Burma

by the East India Trading company

to work on the ports from 1753. Indian

convicts were also sent to Mauritius, Su-

matra and Singapore to perform manual

labour in 1815, 1818 and 1825 respec-

tively. Later, Indian labourers were also

sent to Ceylon (Sri Lanka) in 1827 and East

Africa to work on plantations there. It was

only in the 1830s, however, that the sys-

tem of sending Indians as labourers over-

seas started to be regulated and con-

trolled. In 1836, John Gladstone, an estate

owner in Guyana wrote to the Secretary of

State for the Colonies (no Independence

back then) and the President of the Board

of Control for India requesting permission

to ship Indian labourers to Guyana to work

on the sugar estates. In 1838 he was

granted permission and thus began the

trade of Indian labourers to the West In-

dies. Continued on Page 8

Inside this issue:

• Celebrating 167 Years of Our

Arrival

• Diabetes - Myths, Miscon-

ceptions and Good Advice

• Local Classical Singing in

Trinidad and Tobago

• Sufism: The Yoga of Islam

• Upcoming Events

And much more!!

By: Aneela Bhagwat

2


The Sanskriti Vaahana May 2012 Team:

Mr. Deokinanan Sharma

(Editor-in-Chief)

Mr. Chris Selochan

Ms. Nesha Abiraj

Ms. Amrica Seepersad

(Committee Members)

Sanskriti Vaahana - The Vehicle of Culture is a initiative of the Youth Arm of the National

Council of Indian Culture.

This newsletter is aimed primarily at Secondary and Tertiary students, although its content can also educate the wider community and those interested in the promotion of Indian Cul-ture in Trinidad and Tobago . The newsletter intends to broaden the arena for culture and to explore the presence of Indian culture in Trinidad and Tobago through music, art, drama and dance etc. It is also hoped that this medium become a voice for the Indian Diaspora in our country and create a forum for young persons involved in Indian culture to explore, un-derstand and promote their heritage. The publication will also contain information as to the

activities of the NCIC, both past and upcoming, and will be produced quarterly.

Would you like to contribute to the content of this

newsletter? Do you have a suggestion or comment?

Send an E-mail to: [email protected]

www.twitter.com/ncictt

www.ncictt.com

National Council of Indian Culture of Trinidad and Tobago

A most cordial welcome to Sanskriti Vaahana, a Vehicle of Culture - a quarterly publication of the National Council of Indian Culture of Trinidad and Tobago (NCIC), produced as a special project of the Youth Arm of the NCIC.

Many years ago attempts were made to produce an NCIC newsletter. A few editions did in fact see the light of day. We were however unable to continue do so due to various reasons - chief of which was a lack of commitment, shortage of funds and in-adequate executive support. Hopefully all of these deterrents have been overcome and today, most significantly during Indian heritage month 2012, we feel extremely pleased to have produced our first quarterly publication.

The publication could not have become a reality without the forward thinking and en-ergetic exuberance of the members of our Youth Arm who have been entrusted with the responsibility for producing the quarterly Sanskriti Vaahana. Our congratulations therefore, to the Chairman of the Youth Arm, Ms. Amrica Seepersad, and her execu-tive for the effort made in shaping this first publication.

Emphasis has been different from what was achieved in our previous attempt. A more informative and educational approach geared towards the youth of our nation is pro-jected. We have not excluded the older folk who I am sure will find interest in the newsletter and from whom we will welcome comments, articles and suggestions on how to improve on the magazine.

The senior executive of the NCIC pledges full support to its Youth Arm on this ambitious but sorely needed project and it will seek to ensure that Sanskriti Vaahana is pub-lished every quarter as envisaged.

A very happy Indian Heritage month to all.

Mr. Deokinanan Sharma

3


From the ancient and ascetic India

a hundred and sixty-seven years ago;

leaving home and comfort,

to a land of promise they would go.

Hare, Bhai aur Behin, tum kahan ja rahii ho?

they would ask curiously,

Ham Trinidad ja rahii hain!

as they packed anxiously.

But the journey they had hoped for

was more than they could bear;

Beaten, starved and scarred,

not a night without a tear.

In the next seventy-two years

they continued to arrive,

bringing bhojan, capra aur geet,

while struggling to survive.

The Fatel Razack anchored

and to the fields they were led;

Although they were ill-treated,

their culture and tradition spread.

Kandhaa, haath, paiir aur talvaa,

our ancestors worked to the bone;

They ploughed, harvested and toiled

‘til the land became their own.

Many years our forefathers endured

til finally being liberated;

Yeh vakiil, daaktar aur adhyapak!

They overcame obstacles and were emulated.

Aaja, Aaji, Nana aur Nani,

we say to you, Dhanyavaad!

Long live our Indian heritage,

in this great land of Trinidad!

AASAASAASAAS

The 143,939 Indians who arrived as indentured immigrants to Trinidad

during the period 1845-1917 came from a society that was elaborately

organised since ancient times. The period of Indentureship was not like

African slavery, with commencement and termination dates; instead

after 1850, indentured and time-expired Indians co-existed, each con-

tributing to and affecting the other’s lifestyle. Some lifestyles that were

brought by the Indians to Trinidad are agriculture, food, religion and

education.

When the first group of indentured Indian immigrants numbering 213

came to Trinidad in 1845, they entered a cosmopolitan society, which,

according to a Secretary of State, ‘was divided into castes as strongly

marked as those of Hindustan.’ It consisted of people of English, French,

Spanish and Portuguese descent in the basic three-tier structure of 19th

century Creole society, stratified according to the color and ethnicity as

well as wealth.

East Indians faced many challenges in the West Indies. Although the

Indentureship system was not supposed to mirror that of slavery, it did

in many ways. The Indians were now faced with a language barrier.

Many were converted to Christianity. Living conditions were poor and

life was generally difficult.

However, this did not stop East Indians from making their mark on the

culture of Trinidad. Many held on to their traditions and customs with

their families. They persevered, toiled the land and ensured that their

children were educated. Today, Indo-Trinidadians are professionals in

the fields of Business, Science, Medicine, Law, Culture, Economics, Edu-

cation and even Politics.

While the occasion of Indian Arrival has been celebrated amongst the

East Indian community in Trinidad and Tobago for many years, it was

not until 1994 that it was made an official public holiday. It was called

Arrival Day. In 1995, it was re-named Indian Arrival Day.

1995 was especially significant to the East Indian Community since it

marked the 150th Anniversary of the arrival of the very first group of

indentured labourers from India to our shores.

Since then, massive celebrations are held throughout the country to

celebrate the arrival of East Indians to our twin-island Republic on this

day with cultural programs, parades and other social events.

May God bless our ancestors for toiling and paving the way for our lives

to be as beautiful as it is today - a rich and vibrant culture fusing with

many others to make what we know as, Trinidad and Tobago.

We salute the brave men and women of our ancestry. It is through their sacrifice, their suffering, their hard work and

most of all, their vision and dreams, that we now have a life with modern comforts and conveniences, a place that we

can occupy in society and respect and tolerance amongst our Trinbagonian society.

4


"Ganesh, tonight self I sharpen-ing up a cutlass for you. I make up my mind to send you to hos-pital and go to jail for you. Look out, I warning you."

It seemed funny on paper, yet I could have identified with it. Growing up in a rural community in East Trinidad, I heard words of a similar nature uttered count-less times by intoxicated men struggling to cope with their sense of disappointment and betrayal. And that, perhaps, is the biggest attraction of The Mystic Masseur - a raw por-trayal of our country's people.

Depending on who you speak to, the name of V.S. Naipaul will either invoke awe or incite dis-appointment. Regardless of what you think though, there is no denial of the quality or thought provoking nature of his work which eventually earned him the Nobel Prize for Litera-ture. This novel, a comedy by genre, was his first in a distin-guished career.

Set in the colonial period, the plot follows Ganesh Ramsumair, a rural East Indian going to school in Port of Spain all the way to his appointment as a Member of Executive Council (M. B.E.). He undergoes several un-successful career changes from teacher to masseur to author but his success only comes with his incarnation as a "mystic" ca-

pable of evacuating people of blood hounding clouds and amo-rous relations with bicycles. Along the way he is supported and challenged by a host of colorful characters: Leela, his wife, who has an inexplicable love for punctuation marks; Be-harry, a shopkeeper and a faithful sidekick; and Ramlogan, his opportunistic father -in-law waiting to milk whatever he can from the protagonist, and ever ready with his cutlass when things do not go his way. Eventu-ally, fuelled by the admiration of the people around him, Ga-nesh finds himself in politics with new obstacles, both external and internal, in his path.

The novel does not attempt to

be preachy on Trinidadian soci-

ety but does provide the reader

with glimpses of Naipaul's later

pronouncements in his career. It

highlights some attitudes in our

society: some changing, some

constant, some unpleasant.

Among these are casual accep-

tance of domestic violence, our

sometimes casual treatment of

spirituality, a mistrust of educa-

tion and scientific verification

and the tendency to assign more

value to character rather than

intellectual content. But whether

you choose to read it for the

underlining tones, or just for the

comic relief, it is worth the effort.

By Dr. Vedavid Manick, M.B.B.S.

Has technology affected Religion?

If there is little debate that technology has af-fected human life and living, then by extension, it has affected religion.

If the role of religion, organised or not, is to meet human needs on both the community and the social level, then without doubt technology, which has transformed the way people live and communi-cate, has a function in religion.

So is technology posing a danger to our religion?

This is not a simple question to answer; but religion has always changed with the times. In this age of technological information, we cannot overlook the changes and transformation (both good and bad) that technology brings.

Take the cell phone for example. Did our forefa-thers ever imagine the invention of such an ad-vancement in technology?

Cell phones are now being used to further commu-nity social expression and even religion. This tiny, yet powerful device has such tremendous impact that man does not seem to be able to function without it. It has even found its way into our relig-ion. From the positive spirited Hanuman Chaalisa rings tones and scripture messages, to the negative unwelcoming facial expression we experience from others when our cell phone unceremoniously rings during a temple worship.

So is technology affecting our religion?

Yes, and in my humble opinion, there are both positives and negatives but our religions will con-tinue to adapt and survive to any invention that poses a threat to its existence.

The other exciting question to answer is, "Can tech-nology transform our religion and the way we pray.” The short answer to that is yes, and it has already impacted on traditional means of worship, but this will be discussed in a subsequent article.

Technology is here to stay and so is our religion.

By Ricki K. Narine

5


Needless to say, there’s a lot of diabetes information out there. Unfortu-nately, not all of it is based on facts. Following bad advice could actually harm a person with diabetes. Fellow diabetics and too often our very own family members and friends can dispense information that is incor-rect or misleading without even knowing it! These have become the source of many myths and misconceptions of this condition and have led many astray regarding proper care and management of the disease resulting in greater complications in the long term.

In the following offering I will attempt to attack some of the most common misconstrued notions about diabetes while at the same time explaining the truths. So let’s see which of these common theories about diabetes are true and which are false.

Myth 1: Diabetes is not that serious.

Truth: In Trinidad and Tobago, 1 in 8 people are diabetic with East Indi-ans and women being at higher risk. Diabetes causes more deaths than breast cancer and AIDS combined each year. Two out of three people with diabetes reading this article will die from heart disease or stroke. Diabetes is also the number one cause of adult blindness, leg and foot amputations and need for renal dialysis.

Myth 2: If you are overweight or obese, you WILL develop type 2 dia-

betes.

Truth: One form of diabetes is called juvenile diabetes or Type 1. This is a genetically hereditary condition where the body does not produce the hormone insulin or rejects the hormone insulin it produces. Since this is a genetic disease, weight has no influence in developing diabetes.

Being overweight is only one of the risk factors for developing Diabetes. Other risk factors include family history, ethnicity and age. Most over-weight people never develop type 2 diabetes, and many people with type 2 diabetes are at a normal weight or only moderately overweight.

Myth 3: Eating too much sugar causes diabetes.

Truth: Type 1 diabetes happens when the cells in the pancreas that make insulin are destroyed. This process isn't related to how much sugar a per-son eats.

Type 2 diabetes occurs when the body can't respond to insulin normally. In most cases, the tendency to get type 2 Diabetes is inherited but eating too many foods with sugar can cause weight gain, which can increase your risk for developing the disease

Myth 4: If you have diabetes, you should only eat small amounts of

starchy foods or special diabetic foods.

Truth: Diabetics don't need to be on strict diets, but they do need to pay attention to when they eat and what's on their plates. Generally, a diet low in fat, moderate in salt and sugar with meals based on whole grain foods, vegetables and fruit is recommended.

Starchy foods like whole grain breads, cereals, pasta and rice are part of a healthy meal plan. What is important is the portion size. Talk to your dietician about the amount, frequency and types of foods you should eat. Consider your diabetic diet as an opportunity to reinvent and perfect your favourite recipes!

Myth 5: People with diabetes can't ever eat sweets or chocolate.

Truth: Diabetics are allowed sweets occasionally if and only if they are eaten as part of a healthy meal plan and combined with exercise. They are no more “off limits” to people with diabetes than they are to people without diabetes.

Myth 6: You can catch diabetes from someone else.

Truth: No. Although there are still many unanswered questions about diabetes, we do know that diabetes is NOT contagious. It cannot be caught like a cold or flu.

Evidence suggests some genetic link in diabetes type 2 especially. Life-style factors like diet, weight control and lack of exercise also play a part.

Myth 7: People with diabetes are more likely to get colds and other

illnesses.

Truth: You are no more likely to get a cold or another illness if you have diabetes. That said however, it is recommended that diabetics get flu shots since they are more susceptible to developing serious complications.

Myth 8: If you have type 2 diabetes and your doctor says you need to

start using insulin, it means you are going to die.

Truth: Contrary to popular belief, insulin injections do not mean it is the beginning of the end neither does it mean your condition is beyond help. Insulin injections are merely a means of delivering the necessary insulin when oral medications cannot maintain a healthy blood glucose level. In fact most patients using insulin tend to achieve better blood glucose con-trol. Using insulin to get blood glucose levels to a healthy level is a good thing, not a bad one.

Myth 9: Insulin shots hurt a lot.

Truth: The pen needles and syringes available today cause virtually little or no discomfort. It’s a far cry from the old memories of painful penicillin, tetanus, or flu shots!

There is no need to fear the very idea of insulin shots so much that you put off starting insulin. The best way to conquer this fear is just to try one shot. These shots should NOT actually hurt. If they do, the problem may be due to fear, poor technique in administering the shot or outdated supplies e.g. needles. Your doctor or nurse will be able to demonstrate to you proper techniques to employ.

Myth 10: Diabetics should not exercise.

Truth: All exercise is good whether it is walking or playing a team sport. Whichever form you choose, it should be done every day. Exercise offers many benefits including better blood glucose control, healthy weight maintenance and reduction in the risk for heart attacks and stroke. Peo-ple with diabetes are encouraged to have regular exercise regime which can be decided in consultation with you doctor.

It's a good idea to talk to your doctor or nurse if you ever come across information that doesn't seem quite right or sounds too good to be true. Also be cautious if someone tells you to do contrary to what your doctor has told you. Always check with your doctors first to get advice on what's helpful and what's harmful.

The diagnosis of diabetes can shake you to your core. It requires you to alter your life and your psyche. With millions of others walking in your shoes, you are hardly alone. Through education and ensuring you are surrounded by a strong support system, you will be able to journey along this new challenge hopefully understanding that it’s not the end of your life but merely a bump in the road.

Always remember however, that Diabetes is a lifelong condition. It is not

curable but only treatable. It demands a certain amount of self-love and

willingness to make life changes.

Dr. Priya Laloo Primary Care Physician

M.B.B.S, Diploma in Family Medicine

6


Local Classical singing has been a

part of our culture here in Trinidad

and Tobago since the time of Inden-

tureship and many have managed to

keep this traditional type singing

close to their hearts. However, the

art form is slowly dying since the

popular art form of Chutney and

other musical genres such as Soca

Chutney, Soca, Latin, Alternative and

Bollywood Film Songs appeal to our

younger generations. Many find Lo-

cal Classical Singing suitable for a

mature audience whilst others see it

as a corruption of Authentic Hindu-

stani Classical Styles.

Local Classical Singing, as called in

Trinidad, and otherwise known as

Taan Singing, Tent Singing or Bhaitak

Gana is a vocal art form brought to

Trinidad by the Indentured Labour-

ers from India around 1845.

The name “Tent Singing” originates

from the “Marwa” (Bhojpuri for tent

or canopy) or Mandap (Hindi) where

special events and ceremonies were

held.

The term “Taan Singing” refers to

the ‘taans” or variations in these

songs composed out of the main

notes of the raga on which the song

is based.

Baitaak Gana literally means to “sit

and sing” which is synonymous with

this art form.

Here, in Trinidad, the art form is

popularly known as Local Classical.

The word “Local” is used to differen-

tiate between authentic Hindustani

Classical and these locally composed

songs of the West Indies.

As mentioned before, this singing

artform can be traced back to the

Indentureship period. The East

Indian Indentured Immigrants

left their land with memories

of customs, rituals, traditions

and most of all the songs of

their various villages. These

songs were their only form of

relaxation and expression in a

land afar.

The National Council of Indian

Culture (NCIC) of Trinidad and

Tobago incorporates Local Classical

Singing for Indian Arrival Day cele-

brations, their Annual dinners and

even on the stages of Divali Nagar. In

2009, the NCIC hosted an Interna-

tional Classical Singing Competition

in order to encourage artistes across

the globe to continue the artform.

The first prize was an attractive USD

$10,000 and was taken away by local

star now residing in Canada, Shri Dev

Bansraj Ramkissoon.

Although, the Local Classical Singing

art form has faced many challenges,

our country has proudly produced

many veterans over the past thirty

years. Some of these veterans in-

clude Haniff Mohammed, Jameer

Hosein, Sam Boodram, Arjoon Sam-

lal, James Ramdas, Sohan Girdharie,

Hansraj Ranmkissoon, Rawle Ram-

jitsingh, Rakesh Yankarran and An-

and Yankarran - just to name a few.

All of them rightly deserve the title

“Ustad” before their names for they

have significantly contributed to the

development of Local Classical Sing-

ing in Trinidad and Tobago.

Local Classical Singing has also at-

tracted some youngsters like myself,

with a passion to promote the field

such as Veejai Ramkissoon, Ravi Ja-

groop, Dubraj Persad and Devika

Ramnath-Seemungal to name a few.

A project of the Youth Arm is cur-

rently underway designed to edu-

cate interested artistes and the gen-

eral public on this amazing artform

which was created by our ances-

tors.

The project is entitled, “Examining

Local Classical Singing in Trinidad

and Tobago” in order to:

1. Educate our youth and the general

population about Local Classical Sing-

ing by previewing the History of the

art form, the structure of a Local Clas-

sical song and identifying the different

types of songs that comprise this art

form.

2. Encourage participation in various

Local Classical Singing activities.

3. Appreciate the value of Local Classi-

cal Singing and the contribution made

by our artistes towards the art form.

4. Assist in the preservation of Local

Classical Singing.

It is hoped that after being exposed

to this material, you are more

enlightened by what is Local Classi-

cal Singing/Taan Singing/Baithak

Gana. When you hear a Local Classi-

cal selection, you should have a bet-

ter understanding of the song and its

structure. Let us work together to

preserve this creative and dynamic

artform!

By Nirmala Sesnarayan

7


Ravi Jagroop has been singing from the tender age of six after discover-ing the Local Classical artform by playing with an old cassette player and old archived live-recorded classi-cal music with compositions by singers like Ramsumair Bissembar, KB Singh, Yussuf Khan and his very own Aaja (grandfather) Vidoor Gangadar Ja-groop. He is now considered to be one of the most talented and sought-after Local Classical Singers in Trini-dad and Tobago. The exposure to this type of music fostered an interest which later led to numerous accolades in the field. Jagroop has not received any formal training in this field of music with any one particular Guru and spends his time looking for ways to improve his technique, even if it means listening to the pre-recorded or live recordings of pioneer singers in the field. He ex-poses himself to as many styles of the artform as he can and thus far, he has managed to grasp and execute styles such as Dhrupad, Tilana, Thumri, Ghazal, Khimtaa, Hori, Laawni, Be-haag, Daadra, Chaitee, Khanjree, Qawaali, and Chaap/Shair. His thirst for knowledge coupled with research, contributes toward his growing com-petency on stage. Some of Ravi’s achievements in the field include; placing first at Sanskritik Sangam 2004 - Local Classical Sing-ing Category, Coca-Cola Teen Talent from 2006 to 2008, Nationwide In-dependence Classical Singing (Under 19 Categor) 2006 to 2008, NCIC International Classical Singing Com-petition 2009, Prime Minister’s Best Village Competition - Local Classical Singing category, second place at Bal Vikas - Chowtaal Drumming Category and Mastana Bahar Grand Finals 2012.

Jagroop has had the pleasure of per-forming on many prestigious plat-forms including the Naparima Bowl, Divali Nagar, Queens Hall, NAPA and Suriname. He has also had the oppor-tunity to share such stages with great pioneers of the artform such as Jo-seph Rampersad, Lappo Dindial, Baliram Balaa, the late Jeewan Singh, the late Ram Maraj, the late Ramraj Yankatesu, Jameer Hosein, Lily Ram-charan, Sam Boodram and Boodram Holass. He has also had the privilege of working alongside artistes such as Kries Ramkhelwan, Motimala Bho-lasing, Tulsi Malaha and Radgis Sew-nandan (all of Suriname). Apart from his Local Classical involve-ment, twenty-three year old Ravi con-tributes to the Indian Cultural industry through his involvement in organisa-tions such as the NCIC Youth Arm, UWI Hindu Society, Tarouba Shri Sat Chit Anand Ashram and the Maha Kaali Shakti Temple of Moruga. He assists schools for the Bal Vikas com-petitions, judges at Mastana Bahar, and always finds time for perform-ances as well as accompanying other

musicians on the dholak (drum). The talented young man is a recent graduate of the University of the West Indies and is currently em-ployed as an HSE Coordinator. Jagroop recognises that there are problems within the Local Classical arena that hinder its sustainability; problems which he would like to see addressed such as increasing the mar-ket value for the music being pro-duced. “When comparing it to the chutney arena it is clear to see why the young artistes are moving towards a direction as such and it’s simply be-cause of the fact that it pays! No Lo-cal Classical artiste or singer right now could ever dream of seeing any-thing as close to the figure of two mil-lion dollars for one of his or her songs. Promotion of the singing with some attractive incentives will increase the attention towards the art. It will also address the long-term sustainability which is the involvement of youths,” he said. Jagroop remains motivated and com-mitted to doing all that he can for Local Classical Singing in Trinidad and Tobago. He feels blessed to be able to be part of a generation keen on preserving a treasured tapestry of culture and spends many hours a week teaching those younger than him who not only show a willingness to learn, but also do a promising job at executing what they have learnt. He has expressed his belief that the Local Classical genre has the ability, with ample support and propagation, to stand up and stand out amongst all other genres of Indian music in Trini-dad and Tobago. He noted, “Efforts to do so have failed in the past due to a lack of interest, support or fund-ing. Then there are the efforts of many including the NCIC - which have proved fruitful in the past and with new vision and insight, will indeed develop in the future.

Above: Ravi Jagroop

By: Amrica Seepersad & Reshma Sankar

8


Indian indentured labourers were ini-tially recruited from the Tribal regions of Chota Nagpur which was close to Bengal and Bihar. Called “Dhangars”, these people were mainly from the San-tal, Mundis and Oraon tribes and had started hiring themselves out within India as agricultural labourers. Other early sources for the recruitment of labour included the city areas around the ports where many people who had left their villages in search of employment had flocked. After the1850s, the demand for labour increased and more and more recruits came from other parts of India. Most recruits to the West Indies came through the port at Calcutta (Kolkata), the catchment area for which was the Indo-Gangetic plains areas close to Ben-gal: Bihar, the North Western Provinces (now Uttar Pradesh and Jharkhand). Only a small proportion of indentured labourers to the West Indies came from the South of India, through the port at Madras (Chennai).

The decision to leave was not an easy one for many of the people who mi-grated. As was the case in many coun-tries with long years of colonisation, there was a history in India of people leaving their homes and villages, leav-ing their families behind and going off to different areas in search of jobs, as

seasonal labourers and as members of the army. They always had the intention of returning home, however, and the vast majority of the time they did. Of those who were sent to Burma, Ceylon and the tea estates of Assam in the North East of India, the majority re-turned home. Many of these emigrants were unaccompanied men who had left their families behind, seeking better prospects abroad for a limited time. For those who left, the economic circum-stances in India at that time were a ma-jor “push” factor that forced them to migrate. The Indo-Gangetic plains from which the majority of these migrants came had been affected by the British East India Company’s “Permanent Set-tlement Policy”, which re-structured the Indian land system. This new policy made land ownership, tenure and cul-tivation rights very rigid and defined in order to collect taxes. The result was the development of a very exploitative re-lationship between tenant and zameen-dar (or land owner) which continues to dominate Indian rural life to this day, causing underdevelopment of rural ar-eas and agriculture. In the 1800s, the “Permanent Settlement Policy” resulted in famines and put many rural families into deep debt. The East India Com-pany’s trading interest in India also

flooded the Indian market with British textiles and other goods that com-peted with local Indian goods. This put many In-dian crafts-men out of jobs, causing the decline of

crafts, which had been handed down through generations. This in turn created vast pools of labour which could be eas-ily exploited due to desperation of the people, especially in the areas of East-ern India. Furthermore, the historical re-cords clearly show that emigration to the colonies spiked in years when there was drought and famine in India, whereas it was more difficult to find recruits when times were better. It is clear, therefore, that many who left India did so because they found themselves in dire circum-stances - where the conditions at home were so untenable that they were willing to risk the utter darkness of the kaalaa paani (black waters) in order to simply survive. There were also those who were brought to the colonies involuntarily, who were kidnapped or tricked into coming by “arkatias.” The arkatias were infor-mal recruiting agents, unofficially part of the system, hired by the licensed re-cruiting agents for their familiarity with the areas from which recruits were drawn. There were also those who left to escape the law, or exploitative situ-ations in their village. Some few also left out of curiosity.

Coming from situations often of des-peration - dogged by trickery and hope, the immigration of 147,000 Indi-ans into the island of Trinidad from 1845 - 1917, transformed this land-scape. Through their labour and sacri-fice, they carved for their descendents a brighter future. In no way can one arti-cle correct the lack of engagement with Indo-Caribbean history in our schools, but it is humble attempt to forge a way for young people to enter into these discourses, to think of and around them. It is a reminder that history does not only exist in the realm of academic insti-tutions and should not be limited to them. History exists to engage.

By: Aneela Bhagwat

Image courtesy: Mr. Angelo Bissessarsingh and the Virtual

Museum of Trinidad and Tobago

Continued from Page 1

9


The Morning Wind Spreads The morning wind spreads its fresh smell.

We must get up and take that in, that wind that lets us live. Breathe before it's gone.

Jalāl ad-Dīn Muḥammad Rūmī (Rumi)

As Yoga is to Hinduism, so is Sufism to Islam; a mystical journey of love and spirituality, the Sufi path strives for ec-static ego annihilation in the fires of Divine Love. There is no better way to understand the Sufi path and philoso-phy like the description once offered by Qushayri - disciple of Sufi master Abu Ali ad-Daqqaq and author of the ‘Risala ila al-sufiyya’ which is widely read by those engaged in Sufism and the Sufi path. Qushayri said, “Sufism is entry into exemplary behav-ior and departure from unworthy be-haviour. Sufism means that God makes you die to yourself and live within Him. The Sufi is the single essence; nothing changes him, nor does he change any-thing. The sign of the sincere Sufi is that he feels poor when he has wealth, is humble when he has power, and is hid-den when he has fame. Sufism means that you own nothing and are owned by nothing. Sufism means entrusting the soul to God most high for whatever He wishes. Sufism means seizing kneeling at the door of the Beloved, even if he turns you away. Sufism is a state in which the conditions of humanity disap-pear. Sufism is a blazing lightning bolt.” We can agree that poetry is an art-form in itself; but poetry in Sufism, which has long existed as an integral part of what Sufism is, has become lar-ger than art; a journey to take us out-side of ourselves and into a realm of spirituality and love. The Sufi way in itself is a poetic one, the way chosen to become one with the Divine. With in-toxicating words evoking change in state of outer and inner awareness, Sufism builds its foundation on these mystical expressions.

Today the works of many famous Sufi poets remain alive and invaluable. One such poet was Jalāl ad-Dīn Muḥammad Rūmī. Born in Khorasan (now Afghani-stan); Rumi remains one of the most well known and widely read poets in the world. Having been a man of charm, wealth, nobility, and a scholar in his own right, Rumi’s life turned after meet-ing Shams. The tale has it that Shams came to be considered the spiritual master of Rumi after their first meeting where Shams, on passing Rumi reading from a stack of books, inquired of what he was up to. Rumi, without hesitation replies, “Something you cannot under-stand.” On hearing this, Shams threw the stack of books into a pool of water. Rumi rushed to recover his books from the water and to his awe, they were dry. “What is this?” he asks Shams in bewilderment. “Mowlana [Rumi], this is what you cannot understand.” It is from here that Rumi was trans-formed from a bookish, sober scholar to a passionate seeker of truth and love. After Sham’s death, Rumi com-piled over seventy thousand poetic verses; included in these were about two thousand quatrains, written origi-nally in Persian. Here are a few of Jalāl ad-Dīn Muḥammad Rūmī’s selected quatrains and poetic composition.

I would shake the dust from my coat,

and rise

If I realized my own perfection.

I would rush to the sky, empty and

light;

My head would be high as the ninth

heaven.

I'm so close to you that I'm far apart,

So completely merged that I'm sepa-

rate,

So vastly exposed that I'm concealed,

So whole and sound that I'll never be

healed.

For love of you, my soul soars in the

sky

As your kindness plucks music on its

strings.

The smallest favor that you grant

your slave

Is greater than a thousand years of

prayer brings.

By: Reshma Sankar

10


11


Divali Nagar

Divali Nagar

Divali Nagar Divali Nagar

Divali Nagar

Dance Workshop

Dance Workshop

Cook-Out

Family Fun Day & Cricket Competition


Family Fun Day &

Cricket Competition


Family Fun Day & Cricket

Competition

Family Fun Day &

Cricket Competition

Hall of Pioneers Hall of Pioneers

Hall of Pioneers Hall of Pioneers

12


• Family Fun Day & Cricket

Competition

• Yoga & Health - A Workshop

• Youth Arm Photography Com-

petition

• Indian Arrival Day Celebra-

tions

• Women from the Diaspora - A

Discussion

• Sanskrit Workshop

• Hall of Pioneers

• Mehndi Workshop

• Technology and its Applica-

tion in Religion and Culture - A

Discussion

• NCIC’s “50th Anniversary of

TT Independence” Celebra-

tions

• Divali Nagar 2012 - Theme:

Shree Raam Bhakt Hanuman

And many more!

No part of this publication may be reprinted or reproduced without written permission from the NCIC TT.

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Universal Foods Limited

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Holiday Snacks Ltd.

Chatak Food Products Limited

Coca-Cola

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Nestlé

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Daren Ganga Foundation

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Savi’s Classi Jewellery

Anand’s Gold & Diamond Collection Ltd.

T&T Event Management Co. Ltd

...and many others

Ananta Vistaara...An Eternal Progression -

A Dinner and Cultural Programme hosted

by the Youth Arm of the NCIC

Left (Top): Visham Balroop and Arkash Carl Left (Bottom): A cross section of patrons Above: Crystal Chaitram

ncic newsletter - issue 1 - may 2012

Documents

history of indentured

long history of indians

history day

collective history

batch of indentured

trade of indian labourers

indian indenture

indian convicts