Beruflich Dokumente
Kultur Dokumente
special edition
ISSN 1683-4143
-Caribbean Cultural Council Indo-Caribbean Cultural Council Indo-Caribbean Cultural Council Indo-Caribbean Cultural Council Indo-Caribbean
Carnival 2005
Editorial
PRIME MINISTER
REPUBLIC OF TRINIDAD AND TOBAGO
Greetings to Readers of the Carnival & Chutney 2005 Souvenir Magazine
There is a term in Carnival today which is used to describe a certain kind of fete or party. That term
is all inclusive and it very accurately describes the direction that Carnival in Trinidad and Tobago has
always been taking.
To be sure, various people have always had their particular and special ways of celebrating the festival.
But even in the bad old days of slavery, the Black Chantwell was a significant feature of the Carnival of
the plantation house.
Carnival has been strengthened and enriched by the many ethnicities whose arrival has made us a
special and unique people. The cultural mosaic which is Trinidad and Tobago has been expressing itself in
a range of festivals, many of them public affairs which engage increasing numbers of our population.
Some of these festivals are overtly religious; others, like Carnival, may have their roots in religion but
are now secular and all-embracing. The Indo-Caribbean Cultural Council thus accurately reflects the
cultural truth of Trinidad and Tobago in its celebration of Cultural diversity in the Caribbean.
I am pleased to send greetings to this Carnival and Chutney Magazine because it represents another
step forward in the development of national solidarity among all the people of this multi-ethnic, multicultural population.
Our national anthem affirms the fact that in our Republic, every creed and race find an equal place.
But anthems alone cannot forge a national identity. We also need the kind of activity which the IndoCaribbean Cultural Council seeks to promote.
Our all-inclusive Carnival should be celebrated for the unifying force that it is. The educational
potential which a magazine of this kind can have augurs well for the growth of a shared sense of national
wholeness.
The possibilities for the future of Trinidad and Tobago are very considerable, despite the fact that we are
so small in size. We have a message to send to the world that we can live, work and play together, whether
our ancestors originated in Europe, the Middle East, Africa, China or India. Indeed, many Trinbagonians
can hardly identify their ancestral roots any longer because the mosaic has also become a melting pot!
Dr. Kumar Mahabir is to be warmly congratulated for the initiative which the Indo-Caribbean Cultural
Council has taken and I extend every good wish for this edition of the Carnival and Chutney Magazine.
Patrick Manning
Is Carnival a
religious festival?
Carnival has been secularized much like the Christian holiday of Christmas.
Many might scoff at the idea that
Carnival was derived from a religious
celebration. Nowadays, with the indulgent costumes and sensual behaviour,
Carnival has veered far from its more
pious origins.
It is important to understand that
Carnival is not indigenous to Trinidad,
but rather to Europe where Catholics
celebrated Carnival as the period right
after Christmas and just before Ash
Wednesday.
During this time, masquerade galas
were held by the elite, particularly in
France. The lavish balls were as much
for merriment as they were to display
social status.
The word carnival literally translates
into removal of meat. It is the last horray culminating on Shrove Tuesday, the
day designated for confessions of ones
sins. The following day known as Ash
Wednesday signifies the Seventh Wednesday before Easter,
which celebrates the rising of Jesus Christ from his tomb.
On Ash Wednesday, Catholics put ash on there forehead
as a form of repentance, and begin the holy fasting period
known as Lent. It is expected that many Catholics who participate in Carnival would go the following day to mass and
begin the fasting period.
One would question the relevance of Carnivals origins
as proof of its religious nature. However, it is its undeniable
ever-present religious roots, along with equally important social factors that have shaped it into the multi-cultural celebration it has become today.
Migrants from France, Spain, Africa, and later India and
China have all contributed to the diversion from its Catholic
origins of shrovetitude to a celebration of sheer revelry. Indeed, it has been secularized much like the Christian holiday
of Christmas.
The rise of
chutney
soca
in Trinidad
By Amelia Ingram
Theevolution
of calypso in
Trinidad
Chutney
goes to the Mas Camp Pub
The Mas Camp Pubs bold inclusion of chutney in its weekly
line-up for 2005 is a sign of the times to come.
Edward Ramdass
Hands were up and hips were swaying as smooth chutney rhythms blasted from the speakers. The club was hardly filled to capacity, but the night was momentous nonetheless.
In a week-long celebration which began November
28th and ran until December 4th 2004, the Mas Camp Pub
in Woodbrook historically marked its 23rd anniversary by
holding its first-ever Chutney Night. It was the first time
that chutney had gone to the city at such a venue known for
calypso. In the past, patrons from Port of Spain had to trek
to central and south Trinidad just to take in a good chutney
performance.
Journalist Peter Ray Blood wrote in the Guardian that
some people were overheard saying that it was the most
entertaining show theyd ever attended at the Mas Camp,
while others deemed it the best of the weeks nightly events
to mark the establishments 23rd anniversary. Blood added
that the audience proved to be a curious mix which represented the broad spectrum of Trinidad society.
Five-time national calypso monarch Black Stalin described the chutney debut in Woodbrook as a revelation
for the capital city, sensing the mood of most patrons seeing the live performance of the Indian musical genre for the
first time.
Headliners included Edward Ramdass, chutney soca
superstar Adesh Samaroo, Heeralal Rampartap, and former
Chutney Monarch Boodram Holass. The MC was radio
personality Ken Lallee
The event was put together by renowned calypso and
chutney producer Moonsar Chankar. Club owner MacDonald Ward was besieged by excited patrons to stage a
repeat show. Within minutes, he agreed.
Within the recent years, there has been a notable increase in the visibility of East Indian influence in Carnival
celebrations. As a result, a slew of chutney fetes has been
successfully organized. Among the organizers is the Indi
Carnival Commission (ICC).
Being only two years old, the organization is making
big waves. According to promotions manager Ricky Ragoonanan, the purpose of the organization is to give coverage to Indian artistes who would otherwise not get the
exposure on the grand Soca Chutney stage.
The Chutney Soca Band Festival, Chutney Soca Youth Festival, Trailer Mela and Indi Comical Youth Festival are four
of the events ICC organizes. These fall under the Chutney
Soca Village every Sunday in the season until the Sunday
after Carnival at Himalaya club on Third Avenue, Barataria.
With the ICC making chutney performances so readily
available in the north, it makes the long daunting journey
to south Trinidad outdated. The Village also gives veteran
performers a venue, especially those who are reluctant to
provide provocative dance moves and vulgar lyrics so popular with todays more popular artistes.
The Chutney Soca Band Festival calls for the performances of all chutney bands. This event is similar to the
Chutney Brass Festival, but without the brass.
The Chutney Soca Youth festival gives an opportunity
to younger artistes who usually do not get contracts because
they lack a big following like Adesh Samaroo. Ragoonanan
stresses the fact that this event is not meant to encourage illicit youth revelry. Instead, it aims to give a chance to eager
young performers who lack funds and exposure.
The Trailer Mela event is a big show put together by the
biggest chutney bands in the land along with a few surprise
performances. It is meant to lead up to Jouvert morning celebrations, but due to conflict of interest Ragoonanan doubts
he will hold this event next year.
Finally, the Indi Comical Youth Festival provides comedic performances, including funny chutney songs, without the vulgarities found at some comedy shows.
Indi Carnival is hoping to get some state funding for its
initiative
an exclusive interview
Adesh Samaroo
chutney singer
In Guyana during my visit, they had to close the airport down because of all the fans.
By Dr Peter Manuel
The Chutney
Soca Monarch
Competition
Much to the surprise of its main promoter, George
Singh, the Chutney Soca Monarch Competition has been
going ten years strong. It was a concept that he initially
felt was destined to die.
Recently held at the largest stage ever constructed in
Skinner Park, the show sparkled with special effects - the
likes of which had never been seen before in San Fernando, or even in the whole of Trinidad.
Not to be confused with the National Chutney Foundations Chutney Monarch Competition which revolves
around more traditional chutney music, this show caters
for the more party songs and for the lighted-hearted. With
around 0.3 million dollars in cash prizes up for grabs, the
competition was stiff.
The much-anticipated show kicked off with guest
performers throughout the night including the Laventille
Rhythm Section, the Nirvana School of Dance, St. Johns
Tassa Group, and the SSL Melobugs which entertained
the crowds for thirty minutes before the competition ensued.
In the end, reigning monarch Rooplal Girdharie who
performed Lawah and Hands in the Air placed second, taking home $60,000. Heeralal Hero Rampartap
took home $100,000 for his performance of Run for My
Life. The song was penned by his 17-year-old daughter,
Shakti.
The crowd receptively cheered their king as thousands
of flags bearing his name waved in the air during his performance. Adesh Samaroo placed fourth overall, and was
the Peoples Choice Award winner with his performances
of Live Life and Not Marryin Again. He took home
$10,000. Famed Soca sensation Denise Belfon, who has
promised to brush up on her Hindi pronunciation, came in
15th place with her song Juma Juma.
Among the celebrities in attendance was former Miss
Universe, Wendy Fitzwilliams, and famed designer Peter
Elias. Ministers from the Ministries of Works and Transport, Community Development, Culture and Gender Affairs, and Trade and Industry were all in attendance.
Despite the bad weather, the show was a huge success.
The impressive turnout proved once again that Chutney in
Carnival - come rain or shine - is here to stay.
Jab-Jab
Traditional
Carnival Caharacters
Music of
Hindu
Trinidad
Like many other small towns in Trinidad, Felicity is
populated almost entirely by East Indians. In their Caribbean exile, the residents of Felicity have created and recreated the music of their Hindu ancestors. Music of Hindu
Trinidad is a fascinating account of the history and cultural
significance of Hindu music that explores its symbolic, aesthetic, and psychological aspects while asking the larger
question of how this music has contributed to the formation
of identity in the midst of their great diaspora.
Myers details the musical repertory of Felicity, which
is based largely on north Indian genres including the traditional Bhojpuri folk songs and drumming styles brought
by the first indentured laborers in 1845. In her engaging
exploration of the fate of Indian classical music and new
popular styles such as Hindi calypso, soca, and chutney,
she even finds herself at the ancestral home of Trinidadian
V. S. Naipaul in India. Copiously illustrated and accompanied by a compact disk, Music of Hindu Trinidad is a model
ethnographic study.
Myers, Helen Music of Hindu Trinidad: Songs from the India Diaspora. 542 p., 15 halftones, 3 maps, 6 line drawings, 9 tables, 33 musical examples. Also contains a CD
of 32 tracks. 6 x 9 1998 Series: (CSE) Chicago Studies in
Ethnomusicology
Cloth $85.00sc 0-226-55451-1 Fall 1997
Paper $39.00sp 0-226-55453-8 Fall 1997
By Helen Myers