Divali 2006

http://www.geocities.
com/icc_tt/
W
in
ne
ro
f2
00
Ex
ce
lle
nc
in
Jo
ur
na
lis
Aw
a
rd
o-Caribbean Cultural Council 2006 Indo-Caribbean Cultural Council 2006 Indo-Caribbean Cultural Council 2006
Trinidad & Tobago

Volume 8, Number 2.
October 2006
Indo-Caribbean Cultural Council 2006
Indo-Caribbean Cult
Indo-Caribbean Cult
do-Caribbean Cultural Council 2006 Indo-Caribbean Cultural Council 2006 Indo-Caribbean Cultural Council 2006
Divali Festival in Trinidad and Tobago

Divali is the second largest open-air national festival after Carnival in multi-ethnic
Trinidad and Tobago. The Hindu Festival of Lights is marked by the lighting of
thousands of deyas [clay lamps] on decorative designs of split bamboo tubes. It is
estimated that over ten million deyas are lit in households, temples, streets, offices
and parks on this darkest night of the year. 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 Indian ethnic clothes, and partaking
in eating traditional Indian foods and sweets. The festival climaxes with a display of
resplendent fireworks on Divali night, which has been pronounced by the state since
1966 as a public holiday.
Hindus comprise the second largest religious group in Trinidad and Tobago after
Roman Catholics. Most Indians are Hindus, and Indians form just over half of the
population of the tiny Caribbean island (1.3 million).
ISSN 1683-5026
Copyright 2006 by Indo-Caribbean Cultural Council
Scriptural source: Ramayana: King Ramas Way.
Translated by William Buck. Ontario: New American Library, 1976
Cover and page design: Preddie Partap
Photos by Dr Kumar Mahabir
Contributing writers: Mera Heeralal, Kamsha Maharaj, Roger Seepersad
Associate editor: Dr Roop Misir
Editor-in-Chief and Chairman: Dr Kumar Mahabir
Indo-Caribbean Cultural Council (ICC)
10 Swami Avenue, Don Miguel Road
San Juan, Trinidad and Tobago
West Indies
Tel: (868) 674-6008 Tel/fax: (868) 675-7707
E-mail: dmahabir@gmail.com, mahab@tstt.net.tt,
Website: http://www.geocities.com/icc_tt
The Splendour of Divali: Highlights of the Festival

Ed ito rial b y Dr. Ku m a r Ma h a b i r
Trinidad and Tobago, the land of Carnival, steelband,

tassa, calypso and chutney, is the same country that
gives the world its unique brand of Divali. Indeed, the
Hindu Festival of Lights has become the second largest
national open-air festival after Carnival. It is a welcome
alternative to the rambunctious indulgence in meat,
alcohol, party and wine, and is arguably the largest
vegetarian alcohol-free festival in the Caribbean, if not
the Western Hemisphere. It is an event that the Ministry
of Tourism can market as a major attraction as part of the
fastest-growing world-wide trend of spiritual tourism.
Divali is the defining event that marks Trinidad
as a multi-religious, multi-ethnic society with Hindus
comprising the second largest religious group (24%)
after Roman Catholics in the twin-island population
of 1.3 million people. The festival provides a clean
environment for the cultivation of a healthy body, mind
and soul. While Divali is essentially a Hindu festival,
people of all faiths actively join in the celebration of
the triumph of light over darkness, knowledge over
ignorance, and good over evil. Its non-Hindu adherents
are perhaps attracted to the festivals universal message
as well as to the extravaganza that is both clean and
different.
Nowhere else in the world do non-Hindus and nonIndians actively participate in the lighting of over ten
million deyas on the darkest night of the year. These tiny
clay lamps are lit in homes, yards, streets, offices, public
parks and playing fields. It is perhaps only in Trinidad
that one can find split bamboo tubes transformed into
magnificent works of art on which the deyas are placed.
The popular mantra all ah we is one is symbolized
by split bamboo strips reaching out to neighbouring
houses, streets and communities.
Streamers of all colours and patterns are made with
kite paper and plastic, and strung from jhandi [flag]
poles. Brightly coloured fabric, balloons and bulbs
decorate homes, offices and stages. Indeed, it is Divali
that heralds the joy of the end-of-year celebrations.
Strings of twinkling lights - clear and coloured - are
strung high on buildings, trees, and even across streets.
The eagerness to decorate is everywhere, and payment
is in the pride of the finished product. Effigies of
Mother Lakshmi are made from bamboo tubes and large
cardboard cut-outs. Calligraphy on signs and banners
glitters with paint. The starry designs of deyas and bulbs
transform simple houses into magical kingdoms.
The nights are filled with free performances in
public parks and playing fields. Divali provides the
perfect forum for showcasing the talent of both foreign

and local performers in the field of Indian song, music,
dance and drama. Fashion shows are the highlight of
all celebrations. Indeed, no celebration is considered
complete or magnificent without a fashion show that
is always eagerly anticipated by all. The tradition
of Indian fashion is kept alive and enriched in the
Caribbean in the wearing of dhotis, kurtas, Nehru
jackets, saris, shalwars, nose-pins, necklaces, bangles,
anklets, eyeliners, mehendi markings and forehead
tikkas/bindis. Most Divali celebrations climax with a
competition to be the best-dressed fashion finalist. A
Divali Queen is not only bestowed with a crown, but
also showered with gifts and other prizes.
Divali also boasts of Ram Leela/Lila which is
perhaps the oldest living form of outdoor folk theatre
in the Caribbean. Worship of Lord Rama takes many
forms, but community devotion [Ramayana yagna]
outside the temple has the most public impact. During
Divali, tons of sweetmeats like parsad, kurma, burfi,
pera, ladoo, jalebi, gulab jamoon and sweet rice are
made and distributed free.
During Divali, Indian trade fairs become shopping
hotspots for women who flock to the sites in their
thousands to buy mainly clothes and accessories. A
kind of dizzy euphoria can also be seen in any one of
the Indian apparel stores during the count-down. It is all
part of the excitement that hums through the air during
this pre-Christmas celebration as women try to dress
their best, and stores try to outsell one another. Women
more than men, dress in their finest traditional Indian
wear with matching jewellery, as models of grace and
elegance.
The hub of all Divali celebrations in the island is
Divali Nagar in central Trinidad. Indeed the Nagar is
the most frequented entertainment centre in the country
during Divali, second only to the Grand Stand in the
Queens Park Savannah during Carnival. The grand
display of fireworks in the air at the entertainment
park resonates with the thunder of bamboo cannons,
the explosions of firecrackers, and the sparkle of starlights in villages across the country.
The festival of Divali is illuminated with divine
creativity. Joy is expressed in limitless ways to represent
the infinite power and grandeur of God. On Divali night,
thousands of people take to the streets on foot and in
vehicles to behold houses and communities that look
like an illuminated fairyland.
D ivali Gr eetings
S e n a t o r t h e H o n o ur able Joan Yuille- Williams
M i n i s t e r o f Community Development,
C u l t u r e and Gender Aff air s
The annual celebration of Divali is an occasion to pay tribute to the significant
contribution of the Hindu community to the tapestry to our national life.
The souvenir magazine published by the Indo-Caribbean Cultural Council is an ideal
vehicle for reflecting on the different elements of the festival and reinforcing the
symbolism which is the basis of the celebration.
The selection of The Splendour of Divali: Highlights of the Festival as a theme of
this years edition offers the opportunity to explore the concept of beauty as it relates to
the content and symbolic meanings underlying the celebration of the Festival of Lights.
The myriad of lights which adorn our landscape during the celebration is apt testimony
of the splendor which behold the eyes of citizens in our multicultural society.
But the true meaning of Divali resides beyond the sparkle and attraction of the lights
of the deyas. The universal message of the triumph of light over darkness must be
embraced by all citizens as we seek to pursue the goal of building a knowledge-based
society, where the members of our rainbow population will co-exist in peace and
harmony circumscribed by continuous progress.
I wish to congratulate the Indo-Caribbean Cultural Council for publishing this widely
circulated souvenir magazine. May I also extend Divali Greetings to members of the
Hindu Community.
Joan Yuille-Williams
Minister
M e s s a g e f o r m t he I ndian High Commissioner

H i g h C o mmission of I ndia
P. O . B o x 530 P or t of S pain,
Tr i n i dad & Tobago, W.I .
It gives me great pleasure to convey greetings on behalf of the High Commission of
India to the readers of the Divali Souvenir Magazine being brought out by the IndoCaribbean Cultural Council of Trinidad and Tobago.
Divali of the Festival of Lights celebrations are marked by much fanfare, singing of
devotional songs, exchanging gifts and sweets, besides remembering and propagating
values of Indian culture. The legendary story of the return of Rama and Sita after their
banishment of fourteen years is associated with the event. The occasion also marks the
rekindling of the spirit of forgiveness and humility, and spreads a message of love and
affection.
The celebrations of Divali take place all over India and in many parts of the world
where the Indian diaspora is settled. Notably, the celebrations in Trinidad and Tobago
take the pride of place as the Indo-Trinidadian community celebrates the occasion as it
was being celebrated in ancient times. However, these celebrations have been attuned
with the appropriate songs, music, dance and drama befitting the modern times.
We take the opportunity to convey Divali Greetings and best wishes to all the readers
of the magazine and to all nationals of Trinidad and Tobago.
Jagjit Singh Sapra

High Commissioner
He became king of
the solar race and
reigned over Ayodhya
One of the origins of Divali [the Hindu
Festival of Lights] relates to Lord Rama
who was the son of the King of Ayodhya
in India about 6,000 years ago. Through
the wishes of his envious stepmother, he
had to leave his fathers kingdom with
his wife and brother to live in the jungle
for fourteen years. When his painful and
troubled period of exile was over, Rama
returned to Ayodhya. The people illuminated the whole town with rows of light
to welcome him back. It is said that it was
a dark moonless night that made it virtually impossible to see where he was going.
This was the beginning of the tradition of
the festival of lights. Rama is one of the
most widely worshipped deities in the
Hindu pantheon. In artistic works, he is
represented as a standing figure, holding
an arrow in his right hand and a bow in
his left. Rama is briefly mentioned in the
Mahabharata which is the longest poem
ever written in the world. His travails are
recounted in detail in the holy Ramayana,
an epic poem comparable in size and depth
to Homers Illiad and the Odyssey.
Lord Rama
the God King who
walked the earth
flashback
R a m as ap p e a r a nc e in the
first Divali c e le br a tio n
i n In d ia 6,0 0 0 y e a r s a g o
Rama came out, like a lion coming out of
his cave, and girls tossed fragrant flowers
from windows and rooftops. He walked to
the park with Lakshmana holding a seventiered white parasol over him.
- Extract from the Ramayana by
Valmiki translated by William Buck.
Source: http://www.indiavilas.com/wldofind
Divali 2006 - Indo-Caribbean Cultural Council
The Splendour of Divali
The annual performance

of one of the greatest
epics of the world
Just before Divali [Hindu Festival of
Lights] in Trinidad and Tobago, the drama
of Ram Leela which is performed at numerous venues across the country. In his
Nobel Prize acceptance speech in Sweden
in 1992, poet and playwright Derek
Walcott spoke glowingly of this awesome
annual re-enactment: Here in Trinidad, I
had discovered that one of the greatest epics of the world was seasonally performed,
not with that desperate resignation of preserving a culture, but with an openness of
belief that was as steady as the wind bending the cane lances of the Caroni plain..
they [the performers] were not actors.
They had been chosen; 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 define 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 the afternoon pasture.
They believed in what they were playing,
in the sacredness of the text, [and] the validity of India
The drama of
Ram Leela
recounted by
Walcott
flashback
Stor ytelling in th e firs t

D ivali cel e b ra tio n in
India 6,00 0 y e a rs a g o
Hanuman [divine monkey] settled back
contentedly and the people grew still. I
will tell you Ramas story, filled with loneliness and love, romance and glamour.
The pundit [priest]

sings parts of the
worlds longest poem
Worship to Lord Rama, the God-King,
intensifies during the days leading up
to Divali [the Hindu Festival of Lights]
in Trinidad and Tobago. Worship takes
many forms such as the open-air theatre
of Rama Leela, but community devotion
[Ramayana yagna] outside the temple has
the most public impact. The site is usually the home of a wealthy person who has
generously offered his premises to be used
as a public temple for nine nights. The
house and rented tents are beautifully decorated with ribbons, balloons, bulbs, flowers, fruits, tinsel and kite paper. A royal
stage is built on which the pundit [priest]
sits in a lotus position. He performs his
nightly narrations, chants and songs on the
tribulations and triumphs of prince Rama.
He sings dohas [couplets] from the epic
poem, the Ramayana in Hindi, and then
translates and comments in English. The
pundit also plays melodious music on his
harmonium while being supported by a
choir of dholak and dhantaal [percussion]
players. Hundreds of devotees in ethnic
wear sit and listen attentively, sometimes
joining in the chorus. The three-hour sessions end about 9.00 p.m. with a late lavish dinner of vegetarian dishes served on
sohari leaves.
Ramayana yagna
[ prayer service ] in
communities
flashback
P r aising Ra ma in th e
fi rst Divali ce le b ra tio n in
Rama said to all his people, I am pleased
that you have gathered here to welcome
me.
They cheered back King Rama! Rule
forever!
Prevent and Cure All Ailments Naturally

with Magnetic Therapy
Sports men, Celebrities, Doctors and even Royalty all agree

and herald the wonderful results when using Magnetic
Therapy. They all claim there are no negatives and lots of
positives.
17 of Kand I. Part I speak of the magnet being used to stop

bleeding. Mantras 2 and 3 of Sukta 35 of Kand 7 Part III
deals with treatment of some disorders of the female organs
through magnets.
Academy award winner, Sir Anthony Hopkins (Hannibal, of

Silence of the Lambs fame) hails this age old natural healing method a miracle-cure for all his aches and pains. I tried
everything but nothing seemed to get rid of the pain, say
Hopkins, who used magnets to end years of shoulder pain.
When I heard about the magnetic treatment, I jumped at
the chance to try it. It answered my prayers. Sir Anthony
Hopkins said the shoulder pain he had suffered for years
vanished in a fortnight after he started applying magnetic
patches to his shoulders.
Magnetic Therapy can be described as a combination of

science and art of curing and preventing human diseases
through external application of magnets to the diseased parts
of the body, the palms of the hands and soles of the feet.
Ex-President Bill Clinton uses two each day to help ease

backaches. Sue Stockdale, the British Leader of an expedition to the North Pole had magnets inserted into her boots
and sleeping bag. She said It means Ill never wake up
stiff.
Magnetic Therapy works by reviving, reforming and promoting growth of cells, rejuvenating tissues and increasing
the number of sound blood corpuscles. It regulates all natural systems working in the body namely, the circulatory,
nervous, respiratory, and digestive and genitor-urinary. It
normalizes the functions of autonomic nerves and internal
organs controlled by them. It is beneficial for mental retardation and weakness and also eases activities of the heart.
Sportsman Dan Marino of the NFLs Miami Dolphins

swears that magnets strapped to his fractured ankle not only
helped the bones heal more quickly but also eased the pain.
Bradford City soccer stars in England already use them as
standard equipment. Even golfers find magnets attractive.
According to Golf Magazine, 90% of Senior Pro Golfers use
them to stay limber on the links.
My patients have reaped the benefits, and I believe that
millions more can experience these miraculous results as
well. Says Dr. Whitaker, director of the Whitaker Wellness
Institute in Newport Beach, California and founder of the
American Preventative Association.
Cleopatra of Egypt kept herself young by using magnets
on her forehead. Queen Elizabeth I was prescribed them to
ward off arthritis by the court physician, Dr. William Gilbert
(1540-1603). It was Dr. Gilbert who pioneered the scientific
study of Electricity and Magnetism and was the first to declare that the earth itself is a huge magnet with a North Pole
and a South Pole.
Magnetic Therapy, like Ayurveda, Naturopathy, Yoga, and
Acupuncture, is a comparatively new system of medical
treatment to the West. It is an ancient therapy. The earliest
mention of magnets as a healing agent occurs in the Atharya
Veda one of the four Vedas which contains the treatise on
medicine and the art of healing. Mantras 3 and 4 of Sukta
It is a unique, natural drug free system of treatment. The application of magnets works as a medicine and helps restore
the body to a natural healthy state in due course. It helps
maintain the self-curative faculty of the body. One feels full
of vigor and vitality with this all-natural treatment.
This therapy can be applied anytime depending on the type

of magnets used. It can be used with modern day medicine.
There is no danger or adverse side effects. Magnetic Therapy
is used to both cure as well as prevent ailments.
The regular use of magnets makes you stay healthier, vibrant
and younger looking, and you will live longer naturally than
others who do not use magnets. So effective is this form of
treatment, The Ministry of Health and Welfare of Japan has
approved Magnetic Therapy and Magnetic Devices since the
1970s.
Magnetic therapy was introduced in the Caribbean since 1982
through the efforts of Modern Caribbean Enterprises Limited
with branches at Gulf City Mall, Hadeed Centre Mall and
Mon Repos, San Fernando, where a wide range of Magnetic
Items are available such as Magnetic Head belt, Waist Belt,
Knee and Elbow Supporters, Eye Belt, Necklaces, Bracelets,
Insoles, Magnetic Massage Footwear, Magnetic Cups, SexMag Magnetic Chips, High and Low Powered Magnets and
many other devices to relieve your every ailment and preserve your good health.
A play of unrivaled
running record in
the Caribbean
Just before Divali [Hindu Festival of
Lights] in Trinidad and Tobago, the drama
of Ram Leela is unfolded in serialized acts
over several nights. In Guyana, the staged
drama is now a memory, and in Suriname,
it has disappeared a long time ago. Ram
Leela [lit. the drama of the life of the GodKing Rama] is perhaps the oldest living
form of free outdoor folk theatre in the
Caribbean. It definitely holds the unrivaled record of being the only play to have
been performed at dozens of venues for
over 100 consecutive years in the region.
The attractions include the performances
of actors in their glitzy costumes, their
opening parades through the streets, their
rhythmic dancing style, the colourful stage
dcor, the spectacular giant effigies, and
the thunderous tassa drumming. Villagers
play the roles of animals, clowns, humans,
saints, gods and demons through masks,
costumes, props, gestures and body movements. They do not speak but mime the
songs and dialogues of a pundit [priest]
who narrates the Ramayana through a
loudspeaker in Hindi and English. The
performance takes place at the centre of a
playing field on a flat stage fenced off by
bamboo trunks.
The open-air
theatre of
Ram Leela
flashback
P r aise for R a ma in th e
fi r st D ivali ce le b ra tio n in
Rama [the God King] said to all his people, I am pleased that you have all gathered here to welcome me.
An epic condensed in
an enjoyable three-hour
live stage performance
During Divali [Hindu Festival of Lights]
in Trinidad and Tobago, the Ramayana is
staged in ballet style with native Indian and
young Trinidadian actors. Last season, for
two weeks every night, people sat spellbound by the spectacle of celestial characters in their colourful costumes, and the
scintillating lights creating the appropriate
mood and time on the three adjacent stages. There were engaging dialogue, soulrousing devotional songs, and instructive
and inspiring commentary. The stage lighting was dramatic, shifting from dim to
bright, shade to colour, and spot to flood,
and roving from corner to center-stage.
The ballet was presented with props and
characters that sometimes effectively projected giant shadows against a huge white
background screen. The performers gave
an extraordinary display of miming skills
as the only sound was broadcasted from
a loudspeaker. This open-air theatre was
held in the parking lot of the Divali Nagar
in Chaguanas. Of the several Ramayana
Ballet performances in Trinidad, the production of the holy epic by native Indian
director, Goswami Sushil Ji Maharaj, was
simply breathtaking.
The Ramayana Ballet

a breath-taking
three-hour drama
flashback
L ights in the firs t D iv a li

celebr atio n in In d ia
6,000 y e a rs a g o
The night passed quickly by. Soon the sky
grew light, and the morning Sun rose red
for Rama to see him [the Sun].
A production staged by
one of Indias legendary
choreographers
in Trinidad and Tobago, a cast is often
formed by a combination of Indian and
Trinidadian actors who come together to
stage a Ramayana Ballet. Among the lead
local actors last season was Anushka Dube
(Miss India TnT) who played the role of
Sita, wife of Lord Rama who is the hero
of the Ramayana epic). Another lead actress was Ena Maharaj as Queen Kausilya
(Ramas mother). Other local cast members included Martin Sahadath, Sabrina
Bissessarsingh, Lisa Samlal and the
Esmaralda Ram Leela Troupe. The production was staged at the Divali Nagar in
Charlieville, Chaguanas. The religious ballet was directed by one of Indias highestpaid legendary choreographers, Goswami
Sushil Ji Maharaj. During his visit to
Trinidad, he conducted intensive pre-performance workshops with local actors on
the latest techniques in dance, drama, music, costume-wear, make-up, stage lighting and set designing. In India, Goswami
is well known for staging various historical and mythological dramas using innovative state-of-the-art techniques. His
dramas are presented with the aid of scintillating lights, and special sound effects.
His multistage complex incorporates huge
sets against a white screen back-drop.
The Ramayana Ballet

- captivating lights
and sound on a
multistage
- based on reports by Seeta Persad of

Newsday, Trinidad, 2006
flashback
S ounds i n th e firs t
A Kosala lion-roar came back from the
street. The palace trembled with noise, incredibly loud.
has enthralled
millions of people for
thousands of years
Th e st o r y

in Trinidad and Tobago, the cast of the
Ramayana Ballet usually comprises of
about 50 performers - old and young, male
and female, and some experienced actors from the local Esmaralda Ram Leela
Troupe. The last performance took place
in the parking lot of the Dival Nagar in
central Trinidad at a bazaar [trade fair]
with the theme Festival of India. It was
a remarkable production which started
at 6.00 and ended at 9.00 pm. The main
events of the Ramayana epic were condensed in three short enjoyable hours.
This adaptation was so unlike the episodes
that have been traditionally serialized over
several nights. The response from the audience was not surprising. The story of
Lord Rama has enthralled millions of
people for thousands of years all over the
world, ever since the 24,000-couplet epic
was composed 6,000 years ago by the poet
Valmiki. The ballet ran non-stop with one
scene merging into another. This uninterrupted flow enhanced the harmony in the
blend of dialogues, songs and musical couplets. Director Goswami Sushil Ji Maharaj
had brought unique costumes and props
made by Indias top movie designers.
A Ramayana Ballet
in the middle
of a bazaar
flashback
S tor ies in th e firs t

Divali cel e b ra tio n in
I ndia 6,000 y e a rs a g o
The stories about a faraway animal city
were true; Hanumans story was true it
was all true!
A radiant Goddess
worshipped on the
darkest night of the year
in Trinidad and Tobago, worshippers give
pride of place to Mother Lakshmi among
the pantheon of Hindu deities. Seen as the
Goddess of Light, Wisdom and Wealth,
they light thousands of deyas [clay lamps]
in her honor on the darkest night of the
year. The red in her sari symbolizes activity, while the golden embroidery indicates
that she is always busy showering wealth
and prosperity on her devotees. Lakshmi
is depicted with four arms which represent
the four goals of human life. These are
dharma [righteous conduct], kama [fulfillment of righteous desires], artha [acquirement of wealth through honorable means],
and moksha [liberation from the cycle of
birth and death]. Her four arms also symbolize the four directions of space (east,
west, north and south), and is indicative
of her omnipresence and omnipotence.
Golden coins falling from her hand indicate that she grants wealth and prosperity to the pure-hearted who worship her.
Lakshmis lotus posture suggests that her
followers are entitled to enjoy the wealth
and pleasures of the material world without becoming attached or obsessed. The
lotus thrives and blooms in a muddy pond,
but it remains untainted and pure.
Mother Lakshmi
Goddess of Wealth
and Wisdom
flashback
Fort u n e afte r the fir s t

Divali cele br a tio n in
I n d ia 6,00 0 y e a r s a g o
Peace and Rama ruled as friends together,
and bad things did not happen. Men grew
kind and fearless. Everyone had about him
a certain air and look of good fortune.
- Extract from the Ramayana byValmiki translated by William Buck
Source: Wilson Greetings PVT. Ltd.
Twinkling lamps light

Her path to the home
of the devoted
For Divali [the Hindu Festival of Lights],
the female deity Mother Lakshmi is given special worship in the form of bhajans
[songs] and puja [ceremony]. As the
Goddess of Light, Wealth and Wisdom, she
is given the sixteen standard steps of honour. These include welcoming the deity;
providing a place to sit; washing her feet;
dressing her; offering her food, clothes
and money; and seeking her blessings. But
Mother Lakshmi is particularly propitiated in the form of numerous deyas [lamps]
that are lit to invoke her presence on the
darkest night of the year. It is believed that
the flickering lamps light her path to the
homes of the devoted. As a golden-footed
deity, she appears in her celestial glory in
response to the joyous sound of bells, the
beat of drums, and the chant of bhajans
[hymns] in the air. It is believed that during Divali, Lakshmi walks through the
green fields, loiters through the by-lanes,
and showers her blessings of knowledge
and prosperity. Goddess Lakshmi appreciates cleanliness, and she will only visit
those houses that are kept spotless to receive her blessings.
Lakshmi Puja and

enlightment
flashback
P u j a on t h e fir s t D iv a li
celeb ratio n in I ndia
6,000 y e a r s a g o
Finally at noon Vasishta [the priest] stood
by Rama and emptied the water over his
head, and made him King and Lord of the
Earth; the Solar King of Fair Ayodyha, the
Kosala Lord, and Sita was his own Queen
with him.
Jhandi at the homes

of Hindus is unique
to the Caribbean
During Divali [Hindu Festival of Lights] in
Trinidad and Tobago, jhandi [flags] flutter
gloriously on public roadsides leading to
ceremonies and celebrations. Jhandi [flags]
are usually seen near homes, temples and
beaches, but during Divali, they multiply
and move into public space. Some jhandi are embroidered with the most beautiful Hindi and Sanskrit calligraphy. Some
have sliver fringes, some have sewn artwork of deities, and others carry symbols
like an Om or a Swastika. The aesthetics
of jhandi are captured by many artists, including the Guyanese painter Bernadette
Persaud. Jhandi are triangular in shape
and are hoisted at the top of bamboo poles
about fourteen feet high. Their various colours represent respective deities; but red
is popular, signifying the power of Lord
Hanuman [god of the wind]. When they
become discoloured and tattered, jhandi
are taken down and discarded with their
poles in clean running water. Depending
on their location and function, new ones
are immediately installed with mantras
during a puja [ceremonial prayer]. The
display of jhandi at the homes of Hindus
is unique to the Caribbean and is not an
import from India.
The fluttering
of flags in
celebration
flashback
Jhandi in th e firs t
I ndia 6,00 0 y e a rs a g o
Hanuman [monkey god] flew over Kosala
[town]. He saw the roads coming to Ayodha
[city] from many countries, the fields and
farms, the flag-flying temples and holy
bathing places along the rivers
Divali heralds the

joy of the end-ofyear celebrations
Divali [the Hindu Festival of Lights] in
Trinidad and Tobago comes to life in the
display of religious art and craft at homes
and public spaces. Streamers of all colours and patterns are made with kite paper and plastic, and strung from jhandi
[flag] poles. Brightly coloured fabric, balloons and bulbs decorate homes, offices
and stages. Indeed, it is Divali that heralds
the joy of the end-of-year celebrations.
Strings of twinkling lights - clear and coloured - are strung high on buildings, trees,
and even across streets. Below are the
various artistic creations of split bamboo
tubes on which deyas [clay lamps] flicker
in the night. The eagerness to decorate is
everywhere, and payment is in the pride
of the finished product. Effigies of Mother
Lakshmi are made from bamboo tubes and
large cardboard cut-outs. Calligraphy on
signs and banners glitters with paint. The
starry designs of deyas and bulbs transform
simple houses into magical kingdoms. The
festivity of Divali is illuminated with divine creativity. Joy is expressed in limitless ways to represent the infinite power
and grandeur of God. Thousands of people
take to the streets on foot or in vehicles to
behold houses and communities that look
like an illuminated fairyland.
Streamers,
pennons, balloons
and bulbs
flashback
S t ream ers in the fir s t

In Ayodhya, the gay pennons and streamers were unfurled. the holy trees were
hung with ribbons and brahmans blessed
everyone.
Sales of vegetables
are at their highest
Shopping for
vegetables
In Trinidad and Tobago, and elsewhere in

the world, Hindus abstain from consuming alcohol and meat during the days and
weeks leading up to Divali [the Hindu
Festival of Lights]. As expected, the sale
and price of vegetables rise dramatically,
and the sale and price of meat and fish fall
steeply. Farmers are usually unable to meet
the demand for tomatoes, pommecythere,
green mango, chataigne, pumpkin, bodi,
bhaji [spinach] and other vegetables used
to make talkarie [curried dish]. Peppers
are hot sellers, as well as channa and aloo
[chick pea and potato]. All these items are
available in the supermarkets, but the open
markets are the place for the freshest vegetables for the lowest prices. On the day
before Divali, the scene at vegetable roadside resonates with the buzz of a stock exchange with buyers and sellers battling
over the best deals. After all the shopping is done, there is the work of washing, peeling and chopping the vegetables,
and currying them with chives, pepper and
bandhaniya [shado beni] to make a tasty
sumptuous feast for family and friends.
flashback
E atin g vegeta ble s in the

i n In d ia 6,00 0 y e a r s a g o
Rama and Lakshmana and Sita washed in
the river. Then on blankets round a fire,
under the ancient tree where they had been
fourteen years before, they ate with Guha,
and with them Vibhishana first tasted the
delicious wilderness cooking and ate a
savage forest feast.
Tons of sweetmeats
are made and
distributed free
Tons of sweetmeats are made and distributed free for Divali [the Hindu Festival of
Lights] in Trinidad and Tobago. Burfi, pera,
ladoo, jalebi, gulab jamoon and sweet rice
are made and consumed generously, but it
is kurma that that is the delicacy of choice
for non-Indians. The most popular sweet
for Hindus is parsad which has been a traditional favourite. Every home adds extra
ingredients like slices of apples, bananas,
almonds and coconuts, and prune, grape
and/or channa [chick peas] for colour and
taste. The ingredients for each item are essentially the same: flour, sugar, margarine,
ghee [clarified butter] and water, not to
mention the various spices that add that extra oooh! The process of making meethai
can be laborious, but it is worthwhile to all
those who savour the sweet taste after an
hours work. Some households pre-order
items, usually from The Little Store, for
convenience. There are strict guidelines
to be observed when making meethai for
religious occasions. The cook must take a
bath, wear clean clothes, and use vegetarian utensils and cutlery. There must be no
cross-contamination and definitely no tasting [jootaaing] while cooking. The sweets
must be made and kept pure to be offered
to Mother Lakshmi in a sacrificial fire.
Sweet delights for

the tongue
flashback
S w eets in the fir s t

In d ia 6,000 y e a r s a g o
People lined the wide streets and rolling
hills. Children were eating candy from
gold-paper wrappings.
The artistic touch

of mehendi adds a
sensual appeal
in Trinidad and Tobago, many young
women finish dressing-up by decorating
their hands and palms with artistic lines
of pigment. There are many designs from
which to choose. Basically, there are floral patterns from the Middle East, geometrical shapes from North Africa, and
the block outlines from South Asia. The
popular choice in the Caribbean is the
intricate lacy inter-woven lines that are
the hallmark of the Indian and Pakistani
styles. Mehendi is applied with a coneshaped tube through which the paste is
piped. After painting, the thick ink is left
to dry for at least three hours to penetrate
the skin before it is washed off. When the
paste flakes off, the designs can last up to
three weeks. The application of the plant
pigment has a cooling sensation with no
side effects on the skin. These days mehendi can be bought in packs in cosmetic
shops for self-application. However, intricate creations done by a professionals
cost from TT $50 to $250, and are available from the growing number of women
artistes who work from their homes and
beauty salons.
Mehendi
the fine art of a
temporary tattoo
flashback
Bod y art in the fir s t

D ivali cele br a tio n in
drivers put the wheels back on the
Kosala chariots. They dressed and painted
the royal white elephant, and Fair Ayodhya
[city] threw open her gates and waited for
her Lord Rama.
The breathtaking body

paint with fine detailing
in Trinidad and Tobago, young women go
crazy after mehendi [henna]. With the resurgence of Indian fashion - anklets, bangles and bindis the wearing of mehendi
has caught up with the trend. Unlike tattoo, mehendi is a temporary body decoration that would show only for a few weeks
much to the relief of conservative parents. Traditionally associated with Hindus,
mehendi has become an intrinsic part of
the mainstream culture of the multi-ethnic society. Its demand has grown beyond
Divali, Eid and weddings to Carnival.
Some teenagers prefer to have mehendi
done on various parts of their body to complement their racy outfits. They take pleasure in indulging in this ancient practice of
body painting. Almost all Indian dancers
wear apply mehendi to embellish their
hands and feet. The mehendi are done to
match their jewellery, costume and makeup. Designs may take the form of fine lines
of lacy floral and paisley patterns. They
are applied to the hands, palms, feet and
shins of women. Almost all the mehendi
artists in the Caribbean are women who
are skilled in drawing freestyle designs.
The mehendi craze

has caught up
flashback
Bod y p ainting in the

There he [Hanuman] was again, the king
of the wild, painted with yellow and green
and red and blue all over his brown skin,
wearing feathers long and waving his curly hair.
Women rule in the

rush for new clothes
Indian as well as non-Indian women dress
in beautiful ethnic wear for Divali [the
Hindu Festival of Lights] in multi-ethnic Trinidad and Tobago. They rally with
friends and family members to go on
shopping sprees for bargains. Sale announcements stimulate a desire to possess
that perfect Indian outfit that has always
been their dream. A kind of dizzy euphoria
can be seen in any of the Indian apparel
stores in the count-down to Divali. It is all
part of the excitement that hums through
the air during this end-of-year celebration as women try to dress their best, and
stores try to outsell one another. In recent
years, local stores have had to struggle to
under-cut the competitive prices of visiting merchants of Indian trade shows who
come to Trinidad about four times a year.
Men take a back-seat and women rule in
the clothes rush, buying saris, gararas, salwar-kameez, slippers, necklaces, bindis
and bangles. Men buy kurtas and sandals
because they too want to look good and
feel good for the occasion. Perhaps more
than Christmas, Divali is a time when colourful clothes meet shimmering lights in
festive gaiety.
Shopping for clothes

for a celebration
flashback
D ressin g t he be s t in the
Swiftly, the animal wives and mothers and
sisters dressed in all their best clothes and
came to meet their men.
Valmiki translated by William Buck
From paper
postcards to electronic
greeting cards
In addition to giving gifts and garlands
for Divali [the Hindu Festival of Lights]
in Trinidad and Tobago, greeting cards
are also exchanged with loved ones. Of
course, postcards can be bought from a
gift store, a puja shop or even a Hallmark
outlet. There is a wide selection of cards
based on sizes, styles and designs. Most
of them have a colourful image of Mother
Lakshmi accompanied by text messages expressing blessings or best wishes.
Divali postcards can be made by the sender to give the greeting a more personal
and heartfelt touch. It can be done with
a computer programme or by hand in the
traditional way. Making a traditional postcard can be an individual creation as well
as a group activity at school. The materials to be used can include household items
or stationery supplies such as construction paper, a pair of scissors, glue, markers, coloured pencils, water-colour paint
and shining dust. With the advent of the
Internet, online Divali greeting cards have
also come into vogue. Their styles vary
from a simple coloured image to a flashing picture with music and a song. With
e-cards have come instant cyber-floral deliveries which can be gotten either free or
for a fee payment from a website.
Glitzy Divali
greeting cards
flashback
Ties of f rien d s h ip s in th e
Bharata told King Sugriva, You are our
brothers. Friendship grows from kindness and giving help, not from close ties
of blood.
Handcrafted pottery
with a divine touch
Pottery-making in Trinidad and Tobago
turns into high gear for Divali [the Hindu
Festival of Lights]. It is a traditional craft
which has been kept alive by a cluster of
Indian families in Chase Village. The potters pursue the craft with a full-time passion. They produce highly-skilled utility
and aesthetic vessels of clay such as jars,
pots, goblets, saucers and deyas [clay
lamps]. The terracotta process is intricate and onerous. First, the clay is mined
and transported to the workshop where it
is soaked, dried and sifted. Then it is fed
through a mechanical device to remove
air bubbles. The moistened lumps of clay
are then made into smooth, supple cones.
Later, they are placed on a wheel where
they are manually molded into various
shapes. The hand-crafted items are finally
placed into huge kilns to be bakes for about
twelve hours. After the kiln is cooled, the
deyas are taken and put out for sale. These
skilled potters have no formal training, but
they create vessels of exquisite beauty. It
is a marvel to watch them work with their
bare fingers, seemingly playing with the
clay, their busy minds spinning artistic designs, and their wheels singing with joy.
The potters art of

making deyas
flashback
Waxed d eyas in the fir s t

In d ia 6,00 0 y e a r s a g o
In the early evening, countless candles
[deyas] burned outdoors like blossoms of
light and incense rose into the air. Lanterns
glistened and torchlight burned. The night
was warm and the stars were clear.
Over ten million

clay lamps are
bought every year
Rather than make their own deyas [clay
lamps], Hindus in Trinidad and Tobago
buy them from wayside vendors, puja specialty shops, supermarkets and grocery
stores. The average household buys about
ten dozens of deyas at a price of about TT
25 cents each for Divali [the Hindu Festival
of Lights]. It is estimated that over ten million clay deyas are bought every year for
the illumination of households, temples,
streets, offices and parks. The volume of
sales for the season alone totals more than
TT $2.5 million. Deya manufacture and
sale generates much employment, revenue
and business activity, not to mention making use of local resources. Like all festivals, celebrants rush on the last day of
Divali to do their last-minute shopping.
Unlike Christmas decorations, used deyas are discarded and new ones are bought
every year. Unpackaged deyas for sale in
a piled heap offer the opportunity to handpick those of the best quality. Shoppers do
not select those with cracks, burnt spots,
chipped rims, and bases that cannot sit
flat. Shoppers, who are mainly judicious
women, look for well crafted items that
are without fault in their creation.
Shopping for
the best deyas
flashback
D eyas b u rn o n the fir s t

And the rain may fall and drench the earth,
and the wind may blow strongly. But the
candle [deya] flames wont go out; theyll
splutter and burn right on through the
storm and the night.
Deyas now in colour and

glitter in various shapes
Deyas are an integral part of the celebration
of Divali [the Hindu Festival of Lights] in
Trinidad and Tobago, and elsewhere in the
world. The use of these little clay lamps
have been kept alive for thousands of years
across several oceans by generations of
people people. Made from earth with the
hands of a skilled potter over his spinning
wheel, the deya has come to symbolize
something elemental, primal and sacred.
Some designers and craftsmen have added
their creative touch to turn simple deyas
into innovative shapes and styles. There
are now diyas with zari and mirror decorations in exuberant colours, and some diyas
embellished with cut work and filled with
coloured wax. Some are in the shape of
China leaves and shaded roses with more
than one spout for multiple wicks. Others
are embossed with fragrant dried flowers.
In recent times, wax deyas have come into
vogue for those who do not want to use the
traditional method of lighting deyas using
coconut oil and cotton wicks. Brass deyas
are used mainly during rituals on the bedi
[altar]. However, aromatic and designer
candles are not used for Divali celebrations in this country.
Deyas [ lamps ] of
clay, wax and brass
flashback
B rass d eyas in the fir s t

the men and women of Fair Ayodhya
light many candles outside the temple
doors, big brass bowls filled with sand
where a hundred candles may burn.
Patterns of light
glow against the
nights canvas
During mid-afternoon on Divali day [the
Hindu Festival of Lights], boxes of deyas
are taken out from the cupboard in preparation for the evenings lighting up. One by
one, the handle-less tiny clay cups are gently placed in clean basins of water to soak.
This soaking process ensures that they do
not crack with heat. After about two hours,
the deyas are taken out and placed up-side
down on paper-padded trays and left to dry.
Using the palms of both hands, strips of
cotton are rolled to make batis [wicks]. At
dusk, nine deyas are placed before an image of Mother Lakshmi, Goddess of Light,
Wealth and Wisdom. The deyas are then
lit by all family members who sit together
and pray, recite mantras [formulae], sing
bhajans [hymns], and make fruit offerings
in a sacrificial fire. When night begins to
descend, all remaining deyas are lit in every safe possible place to create patterns
of light in the darkness. Children take delight in doing this task. Their eyes twinkle with the flame and their faces brighten
with radiance. When all the deyas are lit,
the house-front becomes transformed into
a celestial courtyard with flickering natural flames and shimmering electric bulbs.
The squeals of childrens laughter rent the
air with the flare of the bamboo cannons
and fizzle of sparklers.
The sacred art of

lighting deyas
flashback
Clean in g f o r the fir s t

The Kosala men were bathing, changing
clothes, and lighting fires and trimming
their hair and beards.
The craft of bamboo

bending is perhaps
u niquely Trinidadian
It is perhaps only in Trinidad and Tobago
that one can find split bamboo tubes transformed into magnificent works of art.
These designs dominate yards, parks and
streets during Divali [the Hindu Festival
of Lights]. The creations usually take religious forms with Om being the most popular. To make any design usually requires
team-work. To design a lotus flower, one
has to cut a thick bamboo trunk about six
feet long. The trunk has to be split into
vertical parts ending just before the last
joint at the bottom. Then the unsplit part of
the trunk is sunk into the soil. The four or
five strips are bent outwards from the centre with the ends sticking into the dirt, and
fastened to pegs with wire. Deyas [earthen
lamps] are then placed on each joint and
kept intact with soil or wire. If the space
does not have ground soil, then buckets or
pans with sand are used to hold the bamboo. Designs also take the form of simple
barricades for outdoor celebrations amidst
jhandi [flags] on tall bamboo flagpoles.
Rows of lit bamboo rails on both sides of a
street in the night give the appearance of a
corridor of mystical light.
Bamboo art with

deya [ lamp ]
decorations
flashback
Ru n n in g lig hts in the

i n In d ia 6,00 0 y e a r s a g o
It was evening. The running lamps on
Pushpaka [aerial car] were lit, and it was
like a city suddenly appearing complete
amidst the forest.
Bhajans have gained

popula rity in a
language of the soul
Indian music in Trinidad and Tobago is
derived mainly from films of the Bombay/
Mumbai cinema. The type of music that
is quite popular for Divali [Hindu Festival
of Lights] is devotional in nature and belongs to the bhajan genre. Though rendered in Hindi and understood by a few,
bhajans have a universal appeal. The fact
that this type of music has flourished over
many generations so far away from its
birthplace is testimony that it has gained
immense popularity even by young people
who speak only English. To Indians in the
Diaspora, bhajans are heavenly music that
are truly divine, and sung in a soulful language that expresses a submission to God.
The music provides aesthetic pleasure as
well as spiritual solace. Accompanied by
the dholak, dhantaal, and harmonium or
synthesizer, local artistes present themselves as an extraordinary cast of brilliant
performers. As singers and musicians, they
try to make direct contact with Lord Rama
and Mother Lakshmi in keeping with the
tradition of the bhakti [devotional] movement. Bhajans, as the vocalised glorification of God, become the vehicle that
lifts them to a higher plane of existence.
Saints and seers of ancient times knew that
bhajans were a means of communicating
with the self and the soul, and their renditions are offerings to God.
Devotional
songs and
music for Divali
flashback
Mu sic an d s o ng s in the
first D ivali c e le br a tio n
Musicians restrung their silent lutes
war songs were made into dances, and the
marches were parades for children.
The dancer turns

himself into a medium
of communication
Dance is one of the most alluring forms
of the performing arts during Divali [the
Hindu Festival of Lights] in Trinidad and
Tobago. In Indian tradition, dance is intended to be an act of devotion, with the
dancer using his body as a medium to communicate to the Supreme Being. Dancers,
like those of the Sandra Sookdeo troupe,
are often dressed in brightly coloured outfits and eye-catching jewellery. Intricate
hand gestures [mudras] are used as pure
ornamentation, or as a kind of sign language to communicate actions and feelings. Rhythmic footwork is emphasised by
the pulse of bells [gungrus] on the dancers
feet. Facial expressions and the characteristic neck-movements enhance different
moods. Various styles of dancing include
the colorful folk dances of the Rajasthan
desert, the vigorous temple dances of
South India, and the courtly dances of
North India. These traditional styles of
India have been retained, if not reinvented in the Caribbean. Bharatnatyam is the
most popular classical dance in Trinidad
as it is in India. Second in popularity is
Kathak, which like, Bharatnatyam narrates the histories and legends of Sanskrit
literature. Film dances simulate and adapt
routines from Bombay/Bollywood Hindi
cinema. They have a strong visual appeal
which involves suggestive hip and bosom
movements for women, and fast, intricate
footwork for men.
The diction of
dance in devotion
flashback
Dance in the firs t D iv a li

celebration in In d ia
Royal musicians and courtiers smiled, and
the dancing girls caught their breath.
A festival of wild
spending on clothes
and accessories
Indian trade fairs have appeared on the
scene in the last few years in Trinidad
and Tobago, and perhaps the most popular is the one just before Divali [the Hindu
Festival of Lights]. Usually held in the
Centre of Excellence in the busy EastWest Corridor, these fairs attract a widecross section of people who rush to buy
quality Indian products at bargain prices.
Most of the items for sale are clothes, jewellery and accessories, but there are also
handicraft, paintings, ornaments, kitchenware, electronics, furniture, food, and of
course, Hindu ritual paraphernalia. Some
services offered include palm-reading,
patra-decoding, mehendi-painting and
acupressure-healing. These trade fairs
have become the shopping hotspots for
mainly women, who flock to the sites in
their thousands on evenings, nights and
weekends. The wealth attribute of Mother
Lakshmi glitters in these commercial activities, especially during Divali. The festival is considered to be an occasion in
which business ethics are to be observed,
honesty and trust are to be upheld, and all
profits are to be used for self and society.
The shastra [sacred book] advises merchants to earn with a hundred hands and
share with a thousand.
Indian Trade
Fairs in Trinidad
flashback
Don n in g n e w c lo the s in
the f irst Diva li c e le br a tio n
Guha [the forest king] whistled and a forest man came bringing a new feather cloak
for Sita, green and gold, just like the one
he had given her fourteen years before.
Every pers on in Indian

ethnic we ar becomes
a model of elegance
in Trinidad and Tobago, women more than
men, dress in their best Indian ethnic wear.
The tradition of Indian fashion is kept
alive and enriched in the Caribbean in the
wearing of dhotis, kurtas, Nehru jackets,
saris, shalwars, nose-pins, necklaces, bangles, anklets, eyeliners, mehendi markings
and forehead tikkas/bindis. Every person
in Indian attire is transformed into a model
of elegance and grace. Most women dress
themselves in beautiful saris some with
two-tones, some with multi-colours, and
others plain, but all complemented with
matching jewellery. Some saris are bordered in splendid sequins while others
drape in intricate embroidery. Indian garments have become famous for their majestic tapestry. Fabrics are decorated with
sparkling sequins and beads in an array
of colours to suit figure, taste and tone.
Jewellery pieces like the nak-phul [nose
rings], bayra [bangles] and anklets serve
as finishing touches to complete the attire of Indian women. The choice of garment reflects elegance, sets the mood, and
speaks directly to the degree of modesty,
grace and sanctity ascribed by Indian society to the adornment of the human body.
East and West meet

and mix in fashion
flashback
Sh ining fabric in th e firs t

Bharata [Ramas half-brother] sent runners to Ayodhya [city] to say - Tomorrow,
and evening fell on the little village. In the
reflecting firelight, sliver and gold, armor
and rich silk were shining.
A Divali Queen is
crowned on that
glorious night
During Divali, fashion shows are the
highlight of all celebrations. Indeed, no
celebration is considered complete or
magnificent without a fashion show that
is always eagerly anticipated by all. This
item is placed at the end of the programme
for the purpose of suspense, and as a treat
to see which contestant will emerge as the
winner. This aspect of Indian culture has
a philosophical basis that is grounded in
the celebration of the bodily attributes of
poise, beauty and attire. Several women
- Indian and non-Indian in ethnic wear
are hand-picked from the audience. They
parade on stage dressed in elaborately-designed outfits, some in garara embroided
with gold workings. They wear matching
jewellery such as bangles, bindis and anklets to complement their outfits portraying the unique beauty and allure of Indian
attire. A question is posed to each contestant, at the end of which the winners are
announced amid a serenade from the live
music band. The nights celebration ends
with the crowning of the first-placed finalist. The Divali Queen is not only bestowed
with a crown, but also showered with gifts
and other prizes.
Indian
fashion
shows in
the spotlight
flashback
C lothes and o rn a me n ts in
t he f ir st D iva li c e le b ra tio n
i n I ndia 6,0 0 0 y e a rs a g o
In all Kosala, no man wore good clothes
or any other color, but the women dressed
as they would, because Sita did not leave
her robes and ornaments behind to go into
the forest.
The sec ond most

popular entertainment
centre in the country
The hub of all Divali [Hindu Festival of
Lights] celebrations in the island is the
Divali Nagar in central Trinidad. Indeed
the Nagar is the most frequented entertainment centre in the country during Divali
second only to the Grand Stand in the
Queens Park Savannah during Carnival.
Performances take place on a grand stage
at the centre of the park for nine nights attracting thousands of local visitors and foreign tourists. Sales and promotion booths
include that of RBTT bank, clothes, fabrics, carpets, electronics, furniture, cars,
household items, and of course a wide
variety of food stalls. There are also educational booths providing information
about alcoholism, yoga, astrology and the
various sects of Hinduism. The bazaar
[trade fair] also provides a perfect forum
for showcasing the talent of both foreign
and local performers in the field of song,
music, dance and drama. The activities
culminate with a magnificent display of
fireworks. Thousands of onlookers flock
to the Nagar on that final night, many of
them parking their vehicles on the shoulders of the highway to witness that awesome exhibition of fleeting fire-art on the
canvas of the black sky.
Divali Nagar
- a celestial
entertainment park
flashback
The lighted c ity in th e

fi r st D ivali ce le b ra tio n in
You [Ayodhya city] are the home of friendship and life, gleaming with lights at night.
You are where the great roads cross, and
people traveling often stay here and go no
farther.
Bamboo cannons burst

with flares of fire
The boom of bamboo cannons heralds the
coming of Divali [the Hindu Festival of
Lights] as the first end-of-year celebration in Trinidad and Tobago. It is mainly children who buss bamboo in their
yard or on street side-walks. This recreational pastime appears to be unique to this
country, and is more common in the countryside. Bamboo bussing [bursting] usually begins at dusk and runs until about
ten o clock in the night. Nearby groups
of participants compete with one another
on a score of who can discharge the loudest explosion. The recreational artillery is
made from a wide tube of bamboo trunk
about eight feet long. All the inner joints
of the tube are removed except for the one
at the bottom. A window about two inches
square is cut on the tube with the joint intact. A bamboo stick is lit with the flame of
a flambeau [bottle-lamp] and doused into
the window. When the kerosene inside the
bamboo ignites, the window is quickly
covered. The fire then shoots through the
tunnel towards the open end, and explodes
with a flare and an ear-splitting boom!
Bamboo
bussing
booms
flashback
Fire flares in the fir s t

In d ia 6,000 y e a r s a g o
Tears of happiness ran down Bharaths
face. Ramas land of Kosala is well; Fair
Ayodhya is waiting. Set the signal fires
to the villages and all the countryside.
Visually stunning
greens, blues and reds
explode in style
The brilliance of Divali [Hindu Festival
of Lights] in Trinidad and Tobago begins with the launch of fireworks during
the nights leading up to the grand celebration. Villagers across the country re-ignite
the spirit of this ancient celebration with
aerial explosions of color in the heavens.
On the eve of Divali, thousands of onlookers descend on the Divali Nagar to eagerly
await the larger-than-life pyrotechnics that
dominate the night sky in central Trinidad.
Visually stunning greens, blues and reds
explode in various forms of starbursts,
flowers, wheels and falling stars, causing much oohhing and aaahing among the
reverential crowd. Necks crane towards
the sky and eyes shine in radiance at the
magnificent spectacle that seems like a divine manifestation. The grand display of
fireworks in the air is complemented by
explosions of firecrackers and the sparkle of star-lights on the ground. Excited
children use the flame of the deya [clay
lamp] to light their sparklers. They squeal
in delight when it catches and run around
gleefully. The small rockets used by them
are not as dangerous as the home-made
bamboo canon with its sudden flare of fire
and resounding explosion.
Fireworks,
firecrackers,
rockets and
sparklers
flashback
Firew ork s in the fir s t

When everyone was aboard, that huge
[aerial] chariot arose with a great noise
like fireworks and waterfalls; then silently
in the sky he turned north in a wide climbing curve
Classic tales of romance,

conflict and triumph
in Trinidad and Tobago, Indian movies are
shown in the day on popular local channels
on television. These three-hour long movies are full of action, song hits, gorgeous
costumes and choreographed dances.
Indians in the diaspora love Bollywood/
Bombay/Mumbai-made movies which are
shown all year round in cinemas in the
Caribbean. The movie selections for Divali
are usually classics based on religious devotion or youthful romance. Quite often,
the choice is a film that features local actors that is set in Trinidad like The Mystic
Masseur. Directed by Ismail Merchant and
produced by Merchant/Ivory Productions,
the film features scores of local actors
like Grace Maharaj (Mrs Cooper), David
Sammy (Bissoon). The Mystic Masseur
is the first film adaptation of a work by
Trinidad-born writer, V.S. Naipaul. In
2001, Naipaul won the Nobel Prize in
Literature and the film was released in
2002 with great anticipation in theatres
worldwide. The movie/novel is set in a rural Hindu community in the British colony
of Trinidad in the 1940s. The plot chronicles the rise and fall of a young aspiring
writer who becomes a masseur and then a
politician.
Indian movies on
television
flashback
R omance in th e firs t
In Ayodhya [city] you could walk anywhere, anytime, free and unafraid. You
could love openly, and couples embraced
in daylight in the gardens.
A new genre of
theatre introduced
in the C aribbean.
in Trinidad and Tobago plays are staged as
extraordinary as the Trinidad adaptation of
the Bollywood box office hit Chalte Chalte
[Going, going]. Last season, thousands of
patrons packed Queens Hall in Port of
Spain for six consecutive evenings to see
local portrayals of Indian screen stars Rani
Mukherjee and Shahrukh Khan. The local
cast included Varune Rampersad as Raj,
Marsha Woodley as Priya, Don Savant as
Sameer and Shelly Ann Narine as Mausie.
The play demonstrated quite clearly that
Trinidad Indians can be talented in acting
as their cousins in their ancestral homeland. Varune is an excellent actor and the
other leads slipped into their respective
roles with ease. It was a memorable play
filled with engaging dialogue, emotional
moments and non-stop local humour. And
the sweet songs were unforgettable with
extracts of Tauba and Suno Na among
the tracks. The producer Sheldon Narine
(Crazy Catholic) must be commended
for tapping into a new reservoir of talent,
and for inventing a new genre of theatre in
the Caribbean.
The stage-adaptation
of Chalte Chalte
flashback
C omedy i n th e firs t
The first Ayodhya [city] festival in fourteen years began, and the best celebration
she [city] had ever known. The people
were dancing again, and men and monkeys and bears all jammed in shops shoulder to shoulder, trading drinks and stories
and lots of loose talk.
Indian movie
incarnates into a
masala Trinidad play
in Trinidad and Tobago local plays are performed based on Bollywood movies. The
plays are spectacular as the movies. But
the difference is the refreshing Trinidad
flavour to this masala mix, complete with
changed settings, local humour, political
innuendos, social commentary and a multi-racial English-speaking cast. Dilwale
Dulhania Le Jayenge [Brave Heart
Will Take the Bride] was the movie that
launched Shahrukh Khan to Bollywood
stardom, and it was the play that revealed
Joel Joseph to be an extremely talented
lead actor and dancer. Also making their
impressive debut in theatre were Shunnel
Roopchand as the heroine (formally as
an understudy) and Michael Lopez as an
independent producer/director. The lead
actors Joel Joseph (Raj ) and Shunnel
Roopchand (Simran) were incredible in
their respective roles. It was a touching
enjoyable family drama with catchy music
numbers that included Tuje dekha to yeh
jana sanam, Mehndi laga ke rakhna,
Doli sajake rakhna and the title song.
The film was a hit in India, and the play
was such a success in Trinidad that it ran
for two seasons.
The movie-cum-play
of Dilwale Dulhania
Le Jayenge
flashback
P lays in the firs t D iv a li

celebration in In d ia
For Fair Ayodhya [city], all the sorrow in
the world was used up. People poured into
town from the countryside; they danced
and heard music and gambled and watched
tumblers and plays on the street corners.
Bollywood cinema
blossoms on
Trinidad stage
in Trinidad and Tobago, Bombay films are
adapted to the stage through which Indians
in the diaspora remember and re-enforce
their ancestral culture.
Plays about Indians

in the Diaspora Dilwale Dulhania
Le Jayenge
Bombay/Mumbai has the largest film industry in the world, and it is no surprise
that thousands of fans are to be found in
the Caribbean. So that when theatre producer and director, Michael Lopez, decided to adapt a Bollywood movie to the
local stage, it was a tribute both to Indian
cinema and Trinidad culture. The movie/
play Dilwale Dulhania Le Jayenge [Brave
Heart Will Take the Bride] deals with second-generation Indians living far away
from India but maintaining strong cultural
values and traditional ties. In an exclusive
interview with Lopez about the play, he
said that as a non-Hindu and non-Indian,
he had never before seen an Indian movie.
But after seeing Dilwale, he was hooked.
Since then, has looked at the movie no less
than twelve times to produce his version of
what was to turn out to be a masterpiece.
flashback
Invoking me mo ry in th e
In these vaults lies all the lore of old gathered here since Time began again. People
meet in this life and pass by each other like
pieces of driftwood afloat on the wild and
stormy sea, touching seldom, and once
meeting, gone and parted again.
Indo-Caribbean Cult
do-Caribbean Cultural Council 2006 Indo-Caribbean Cultural Council 2006 Indo-Caribbean Cultural Council 2006
Magazine recognized for Excellence in Journalism

Dr Kumar Mahabir received a special award for Excellence in
Journalism on Sunday December 4, 2005.
Mahabir received the award as the feature writer and editor of a
magazine on the theme Temples and Tourism in Trinidad and
Tobago.
The glossy magazine was published by Indo-Caribbean Cultural
Council in celebration of Divali [Hindu Festival of Lights]
2005.
The magazine was the only one in its category to receive an
award. Although the Divali magazine was not an entry in the
competition, it was given special recognition for its theme,
content and quality.
The Award ceremony was hosted at Hilton Trinidad in Port of
Spain and organized by the hotels general manager, Ali Khan.
Other award recipients included Driselle Ramjohn, Mark
Meredith and Caldeo Sookram of the Express, John Babb and
Anne Hilton of the Newsday, Lennox Grant of the Guardian and
the late Keith Shepherd of the T&T Mirror.
A Dictionary of Common
Trinidad Hindi
Compiled and edited by Kumar Mahabir, Ph.D.
An important reference book for libraries, schools and offices

It is without doubt that Hindi in Trinidad and Guyana has
contributed scores of loan words to mainstream Caribbean
English. Today, Hindi/Indic lexical items are being used
regularly by calypso and chutney singers, writers, journalists, broadcasters and politicians. This illustrated dictionary represents a record and inventory of 1,212 words and
calques used in everyday speech by younger Indians and
older non-Indians in multi-ethnic Trinidad.
The appearance of this dictionary is fundamental to our
education and, therefore, promotes mutual respect and understanding both in intra- and inter-group relations.
- Dr. Ron Ramdin
Indo-Caribbean Researcher/Historian
The British Library India Office Collections, UK
The dictionary is compact with reliable special entries on
local life and culture. It is an up-to-date coverage of todays
Trini-Hindi.
- Dr. Raj Kumar Daffu
Visiting Professor of Hindi
The University of the West Indies,
Trinidad and Tobago
This dictionary would, no doubt, find a place in university
libraries worldwide.
First printed 1990. Third edition 2005

Illustrations by S.K. Ragbir
5 x 8 xxvi + 80 pages
ISBN 976-95049-3-9
Paperback TT$ 45. or US$ 12.00
(includes handling, local/foreign
postage, and registration)
- Dr. Petronella Breinburgh

Project Coordinator of Caribbean Communities in
Europe (CACOEU), Goldsmiths
University of London
Chakra publishng house
Swami Avenue, Don Miguel Road
San Juan, Trinidad and Tobago
West Indies
Tel: (868) 674-6008
Tel/fax: (868) 675-7707
E-mail: mahab@tstt.net.tt, dmahabir@gmail.com
Website: http://www.geocities.com/chakrapub/index.html

Divali 2006

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Divali 2006

Uploaded by

Copyright:

Available Formats

http://www.geocities.

Trinidad & Tobago

Indo-Caribbean Cultural Council 2006

Divali Festival in Trinidad and Tobago

The Splendour of Divali: Highlights of the Festival

Trinidad and Tobago, the land of Carnival, steelband,

perfect forum for showcasing the talent of both foreign

M e s s a g e f o r m t he I ndian High Commissioner

Jagjit Singh Sapra

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

The annual performance

Stor ytelling in th e firs t

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

The pundit [priest]

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

Prevent and Cure All Ailments Naturally

Sports men, Celebrities, Doctors and even Royalty all agree

17 of Kand I. Part I speak of the magnet being used to stop

Academy award winner, Sir Anthony Hopkins (Hannibal, of

Magnetic Therapy can be described as a combination of

Ex-President Bill Clinton uses two each day to help ease

Sportsman Dan Marino of the NFLs Miami Dolphins

This therapy can be applied anytime depending on the type

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

The Ramayana Ballet

L ights in the firs t D iv a li

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

The Ramayana Ballet

- based on reports by Seeta Persad of

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

During Divali [Hindu Festival of Lights]

S tor ies in th e firs t

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

Fort u n e afte r the fir s t

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

Twinkling lamps light

Lakshmi Puja and

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

Jhandi at the homes

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

Divali heralds the

S t ream ers in the fir s t

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

In Trinidad and Tobago, and elsewhere in

E atin g vegeta ble s in the

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

Sweet delights for

S w eets in the fir s t

Divali 2006 - Indo-Caribbean Cultural Council

The Splendour of Divali

The artistic touch

Bod y art in the fir s t