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Visual Arts on Indian cultural heritage
Indo-Caribbean Divali Publication Ltd (IDP) is proud to announce the publication of its latest Divali souvenir magazine. Divali, the Hindu Festival of Lights, was observed as a national holiday on October 23, 2014.
The theme of this year’s edition of the magazine is Visual Arts on Indian cultural heritage. The body of work featured in this magazine presents various visual interpretations of Hindu and (East) Indian cultural heritage in Trinidad and Tobago. With a total of 26 contributing artists, this compilation showcases a mix of established and aspiring visual practitioners whose works demonstrate competence and maturity in their respective genres.
As a highly visual religion, Hinduism is mainly characterised by brightly coloured and ornamental images of gods, goddesses and deities. These and other images have captured the imagination of artists and other cultural workers. The artistic exploration of Hindu and Indian images by artists take several forms and media which include drawings, mosaics, installations, rangoli, mehndi, mixed-media, conventional and digital paintings, and three-dimensional designs.
This magazine is a compilation of artistic works by mainly Indian artists working on Indian cultural themes. The truth is that not many Indians in Trinidad and Tobago are practitioners of the visual arts. It is important that this under-representation be addressed. The presence of non-Indian artists working on this theme suggests that they have been exposed to a certain degree, and have been influenced, by Hindu and Indian culture.
Visual Arts on Indian cultural heritage
Indo-Caribbean Divali Publication Ltd (IDP) is proud to announce the publication of its latest Divali souvenir magazine. Divali, the Hindu Festival of Lights, was observed as a national holiday on October 23, 2014.
The theme of this year’s edition of the magazine is Visual Arts on Indian cultural heritage. The body of work featured in this magazine presents various visual interpretations of Hindu and (East) Indian cultural heritage in Trinidad and Tobago. With a total of 26 contributing artists, this compilation showcases a mix of established and aspiring visual practitioners whose works demonstrate competence and maturity in their respective genres.
As a highly visual religion, Hinduism is mainly characterised by brightly coloured and ornamental images of gods, goddesses and deities. These and other images have captured the imagination of artists and other cultural workers. The artistic exploration of Hindu and Indian images by artists take several forms and media which include drawings, mosaics, installations, rangoli, mehndi, mixed-media, conventional and digital paintings, and three-dimensional designs.
This magazine is a compilation of artistic works by mainly Indian artists working on Indian cultural themes. The truth is that not many Indians in Trinidad and Tobago are practitioners of the visual arts. It is important that this under-representation be addressed. The presence of non-Indian artists working on this theme suggests that they have been exposed to a certain degree, and have been influenced, by Hindu and Indian culture.
Visual Arts on Indian cultural heritage
Indo-Caribbean Divali Publication Ltd (IDP) is proud to announce the publication of its latest Divali souvenir magazine. Divali, the Hindu Festival of Lights, was observed as a national holiday on October 23, 2014.
The theme of this year’s edition of the magazine is Visual Arts on Indian cultural heritage. The body of work featured in this magazine presents various visual interpretations of Hindu and (East) Indian cultural heritage in Trinidad and Tobago. With a total of 26 contributing artists, this compilation showcases a mix of established and aspiring visual practitioners whose works demonstrate competence and maturity in their respective genres.
As a highly visual religion, Hinduism is mainly characterised by brightly coloured and ornamental images of gods, goddesses and deities. These and other images have captured the imagination of artists and other cultural workers. The artistic exploration of Hindu and Indian images by artists take several forms and media which include drawings, mosaics, installations, rangoli, mehndi, mixed-media, conventional and digital paintings, and three-dimensional designs.
This magazine is a compilation of artistic works by mainly Indian artists working on Indian cultural themes. The truth is that not many Indians in Trinidad and Tobago are practitioners of the visual arts. It is important that this under-representation be addressed. The presence of non-Indian artists working on this theme suggests that they have been exposed to a certain degree, and have been influenced, by Hindu and Indian culture.
ISSN 1683-4143 http://icctrinidad.wordpress.com/ 2014. Trinidad & Tobago Volume 15, Number 2. Visual Arts on Indian Cultural Heritage After Carnival, Divali is the second largest open-air national festival in multi-ethnic Trinidad and Tobago. Te Hindu Festival of Lights is marked by the lighting of millions of deyas [clay lamps], some of which are placed on split bamboo tubes bent in artistic designs. It is estimated that over ten million deyas are lit in households, temples, streets, ofces and parks in one week. Te 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 traditional Indian foods and sweets. Te festival climaxes with a display of resplendent freworks on Divali night, which has been pronounced by the state as a public holiday since 1966. Hindus comprise the second largest religious group in Trinidad and Tobago after Roman Catholics. Most Indians are Hindus, and Indians represent more than half of the population of the tiny Caribbean twin-island state (1.3 million).
ISSN 1683-5026 Volume 15, Number 2 Copyright 2014 by the respective artists
Advertising: Mera Heeralal and Ramona Harripersad Cover and page design: Preddie Partap Cover image by Shalini Seeraram entitled Renewal of Life Proof readers: Vindhar Suraj and Kristina Mohammed Consultant: Richard Rampersad Editor-in-Chief and Chairman: Dr Kumar Mahabir
Indo-Caribbean Divali Publication Ltd. (IDP). 10 Swami Avenue, Don Miguel Road San Juan, Trinidad and Tobago, West Indies
Tel: (868) 674-6008 Tel/fax: (868) 675-7707 E-mail: dmahabir@gmail.com Website: http://icctrinidad.wordpress.com Divali Festival in Trinidad and Tobago The 2005 edition of the ICC magazine on the theme Temples and Tourism in Trinidad and Tobago won an Excellence-in-Journalism Award Te body of work featured in this magazine represents various visual interpretations of Hindu and (East) Indian cultural heritage in Trinidad and Tobago. Te collection embodies the power to evoke the emotions of viewers through Hindu and Indian aesthetics. As a highly visual culture,Hinduism is mainly characterisedby brightly coloured andornamentalimages of gods, goddesses and demons. Tese and other images have captured the imagination of artists and other cultural workers. Te artistic exploration of Hindu and Indian images by artists take several forms and media which include drawings, mosaics, installations, rangoli, mehndi, mixed-media, conventional and digital paintings, and three-dimensional designs. Te ambiguous nature of abstract pieces by Asha Beharry and Indira Jairam encourages viewers to decipher the meaning of their work and arrive at their own interpretations. Meenakshi Persad, Sarah Chadee and Shalini Seereeram express their ideas using a strong sense of harmonious design, intense colour, rhythmic fuid lines and geometric motifs, resulting in visually engaging illustrations. Anushka Lutchmiesinghs works shift from a focus on objective reality to an emphasis on subjectivity and complexity. Candice Sobers creations confront viewers with contemplative ideas of real and surreal. Aakash Beharry reveals new perspectives of familiar subjects by zooming in on physical attributes of Hindu deities. Shelly Mehandibaig, Shannon Yip Yang and Amit Singh used two techniques of art expression: the traditional drawing style and the digital painting method. Kervina Persad is also skilful in using more than one medium through her exploration of the traditional acrylic paint on canvas, and the more creative experiment with broken tiles. With his impressionist/cubist style, Kenderson Norray captures the festivity of Hosay commemoration. Sharon Vidale presents a rich and detailed analysis of the rites, customs and traditions of the Trinidad Hindu wedding ceremony. Antonio Butts, Marissa Ramdeen, Rajesh Harnarine, Kajal Madho, James Armstrong and Curtis Matthew have been remarkably successful in depicting women in a variety of ways: dancing, toting water pots and as a dulahin [bride]. Ravita Gangarams contribution captures sacred items used in pooja [Hindu ceremonial worship]. Richard Rampersad uses a contrast of tones and a conspicuous depiction of light to portray Lord Ganesh, the Remover of Obstacles. Vishana Gajadhar and Rebecca Foster depict symbols and images of Hindu and Indian culture in Trinidad: a deya [clay lamp], gestures of respect, the performing arts and the-Temple-in- the-Sea. Shivana Lalla and Aneesa Karim explore the oriental artistic medium of rangoli and mehndi respectively. Tese art forms are growing in popularity among young visual practitioners in the Caribbean. With a total of 26 contributing artists, this compilation presents a mix of established and aspiring visual practitioners whose work demonstrates competence and maturity in their respective genres. Te presence of non-Indian artists working on these themes suggests that they have been exposed to a certain degree, and have been infuenced, by Hindu and Indian culture. Tis magazine is a compilation of artistic works by Indian artists, and on Indian cultural themes by non-Indian artists. Te truth is that not many Indians in Trinidad and Tobago are practitioners of the visual arts. It is important that this under- representation be addressed. Te visual arts connect the imagination with human existence often through paint, pencil and paper. It is a creative expression of culture that is real or imagined that taps into a higher aesthetic and spiritual appreciation of life. Visual art itself is a fundamental part of culture, and as such, enhances the quality of life. It brings joy, enrichment and fulflment to every human soul, and can create positive emotions among individuals. Artists examine life from diferent perspectives that are often refreshing and exhilarating, and even mundane aspects are made magical. Editorial Visual Arts on Indian cultural heritage Art is a form of expression, communication, exploration, imagination, and cultural and historical comprehension. The visual arts include forms such as ceramics, drawing, painting, printmaking, flmmaking, design, architecture, sculpture, crafts, photography and video. The performing arts, such as dance and drama, also include aspects of the visual arts. Visual arts are also applied to forms such as industrial design, graphic design, fashion design, interior design and decorative art. Dr. Kumar Mahabir, Editor-in Chief and Chairman, Indo-Caribbean Divali Publication Ltd (IDP). Assistant Professor, University of Trinidad and Tobago (UTT). Richard Rampersad, B.A. Visual Arts (Hons.), UWI, contributing editor. 4 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Divali Greetings from the Prime Minister of the Republic of Trinidad & Tobago Te Honourable Kamla Persad-Bissessar, S.C., M.P. Prime Minister of the Republic of Trinidad and Tobago I am pleased, once more, to join the entire Hindu community in celebrating this auspicious occasion of Divali. Known in English as the Festival of Lights, this holiday is celebrated by Hindus around the world, and for most Hindus, marks the beginning of a New Year and a New Life. Divali is about the enlightenment of the soul, the triumph over the darkness of ignorance, and stepping into a cleaner and brighter world. It is the triumph of good over evil and it calls all Hindus to a radical transformation and renewal of life that incorporates knowledge, truth, and beauty in all hearts. Once transformed, we can then live our lives as lights and beacons of hope, compassion, truth, wisdom, love, kindness and forgiveness in our homes and communities. Tis, in my respectful view, is the meaning of Divali. An authentic transformation of the hearts, minds, and souls of all of us in order to selfessly serve one another, and humankind, in truth and love so that everyone can prosper and live lives consistent with human dignity, our higher aspirations and Gods will and vision in our lives. Tis is the spiritual prosperity we must all pray for. Tis is the prosperity that we must earnestly ask for from Mother Lakshmi as we seek her maternal assistance in cultivating and accumulating spiritual wealth individually and collectively. Fellow citizens, the fact that we, as citizens of Trinidad and Tobago, can appreciate and celebrate diverse cultures and religious holidays as a united people, and as a nation, speaks volumes about our shared values and our profound respect for the tenets of the variety of faiths comprising our multicultural society. It is our unity in diversity that defnes our character as a nation and it is that which will propel us working hand in hand to a future that is flled with hope and prosperity for all not only for ourselves but for our children and our childrens children. Let us then recommit ourselves on this auspicious occasion of Divali to be the best we can be steadfastly adhering to the tenets of our faith, and instilling those same moral and spiritual values to our children through our own good example. As we light the deyas this Divali, let it be for us a new beginning for ourselves, our families, and for our country. On behalf of the Government of the Republic of Trinidad and Tobago, all citizens of goodwill, and my own family, I wish each and every one of you a Shubh Divali. 6 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Divali Greetings from the Ministry of National Diversity & Social Integration Dr. the Honourable Rodger Samuel Minister of National Diversity and Social Integration It is my honour to extend Divali greetings to the readers of the Indo-Caribbean Divali Publication magazine, the Hindu community and all citizens of Trinidad and Tobago. As we, at the Ministry of National Diversity and Social Integration, continue to work to ensure appreciation and understanding of the history and heritage of our nation, we acknowledge the work of the Indo-Caribbean Divali Publication Ltd., as an organisation which has lifted the Hindu heritage of our nation and ofered insight and understanding into deep-rooted aspects of our national identity. At the Ministry, which is a resource and an advocate for the promotion of diversity, nationalism, patriotism, and inclusion, we are the proud keepers of the heritage and history of our nation. Trough the National Museum and Art Gallery, the National Trust of Trinidad and Tobago, and the National Archives of Trinidad and Tobago, we are able to form and focus our eforts to preserve, display and make known the aspects of our identity which make us who we are today. Divali, the Festival of Lights, has become an indelible part of the culture of this nation, and many nations around the world. It carries countless life lessons and morals for all of humanity regardless of religious denomination. As the Ministry responsible for ecclesiastical afairs, we have recognised the contribution of the Hindu community and their creativity in the feld of visual arts. With the theme for this years publication focusing on Visual Arts on Indian Cultural Heritage in Trinidad and Tobago, I would like to re-emphasize my afrmation that art has no language. It crosses borders and gives you the courage to wonder, hope, and aspire for greatness. Te pages of this magazine are a true indication of the unique talent of the people of Trinidad and Tobago, of which we are indeed proud. With each type of media, we appreciate the styles, the vivid descriptions of the gods and goddesses, the art of mehindi, and the solidity of sculptures. We relate the beauty of the visual arts with the light which Divali represents; its splendor of a triumph, its glory of love and a brighter tomorrow. On this auspicious occasion in our nation, let us allow the light of Divali to enter into our hearts, minds and lives and foster the art of giving and forgiving, rising and shining, uniting and unifying, prospering and progressing and illuminating our inner selves. Tank you, and may the light of Mother Lakshmi shine upon us all. 8 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Amit Rameshwar Singh Art has been my fascination ever since I can remember. It is something that has driven me all my life, and it is the reason why I became a graphic designer straight out of school. In my younger days, hardly a paper would go untouched. My school books were all decorated with anything that came to mind. Namaste originated from the language of Sanskrit and means, Te divinity in me acknowledges the divinity in you. Namaste is a very powerful word. During my entire life, I have used the greeting Namaste to address close family members, but I have rarely used it to strangers. It is part of my tradition and culture and I feel strongly about it. I am not a shaking- hand type of person, not because of cleanliness, but because I was taught about spiritual vibrations of people. A composed or happy person may, in fact, have negative vibrations. By shaking that persons hands, negative vibrations are transferred. Todays society disregards this fact. Te transfer of vibrations is a scientifc fact. Several months ago, I met with members of Te Chinmaya Mission in McBean, Couva. Tey needed material to promote an upcoming camp. Te idea arose of depicting Ved Vyasa teaching children, and Lord Krishna blowing the conch in a Caribbean setting. Te camp was intended to focus on the teachings of Lord Krishna. Te organizers wanted an original design rather than an image of the net. Instead of splicing together a set of copied images, I suggested doing an illustration, since it would depict originality and give the camp the creativity it needed. I am not a fan of 2D digital art, but this method proved to be the fastest to capture the style I had envisioned. Ved Vyasa & Lord Krishna goes to the Caribbean Namaste Contact: 732-7530 amitgraphicarts.com facebook.com/immaturestudio @amitprsingh Medium: Pencil on paper Actual size: 8.5 x 11 inches Medium: Digital painting Actual size: 8.5 x 11 inches 10 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Aneesa Karim Aneesa Karim is a professional mehndi [henna] artist specialising in bridal mehndi and custom body art. Her decision to become a full-fedged mehndi artist took root in 2010, after graduating from the U.W.I, St.Augustine. With a background in Visual Arts, she has always been inspired to be creative. Karim is known for her precise and intricate application of mehndi on the body, but she also works on canvas, candles and pottery. Te Newsdays Woman Weekly, Guardians Womanwise magazine, and macocaribbean.com have highlighted her work. I love doing intricate and creative designs on the feet due to the space available. I am infuenced by the preferences of the person on whom I am working, but it is more exciting when I let the design lead me. Such was the case with this design. While quite time-consuming and tedious, I never rushed the process. I am a bit obsessive and compulsive when it comes to being meticulous and unique. Tis design incorporates the use of Indian motifs and intricate lacy patterns that were all drawn together in the delicate fow of mehndi. Tis image shows the bride lifting her lehenga choli [an Indian bridal outft] to expose her exquisitely-adorned henna-stained feet Tis Indian bridal design was inspired by a scene from the epic love story of the Ramayana. Lord Rama instructed Lord Hanuman to build a stone bridge across the ocean to rescue his beloved Sita. Lord Hanuman was obstructed by Sovanna Macha, leader of the mermaids and one of the daughters of the evil Ravana, who had captured Sita. Sovanna Macha was impossible to catch, so Lord Hanuman decided to woo her. After struggling for some time, they realised that they had fallen in love with each other. Tis piece creates more cultural awareness for the wider public. It is one of my favourite bridal works, partly because it challenged my artistic capabilities. Hanuman & Sovanna Macha (The Monkey & the Mermaid) Bridal Feet - Ready for the Big Day Contact: info@akmehndi.com www.akmehndi.com Aneesa Karim - Mehndi Artist 12 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Antonio Butts Buttss work refects a multi-cultural society. Accordingly, his themes are drawn from various aspects of the diversity that characterises Caribbean culture. He uses mostly acrylics and watercolours to highlight the essence of his work. Some people ask me, What is art? I say, It is a personal expression that the artist shares with society. Art does not verbally express itself, but visually speaks for itself. My art is my life, so when I paint or share my paintings, I am exposing a part of myself to the world. My painting styles express my Caribbean-ness. Te painting illustrates a woman of beauty and grace who, even the gods, could not stop admiring. Her blue colour, like that of some of the gods, represents determination and the ability to deal with difcult situations. Blue is a spiritual colour; it is symbolic of balance and healing. She has a stable mind and strong character. Sherifa - Indian Princess The Divine Couple Contact: antoniodesign@yahoo.com Medium: Acrylic on canvas Actual size: 4.5 x12 inches Medium: Acrylic on canvas Actual size: 4.5 x 12 inches Tis painting was inspired by a 7th century Kama Sutra scripture based on sex and love. Tere is a diference between unenlightened sexuality, sexuality and sutra. Sex becomes sacred and divine when approached from the heart and body as opposed to when approached solely from the mind. Te lotus fower in this painting represents purity, self-transcendence and expanding consciousness. Te woman in the asana position facing her partner, heart to heart, represents a universal mood, the path of love, respect and togetherness for each other. Te male yab-yum represents the male principle uniting with the female principle, expressing the sacredness of sexuality as a spiritual path to enlightenment. Chakra Publishing House Ltd. 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 http://chakrapub.wordpress.com/ Indian Caribbean Folklore Spirits by Kumar Mahabir. Illustrations by Aneesa Khan This captivating book provides details of the presence of a brood of spirits believed to roam the Caribbean since the abolition of slavery. For the first time in history, the existence of these spirits is being revealed collectively to the general public, in this compilation. These supernatural beings are (1) the raa-khas a deformed, demonic newborn child, (2) the chu-rile a spirit of a deceased pregnant 2010. 32 pp. 9 x 7 inches. ISBN 978-976-95049-5-0-2-0. Paperback. TT$45. or US$12. (includes handling, registration and local/foreign postage) woman, (3) the saap-in a woman who transforms into a snake, (4) Dee Baba a mythical protector of the house and land, and (5) the jinn, Sheik Sadiq a spirit that can be captured in a bottle to grant wishes. Written for readers of all ages, every page of the five stories is enhanced with beautiful coloured illustrations. Available at Chakra and major bookstores 14 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Anushka Lutchme Singh I am a twenty-two year old Bhakti Shastri devotee and Pharmacy student. My attraction to the Holy Names of Sri Krishna made me start drawing at the age of fourteen. With no formal training, I rely on my heart to channel the emotions to my pen and paintbrush. Lord Krishna is the focus of my work, and also the focus of my soul. Hare Krishna! Tis drawing symbolises Vaishnavism. Radha-Krishna is lotus-like in every way, and so the lotus is representative of them, with Radhe and Krishna written repeatedly. Te right hand represents the Vaishnavas longing for Radha-Krishna and also the path to obtain their mercy. Om Keshavaya Namaha is written on the ring fnger. Tis mantra is recited while placing tilak on the forehead, using this fnger. Te tilak then becomes the lotus footprint of Sri Krishna, and it represents full surrender onto him. On the arm, a prayer glorifying the beauty of Radharani (by Srila Rupa Gosvami) is written. A Vaishnava can never obtain Krishna consciousness without pleasing Srimati Radharani, and so he places himself under her protection. Jai Sri Radhe Shyam! Tis piece is a tribute to the maintainer of the material realm. His conch, chakra, mace and lotus (fower) are depicted. On the lotus, the Sri Hari Stotram is written, as well as various names of Vishnu, like Narayana and Vasudeva. Sacred mantras glorifying Him are written throughout. Te Maha Mantra and the Vishnu Sahastranama Stotram (by Sri Veda Vyasa) are written throughout the mace. Maha Vishnu and Bharat are written repeatedly on the chakra, as this became manifested as Bharat, the brother of Sri Ramachandra. Similarly, Shatrughan another darling brother, is written on the conch. Jai Maha Vishnu! Maha Vishnu Radhika Dasi M e d i u m :
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i n c h e s 16 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Asha Beharry As an amateur artist, I see art as a way of not only expressing ones thoughts in paintings, drawings, collages, etc. For me, art includes any creative form which uses available resources to capture memories and communicate stories to the world. I also incorporate text and photography into my work. I use watercolours as the medium, and use various sizes of brushes to mix/fll in the colours. I am fond of using threading technique (threads coated with paint) for abstracts. Created by threading, this abstract piece refects the colours of Holi or Phagwa as it is commonly known in Trinidad. Holike Rang engages the imagination, being seemingly unique to each persons interpretation. Hlkraga (Colours of Holi) Covered with miles of coconut trees, Manzanillas shoreline has given rise to the production of litres of pure oil used in the lighting of our deyas [clay lamps]. Manzanilla has become a popular site for celebrating Kartik, which is a cleansing water festival. Manzankkinr (Manzans Shore) Contact: ashbeharry@live.com Medium: Watercolour base with acrylic clear coat Actual size: 7 x 8.5 inches Medium: Watercolour base with acrylic clear coat Actual size: 7 x 8.5 inches 18 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Candice Sobers Mrs. Candice Sobers is a conceptual artist with an emphasis on contemporary art practice. She has a B.A. in Visual Arts with First Class Honours, and is currently an M.Phil. candidate in Cultural Studies at the UWI. She has had joint exhibitions at the National Museum, Rainy Days Ellersie Plaza, In2Art and the Art Society of Trinidad and Tobago. She conducted a practice-based thesis on Techniques of resourcefulness and Survival among working-class Trinidadians. Te making of the cocoyea broom is specifc to history and ancestry, and has contributed to an East Indian working class culture. Ancestral Skill embodies this activity and culture. Te painting demonstrates the routine of making a cocoyea broom by this grandmother of ten. It reveals a complex, yet natural ease of the hand stripping away the green blades from the spine. Ancestral Skill Followers of the Hindu faith demonstrate religiosity as an expression of obeisance to the heavens for sustenance, wealth, peace and health. Tis observed condition was translated into the painting. Te act of supplication is the humble request from Lord Vishnu in the hope that repeated prayer would cause a paradigm shift in a situation or manifest a miracle. Te favours of East Indian delicacies are savoured more delectably when served on a banana leaf and eaten with the hands in the traditional style. Supplication Fig Leaf Contact: candycanefeld@hotmail.com 468-0443/358-2007 Medium: Acrylic and pen on canvas Actual size: 8 x 12 inches M e d i u m :
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i n c h e s Medium: Mixed (acrylic, wood, gel on stretched canvas) Actual size: 23 x 36 inche 20 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Tis piece depicts a little boy performing aarti [waving of lights] to his grandparents. Te grandparents raise their hands to give blessings to their grandson. Tis gesture signifes that the grandparents have an aspect of God within them which the little boy acknowledges by bowing his head. Both grandparents are portrayed in traditional Indian wear. Malas [garlands] are placed around their necks and fowers adorn their heads. Performing aarti is a form of respect which revolves around God, the centre of all life. Aarti Heritage embodies some cultural aspects of Trinidad and Tobago. Odissi is one of the oldest surviving dance forms of India which is performed in this country. Te curved lines of the dancers give a sense of movement and grace. In the composition, the sitar and tabla represent instruments which are used to produce rhythm, melody and harmony. Te lit deya is symbolic of the triumph of knowledge over ignorance. Deyas are lit for worship and during the celebration of Divali. Te Hindi text represents the ancient gayatri mantra. It is believed that by chanting this mantra with devotion, one can achieve success, happiness and fulfllment. Heritage Contact: vishi_g@hotmail.com Actual size: 10 x 12 inches Medium: Mixed Media Medium: Mixed Media Actual size: 12 x 16 inches Vishana Gajadhar Vishana Gajadhar is 20 years of age and lives in Piarco. At a very young age, Gajadhar knew she wanted to pursue art, as it was more than just a hobby but a destined goal. Te passion for the visual art is inspired every day. She uses art as a vessel to portray what she experiences through her eyes. Gajadhar graduated in 2013 with a Certifcate in Visual Arts from UWI and is now pursuing her B.A. 22 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Indira Jairam Born out of a marriage of talents, Ms. Indira Jairam emerged from a world where creativity came naturally, and innovation was the key. Her talent was nurtured throughout the years. Jairam is involved in drama and stage management as well as Ramleela, costuming, mehndi and body art, rangoli, and even food. She adds her own aesthetic touch to everything in which she is involved and transforms it into a work of art. Completing a Certifcate in Visual Arts, she plans to show the world how she sees things through art. As the damsel spins and brings forth spring Soon another chapter will begin Her life spins forth, right in front her eyes As shes trying hard not to cry From girlhood to womanhood, a journey unfolds Her future after marriage, a story untold Mehndi drawn, music played Guests arrive all arrayed A magical moment frozen in time When the young daughter becomes a fne wife Tis piece encapsulates all the emotion inside Spun out and seen through the Dulahins eyes Tradition of colour Tis piece is a confict between, and combination of, traditional and experimental rangoli styles. Starting with a watercolour background, the artist sought to give the piece structure through the solid density of pencil frottage. She then worked her way up to add a breath of life with coloured pencils. Tis abstract piece illustrates a number of images visible only through careful study. Tis artwork will not be appreciated by those minds that cannot comprehend the beauty that lies beneath layers of sweat and turmoil. Te piece is an expression of the liberation of the congested emotions sufocating the artist, which she released bit by bit and stroke by stroke. Out of confusion Contact: indira_jairam@hotmail.com M e d i u m :
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i n c h e s 24 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage James Jim Armstrong Artist James (Jim) Armstrong is a Tobagonian artist who has emerged as one of the prominent representational impressionist artists in Trinidad and Tobago. His art works are steeped in the representation of the culture of his native Tobago. Jim also spent some of his formative years in San Juan, Trinidad, which also aforded him exposure to aspects of the Indo-Trini culture. Hosay has been celebrated in Trinidad since 1854, just over a decade after the arrival of Indian indentured workers who came to work on the sugar cane plantations. Hosay was concentrated in some communities and was mainly observed as an Indian commemoration. Apart from the religious aspect, it has emerged to become a community festival. Te celebration is characterised by the parade of colourful tadjahs [decorated tombs] and the dancing of moons. Tere are also the pulsating rhythms of the dholes [bass] and Hosay Drum Band Indian Dancer Trinidad and Tobago has a large population of persons of Indian descent whose fore parents came to the island as indentured workers. Tese Indian workers brought a variety of religious customs and festivals which have prevailed through the years since 1845. Tey also brought various forms of folk and Indian classical dances, including, inter alia: Kathak, Orissi and Kuchipudi. It is well known that these dances are characterised by distinctive make-up, costumes and movements. Perhaps the most common type of dance, representative of Trinidad is chutney. Te term is derived from chatak, which is a spicy condiment. Te Indian Dancer depicts the embodiment of rhythmic pelvic and hand movements, some of which trail distinctively vibrant fabrics. Contact: armstro7@hotmail.com Medium: Oil on canvas Actual size: 28 x 40 inches Medium: Oil on Canvas Actual size: 30 x 40 inches staccato tassa drums, accompanied by cymbals. Tis annual street celebration is not unlike carnival. Playing in the Hosay Drum Band causes the more energetic drummers to sweat. Some fervent folks in the community queue up for a turn on the drums. Traditional Medicine and Women Healers in Trinidad: Postnatal Health Care Kumar Mahabir 2012. 212 pages. ISBN 978-976-95049-6-7 5 x 8 inches. Paperback. TT $100. or US $25. (includes handling, registration and local/foreign postage) This book discusses the relationship between traditional healers and modern healthcare practitioners in Trinidad and Tobago. It focuses on folk masseuses, and the new mothers and newborns they treat. The two medical systems are presented in the context of racial, ethnic, class and gender dynamics which give rise to issues of power and control. The study is located in the political-economic context of the Third World which has a history of dependency on foreign goods and services which has been rooted in the plantation economy. Available at Chakra and major bookstores Chakra Publishing House Ltd. 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 http://chakrapub.wordpress.com/ 26 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Kajal Madho Kajal Madho attended Lakshmi Girls Hindu College where she placed 4th in the CAPE Unit 2, Art and Design Regional Merit List. Kajals artwork was displayed at the Piarco International Airport and the Central Bank, and on the walls on Wrightson Road, Port-of Spain, as well as in Cuba and Scotland. Kajal is essentially a self-taught artist. However, she owes her success to her secondary school teacher, Ms. Quan Hong, for the encouragement and never-ending support. In her opinion, art is possibly the most intense form of individualism of which the world is aware and it enables one to express thoughts and moods in the most comfortable way. Sari red is a monochromatic piece which depicts a Bharat Natyam dancer. Bharat Natyam is a type of classical Indian dance which exudes vitality, strength, charisma and grace. Te style is often referred to as the fre dance. Terefore, I used the colour red to portray the dance form. Sari Red Solemn is a portrait of an Indian woman. She carries a blank expression on her face. Tough her expression is blank, a sea of emotions rages within the depths of her eyes. One can sense feelings of anger, sorrow, confusion, heartbreak and happiness while looking at her blank, tear- stained face. Solemn Contact: 470-3512 kajalmadho@hotmail.com Medium: Acrylic on canvas Actual size: 12 x 16 inches Medium: Acrylic on canvas Actual size: 16 x 20 inches 28 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Te Wonders of Mosaic - Trough the eyes of Lord Hanuman stands 8ft tall and 4ft wide. It was created using broken pieces of tiles which took approximately 4-5 months to complete. As a young child growing up in a Hindu home and family, I have always felt a strong connection to and admiration for the deity Lord Hanuman. Te entire creative process was one of the most uplifting and therapeutic experiences I have ever had. Te tiles were broken with a hammer and then assembled in an almost puzzle-like fashion. Upon completion, Te Wonders of Mosaic - Trough the eyes of Hanuman was blessed according to Hindu rites and donated to a temple located in Guaracara, Trinidad. The Wonders of Mosaic - Through the eyes of Lord Hanuman Te Remover of All Obstacles was done using acrylic paint on a canvas board. It was inspired by the Hindu deity, Lord Ganesh, and created as a personal reminder of believing in oneself. Lord Ganesh is widely revered as the deity of beginnings, and the remover of interference and difculties. From the moment paint transfers from a brush to canvas, it has the ability to remove stress or misfortune from the artist. Combining these two principles proved to be very successful and satisfying because they exuded optimism and calmness. The Remover of All Obstacles Contact: 737-7722 deanna_kdp@hotmail.com Medium: Paint on canvas Actual size: 9 x 12 inches M e d i u m :
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f e e t Kervina Deanna Persad At the age of 22, my desire to do art has continuously proven to be the one thing that has never failed me. I am currently in my fnal year of pursuing a B.A. (Bachelors of Arts) in Visual Arts at Te University of the West Indies (UWI), and specialising in the feld of Design. 30 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Te bilna and chowke are traditional kitchen tools used mainly by East Indian women. Even with advanced technology for meal preparation, these tools continue to hold a permanent place in our culture. Te use of textile, mirror, sequins and mehndi drawings ofer a contrast in surface texture to the wooden tools. Te contrast is symbolic of the role that women continue to play. Te hard and soft surface transforms a common utilitarian object into one of aesthetic prominence. Teir interplay echoes the harsh reality of daily toil, both in and out of the home, versus the delicate nature of feminine beauty. With India in Mind (3-dimensional decorative piece) Te method of carrying water on ones head is no longer done. During indentureship, this method was the primary mode of water transport in Trinidad, and still is for many families in rural India today. Tis practice is performed mainly by women and is a skill that is learnt from childhood. Te act of balancing a full pot of water - sometimes one on top of the other - reveals the importance of women and daughters in maintaining tradition. Tis act also illustrates the challenge of balancing several duties that women perform. Teir hurried steps reveal the urgency of purpose. The Water Carriers Contact: msalome_r@hotmail.com Medium: Acrylic on canvas Actual size: 12 x 16 inches Medium: Mixed (wood, fabric, mirror, sequins, fabric glue, bilna and chowke) Actual size: 17.25 x 11.5 inches Marisa S. Ramdeen Marisa S. Ramdeen was born and raised in Arima. She earned a Certifcate in Visual Arts and was granted the Pat Chu Foon Award for Best Certifcate Student in Visual Arts in 2009. She also received the Eastman-Christensen Prize for Excellence in 2011. She graduated with a B.A. in Visual Arts with First Class Honours. Ramdeen received the MP Alladin Award for Best Degree Visual Art Student in 2012. She was a part of the commissioned team that painted a mural to commemorate the legacy of Arima for the 50th Independence Day celebrations. She currently teaches Visual Arts at North Gate College, St. Augustine. 32 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Te Temple-in-the-sea is a popular tourist attraction where people often go to seek salvation, peace and comfort. On any given day, one can fnd people waiting for the sun to set to catch the breath-taking view. Te temple is strategically placed almost in the centre of the painting, which makes the site appear to be foating. Tis stylised rendition emphasises the conical shape of the domes. Te piece is characterised by playful lines and warm colours. Temple in the sea Tis piece explores Indian music, dance, religion and design. Te composition is emblematic of a plethora of symbolism and iconography associated with Indian and Hindu culture. Te dramatic contrast, with the warm and cool hues, can be interpreted on the metaphoric level as a people with an ancient and dynamic culture which is still fourishing and thriving in a contemporary space. Te fuid nature of the lines in the piece allows the viewers eyes to travel smoothly within the picture plane. Additionally, the tasteful and logical placement of the compositional elements allows for the background, middle-ground and foreground dynamic. Embodiment of culture Contact: Meenakshi Photography Medium: Acrylic and pen on canvas Actual size: 12 x 9 inches Medium: Acrylic on canvas Actual size: 20 x 16 inches Meenakshi Ganga Persad I am an artist and photographer with a B.A. in Visual Arts (Special) from the University of the West Indies, St. Augustine. I do not limit myself to any one medium. I also challenge myself to create works of art that deal with daily issues afecting our society. My photography tends to go beyond the usual/typical. 34 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage One of the most prominent accents of an Indian bride is the elegance of her bridal sari [dress]. Tis painting was inspired by an actual bride for her wedding. Te sari was draped in a fashionable style to portray the easy fow and the transformation of the fabric. Emphasis was placed on colour and blends, as opposed to decorative work on actual bridal saris. Te jewellery was kept simple with an elaborated nose ring to highlight the portrayal. I am inspired more by colour as opposed to decorative printing. My love for Indian clothing made these pieces a pleasure to execute Suhagan The Bride Tis painting depicts Radha, a divine Indian woman in mythical India. It was inspired by the gopis [cow herd girls] whose stories are written alongside those of Lord Krishna, one of the Hindu deities. Te girls would try to impress Krishna because of their unconditional love for him. Tis illustration shows Radha, dressed in her gopi skirt, which fares as she turns with her two clay water pots. Tis particular painting was a challenge to execute in trying to capture the light-and-dark tones of the skirt to give it a three-dimensional efect. Radha in Motion Contact: rajesh_harnarine@hotmail.com Medium: Acrylic on canvas Actual size: 14 x 18 inches Medium: Acrylic on Canvas Actual size: 16 x 20 inches Rajesh Harnarine Rajesh Harnarine is a self-taught artist. His passion inspired him to produce paintings using diferent types of media which began to change as a result of his renewed interest. Currently perusing his B.A. in Civil Engineering at the UWI, his aim is to include visual arts into his busy schedules. Harnarine is known to give particular attention to detail, a skill which he developed at secondary school. He participated at the Hilton Kids Art Competition and represented Trinidad and Tobago in a Latin America art competition. 36 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Saraswati The Creator All is well in the universe Akash Beharry Akash Beharry is a painter and printmaker. He uses oil paints and his prints are monotypes and reduction prints on paper. Beharry was born in Pointe- a-Pierre but grew up in Fyzabad. He received scholarships from Adelphi University in New York and Te Petroleum Company of Trinidad and Tobago (PETROTRIN) in 2005. He was also a recipient of the Helen Baldwin scholarship fund. Beharry earned his B.F.A. from Adelphi University. He works symbolically, drawing his inspiration from Hinduism which greatly infuenced him as a child. Medium: Intaglio prints on paper Actual size: 12 x 20 inches Medium: Intaglio print on paper Actual size: 12 x 16 inches Medium: Intaglio prints on paper Actual size: 12 x 16 inches Tis piece was created in 2008. It was part of myexploration of hands using a variety of printmaking techniques with particular emphasis on their signifcance across religion, culture, race and time. Tis study led me to what was closest and most familiar to me, Hindu iconography. Tis image was inspired by the many positions of the club-bearing hand of Lord Vishnu (Te Supreme Sustainer), and their symbolism. In this Tis piece was done in 2008 as a part of my Hands series. It represents the supreme personality of godhead, and displays the hands in reverence and humility, personifed even through the creator himself, Bramha. I found it quite useful to highlight that even the creator acknowledges purity and divinity in Hinduism. Te zinc plate was etched using a high concentration of nitric acid that was laid onto the plate in layers. Each layer was then cleaned of, inked and printed. Te process was repeated until the image was sufciently resolved. Created in 2008, this piece is a reduction print done on rice paper. Te fnal image was printed after a series of layers was strategically removed from a rubber block. Here, goddess Saraswati, patron of the arts and creative power of Bramha, plays the lute or veena in her left hand, while her upper left hand holds a rosary symbolising the conditioned consciousness. Hindu goddesses personify Contact: akashbeharry@mail.adelphi.edu instance, the club or mukhdar when held at a 60 degree angle, indicates that all is well in the universe, as opposed to an upside-down position, which symbolises destruction or transformation. a host of attributes, including compassion, wisdom, prosperity and even destruction. Tese are avenues through which battles (within the mind and the world) can be won. Tey are, to say the least, manifestations of victory through personifed virtue. 38 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Te composition is made up of water lilies found in a pond at Navet Village in Rio Claro. Te lilies are in full bloom at six oclock every morning. It was the inspiration for this artwork. Te water lily and the lotus fower are associated with Mother Lakshmi, the Goddess of Light, Wisdom and Wealth. Full Bloom Te still life drawing depicts an ofering made to Lord Shiva. Tere is a lit deya [lamp], a lota [brass jug] with Shiva-dhaar [libation], a dhatur fower together with a bael leaf. Tere is also a hibiscus fower and a bael fruit. In the composition there is also an incense stand that is in the shape of an om symbol. The Ofering Contact: ravita2008@hotmail.com 644-2205 346-0185, 790-3272 Ravita Ramdeen-Gangaram Medium : Colour Pencils Actual size : 33 x 17 inches Medium : Colour Pencils/ Water Colour Pencil Actual size : 20 x16 inches Ravita Ramdeen- Gangaram From a very early age I knew art was going to be a strong infuence in my life. My artistic work ranges from drawing, painting, basketry, ceramics, and presently graphic work. My designs have been featured in the foat design for San City Steel Symphony for Steel Fest 2013, on furniture, magazines, booklets, posters and book covers. My present project investigates the graphic world of designing, and the making of a ceramic wall installation using the theme of Indian Culture for my Final Year Exhibition in Visual Arts at UWI. 40 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Tere is indeed a strong awareness for the contrast of tone and a conspicuous depiction of light, whether subdued or intense. Tis graphic statement is capable of speaking very clearly to us about our current concerns, and is a joy to the observer. Additionally, there is an interesting play with the element of shape and plane as well as the concept of space. In an attempt to show a variety of surface textures, two distinct drawing techniques were utilized in this composition. Te arrangement of the deity is somewhat schematic. It invites the viewer to move into a space of speculation and questions the real and the surreal. Te non-orthodox style of rendering the subject matter supersedes naturalistic accuracy. Vinayaka 2 Vinayaka 3 Contact: 374-6318 richardrampersad22@yahoo.com Richard-Rampersad/562877307076459 Medium: Pen & India Ink on Water Colour Board Actual size: 8.5 x 14 inches Medium: Pen & Ink on Water Colour Paper Actual size: 8.5 x 14 inches Richard Rampersad Richard Rampersad obtained his B.A. in Visual Arts from the UWI. He is a nationally renowned artist who specializes in ceramics and fgurative painting. Many of his clients include distinguished members of society as well as corporate, academic, religious and cultural personalities. His extraordinary achievements throughout his artistic career have made him one of the most infuential fgurative painters in the Contemporary Caribbean Art realm 42 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Baraat (Wedding Procession) Lord Ganesh is one of the most commonly known Hindu avatars. He is the son of Shiva and Parvati and has an elephantine countenance with a curved trunk and big ears, and a huge pot-bellied body of a human being. He is the remover of obstacles. Materials used in this painting include acrylic, pen and ink, and nail polish. Ganesha Contact: sarahchadee15@gmail.com Medium: Acrylic on canvas Actual size: 19 x 12 inches Medium: Mixed Media on canvas Actual size: 12 x 24 inches Sarah Chadee Canadian by birth, Sarah Chadee came to Trinidad and Tobago at a young age. She is currently perusing a Bachelors in Psychology at UWI. Her work is mainly aimed towards children and education. Chadees colouring books on the preservation of San Fernando history has been endorsed by UNESCO. Her work has been featured in the Childrens Ward of the Augustus Long Hospital at Petrotrin and in a section of the Haji Shafk Rahaman Play Park on the San Fernando Hill. richly dressed elephant as he is carried to the house of the dulahin [bride]. Te pre-wedding ceremony, known as sangeet, features a musician. Te dulahin is being carried on a traditional doli [small carriage]. Materials used for this piece include coloured rice, acrylic, pen and ink, and nail polish. Tis mixed media piece serves as a set for the many activities and traditions involved in a Hindu wedding. Hindu matrimony is a spiritual bond between the couple and their respective families. Tis painting shows the dulaha [groom] dressed luxuriously, seated upon a TRINIDAD AGGREGATE PRODUCTS LIMITED Phillip Augustus Road, Longdenville, Chaguanas Tel: (868) 665- 8296, 3391, 4544, 2162 Fax: (868) 671-2721, 4013 Makers of Holloclay Building and Decorative Blocks, Glazed and Unglazed Floor and Roof Tiles, Mouldings, Trims and Inserts. ISO 9001 2008 QMS Certified Website: www.tapltd.net Email: tapltd.net.tt Lifetime Creations Clay Tile Gallery 16 Delhi Street, St. James Tel: (868) 622-2242 44 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage One of the most striking features of Indian classical dance is the use of hand gestures. Te Indian women in my painting portray a gathering-in of the whole universe in the circling of their arms while expressing the rhythm and harmony of life. Dance the Lotus In this painting, Saraswati, the Hindu Goddess of Knowledge and Arts, represents the free fow of wisdom and human consciousness. She has a white lotus in one hand symbolizing purity and true knowledge. With the other hand, she plays the music of love and life on a string instrument called the veena. She is painted in red to represent the passion and encouragement she evokes through my love for the creative arts, music and nature. Garland of Saraswati Contact: shalini.art@gmail.com Medium: Acrylic Actual size: 20 x 20 inches Medium: Acrylic Actual size: 12 x 16 inches Shalini Seereeram Im a full-time artist who has been creating vibrant imagery of the female form for a number of years. My style of drawing is informed by continuous line, intricate patterns, and dramatic contrasts of colour portraying Indo- Caribbean culture. My passion for painting and drawing embodies techniques acquired and adapted through graphic design and jewelry making. 46 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage I did this digital drawing of an Indian dancer in my own version. I used Coral Painter with the charcoal, pastel and pencil tools. I used the smear tool to smooth it and blend the colors just like I do with real materials. I never wanted to simply depict Indian wear; I wanted to show that your body is a form of art. I exaggerated her braids to illustrate that Indian women take pride in their hair, especially when it is long. One with thy self (Indian girl) Tis bird is from the Wild Fowl Trust. I used oil pastels on A2 size paper. Tis took me exactly an hour to complete and framing took 30 minutes. I love animals a lot, and this bird amazed me with its simple beauty, and also appealed to my love for blue. Etching techniques were used on its neck and feathers, and also the background. Peacock Pride Contact: shannonyipying@yahoo.com Medium: Oil pastels on paper Medium: Digital drawing Shannon Yip Yang aka Alexis Cortez Art has played a huge role in my life since I was a toddler. At the age of fve, an accident occurred in which my left eye was impaled by a scissors, causing undeveloped vision. Tis never hindered my passion for art. My gift grew stronger with my constant determination and practice with each passing year. I love anime and I want to bring to life my imagination in 3D, which is one of my long-term goals Over 30 years of Service. 48 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Tis portrayal shows a Hindu bride eagerly awaiting the arrival of the baraat [bridegrooms wedding procession]. Te dulahin [bride] is elaborately bejewelled in her bridal sari [dress]. Te composition portrays a dulahin in a mood refective of the feelings and emotions which she experiences as she prepares to leave the safety of her fathers house to venture at her in-laws together with her husband. Tis piece was created using a black-ink pen. Te drawing techniques of hatching and cross hatching were explored in an attempt to achieve form, tone, texture and the illusion of three-dimensionality. Dulahin Tis is a digital drawing of a dulaha [groom]. I used a limited colour palette of red and yellow in order to achieve the overall desired visual efect. Te elements of point, line, shape, colour, texture and pattern were the building blocks for the construction of this portrait. Tere is also an interesting play with the concept of fgure ground reversal in the piece which contributes to an airy feel. Dulaha Contact: s.mehandibaig1@yahoo.com Medium: Digital illustration Actual size: 11 x 17 inches Medium: Pen Actual size: 8.5 x 14 inches Shelly Mehandibaig Born in 1989, Shelly Mehandibaig lives Rio Claro. Her passion for art started at a very young age. Since that time, her artistic talents and skills have developed and she is now experienced in both the felds of fne art and design. She is currently pursuing her Bachelor of Arts in Visual Arts at the University of the West Indies. Limestone Division Verdant Vale, Blanchisseuse Road, Blanchisseuse, Republic of Trinidad and Tobago W.I. Tel: (868) 685-9861 Head Office Churchill Roosevelt Highway, Arouca, Republic of Trinidad and Tobago W.I. Tel: (868) 646-3682 Fax:(868) 642-9161 E-mail : sales@nqcl.co.tt Sand and Gravel Division Turure Road, Guaico, Sangre Grande, Republic of Trinidad and Tobago W.I. Tel: (868) 668-4692, (868) 668-0895 Fax:(868) 668-4623 On this auspicious festival of lights May the glow of joy , p rosperity and happiness I lluminate your days i n the year ahead ISO 9001:2008 Certified website: www.nqcl.co.tt ISO 14001:2004 Certified Our Products: Sharp Sand 3/8, 3/4, 1 1/2 White Decostone Aggregate 3/8, 3/4, 1 1/2 Non- Concreting Aggregate and Concreting Aggregate White Sharp Sand Silt Sand Agriculture Limestone (Ag Lime) Crusher Run (Limestone) 50 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Tis rangoli was designed along a fight of stairs. In creating abstract designs like these, one has to remember to maintain balance and avoid an asymmetrical or crooked design. Always aim to have an even width and distribution of the colours throughout. Te method used to perfect this piece was the use of dots. Dots enhanced the beauty and size of the design. Tis technique is also used in mehndi [body art]. I have learnt and gained a lot of experience from Hindu groups such as Swayamsevak Sangh and the Hindu Students Council. Tese groups introduced me to the use of sawdust to create rangolis. Abstract rangoli To create a perfect circle, I used a technique akin to the compass found in a geometry set. I frst created a central point by implanting one end of a string frmly into the ground and extended it outwards. On the other end of the string, I tied a piece of chalk to it. Tis chalk was used to draw the circle. Te length of the string determined the radius of the circle. By adjusting the length of the string, one can either make bigger or smaller circles inside and outside of each other. Tese featured designs were done with sawdust. It is equally versatile, economical and environmentally- friendly alternative to food items. Circular rangoli Contact: shivanalalla@hotmail.com M e d i u m :
S a w d u s t Shivana Lalla Namaste. My name is Shivana Lalla. I am 21 years of age and currently pursuing the Bachelor of Laws at the UWI, Cave Hill, Barbados. Creating rangoli [Indian decoration and patterns] designs reveal another dimension of my personality, expresses my love for culture. I am eager to learn, interact and experiment as well as to showcase my talent. 52 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage Te idea to capture the beauty and brilliance of the sunset at the Temple- in-the-sea was derived from the book Poring Light-Layering Transparent Watercolor by J.H. Grastorf. First, the paper was taped to a hard board, a rough sketch was drawn, and then the layer of masking fuid was applied. Once dried, the frst colour was poured and tilted over a basin to let the colour spread, then run of. After the painting was completely dried, I removed the frst coat of masking fuid, and a second coat was applied and left to dry. Ten the second colour was poured, and the same process for the third colour. Once dried, a black Prisma Colour ink pens of various nib sizes was used to fnish the painting. The Temple-in-the-sea A Dance of Colours was inspired by a dance performed by a group of students at my daughters primary school during Divali celebrations. Te painting depicts a twirling dancer. A rough sketch was drawn, the paper was saturated and colour was applied. Gold acrylic paint was used to decorate the piping of the dancers top, the band of her skirt, her bracelets and the border. Once the painting was completely dry, the fnal details of the dancer and the border were drawn with a black Prisma Colour pen. A Dance of Colours Medium: Mixed Actual size: 12.25 x 26.25 inches Medium: Mixed Actual size: 24 x12 inches Rebecca Foster Trinidadian artist Rebecca Foster is a member of the Art Society of Trinidad and Tobago and has participated in numerous annual group exhibitions. An experiment with line, form and colour bloomed into a vibrant Trinidad Carnival series that has helped defne Rebeccas artistic style and revamp her interest in the water colour medium. Rebeccas most recent showing was a resounding success: a group exhibition named Four held at Y Gallery, Trinidad in May 2012. Contact: bexfoster@mac.com www.bexfoster.com www.facebook.com/rebeccafoster.art AN AGENCY OF THE MINISTRY OF HOUSING AND URBAN DEVELOPMENT 54 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage A Hindu wedding is a sacred ceremony that is steeped in tradition. Te stories behind the various processions are at once intriguing and captivating. Te colourful and the ornate play key roles in the celebration of the sacred union. In the frst image, the dulahins [bride] mother and female relatives welcome the dulaha [groom] by showering fowers and rice around him. Aarti [waving of lights] is also performed. Another welcoming ritual called parchay is done. Parchay Te fnal image in the series is a close-up of the ritual of sindur daan. In this ritual, the dulaha places sindur [vermillion] on the parted hair of the dulahin under a cloth covering. Te second piece in this wedding series depicts the frst public appearance of the bride. She is adorned in a yellow sari and is escorted by her mother. Ten the dulaha and dulahin are joined together with fabric rope. Tey circle the sacred fre seven times. Te fnal phase in this panel shows the mangal sutra daan ceremony in which the dulaha places a mangal sutra [marital necklace] around the dulahins neck. Sindur daan Mangal sutra daan Contact: sharon.vidale@gmail.com Medium: Acrylic on hard acrylic board Actual size: 18 x 36 inches Medium: Acrylic on hard acrylic board Actual size: 18 x 36 inches Medium: Acrylic on hard acrylic board Actual size: 18 x 36 inches Sharon Vidale Te inspiration for these pieces was the clean lines of classical Indian art. Te drawings are deliberately simplifed and only the key characters were depicted for each ritual. I am drawn to line and prefer to use line as the primary form of expression. Rich vibrant colours with intense values were used as a source of expression of passionate emotions. Chakra Publishing House Ltd. 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 http://chakrapub.wordpress.com/ Available at Chakra and major bookstores 1992. Reprinted 2001, New edition 2009. xx + 120 pp. 5 x 8 inches. Paperback. ISBN 976-8012-75-7 TT$100. or US$25. (includes handling, registration and local/foreign postage) This cookbook represents a comprehensive collection of over 70 traditional vegetarian recipes. They have been handed down by indentured immigrants from India by word-of-mouth and practical example for over four generations. From delightful snacks to dinner-party specials each recipe has been kitchen-tested and, therefore, meets a high standard of accuracy. Some of the dishes are beautifully illustrated in color to tempt your appetite. Kumar Mahabir Caribbean East Indian Recipes 56 Indo-Caribbean Divali Publication Ltd. Divali Magazine 2014 Visual Arts on Indian Cultural Heritage In Hosay 1, the artist uses his signature cubist approach to convey the energy and excitement of this festive afair. Hosay is a religious event observed mainly by the Shia sect of Islam. Very elaborately decorated models of mosques are made of paper, beads, fabric and tinsel. Te models, called tadjahs, are carried through the streets to the accompaniment of rhythmic tassa. Te artist utilizes his colour palette fully, mixing both harmonious and contrasting colour schemes within this one picture plane. Such juxta-positioning of both ideas could be read as narratives of the union of man and god, or is it the fusion of party and prayer? Hosay 1 Te simplicity resonated in Hosay 2 really invites us to closely examine the composition with respect to the concept of beginnings and endings. Te viewer may wonder whether the piece depicts the start of the festival or the end, where the participants and followers are minimal. Te inclusion of the green hedge to the top right tastefully contrasts with the red tassa player on the foreground, and draws upon ideas associated with man existing in harmony with nature. Te strategic use of complementary colours echoes the drama and hype associated with this most glorious celebration. Hosay 2 Contact: 332-6358 kendersonnoray@yahoo.com Medium: Oil on Canvas Actual size: 30 x 35 centimetres Medium: Oil on Canvas Actual size: 39 x 48 centimetres Kenderson Noray Twenty nine year-old Kenderson Noray loved to draw at an early age. Growing up in the subdued hills of Paramin, Noray was heavily infuenced by the laid-back nature of the people and the vibrant colours of his environment. At eighteen, he entered a few village art competitions, in which he won all the prizes. Landscapes and seascapes are a major theme in his work, maybe because he is so consumed by them. Presently, his work can be seen at well- known galleries and corporate establishments in Trinidad and Tobago. Head Ofce: 139-141 Abercromby Street, Port of Spain. 624-2688 Branch Ofce (South): 15B Carib Street, San Fernando. 657-2688 Branch Ofce (Tobago): 19 Dutch Fort, Lal Building, Scarborough. 635-2688 www.cott.org.tt May every aspect of your life become as scintillating as the lights of the deya May you heart and life be filled with happiness, joy and peace Shubh Divali CLASSIC TILES LIMITED. LP# 64 Endeavour Road, Chaguanas, Trinidad. Phone: 1-868-665-1547 Fax:1-868-665-4840 Suppliers of a wide range of Porcelain & Ceramic Tiles, Bathroom fixtures, tools and accessories. We also carry a line of Cleopatra and Bathroom Fixtures CLASSIC TILES LTD. CLASSIC TILES LTD. Floor or wall we've got you covered We meet your needs. Floor or wall we've got you covered Wishing you a Happy Divali, glowing with peace, joy and prosperity Penal - 647-2541 Montrose: 223-7571 FOCUS ON THE FUTURE Port of Port of Spain *Customer Satisfaction - Strengthening Relationships *Strategically Positioned Transshipment Hub *State-of-the-Art NAVIS SPARCS N4 Terminal Operating System 4 Dock Road, Port of Spain. Trinidad W.I. | 868-623-2901/5 | www.patnt.com (Strategic Business Unit of The Port Authority of Trinidad & Tobago) m., . . . . ,. . . ., . . . ., , ... ../ .. ../ . ., . . . ., . . ... ../ .. ,. .. ./ Satnarayan (Sat) Maharaj is a religious and cultural leader in Trinidad and Tobago. He is the Secretary General of the Sanatan Dharma Maha Sabha, the major Hindu organisation in the multi-ethnic society. As much as he is criticised, Sat is also hailed as a champion of Hindus and Indians in the country, and is also described as the most inuential and longest-serving Hindu spokesman outside of India. He struggled tirelessly to change the symbol of the nations highest award from the Trinity Cross to the Order of the Republic of Trinidad and Tobago. In the High Court, the Court of Appeal and the Privy Council, Sat fought against discrimination when the Maha Sabha was denied a radio broadcast licence by the then Government. He has contributed signicantly to national development in the elds of religion, education and culture. The author, Dr. Kumar Mahabir, is an Assistant Professor in the Centre for Education Programmes at the University of Trinidad and Tobago (UTT). Available at major bookstores, and at Maha Sabha schools and temples in Trinidad, and at Radio Jaagriti, Corner Pasea Main Road Ext. and Churchill Roosevelt Highway, Tunapuna. Order copies by contacting: 645-2745, 498-8657, 663-2250, 663-8743, 756-4961, 674-6008, vkmaharaj@live.com, dmahabir@gmail.com TT$100. Paperback. 2014. xii + 250 pages. 8 x 5 inches Paperback ISBN 978-976-8249-70-8 Hindu Civil Rights Leader of Trinidad and Tobago Sat Maharaj an authorised biography by Dr. Kumar Mahabir I ... wish to congratulate Sat Maharaj for the herculean efforts he has made to improve the educational standards of his people, and his determination to ensure that his people receive their rightful share of the national pie. When the history of the second half of the twentieth century is written, I am certain he will take his place as one of the more outstanding Trinbagonians of the era. Dr. Selwyn R. Cudjoe, Professor of Africana Studies at Wellesley College, Massachusetts, USA