Volume 5.

6. Number 2. November 2004. Trinidad & Tobago

http://www.geocites.com/icc_tt/

indo-caribbean cultural council

ISSN 1683-5026

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Caribbean Indian Fashion - Editorial

Indian jewellery, garments and accessories have become versatile. Mehendi art, for
example, is now used by many masqueraders to decorate their body for Carnival.
The theme of this years magazine is Indo-Caribbean
fashion. This publication carries articles on, and photographs
of, local designs of clothes, jewellery and accessories that
have become an undiluted and unbroken tradition from India
to the Caribbean for over 150 years. As a matter of fact, while
other influences have made inroads into language, food, music
and dance, fashion remains one cultural expression of which
consumers insist on authentic and original styles direct from
India.
But there are scores of local artistes who merge East and
West, tradition and modern, and India and the Caribbean in
fabrics that catch the imagination. The photographs and articles
in this magazine capture the rich Caribbean Indian cultural
heritage of dhotis, kurtas, Nehru jackets, saris, shalwars,
nose-pins, necklaces, bangles, anklets, eyeliners, mehendi
markings and forehead tikkas/bindis. The creations of artisans,
designers, tailors, seamstresses, choreographers and models
are showcased in this glossy full-colour publication.
It is expected that this magazine will benefit culture in the
national community by encouraging, inspiring, and promoting
the talent of all those who are involved in the fashion and design
industry. The results anticipated are (a) the local, national and
regional community will be more appreciative of Caribbean
Indian fashion, (b) fashion shows and exhibitions will increase
in popularity among low- and middle-income groups, and (c)
Caribbean artists will add more of their trademark touch to
traditional Indian garment creations.
Indian garments have become famous for their majestic
tapestry. Fabrics are now decorated with sparkling sequins in a
splendid array of colours to suit figure, taste and tone. Jewellery
pieces like the nak-phul (nose rings), bayra (bangles) and anklets
have served 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 adorning of the human body.
Indian garments, jewellery and accessories have become
enduring and versatile. Mehendi art, for example, is now used
by many masqueraders to decorate their body for Carnival. Up
to the 1960s, tattoo was part of an Indian tradition that had to
be worn by newly-married women on their arms. Nowadays,
a tattoo is worn by anyone and placed anywhere on the body.
Young women today prefer the lower back region because
it complements the popular low-rise jeans and also adds a
sensual look to their exquisite saris/sarees. Bindis have also
have become the rave of teenage girls and young women. They
sometimes place them around their navel as an expression of
artistic freedom.

It is without doubt that the Caribbean Indian fashion industry

is on a path of growth. Indian fashion fairs, exhibitions and shows
are now held all year round and attract a wide cross-section of
society. There were the Miss Fem India Beauty Pageant, Miss
Indian Heritage, Hindi Foundation Dinner and Fashion Show,
and the Miss Indian Arrival World T&T Beauty Pageant. Not to
be left out was the fashion show produced by ISPAT Ladies Club
at Crowne Plaza Hotel in October 2004.
But the performance that really showcased Indian fashion
to the wider society was the smash movie cum play Kuch Kuch
Hota Hai [There is Something Happening in My Heart]. This
production the second largest in the country after Carnival
Messiah - produced a 76-member cast with women of all races
and religions sporting resplendent saris, shalwars and gararas.
The play represented a unity that knits the diverse strands of
our colourful social fabric.
It has now become a tradition at every Divali festivity to
stage a fashion show. This aspect of culture has a philosophical
basis that is grounded in the celebration of the bodily attributes
of poise, beauty and attire. Indeed, Mother Lakshmi herself is
often depicted wearing a red sari with golden embroidery. She is
also bedecked with various types of jewellery. The red in her sari
is symbolic of activity, while the golden embroidery indicates
that she is always busy showering wealth and prosperity on her
children who worship her wholeheartedly.
The authors are responsible for the content of their articles.
The opinions expressed therein are not necessarily those of the
publisher. Copyright 2004 by ICC
ICC is an independent non-profit educational organisation
recognised by the Government of Trinidad and Tobago. It is
dedicated to publishing two magazines a year - a Divali souvenir
magazine, and an Indian Arrival Day commemorative magazine.
Dr Kumar Mahabir, Editor and Chairman
Indo-Caribbean Cultural Council (ICC)
E-mail: mahab@tstt.net.tt, kumarmahab@hotmail.com
Tel: (868) 674-6008. Tel/fax: (868) 675-7707
Cover depicts a model at the Hindi Foundation Fashion Show
Photos in Florida and Trinidad by Kumar Mahabir
Contributing writer Annesia Gunness
Cover and page design by Preddie Partap

-_.

-----

DH

GUARDIANSSET MA AGEMENT

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Prime Minister

Republic of Trinidad and Tobago

Greetings on the occasion of Divali 2004

Once again it is my pleasure to extend greetings to the National Community as we celebrate Divali 2004.
This religious festival is one among many bequeathed to us by our forebears who crossed the Kala Pani. This
dazzling festival of the "Row of Lights" is as philosophical and spiritual as it is colourful, and celebrates the
triumph of light over darkness and good over evil.
This is true of Deepawali in the ancestral homeland of India and all over the world where there are Hindu
communities. However, an important distinction is that in Trinidad and Tobago it is celebrated by the wider
society.
Divali's rich philosophical and spiritual content has accordingly impacted the lives of our citizens
regardless of colour, creed or class. Yearly, our people of diverse religious and cultural backgrounds bedeck
themselves in Indian garb befitting the occasion, participating in our Ramleelas and the lighting of the deyas,
not to mention sharing delicacies as part of the conviviality of the occasion.
How often has it been said that paradoxically, while religion is intended to bring people together, it can and
has been used for the opposite effect? It is therefore to the credit of the people of our Republic that in
celebrating our religious festivals we aspire more towards the sublime intent and continue to be purposed
differently.
The Bhagavad Gita warns that "as an individual can drink from any side of a full tank, so too the skilled
theologian can wrest from any scripture that which suits his purpose."
In consequence, we are further guided: "They are forever free who renounce all selfish desires and break
away from the ego-cage of "I", "me", and "mine" to be united with the Lord." Further, that those who follow
the path of spiritual wisdom see that "where there is One, that One is me (God); where there are many, all are
me; they see my face everywhere."
Accordingly, we must never deviate from the illumined path that allows our religious celebrations to
strengthen our spirituality through appreciation of the love and majesty of God, as reflected in all his human
creations.
Let us continue to make of our Deepawali one among our annual cavalcade and coming together for the
spiritual rejuvenation of our nation.
Shubh Divali to one and all.

Patrick Manning

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Divali Greetings 2004

Senator the Honourable Joan Yuille Williams,
Minister of Community Development, Culture and Gender Affairs

I am extremely happy to extend greetings to the East Indian Community on the

occasion of Divali, 2004.
The Festival of Lights, has commanded the attention of citizens beyond the
attraction of illuminated deyas and the generosity of the Hindu households. The Festival
awakens the national consciousness to the ideals of the triumph of light over darkness,
good over evil, justice over injustice and knowledge over ignorance.
In a multicultural society built on the contribution of our diverse ethnic
population, these are ideals which must be revered and become embedded in the daily
lives of our citizens. The publication of a souvenir magazine by the Indo-Caribbean
Cultural Council provides the ideal opportunity for keeping alive this process of
assimilation.
I complement your organization for this informative publication which targets
the richness of the Indo-Caribbean Culture. I commend the magazine to a wide
readership.
Shubb Divali

Senator the
Honourable Joan Yuille Williams

Maldn

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HIGH COMMISSIONER
HIGH COMMISSION OF INDIA
P.O. BOX 530
PORT OF SPAIN
TRINIDAD & TOBAGO, W.I.

I am happy to learn that Indo - Caribbean Cultural Council is bringing out a souvenir magazine
to mark Diwali celebrations for the year 2004. The Council has been bringing out such publications
every year on the occasion of Diwali and I wish to commend their efforts and the service they are
providing to the readership in the form of informative and well-researched articles. I also wish
to congratulate the publishers for selecting the theme, "Indo - Caribbean Fashion" for this year's
publication. This would appear to be an appropriate theme for the festival of Diwali since in India
it is a well-established tradition for people to wear new clothes on that occasion. I understand that
the magazine will carry articles on local design of clothes, jewellery and ornaments, which would
reflect on the rich cultural heritage of the East Indians in the Caribbean.
The festival of Diwali has now begun to feature prominently in the cultural calendar of a large
number of countries around the world, particularly those where there are significant Indian diaspora
communities. The scope and extent of celebration in Trinidad & Tobago and the enthusiasm with
which everybody participates in the festivities makes Diwali here an altogether unique and enjoyable
experience and I regard myself particularly blessed and fortunate at having got the opportunity to
share in these celebrations for the fourth year consecutively.
Diwali celebrations here epitomize the care and perseverance with which the East Indians
have preserved and nurtured the traditions brought by their forefathers from India. It is a joy to see
programmes of Indian dance and music along with religious ceremonies being organized in every
nook and corner of the country. The festival has indeed provided to the people of Indian descent
here an opportunity to express their close and continuing emotional bonds with Indian culture.
While Diwali is, no doubt, about merry making and artistic expression as well as aesthetic
presentation in its most traditional splendour, it has a much deeper meaning and significance for the
Hindus. It is, above all, a time for reflection and introspection, for self-cleansing and for reminding
us to always tread the path of truth and justice no matter what maybe the obstacles since 'good
eventually prevails over evil', which indeed is the eternal message of Sanatan Dharma.
On the joyous occasion of Diwali, I extend my greetings and best wishes for continued
well-being, happiness and prosperity to everybody in Trinidad and Tobago

Virendra Gupta

The history of Indian fashion designs in Trinidad

By Dr. Harry Ramnath

Indian women wear more jewellery than any other women in the world
Clothings worn by early immigrants were very simple.
The men wore dhotis or paijamas. [The word pyjama is
derived from the Hindi pai, which means legs, and jama
which means garment or dress]. A kurta [tunic or shirt] and
a pagree [head-wrap] completed the dress. The present-day
Indians, who are children and grand children of the Indian
immigrants, wear this type of clothes on special religious
occasions only. They all dress in European style clothes for
daily routine activities.
Indian women wear saris which are known the world
over as being one of the most beautiful feminine clothing.
White clothing is preferred by both men and women. Yet
there is every imaginable colour of saris, some of which
may cost thousands of dollars. Saris are generally worn in
Trinidad, Guyana and Suriname on festive and religious
occasions.
Indian women wear more jewellery than any other
women in the world. I have recently seen in Mysore, South
India, women completely dressed with jewellery on their
heads, arms, wrists, necks, ankles, toes and fingers at work
in a maize field.
As time went by, women of the Caribbean began
leaving out some of their jewellery because cane and rice
field work was not similar to field work in India. Some
aged women in Guyana, Trinidad and Suriname continue
to wear the chooria [arm bands] and kara [ankle rings].
The jewellery worn by Indian women in the Caribbean
today are usually anguthi [rings, sometimes connected
to the five fingers], bairwa [bracelets and bangles] and
kamphool [earrings with floral designs].
Jhumka and tarkee are ornaments for the ears.
Necklaces in the Caribbean are very elaborate and very
costly. Hasoolie [neck ornament] has always been the
favourite ornament of Indian women through the ages.
Caribbean Indian women are nowadays dressed in
European-styled garments. One may see a piece of the
sari worn by some women in the Caribbean on their heads
called an odhani, orhani or doopata. It looks more like a
veil worn by Spanish and Italian women.
Two names of ornaments Indian women used are
hasoolie [necklace] and nathooni [ringed ornament worn
between the nostrils where the nose ends above the top
lip. Nakphool, made with a floral designs, is worn on the

left side of the lower part of the nose. There are also kara
[ankle rings] and sirrbandhi [head-tie ornaments]. Nathia
is another type of nose ornament. Bajoo, baaka, chooria,
kankan, and bairwa are all arm and waist ornaments.
Chanda har [moon-shaped] and haikal are two types of
necklaces which are elaborately decorated and are larger
than the hasoolie, reaching across the lower chest. All
these types of jewellery are made of gold or silver and are
inlaid with jade, ruby or crystals. The types of jewellery
that are common among Indian women of the Caribbean,
and have an Indian origin are the bairwa [bangle], and
jhumka [long earring].
The sari is worn by many Indian. Among the men
the Nehru-style tunic or kurta is very popular. Many
Ministers of government and Prime Ministers are wearing
them now. Chappals [slippers] have been worn by many
West Indians throughout the Caribbean. Kurta, paijama
and dhoti [loin cloth] are worn by pandits [Hindu priests]
when performing ceremonies. Pandits should wear their
robes and paraphernalia at all times with equal reverence
as a Christian Priest, Muslim mulvi or Jewish Rabbi. All
uniforms should be worn with dignity like the badge of the
high office of its wearer, the crown on a monarch, the gown
and wig of a judge, and the robe and regalia of the Pope.
The bars, stripes and stars of General and Admiral are
equally respected by all. Indians in the Caribbean should be
proud to wear clothes designed and styled in India. Many
West Indian blacks are wearing African-styled clothing
with pride.
Let us look at several points for consideration in
wearing Indian-type clothing in the West Indies. First, it is
cooler than the stuffed English suiting for the hot, humid
climate of the islands. Second, it is much more economical
and easier to launder. Third, it is dignified in its simplicity
and purpose. It is a pity that jackets, coats, pants, shirts,
socks, choker and tie [phanda or hangman rope as it is
called in Hindi] have become the standard requirements
for being well-dressed in these hot Caribbean countries.

Dr Ramnath is the author of the India came West (1980),

and The Unwritten Laws of Hinduism (1982)

Fashion and symbolism

of Mother Lakshmi
This magnificent
Goddess appears to
be the most beautiful
deity in the Hindu
female pantheon.
Lakshmi, the gracious Mother of the World, is
worshipped by Hindus particularly during Divali, the
Festival of Lights. Seen as the Goddess of Light, Wisdom
and Wealth, thousands of deyas [clay lamps] are lit in her
honour on the darkest night of the year. According to the
Vishnu Purana (1,000 B.C.), she emerged from a primeval
ocean of milk when the gods and demons churned it to
obtain the drink of immortality. She is known to have been
worshipped since 300 B.C. in India.
No temples are built in her honour, but Lakshmi is
revered generally all over the world as a household deity.
She represents the Hindu notion of the all-active principle
with the power to divide herself into many forms and roles.
Lakshmi is a favourite subject for artists, painters,
sculptors, poets and musicians. Her image is placed on the
doors of homes and stores to bring fortune, good luck and
ward off evil. This magnificent Goddess appears to be the
most beautiful deity in the Hindu female pantheon. There
is great symbolism in every aspect of her infinite beauty.
Lakshmi is depicted wearing a red sari with golden
embroidery, and she is bedecked with various types of
jewellery. The red in her sari is symbolic of activity, while
the golden embroidery indicates that she is always busy
showering wealth and prosperity on her children who
worship her whole heartedly.
She is depicted as having 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 honourable means), and
moksha (liberation from the cycle of birth and death).
Her four arms also symbolise the four directions of
space (east, west, north and south), and is indicative of
her omnipresence and omnipotence. Her front hands are
shown bestowing blessing upon her devotees.

Golden coins are seen flowing from her front right

hand indicating that she grants wealth and prosperity to
the pure-hearted who worship her.
She holds two lotuses in her back hands which
signify that one must perform all of one's duties in life in
accordance with the law of dharma (righteous conduct).
These duties would eventually lead to moksha (liberation
from the cycle of birth and death). Lakshmi emerged from
the ocean seated on a large lotus. In all her representations,
she is always depicted as either sitting or standing on this
lotus. Her lotus posture suggests that her devotees are
entitled to enjoy the wealth and pleasures of the material
world without becoming attached or obsessed. Although
the lotus thrives and blooms in a muddy pond, it remains
untainted and pure.
Two attendant elephants are usually seen on either
side of Lakshmi. In some artistic versions, the elephants
continuously sprinkle water on the Goddess. The action
signals that by good persistent efforts, a person can attain
material as well as spiritual prosperity.

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Divali 3,000 years ago in ancient India

Retold by William Buck

there was not one person without some gift. Evening

came and the Sun set as Ayodhya sang her twilight prayers.
The Kosalas gave the animals new clothes and fine
ornaments, and when Bharata served free food from the
royal kitchens, Ayodhya maidens carried tasty treats to
monkeys and bears lying on soft beds or on grass in the
parks. For Fair Ayodhya, all the sorrow in the world was
used up. People poured into town from the countryside;
they danced and heard music and watched tumblers and
plays on the street corners.
The holy trees were hung with ribbons and brahmanas
[priests] blessed everyone. In the early evening countless
candles [deyas] burned outdoors like blossoms of light and
incense rose into the air. Lanterns glistened and torchlights
burned. The night was warm and the stars were clear.
Then late at night Sita sat by a fountain in the palace
while Rama slept on a bed in an open room nearby, and
Manthara the hunchback came to her. Manthara knelt,
"Forgive me for remembering those two wishes. Sita was
beautiful. She answered, "Not only men, but even the gods
have been freed from fear of Ravana. Death had
surrendered to the Demon King; the Moon and Sun were
his subjects; and Indra King of heaven was a captive."
"Lord!" said Manthara.
Sita said, "Rama killed Ravana only because of what
you did,"
Manthara smiled, and sat beside Sita. "Queen Sita, I
am always your faithful servant."
"Yes," said Sita.
After fourteen years awake and watching over Rama
every night, Lakshmana slept, held fast in sleep beside his
loving wife.
The night passed quickly by. Soon the sky grew light
and the morning Sun rose red for Rama to see him. Bharata
had brought the Ayodhya throne from Nandigrama village
to the royal park by the palace so everyone could see Rama
made king.
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
seven-tiered white parasol over him. White cows were tied
all along the way. Bharata and Sugriva the monkey King
stood behind the throne holding white yaktail fans. Rama
sat on the throne facing east, and Sita sat on a lower chair
beside him, on a deerskin cover trimmed in gold. The
animals and demons and men gathered there sat down on
the grass.

Virgin maids brought spotless white cattle with

gold-plated horns, and unthreshed heads of grain for Rama
to touch, Then Vasishtha entered the park holding a hollow
horn wrapped in silver wire and a little dipper. First the
priest stopped by Hanuman and dipped some of the river
water of all the world into the horn. Four brahmanas
unsealed four brimful stone jars of seawater. Four
Ayodhya girls set before Rama a handful of jewels and one
of seed, a handful of herbs and one of sea pearls.
Vasishtha put some of the waters of the Eastern Sea in
his horn from the first stone jar. Four more girls came
forward and put before Rama a jar of honey, parched grain
dyed with saffron, a bowl of milk and some incense unlit.
Vasishtha dipped water out of the Western Sea, whose
waters smell like camphor. Four more beautiful maidens
brought Rama turquoise and blue water flowers, a lump of
silver and a dish of curds.
Vasishtha added the black seawater of the cold North
Sea; and the last four maidens set down by Rama's throne
a fresh-loomed cloth unbordered, and corals, and beautiful
seashells and white garlands. Then Vasishtha took water
from the Southern Sea waterjar.
Finally at noon Vasishtha stood by Rama and emptied
the water over his head, and made him King and Lord of
Earth; the Solar King of Fair Ayodhya, the Kosala Lord,
and Sita was his one Queen with him.
Rama gave many presents - horses and cows, earrings
and bracelets, rings and bells and a silver crest for Sugriva,
and round Sita's neck he fastened a smooth pearl necklace,
Sita held the strands in her hand and looked at them, and
looked at Rama, and looked at the animals.
Rama said, "Give those pearls to whom you please!"
Lotus-eyed Sita gave them to Hanuman. He knelt before
her and she put the pearls around his neck and smiled at
him. The necklace seemed to glow like little moons
nestled in his white fur. "This gift is for your courage and
strength, your valor and bravery and skill, and for your
faithful service."
Rama said to all his people, "I am pleased that you
have gathered here to welcome me."
They cheered back - King Rama! Rule forever!
From Ramayan by William Buck, 1978
Courtesy: University of California Press

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The designs
and patterns
on the
ornaments
represented
the
amalgamation
of Hindu and
Islamic
thought.

Indian jewellery in Jamaica

By J. Gopal Thakur and Laxmi Mansingh
The collection of photographs in the Institute of
Jamaica reveals the traditional blending of richness and
refinement in the jewellery the Indians wore, and the
simplicity of their life-styles. They wore jewellery at
all times, as part of their 'sohag' make-up [auspicious
ornaments worn by married women]. Almost all the
women who came to Jamaica had some piece of jewellery
on them and acquired more locally, as their financial
position improved. They brought mostly silver, and
some gold ornaments which included bichwa [toe-ring],
payal [anklet], kardhani [waist belt], anguthi [ring],
kara [bracelet], churi [bangles], chur [2-6 inches wide
bangles], Bajuband [armlet], haar [necklace], hasli [thick
one piece solid neck band], tonk [heavy and thick neck
band], tabiz [necklace or armband with charm pendant],
tarki [tops], jumkha [earring], chunchi [nose pin], nathini
[nose ring], and benda or tika [forehead ornament], and
sir bandi [belt around the waist].
These ornaments were made strictly according to the
instructions laid down in Silpasastras [codes of handicraft
in Atharvaveda scriptures [c. 1,000-500 B.C.]. Rigid
conventions require that particular materials should be
used for different categories of ornaments and separate
designs for the different parts of the body. The designs and
patterns on the ornaments represented the amalgamation
of Hindu and Islamic thought. Since Islam prohibits the

representation of human figures, intricate geometrical

designs were engraved. In keeping with Hindu traditions,
ornaments were shaped to represent heads of many
characteristically auspicious animals.
The ends of bangles, bracelets, neckbands and
anklets were made into lions', elephants' or snakes' heads
[symbolizing bravery of heart, prosperity, and wealth
respectively]. The peacock's head on the forehead piece
or the fish's head in the pendants symbolise prosperity and
good luck. The Islamic emblems of stars and crescent
also appeared prominently in nose pins, nose rings and
earrings.
The ornaments were made with stone inlay or settings,
filigree, wire patterns and solid or hollowed bands with
engravings or embossing of various patterns. These
techniques were well mastered by the established jewelers
in Indian villages and regularly imparted to the apprentices
and under-trainees, who were always their close or distant
relatives.

Extract of a paper presented at the

Conference on East Indians in the Caribbean,
UWI, St Augustine.16-23 September, 1979.

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The kurta shirt and suit

The kurta top
can also be
worn separate
from the
trousers for a
comfortable,
trendy, casual
look.

he kurta shirt is a
traditional Indian male wear,
although some women wear
pastel-colored cotton kurtas
as shalwars during pregnancy.
The loose-fitting kurta is a very
original and versatile piece of
clothing.
Since its simple origins in
India, the kurta suit has evolved to become a popular man's
attire at religious and official civil events. In the 1960s,
the kurta shirt became quite popular during the hippie
revolution in the United Kingdom. The light, airy top was
the cool choice for the long hot summers.
The kurta usually reaches to the knee. It is long-sleeved
and often heavily embroided with gold, silver and copper
metallic-looking threads.
The modern kurta comes with short-sleeves, shirt
collars, and is of mid-thigh length. The kurta top can also
be worn separate from the trousers for a comfortable,
trendy, casual look.
Kurta shirt prices can range as little as TT $150.00 to
as much as $1,000.00 for an elaborate hand-woven unique
outfit. Usually the dulaha [groom] would wear this on his
wedding day to conjure the appearance of a Rajah [King]
in the eyes of the dulahin [bride].

The kurta shirt and suit

The kurta suit includes the shirt and a pair of
loose-fitting trousers. The kurta trousers come in
three varieties: the wrap-on-yourself dhoti, the
ready-made-wrapped dhoti, and the western-styled pants
which are the most popular. The trousers match the shirt
in texture, colour, style. and pattern
The more expensive kurtas suits come with an elegant
waist coat and a shawl that adds understated savoir-faire and
finesse. With news styles constantly evolving, kurta suits
have taken different strides. The kurta suit has been tailored
for a more formal appearance for official and ceremonial
occasions. This style comes with a jacket/blazer which is
described as a 3-piece kurta suit.


fIiI ...The National Insurance Board
I I\) of Trinidad and Tobago
WHAT CAN WE DO FOR YOU TODAY?

Seer bindi the forehead chain and pendant

It is worn mainly by brides, models and dancers

Seer bindi is a chain with a pendant that drops from the
middle path of the head to the centre of the forehead. It is
held in place by two linked chains on either side of the
head clipped on the hair.
This fashion piece has evolved from a simple ornament
that was made of gold to an exquisite accessory. This
complementary Indian wear now ranges from simple

designs to intricate patterns. They come in silver and

costume forms which are just as striking as gold.
Seer bindi (also called mangra tikka or tikli) was once
worn by women as a symbol of marriage. In the Caribbean
today, women of all states and ages have adopted/adapted
the seer bindi as a fashion ornament. In Trinidad and
Tobago, it is worn mainly by brides, models and dancers.

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Email: meda@tstt.net.tt.info@medicalassociatestt.com
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Jewellery from India to

Trinidad and back
During
Indentureship
in
Trinidad
(1845-1917), Indian women could have hardly
have been said to have dressed in an impoverished
or depraved style. They were a walking reposition
of the wealth of their husbands. Some were
almost grotesquely laden with silver and gold
bangles. Unfaithful wives could run off with the
savings of several years and this aspect of their
defection was perhaps one of the reasons for
crimes of violence. A missionarys description of
the sumptuously adorned wife of an Indian
shopkeeper in the late 1860s, a time when some
Indians were becoming wealthy, reveals how the
more successful could display their riches:
She had seventeen bracelets of silver and one
of gold on each arm; these were mostly of solid
metal, two being very massive and of fine
workmanship. Around her neck were thirteen
silver ornaments most solid, some being as much
as three quarters of an inch in the front and
tapering towards the back of the neck. With fifteen
fingerings, four heavy rings to each ear and over
the head and shoulders a shady veil you can
imagine the effect!
(S.E. Morton John Morton of Trinidad, Toronto
1918:50-51).
Coins were melted down to make these,
ornaments and smiths who had completed their
industrial residence found an eager and profitable
market for their skill. In 1862, one had opened a
small shop at the corner of Cumberland Street in
Port of Spain; others were at work in San
Fernando.

Photo of linguist Dr Peggy Ramesar-Mohan in her

Rajastan bridal outfit and her Trinidad-made jewellery.
New Delhi, 1975.

Source: Donald Wood,

Trinidad in Transition:
The Years after Slavery.
London: Oxford University Press, 1986:156-157.

KILLS of household

germs

Distributed by
Alstons Marketing Company Ltd.

The village goldsmith in St James in 1880

Outside the Indian goldsmiths cabin, palm shadows

are crawling slowly to and fro in the white glare, like
shapes of tarantulas. Inside, the heat is augmented by the
tiny charcoal furnace which glows beside a ridiculous little
anvil set into a wooden block buried level with the soil.
Through a rear door came odours of unknown flowers and
the cool brilliant green of banana leaves. A minute of
waiting in the hot silence; - then noiselessly as a phantom,
the nude-limbed smith enters by a rear door, - squats
down, without a word, on his mat beside his little anvil, and turns towards me, inquiringly, face half-veiled by a
black beard, - a turbaned Indian face, sharp, severe, and
slightly unpleasant in expression. Vi bras! explains
my Creole driver, pointing to his client. The smith opens
his lips to utter in the tone of a call the single syllable
Ra! then folds his arms.
Almost immediately a young Hindu woman enters,
squats down on the earthen floor at the end of the bench
which forms the only furniture of the shop, and turns upon
me a pair of the finest black eyes I have ever seen, - like
the eyes of a fawn. She is very simply clad, in a coolie robe
leaving arms and ankles bare, and clinging about the
figure in gracious folds; her colour is a clear bright brown
- new bronze; her face a fine oval, and charmingly
aquiline. I perceive a little silver ring, in the form of a
twisted snake, upon the slender second toe of each bare
foot; upon each arm she has at least ten heavy silver rings;
there are also large heavy rings about her ankles; a gold
flower is fixed by a little hook in one nostril, and two
immerse silver circles, shaped like new moons, shimmer
in her ears. The smith mutters something to her in his
Indian tongue. She rises, and seating herself on the bench
beside me, in an attitude of perfect grace, holds out one
beautiful to me that I may choose a ring.

The arm is much more worthy of attention than the rings:

it has the tint, the smoothness, the symmetry, of fine
statuarys work in metal; - the upper arm, tattooed with a
bluish circle of arabesques, is otherwise unadorned; all the
bracelets are on the forearm. Very clumsy and coarse they
prove to be on closer examination: it was the fine dark skin
which by colour contrast made them look pretty. I choose
the outer one, a round ring with terminations shaped like a
viper heads; - the smith inserts a pair of tongs between
these ends, presses outward slowly and strongly, and the
ring is off. It has a faint musky odour, not unpleasant, the
perfume of the tropical flesh it clung to. I would have
taken thus ; but the smith snatches it from me, heats it red
in his furnace, hammers it into a nearly perfect circle
again, shakes it, and burnishes it.

Then I ask for childrens bras, or bracelets; and the

young mother brings in her own baby girl, - a little darling
just able to walk. She has extraordinary eyes; the mothers
eyes magnified (the fathers are small and fierce). I
bargain for the single pair of thin rings on her little wrists;
- while the smith is taking them off, the child keeps her
wonderful gaze on my face.

A visit to Peru Village, St James, Trinidad, in 1880

Extract from Lafcadio Hearn,
Two Years in the French West Indies, 1890

MONEY EXCHANGE CAMBia

Competitive rates
Reservation of foreign clIIT8IIClesvia
telephone (holding time limit appll.le)
Convenient locations nationwide
Longer opening houn. Indudlng 5atU days
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Major currencies are traded
(US.Sterling. CAN.EC.etc.)

Visual representations of Indian women

In picture after picture, the jewellery is so
clearly prominent as to provide a kind of
Indian inventory in which viewers
spontaneously begin to name sovereign
hasooli, sirbhandi, churia, beera ...
By comparison, the iconic studio portaits of East
Indian women were arranged as seated figures, with
primary focus addressed to the face, upper body and arms.
The studio back drops are bare, the only prop a lumpy arm
rest draped in burlap or a stool covered by a woven rattan
mat. The very minimization of extraneous visual elements
and the absence of props, indeed the very absence of a
"room," are marked.
This bare setting draws immediate attention to the
central message of these images, the elaborate array of
jewellery adorning the East Indian women. In picture after
picture, the jewellery is so clearly prominent as to provide
a kind of Indian inventory in which viewers spontaneously
begin to name sovereign, hasooli, sirbhandi, churia, beera
... valorizing the different traditional jewels of the
forehead, nose, neck, upper arms, hands, etc. More than a
few images are labeled "A Wealthy Coolie' Merchant's
Miss."
Garment selection is also noteworthy in the East
Indian studio photographs. The fabrics are close to our
eyes. There are bright cotton jhoolaa or choli trimmed
with rows of rickrack, and ghungaree or chunia and
petticoats of soft white cotton eyelet bands with wide
borders of cotton pique edging, all draped into place with
three meter orhnis of soft cotton or silk printed in very
large and very colorful cabbage roses. These costumes
were fabricated entirely with cotton goods from the
English market, no doubt a true reflection of fabric in
general use, rather than an artifact of the photographers'
choice. Emma Tarlo (1996:46) documents the popular
enthusiasm in India for the introduction of these analine
dyed machine-woven British goods in the 1890s. Among
the studio portraits of East Indians, there is some evidence
of the postcard market's special taste for erotica in
orientalist garb. An example is a depiction of a girl clearly
too young to have chosen her attire or her pose. These
images are addressed to the same European commercial
market which Malek Alloula documented in The Colonial
Harem (1986), a groundbreaking study in which Alloula

Visual representations of Indian women

By Dr. Judith Johnson

collected, arranged and annotated the first three decades of

this century. Alloula examines these postcards not only as
academic material but as a cultural "wound."

Extract of The Long Time Project: Locating

Representation, Identity and Ethnography in Visual
Images of the Caribbean East Indian Diasopra.

Dr Judith Johnson is a Professor of Anthropology

at Adlephi University, USA

PREMIUM

West Indian Distributors Co Ltd.

#42Carlton Ave.,
St. James.
Ph: 628-1307 Ph/Fax: 628-7931

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Ph/Fax: 657-0522

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Scarborough, Tobago
Ph: 639-4665

Miss India Heritage Trinidad Beauty Pageant

Miss India Heritage

Trinidad Beauty Pageant

The experience that I have gained from this contest

has made me proud to be part of a culture that is so
rich it brings out the best from within us.

Miss India Heritage Trinidad Beauty Pageant

Twelve charming young women all dressed in

elaborately designed Indian outfits vied for the Miss
Heritage Queen Title. The event was organised by the
New-York based entertainment company Deeraj Cultural
Foundation Incorporated.
Deeraj flew in Bollywood heartthrob Aftab Shivdasani
to perform his dances at the event. His energetic dances
evoked screams of appreciation from the teenage members
of the audience. At the end of the show, they rushed to get
his autograph and touch his hands.
The "Miss India Heritage Trinidad" Beauty Contest
captivated the minds and hearts of all present on Saturday
May 8th 2004. The models spun a charm of magic at The
Centre Pointe Mall in Chaguanas that night.
They modelled in an array of multi-coloured Indian
garments. Bedecked in a heavily decorated blue garara
with silver workings, Charmain Sookram, 23, copped the
Miss Heritage Queen title. In an interview with a reporter,
Sookram revealed that she is pursing a Masters degree.
She said: The experience that I have gained from this
contest has made me proud to be part of a culture that is so
rich it brings out the best from within us.
Nadya Ramrath, 25, won the judges approval and
attained first runner-up. She was dressed in a fabulous
but simple yellow garara. Third runner-up, Diana
Ramroopsingh, modelled in a sophisticated black garara
embroided with gold workings. All contestants wore
matching Indian jewellery such as bangles, bindis and
anklets to complement their outfits. Their garments
portrayed the unique beauty and allure of Indian attire.
There was also an intelligence aspect of the pageant
which demonstrated the dictum that beauty and brains
go together. The event was sponsored by Newsday,
Western Union, Priya's Creation, Radio 90.5FM and
Travelspan/Amrals Travel. This event was well-received
and illustrates that Indian fashion has been making strides
on the catwalk.
For more information, call 684-3300 or 689-4284

yAJ.PAlll(

VAlPAAK SIiOPPIHG PlAZA

66-1604
663-3204

Miss Indian
Arrival World
Beauty
Pageant
There will be a World Beauty
Pageant in 2005 to commemorate
the 160th anniversary of the arrival
of Indians to the Caribbean.
The Rudranath Learning Resource Centre at Mc Bean
Couva came alive on May 29, 2004 with stunning oriental
Indian wear. The Miss Indian Arrival World T&T beauty
pageant was held to commemorate the 159th anniversary
of the arrival of Indians to Trinidad and Tobago.
The gala event was produced by Jordis Fashion
Designs Limited of Isaac Junction Couva. The directors,
Mr. Inshaan Dookran and Mr. Steve Harry, have been
working together in the show-business for the past ten
years. They have both produced many fashion shows
both locally and internationally. They have also designed
numerous evening gowns and costumes for contestants in
many competitions, and have both encouraged contestants
to join a charity organisation, especially one helping
underprivileged children.
The contestants represented a wide cross-section of
Trinidad from Gasparillo to Arima. The women were
dressed in finely designed Indian outfits. There were eleven
contestants between 18-22 years of age who represented a
diverse range of professions, from teachers to store clerks.
Miss Sindy Ragoonath, 20 years old, won the coveted
Miss Indian Arrival World T&T title. She took home the
first prize which included $3,000 in cash, among other
attractive gifts. Ragoonath represented Miss Gem Shop.
She donned an exquisite brown sari with gold workings
and authentic Indian jewellery.
The first runner up Miss Sabrina Gangasingh, 21,
represented Miss International Carpeting Limited. She

modelled an elegant, deep blue sari matched with silver

jewellery. Gangasingh won $2,000 among other lovely
prizes. Miss Tropical Pharmacy, Miss Nirmala Matmungal,
20, copped $1,000 in cash, and much more, with the second
runner up title. She wore a light blue sari embroidered with
gold workings and exquisite gold jewellery to compliment
her unique outfit.
Sponsorship of the cultural event was not lacking since
all other contestants received a return ticket to Tobago
as well as other gift vouchers. The women were selected
after rigorous interviews since there were no preliminary
rounds of the competition. Other awards were given to Miss
Intelligence, Miss Amity, Miss Elegance, Miss Photogenic,
Best Gown Design and People's Choice.
The contestants were encouraged to continue to let
their combined beauty and intelligence shine forth even
after the contest was over. The producers expressed their
hope that these young and talented Indian women would
continue to participate in cultural events. They said that
the Miss India World T&T Pageant would affiliate itself
with similar organisations globally.
These beauty contests highlight the sophistication
and elegance of Indian wear. There are high hopes for
this contest since a World Pageant is carded for 2005 to
commemorate the 160th anniversary of Indians to the
Caribbean.
For more information, call 687-0800 or 687-0653

The Board of Directors,

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Tel: 640-4276 Fax: 640-7463

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FAX/PHONE: (868) 622-1183
Email -Iesl@trinidad.net

The Light of Divali in Caroni

By Ken Kalloo

The entire place was magically transformed - old buildings became new, tired worn-out faces glowed
with pride, and crying babies were incarnated into angels.
It seems so long ago and yet feels if it took place just
yesterday.
Although I was born at Woodbrook in Port of Spain
my first few and formative years were spent in the little
village of Caroni situated on the bank of the river and
hemmed in by the sugar cane fields and the Old Southern
Main Road.
The dominant picture that crowds my mind when I
think of my boyhood years is that of the Caroni Sugar
Factory a most impressive cluster of buildings and to a
little boy, always a source of wonder and amazement.
That sugar factory towering over the countryside was
probably the single most important structure in the lives of
all those who lived in its shadows, both physically as well
as metaphorically.
From where we lived in the Head Teachers cottage,
one looked across the savannah past the Medical Clinic
and Nurses Quarters to those rather imposing buildings
that made up the factory site.
On one side of the factory was located the offices, labs,
residences and the club house for the overseers and other
expatriate staff while on the far side almost hidden away
beyond the blacksmiths shop were the barracks not far
away from the sugar cane fields and the Caroni river.
Even as a little boy, I remember being unhappy and
unwilling to go near the barracks it appeared so gloomy
and cramped and unkempt it seemed almost an
afterthought.
I can never ever obliterate the picture in my mind of
the little kitchens sticking out in front of the long line of
barrack rooms, with the choking smoke and the smells of
the many pots at evening time. It appeared to me a most
unattractive place and, if not, a little frightening.
As a little boy, I rolled my roller up and down and in
and out of all kinds of places and even down to the rivers
edge, but the barracks was almost always a self imposed
out of bounds area. Almost instinctively I abhorred that
place of so much misery. It seemed to me to have so little
laughter and gaiety it was always so full of quarreling,
fighting, crying and wailing of little popos .

But there was one bright spot that I will always

remember - something that I will forever cherish and still
shines throughout all these years.
And that is why I said it happened so long ago but it
seems as if it took place just yesterday.
There was one area of life that brought about a
miracle in that place I disliked so much. In those days it
was called Deya Deewali.
At the far end of the barracks lived a tremendously fat
man and his family. His name was Chote, whether it was a
nickname or his real name I do not know, but I do know
that at Deya Deewali time the barracks and Chotes house
in particular stood out as the proverbial beacon.
The entire place was magically transformed - old
buildings became new, tired worn out faces glowed with
pride, and crying babies were incarnated into angels - to a
little boy it was awe inspiring. On that night I was no
longer afraid. In fact I looked forward eagerly to visiting in
the barracks.
And the best part of it all; in front of Chotes house was
a spinning horizontal wheel, beautifully lit with tiny
flickering lights.
As the wheel spun around and around the lights of the
deyas seemed to get brighter and brighter even as the little
flames seemed to touch and join each other.
As the flames jumped and flickered and played with
each other, the darkness and the ugliness and the
gloominess of the barracks dissipated completely
Amidst the background of the ever present canefields
and the everflowing river and the all pervading sugar cane
factory, the lights of Deya Deevali spread a glow both
within and without.
I like to think that however dimly, however faintly, a
little boy was able to perceive in some miniscule,
imperceptible way that the light of the deya represented a
symbol and a hope; surely a symbol of a higher hope and a
better day.
Surely the light of the deya shall overcome the
darkness that threatens to encompass us all.
Ken Kalloo is a retired school teacher in Trinidad.

ad tied to the past,

and interwoven to form
the fabric 0

he

Retailoring tradition the new-look kurta

The traditional garb of Hindu men, once disdained, is

now making a splash in social circles and bringing in
cash for trendy designers.
Most of the nation [in India] still gropes for some thread
of national identity. The majority of middle-class males in
India long-ago donned a Western persona through their
widespread adoption of business suits, blue jeans, and
t-shirts as the dress du jour. But current fashion trends
indicate that men of means are changing. Traditional Hindu
attire is gaining renewed support among fashion designers,
retailers and image-conscious customers. The classic dhoti
kurta, kurta pajama and churidar kurta are being retailored
with increased functionality, and a definite dash of panache.
Men are even beginning to wear them out of the home.

By Rajiv Malik

The surge in popularity of the kurta is confined mostly to

the upper classes. At upscale family functions, parties,
dinners and other social venues, Hindu clothing has become
the rage. The designer kurta sets worn on these occasions are
loud - boldly embroidered with new cuts and innovative
styles. Gaurav Chabbra, a freelance fashion designer who
worked for seven years with the prestigious boutique Diwan
Saheb claims, "You have to create a successful balance
between tradition and modernity in order to take the present
generation back to its roots. To revive the rich Indian culture,
to preserve the age-old hand embroidery tradition, and at the
same time design acceptable evening wear, the old-style
dresses have to be given a modern touch, but carefully. They
have to be practical."
The focus has, therefore, turned to vogue kurta sets for
occasional use; and upon probing, one finds that it is more
out of fashion concerns than for love of Hindu culture and
traditions that these garments are in demand. Designers
promote the "newfound" kurta purely as a business
proposition. They can make much more money in creating
an embroidered traditional dress for a groom than they can in
making a Western suit. And here also the media has played
an important role. Popular Hindi movies and television
serials have been depicting Hindu dress worn by men during
functions and special occasions throughout the story lines.
The excitement has worked even to charm youth into trying
out the increasingly hip Hindu togs. "We get all kinds of age
groups and all kinds of family backgrounds," says Charu
Sharma, sales manager of Fab India. "They include young
college students to people seventy or eighty years of age."
Rajiv Malik is a fashion journalist
with the Hindustan Times group of publications.
Extract courtesy Hinduism Today
December 1999

Photo of Indian High Commissioner for India

His Excellency, Virendra Gupta

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Indian
designers
woo
French
elite
Indian fashion designers will soon woo the French
elite after two popular retail chains in Paris agreed during
a seven-day fashion showcase here [in France] to display
their collections, an official said.Leclaireur and Maria
Luisa, two large French retail outlets have struck deals
with Indian designers Anamika Khanna, Sabyasachi
Mukherjee, Manish Arora and Rana Gill to show,
distribute and sell their collections to French buyers.
We have managed to put the Indian flag in France.
This is the biggest achievement of the event of this year,
said Vinod Kaul, executive director of Fashion Design
Council of India, the organizer of the fashion extravaganza
that wound up here Thursday evening.
The India Fashion Week (IFW) is aimed at providing
Indian fashion industry professionals the space to develop
business opportunities.
The highlights of the IFW have traditionally been
fashion shows by leading Indian designers showcasing
their collections Pret-a-Porter (ready to wear) and
diffusion (between ready to wear and high-fashion).
The two French retail chains have agreed to display
the collections of these designers and the likes of John
Galioni. Its a significant development as the entire
continent opens for us now, Kaul told AFP.
Indian designs have been displayed and distributed in
England and US already. But France is a big one.
He said business deals for other overseas markets,
especially Dubai and Saudi Arabia, were being struck by
other designers.

Indian designs have been displayed and

distributed in England and US already.
But France is a big one.
What we have managed this year is to take the entire
fashion industry forward on a strong growth path that will
lead to a 25 to 30 percent annual growth (and) a turnover
of 10.0 billion rupees (216.6 million dollars) by 2007.
Indian designers who have been displaying their
collections for the past seven years described the response
from buyers and potential customers this year as
encouraging.
My entire collection shown Thursday is already sold
out to buyers from London, Hong Kong and Dubai,
designer Payal Jain told AFP after her show, which was
largely targeted at western and European customers.
Top Indian models displayed her Voyage-The Fall
Winter Collection that included crush velvet jackets with
elaborated detailing in rich brocade and gold borders,
blends of chikankari and block prints on lycra and
embellishments in earthly colours.
My collection was more of forecasting the trend this
year in western and European countries, Jain said.
The week-long event saw good responses to the shows
of ace designers such as Tarun Tahiliani, Rohit Bal, JJ
Vaaya and Sabyasachi Mukherjee.
Tahilianis show treated the audience to an array of
exquisite embroidery, quilting and draping in fabrics with
wide and flowing trousers.
While the event was largely dominated by western and
European styled collections, designer Valaya compensated
with his range of traditional Indian garments. On the racks
of his stall at the venue complex is a range of glittering
Indian garments and touches of funky denim fabrics.
The event was largely dominated by western and
European collections as the local Indian wear is very much
established and perfect with little scope for more
innovation, said Kaul.
He said the hot pink colours, striking georgette skirts
and denim pants had generated an encouraging response.
We have a platform. Now what we look for is
corporatisation of the industry with fresh corporate
investments to take our fashion industry leaping ahead,
Kaul added.
The event which began with Bollywood favourite
Rock S collections was to end with a display of Goa-based
Wendell Rodricks collection, a blend of ancient Indian
geometry with a relaxed Goan attitude.
Fifty-seven designers displayed their works during the
extravaganza.
Source: Agence France Press (AFP), Bombay, 2003

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Kaajar [eyeliner] for a mysterious seductive look

Kaajar [eyeliner] for a mysterious seductive look

Most people of the Caribbean, especially in

Trinidad and Guyana, have heard of najar. This
ailment or malady is also known as bad-eye or
mal-jo [maljeaux]. These concepts are easy to
understand. It is believed that when one person
watches another with intense jealousy or evil
thoughts, the victim becomes afflicted with najar,
bad-eye or mal-jo. A person affected with najar
becomes sick with fever and stomach pains.
In the form of a tikka, kaajar [eyeliner] can be
used to ward off such afflictions. Another
preventative measure is to wear a jantar [amulet]
made by a pundit [a Hindu priest].
Kaajar (pronounced kaa-jar) is defined as a
black paste made from sooth collected from a lamp
chimney. The cosmetic is applied in a thin line at the
base of the eyelashes.
It, and more so the tikka, is believed to be
especially protective of little children who are
attractive to evil spirits.
Kaajar was used long ago as an eye-cleanser by
men. Today, it is worn mainly by women to enhance
the beauty of their eyes. It is used by men in the
Caribbean during the Hindu wedding ceremony.
Kaajar pencils are available in most cosmetic
stores. They vary in price according to brand and
size.
There is a home-made method of making kaajar.
On Divali night, a deya [clay lamp] with a thick
cotton wick is filled with ghee. The wick is lit. An
empty deya is strategically placed up-sided down
over the flame. They are left for a few hours, after
which the over-turned deya becomes filled with a
soot-like substance known as kaajar.
Some people use a stainless-steel table spoon in
place of the over-turned deya. Manufactures have
long come up with an invention to collect the kaajar
over the flaming wick. It is made up of two tiny
cup-shaped containers held together by two six-inch
flat rod clamp. The rim of one container is fixed
against the rim of the other. This device is called a
kaajar-aa.

The saree/sari

There is something about the saree that has

charmed everyone. Maybe it is the way that it is
warped around a womans body, or the grace
that it conveys to her poise.

Dated back to over 5000 years ago when the Indian

epic Mahabarata was written, the saree/sari was described
as an enduringly attractive piece of womens clothing.
Today, it is common in India and other part of the Indian
Diaspora. The saree was introduced in the Caribbean in the
1800s during the immigration of indentured immigrant
women labourers from India.
It is a flat, rectangular piece of cloth that measures
between five to nine yards. It comes in a myriad of
patterns, textures and colours. The colours range from
bold red to chocolate browns to dark ebony to the lightest
whispers of pastel.
Some are hand-dyed and woven with intricate
embellishments. The textures range from cotton to the
finest silks.
The patterns are hand-woven or machine-made. They
can be intricate and elaborate or very plain and simple

with an unstated elegance. Modernisation and technology

have produced sarees that are pre-sewn with folds already
pleated in place.
There are many choices to make, and it is not difficult
to find one tailored to suit your figure and the occasion.
The price range is as economical as TT $150.00 to as
expensive as several thousands of dollars.The bridal sarees
are usually expensive.
The saree can be worn for any occasion form work to
party, from pooja to wedding, and from house to mall.
Except for the older folks, many Indo-Caribbean women
today do not wear their sarees on an every-day basis. They
dress up in them only on special ceremonial occasions
such as weddings, poojas, graduations, dinners, etc.
During festivals like Phagwa, Ramleela, and Divali,
women don this alluring attractive garment
Some women of other backgrounds in multi-ethnic
Trinidad wear the saree on special occasions to enhance
their beauty. There is something about the saree that has
charmed everyone. Maybe it is the way that it is warped
around a womans body, or the grace that it conveys to her
poise. Perhaps it is style of the wraps, folds and tucks of
this formless, seamless piece of material that holds it
mystery.
Many onlookers have marvelled at this simple piece of
fabric. The saree holds an ageless charm that has
bewitched many on the international fashion circuit.
Actresses have always worn the saree on the silver screen
in Bollywood since time immemorial.
The Americans and Europeans have become
increasingly interested in the elegance of this garment. It is
now beginning to gain favour with women and designers
in the major world fashion markets. The versatility of this
wear cannot simply be replicated with any other garment.
The way it adapts and conforms to a women's shape is just
remarkable. It is truly the Chameleon of Garments as it can
be draped to suit every form and size.
As with all clothing, there are a few necessary pointers
to follow. When looking for a saree, one should take note
of the following to ensure that the best possible saree is
choosen for your body type. A short woman should buy a
saree with small borders, or no borders at all. Borders tend
to create the illusion of being taller. Slim women should
wear sarees made of organaza or cotton. This choice
would emphasize a women's beauty but also give her a
fuller effect. On the other hand, thicker women should
avoid sarees with wide borders and lots of elaborate
workings. These would give a broader appearance. Opt for
a simple saree with elegant embellishments and colours
that are not bright. Bright colours tend to highlight ones
weight.
Happy Shopping!!!

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The Miss Fem India

Trinidad and Tobago Pageant
A treat of glamour and glitter at a gala event
On May 22, 2004, the glamorous Miss Fem India
Trinidad and Tobago pageant climaxed in the ballroom of
Crowne Plaza, Port of Spain. Twelve (12) beautiful
delegates competed for over $30,000 in scholarships and
prizes, and a drive away in a BMW motorcar. The show
was organized by D Vikash Youth Cultural Group of
Chaguanas and hosted by Sharda Maharaj.
The theme of the prestigious gala event was "Bridging
the Gap. Each contestant had to show similarities
between two historical sites or monuments in Trinidad and
Tobago and India. Two winners were selected to represent
T&T at the Miss India International pageant in 2004, and
Miss India world-wide pageant in 2005.
The elegant models appeared publicly in beautiful,
traditional Indian wear for many months preceding the
finals. Some delegates wore two-toned saris that were
wrapped perfectly and professionally. These were
complemented with matching jewellery. There were also
single-coloured saris which looked just as splendid. Some
saris were bordered in sequins while others ended in thick,
rich folds. Many of the saris were modern-styled pieces,
yet they were wrapped in the traditional way. This
creativity revealed that even though the materials, designs
and decorations have changed, the traditional way of
wrapping of a sari has been preserved.
There were also some who preferred the gorgeous, yet
simple look of the garara. One such delegate won the
prestigious event. Indira Misir, clothed in a resplendent
garara embroidered with hundreds of sparkling crystals,
took the title of "Miss Fem India" as well as "Miss Best
Smile" and "Best Hairstyle." She was also voted "People's
Choice." The first runner-up was Iyanla Eccles and the
second was Kamla Ramoutar
The shalwar is another piece of traditional Indian wear
that has gone through modernization and change, yet it has
preserved its cultural style. The shalwars worn by the
models were rich, tasteful garments that brought out the
grace of the women.
The colours at the show were quite breathtaking. There

was every imaginable colour present, and the hues were

also magnificently blended with each garment. There
were pieces of clothing with up to four different shades of
the same colour, as well as other pieces with four to five
different colours on one garment. This rainbow of colours
added to the splendour of the competition. The
combination revealed that every colour can be used to
create a new look in the fashion world, and that each
colour has a different appeal. The delegates looked
ravishing in their matching attire and this gave flavour to
the competition.
Another tradition which has prevailed to this day, and
which has shown itself in the competition, is the use of
gold jewellery. Sometimes the girls wore costume pieces
to match their clothing, but most of the jewellery worn was
made of gold. The models wore thick and thin gold chains,
bracelets, beras, slave bands, anklets, and nose-rings.
There were also head pieces and the new craze of wearing
gold rings on the navel.
Another notable fashion fad was bindi/tika. This has
traditional value and a new-age look to it. Today's bindis
are creatively done in many colours to match clothing and
complexion. Bindis were featured prominently in the
make-up accessory of the models at the Miss Fem India
show.
The delegates were described by the show organizers
as "progressive women who have made a difference in
their communities through volunteerism and service.
They were all educated women between the ages of
seventeen and twenty-three. These beauties, swaying
gracefully in their gossamer-like apparel, looked culturally
rich and stunning in their blends of traditional Indian wear.
It boggles the mind to imagine what the delegates will
look like next year.
Interested participants for the 2005 show can contact
the organizers at 671-8034 or 757-7552.
Or e-mail: info@vikashdancers.com.
Website: www.vikashdancers.com

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MovieTowne with its catch of colorful neon lights

Here is the opportunity to experience the excitement of the

newest Hollywood and Bollywood blockbusters.
From the vantage point of the Long Circular Road
lookout if one were to peer out along the southwestern
coastline of Port of Spain on a clear evening, they would
see a bright red glow warming the horizon. A sharp eye
would probably make out the details of the colorful neon
lights of MovieTowne, but anyone familiar with the
location would probably suggest it had a lot to do with the
intense energy that radiates from the Caribbeans top
entertainment and shopping destination!
Born from not much more than a dream and a
swampland just over two years ago, MovieTowne has
quickly defined itself as one of this countrys best pieces
of real estate and the premier destination of choice for
families. The ambience there is unlike any other found
elsewhere on the island. Those who have explored all that
the facility has to offer frequently report that they were
hooked from the very first time they visited.
Everything to tickle the senses awaits you whether
your main aim is to shop or catch a flick. From the aroma
of fine perfumes to the mouth watering scent of fresh
buttered popcorn; the opportunity to experience the
excitement of the newest Hollywood (and Bollywood!)
blockbusters, or to enjoy a casual evening lime with a few
friends dining out or just relax at the open air cocktail bar
- its all there, readily available at one location. Few other
places can lay claim to being able to cater a complete
wholesome ambience for the entire family. MovieTowne
touts itself as the next best thing to home as it offers
attractions to keep everyone from Dad to Junior occupied.
As with all truly great things though, MovieTowne
always searches for ways to get better. There is always
something fresh and different happening whether it is one
of the many promotional or entertainment activities at the
Mall or exciting movie premium offers and giveaways at
the Cinema.

Although it may not have the largest Mall,

MovieTowne boasts an extremely diverse lineup of retail
offerings including some of the countrys finest dining
facilities, boutiques and specialty item stores which,
despite popular belief, are neither overpriced nor
expensive but are generally some of the best bargains
locally available! The 100% tenanted Mall is significantly
over subscribed and in order to cater for growth, the
franchise is preparing to expand. Already on the drawing
board is the development of an additional 45,000 square
feet of rentable premises, which will include international
quality bars, themed restaurants and other nightlife type
businesses which are worlds apart from anything else
presently available. The project is set to be completed in
early 2005.
On the cinema side of things, phenomenal growth is
taking place too. In November 2002, MovieTowne added
10 top of the line screens to the then existing total line up
of just about 16 cinemas in Trinidad. During the course of
2005, however, the Cineplex intends to broaden its
horizons by developing at least 16 more screens in
locations across Trinidad and even in the sister isle of
Tobago. Its a true advertisers dream as many have
already found their most captive audiences relaxing in the
plush reclining seats of MovieTowne-Port of Spain.
Have you been to MovieTowne yet? Ask anyone who
has visited and youll quickly learn how much youve
been missing out on. Stop looking from a distance and
hearing from others what the buzz is all about. Be a part of
the energy, adventure and attraction. Enjoy some of the
best shopping while youre at it and experience movies at
their very best.
Theres only one place to be - MovieTowne! Are you
there yet?

PIONEER CONSTRUCTION
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Shringaar
A cultural evening of food and fashion

For every woman, Shringaar

means a beautiful experience
of being adorned with a saajar
flower clipped on her hair.
The Centre of Excellence at Tunapuna came alive with a
special sumptuous dinner, scintillating music and a fashion
show. The occasion was Shringaar, contextualised in the
expression: For every woman, Shringaar means a beautiful
experience of being adorned with a saajar flower clipped on
her hair. Shringaar was hosted by The Hindi Foundation of
Trinidad and Tobago on Friday 2nd July 2004 at 7:00 p.m.
There was a rainbow of beautiful Indian outfits donned
by guests and models alike. The array of Indian garments
ranged from gararas and shalwaars to saris and kurtas. The
highlight of the evening was two fashion segments which
were presented by Priya's Creations. Models included Mala
Hargobin, Parbatee Dipnarine, Kavita Persad, Sherry Narine,
Devika Teelack and Kerry Gobin.
There were dances by the Sophia Mustapha Nirvana
Dance Group and songs by Indar Kanhai, the melody king.
There were also musical items by saxophonist Narendra
Maharaj and violinist Shivanand Maharaj.
Dinner included non-vegeterian dishes such as stewed
chicken and curried goat. The vegetarian menu consisted of
fried bodi, tofu and soya with pigeon peas, mango anchar
and parathi roti. Dessert comprised of sumptuous Indian
delicacies such as rasgullah, ghulab jamon and custard fruit
cocktails.
The event was held under the patronage of Their
Excellences The President of Trinidad and Tobago,
President George Maxwell Richards, and his wife Dr. Jean
Ramjohn-Richards. Other dignitaries at the event included
the President of the Hindi Nidhi Foundation Shri Chanka
Seetaram who delivered the Chairman's Opening Remarks,
and the High Commissioner of India, Mr. Virendra Gupta.

-",",'

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- the forehead dot that

blends with clothes,
colour and jewellery
The bindi is no longer worn only between the eyebrows,
but now also graces every part of the body.
Over time, the bindi has evolved from a simple dot to a
decorative stick-on pattern worn for poojas/pujas, outings and
special occasions. The bindi is no longer worn only between the
eyebrows, but now also graces every part of the body.
It is no longer the painstakingly-drawn wobbly circle
grandmothers and great grandmothers drew. It is now the
contemporary fashion statement worn by the modern women to
accentuate their dazzling and alluring outfits.
The bindi is one of the sixteen mythical and immortalized
solah sringara or beauty accoutrements. It is also referred to as
the teeka, tika, tilak, pottu and kumkum. The bindi is an
ornamental accessory compared to the tikka, which is used
mainly as a religious symbol. The black-coloured bindi is
perhaps still worn to ward of najar [evil-eye] and bring good
luck.
The red round bindi on a woman's forehead proudly signals
that she is married. The red colour of the bindi is supposed to
bring prosperity. Women who are not married have taken to
wearing this colour today.
The bindi originated in India and is as ageless as the stars
with angels. In the northern part, the icon denotes a woman's
social status, and is worn by every bride from her wedding day
onwards. In the southern part of India, the preferred color by all
girls is black. The emergence of bindis began with mercury,
lead, charcoal, turmeric, saffron, clay and sandalwood. It is no
longer a holy mark of matrimony, and has become a fashion
symbol of the liberated woman.
There are many myths associated with the effect of the
bindi. A popular myth is that if a boy places a bindi on the centre
of the eyebrows of a girl, she will fall in love with him forever.
Bindis come in many colours, makes and patterns. The most
popular shapes are the circle and teardrop. Some bindis come
with rhinestones, glitter dust and miniature beads to add an
extraordinary look. A difficult question to answer is which bindi
should be worn with which outfit.

~ Jimmy Aboud
~

THE

SINCE 1949

TEXTILE

KING

Extends

DIVALI
GREETINGS

Om .Jlsato .Maa. Sadqamawa.

Tamaso .Maa.Jyotir Gamava
:JvI.rityor .Maa. .A.mrtam (jamaya
Om Shaantih, Shaantih, Shaantih.
:JvI.aythe Ligfit and Love of the Lord
Shine uyon us ali: ...
:JvI.aythe spirit of Divali
'Enfigfiten our Hearts and Sours.....

When it comes to Textiles you just

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E-mail: texking@tstt.net.tt

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The Nirvahna Weight Management Clinic

Wise words from
Dr Dev Ramoutar
Strict vegetarians hardly ever get fat; starch-Arians
and fruit-Arians often do.
There can be no Satyam (truth) or Shivam (Godliness)
without Sundaram (beauty).
Beauty is the bedrock of truth and Godliness.
We overestimate the power of exercise and
underestimate the power of fat.
Walk thirty miles to lose one pound of fat.
The success of most social functions depends on a
large extent on the fatal attraction of food.
Fat is a banking account of food around the waist to
ensure our survival in lean times, flood, earthquakes,
winter and famine. It is time to create a famine to get
rid of waste around the waist.
The road of Sundaram (beauty) culminates in the
throne of Satyam (truth) and Shivam (God).
Practice the Bhakti of right eating and be rewarded
with the Shakti of healthy living.
Kali Yug has arrived! The children of the Rishes
(Saints) go to Kashhi Temple at night, and KCF the
next morning; whereas the children of Ravana (evil)
are eating the Satvic (heavenly) food and experience
cosmic vibration.
Everyday we slowly and surely dig our graves with our
forks and knives.
A high stomach is the abode of chronic illness.

The average successful man spends the first fifty years

of his life sacrificing his health to create wealth, and
then spends the next ten years trying to buy back his
health with his acquired wealth. In the end, he
succeeds in losing his wealth and health.

How confused is the mind of man!

Our vegetarians have become starch-arians and
fruit-arians - and innocently claim to be vegetarians.

Eating should not be a substitute for living.

To lose weight you must yearn long enough, exercise

long enough, and eat little enough.

Blessed are those who are flexible in dietary matters,

for they shall regain their sublime shape.

To flirt fearlessly with fatness is to flirt with death.

A distorted body is the product of distorted eating.

The price of weight maintenance is eternal vigilance.
If you don't trust the messenger, you will not trust the
message. The messenger is now the message.

The Clinic is located on the Old Southern Main Road,

opposite Mid-Centre Mall, Chaguanas, Trinidad. Tel:
665-1106

Building No. 0-4,level 2

City of Grand Bazaar,
Valsayn
Tel/Fax: (868) 645-0994
Auth."hc Sout1-.I"Jj,." Rest,.ur,."t

Tel: (868) 663-7392

,M~

Hotel

CATERING SERVICES
WEDDINGS
CONFERENCE FACILITIES
SWIMMING POOL

Mikanne offers economical though elegant service.

Situated in south Trinidad, it's ideal for work teams,
sporting and religious groups. Our conference room
seats up to 100 persons, and caters for weddings,
anniversaries, seminars etc. Our guestrooms are
decorated with simple elegance. Each room is
equipped with a toilet, shower and television. Guests
can relax by the poolside. Our dining room serves
delicious Trinidadian meals. We are located near the
Wild Fowl Trust, the Pitch Lake, and many shopping
centres. Whether you stay for one night or longer, a
friendly welcome awaits you.
H; 12 rooms; A, k,m,p,$$ .

Naipaul's Bookstore
& Handicraft Centre

EXPORT - IMPORT BANK

OF TRINIDAD & TOBAGO LTD.

Fresh
Flowers
Wholesale
Price
Chrysanthemums
Daisy
Carnation
MiniCarnation
Roses
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$29.00 per bunch

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$5.00 per stem
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Exim House, #30 Queen's Park

West, Port of Spain, Trinidad, W.I.
Tel: (868) 628-2762, 628-1382
Fax: (868) 628-9370
Email: eximbank@wow.net
Website: www.eximbanktt.com
"A Platform For An Explosion In Trade"

Indian fashion in the movie Troy

The order for a few necklaces,
hairpins (modelled on the hair
combs worn by Indian women in
the old days), coloured glass
pendants and earrings were placed
by the makers of the film

By Kanika Gahlautt
If the studded gown of this year's Miss Universe,
Australia's Jennifer Hawkins, was traced back to an export
house in Gurgaon, guess why those hoops and necklaces
worn by the cast of the epic film Troy, including the hunky
Brad Pitt, look so familiar? So much so that when Kolkata
designer Sabyasachi Mukherjee saw the film, he remarked
that he could swear that some of the pieces had been picked
up from Janpath in Delhi. There was something to his
suspicion. It turns out that some of the jewellery was Indian
indeed - from the Jaipur-based design house Amrapali.
Rich in antique designs and beautiful gem stones, Jaipur
as a hub of jewellery sourcing for the West is now old
hat. While John Galliano's trip to Rajasthan and Mathew
Williamson's tie-and-dye inspiration find their way into
the media, the Jaipur-based jewellers who sell their stones
and intricate meenakari to international jewellery designers
go largely unapplauded. For Amrapali, the 25-year-old
jewellery house known for contemporising antique designs
and with four outlets across India, the Troy assignment
was a prized one. The order for a few necklaces, hairpins

(modelled on the hair combs worn by Indian women in the

old days), coloured glass pendants and earrings were placed
by the makers of the film at Amrapali's Selfridges outlet in
April last year.
"They came to the store and felt that some of the
jewellery shown would go well with the costumes in the
film, so we did not have to change the designs much," says
Anil Ajmera, director, Amrapali. The jewellery, like all
other pieces in Amrapali stores, was made in Jaipur. These
are antique-looking pieces-silver items with gold-plated
finish that went with the period Greek saga over the battle
of Troy.
While the jewellery house, which has clients like
supermodel Naomi Cambell, actors Dimple Kapadia and
Rekha, has designed some contemporary pieces for Pooja
Bhatt's Paap and Jism, this is their first for Hollywood. So
in the theatres near you this week, watch out for Helen of
Troy's Indian connection
Source:http://www.indiatoday.com/itoday

~~

---------------------------

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TEL: (868) 627-7668/9, 625-3119,
FAX: (868) 624-4088,
E-MAIL: skylineweb@sfml.eom

Tel: 1-868-636-1313
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The orhani/orhini
head scarf
As a fashion piece, the orhani stirs
up an air of mystery and innocence
for the woman who dresses in it.

The orhani [head scarf] is worn by Indian women as a sign

of modesty and respect. Only women wear orhani; men wear
turbans and phagrees.
The orhani/orhanee/orhini or dupatta is worn over the
head, completely covering the hair and sometimes part of the
forehead. Part of it usually falls over the shoulder and is
draped over the bosom in a triangular folded form. At the
shoulder, it is fastened with a brooch. In the past, women with
dresses would wear a matching waistband under which one
end of the orhani would be tucked.
The orhani is often used during religious and ceremonial
occasions. One end of the sari/saree is used as an orhani by
women performing poojas, and brides during their wedding
ceremonies.
Up to the 1960s, elderly women wore this broad piece of
unstitched cloth in the presence of strangers, particularly men.
Nowadays, it is used mainly at
temples, poojas and yagnas by
participants and members of the
audience, but many young women
today can be seen draping it around
their necks and over their shoulders.
The orhani is a light, soft, lovely
accessory that is sometimes worn with
elegant classic clothing. All brides
wear this type of head scarf during the
Hindu wedding ceremony, and dancers
veil themselves in it to add mixture
and mood. Black orhanis are worn at
funerals and cremations by women of
all age groups as a sign of condolence.
As an evening wear, younger women
today prefer to opt for Western scarves
and shawls. As a fashion piece, the
orhani stirs up an air of mystery and
innocence for the woman who dresses
in it. Worn with other traditional attire,
it creates a flowing graceful look.
Some orhanis are decorated, patterned
and cut in various styles at the edges.
Some come in a variety of pastel
colours, and some are multi-coloured.
Others are rich in colour with streams
of gold and glitter cascading down the
length of fine silk. Some are heavily
beaded or sequined, and edged off with
soft fringes. Others are designed with
beads on the edge to add form and
weight. The most common choice is
just a plain black or white orhani.

1. 30-hr General industry 29 CFR Part 1910

2. 30-hr Construction Industry 29 CFR Part 1926
Courses conducted by OSHA.
Authorized Instructors.
On completion, participants will
receive their certificate plus their OSHA
cards from the US Department of Labour.

OTHER COURSES:
1. Program in Safety Management
Certification from Niagara County Community
College, New York
2. In-house Training - Courses tailored to meet
organizations' needs

OTHER SERVICES:
Development of Safety Policies and Safety
Management Systems

Lungi

the fashionable mans skirt or kilt

A long waist coat or
shawl with tassels
adds a sophisticated
dash of class.
The lungi is a piece of woven cotton cloth.
Measuring up to nine yards, its rectangular length is
wrapped around the waist like a towel or skirt. The
lungi is unstitched like the sari/saree, dhoti and
turban. This apparel is worn by men and boys
throughout India as the kilt is donned in the Scottish
Highlands.
Many indentured laborers wore the lungi on
their voyage to the Caribbean. They continued to
wear it as everyday dress in the plantations as was
the custom in India.
Over the years, men gravitated towards kurta
suits and dhoti pants. In Trinidad and Tobago, it is
very rare to see a man wearing a lungi. The kurta is
worn at formal functions and special occasions. The
lungi makes its appearance only on religious
occassions at home and temples during poojas and
yagnas.
The lungi comes in an assortment of colours and
printed patterns. The most common is the white
lungi with colored narrow border, or no border at all.
It is wrapped around and tucked in at the waist with
a pleat that falls on the left leg.
The simple lungi is accompanied by a long
kurta-like or Nehru-necked top that reaches the
knees. The top is usually heavily embroided with
gold, copper or silver threads. A long waist coat or
shawl with tassels adds a sophisticated dash of class.

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Representatives ationwide
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Garments during in the 1870s

Illustration and text by Charles Kingsley,

At Last: A Christmas in the West Indies. London: Macmillian, 1873.
His [indentured immigrants] wife walks about, at
least on high-days, bedizened with jewels: nay, may
you see her, even on work-days, hoeing in the
cane-piece with heavy silver bangles hanging down
over her little brown feet: and what wealth she does not
carry on her arms, ankles, neck, and nostril, her
husband has in the savings bank.
The dress of many of the men was nought but a
scarf wrapped around the loins [dhoti]. Women wore
nought but the longer scarf [orhani] that she contrived
to arrange in a most graceful manner, as well as a
perfectly modest covering [sari], even for the head and
feet. These garments, and perhaps a brass pot, were
probably all the worldly goods of most of them

The Oriental instinct for harmonious hues, and

those at once rich and sober, such as may be seen in
Indian shawls, was very observable even in these
coolies, low-caste as most of them were. There were
bangles and jewels among them in plenty; and as it was
a high day and a holiday, the women had taken out the
little gold or silver stoppers in their pierced nostrils
[nakphool], and put in their place a great gold ring
which hangs over the mouth, and was considered by
them, as learned men told us it was by Rebekah at the
well, a special ornament.

~ Sale
.)Mortgage
.) Purchase
.) Insurance
~ Refinance
. Stamp Duty
Balance Sheet
. Statutory requirements

G.A. Farrell & Associates Ltd.

Chartered Valuation Surveyors
Financial & Property Consultants
23 Ariapita Avenue, Woodbrook
(South-western comer of Ariapita
Avenue and Gatacre Street)
Trinidad Wl.
Tel: 624-8628,624-6629,627-5670
Fax: (868) 627-1094

Call the Professionals for Fast & Reliable

Real Estate Valuations.
Distributedby Trans lrnpex
17Chacon St. San Fernando. Tel: 652-6932

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Chanka Trace, 1 Socorro Ext. Road, Sanjuan.
Tel, (868) 638-2214 Fax, (868) 675-0416
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Email: kpl@tstt.ncl.tt

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\D

Phone:

Montrose - Cha uanas

672 4636

Grand Bazaar

Fax: 672 8532

High Street - San Fernando

The scanty navel-baring look is fading out

Now you see it. Soon you wont. In a trend sure to be
relief to some and a disappointment to others, women will
cover up instead of baring it all next season as the
slutwear look comes to an end.
Demure designs have replaced scanty navel-baring
looks on the catwalks of this weeks semi-annual run of
fashion shows, a reliable sign of what shoppers can expect
to find in stores next spring.
The slut is out now. Shes dead, said Godfrey Deeny,
senior fashion critic at Fashion Wire Daily.
In recent seasons, fashion has been filled with skimpy
tops exposing midriffs, cleavage-revealing necklines and
jeans slung so low that precious little was left to the
imagination-looks mpossible to avoid on such pop icons
as Paris Hilton and Britney Spears.
This season, blousy linen took the place of sheer
chiffon, while shades of white chased away an edgier
black. Necklines were up, while hemlines were hovering
down at the knee.
Its very ladylike. Its not jump into-bed fashion,
Deeny said of the new look on runways as established
powerhouses to new designers trotted out more fabric and
less skin than in seasons past.
Marc Jacobs showed 1950s style sweater sets and
dresses of florals and gingham; Carolina Herrera showed
knee-length Bermuda shorts; Kenneth Cole had pleated
skirts and wide-legged trousers and Oscar de la Renta
showed bouche suits.
Alice Roi, Rebecca Taylor and Cynthia Steffe brought
out loose, Bohemian style peasant skirts and dresses.
Women who actually buy fashion may have sent a
message to designers who have been preoccupied dressing
rock stars, said Paco Underhill, chief executive of
Envirosell, a market research company, and author of
Why We Buy.
There was too much slutwear, he said. Slutwear
doesnt play in the boardroom and it doesnt play in the
office.
Designers also recognized that women are
desperately looking for solutions Monday through Friday.
The money is in Monday through Friday, he said.
Trend forecaster Merrill Greene called the new look
prim and improper. Its whats under the clothes,
something seething underneath. We wont be showing it so
much on the surface.

Designers
predict
more
fabric and
less skin
is coming.

She said the less-bare look may be a response to the

world around us. Its a way of protecting oneself. We
might feel insecure about showing off, of looking too out
there and too American, she said.
Underhill suggested the new modesty may be backlash
to the slutwear look creeping into the childrens market
and young girls trying to copy the revealing, belly-baring
looks of pop stars such as Spears.
Harsh media attention surrounding cases such as the
murder of Lacey Peterson and the sexual assault
accusations, now dropped, against basketballs Kobe
Bryant highlighted the dark side of lots our sexuality, he
added.
Retailer Robert Burke, vice president and senior
fashion director at Bergdorf Goodman, took a more benign
view of the latest trend.
Fashion goes in cycles, and I think that cycle kind of
played out, he said. Its the end of overtly sexy clothes.
As a retailer, its especially good because its very
wearable. Thats a positive for us, he said.
Source: Reuters, New York, 2004.

Eniath's Upholstering
Co. Ltd.
Where VyhoCstering is still. an art
3 Fabrics
.> Leatherette
3 Trimmings
.) Manufacturing of
Sets and Recliners
3 Also Re-Upholstering
ead Office & Workshop
on St. Lange Park Qhaguanas
Tel/Fax: 665-5825
---Branche"-__
~ _ _.::I\1I~
#8 Railway Road, San Juan Tel: 675-7848
E.M.R. Sangre Grande Tel: 691-3700

The pandits robe in 1880

A babagee [Hindu priest] in easy

circumstances may be recognized
by the conspicuous whiteness
and amplitude of the embroidery
trimming about his costume. His
voluminous kapra takes more the
form of pyjamas, reaching nearly to
his feet, while that of the low-class
Indian is much more contracted.
J. H. Collens,
Guide to Trinidad.
London: Elliot Stock, 1886.

The pandits robe in 1880

... a perfectly natural choice

h
www.nestlecaribbean.com

(adj.) refers to the thirurs that go a long

way to bring us total enjoyment

Vegetarianism
grows in
popularity

The outbreak
of Asian Flu
and Mad Cow
disease has
led people to
turn to
vegetarianism

It seems that with each outbreak of

Asian Flu or Mad Cow disease, people
are either adopting a vegetarian diet or
reaffirming their lifestyle choice if they
are already vegetarian. Interviewing
vegetarians from various regions of
India, Saikat Neogi has uncovered a
wide array of vegetarian followers.
Vidyanidhi Dalmia, Chairman of
Dalmia Continental Private Limited,
who was brought up a vegetarian and
has now resumed the diet says, "Eating
nonveg was always uncomfortable for
me, and the very thought of killing a
living being for consumption was
abhorrent. And late last year I decided to
turn vegetarian." Raj Khosla, director of
Shelters comments, "I was going for a
meeting and got struck in a traffic jam.
Ahead of our car was an uncovered lorry
carrying slaughtered chickens and their
blood was flowing on the street. Every
time the lorry used to brake, a splash of
blood would hit our windscreen. It was
very detesting. It was then that I decided
to quit non-vegetarian food."
Chelan
Seth,
chairman
and
managing director of Chemon adds, "I
was a carnivore and ate every kind of
meat under the sun. But after going
through a couple of spiritual lessons, I
decided to give up non-vegetarian food.
The quality of meat in India is not very

good and can lead to diseases." All three

men are happy with their vegetarian
food choices and say that globally
vegetarian food is now easier to find
than it used to be.
Dilip Modi, CEO of Spice
Communications says, "There is a
plethora of fruits and vegetables
available all over. So, being a part of the
herbivorous food group one can enjoy a
variety of cuisine in every country. It is
hardly a sacrifice to be vegetarian like
many may think and one can enjoy the
vast variety of vegetarian food, apart
from the fact that it is healthier."
Dr. Umesh Kapil, Professor in the
Department of Gastroenterology &
Human Nutrition at All India Institute
explains, "The high content of fibre
in the vegetarian diet can prevent
constipation which is responsible for
diseases like diverticulosis, hiatus-hernia
and varicose vein. Similarly, a vegetarian
diet prevents one from being exposed to
zoonotic diseases which spread because
inadequate examinations are done on
animals before they are slaughtered."

Source:
http://www.financialexpress.com
INDIA, February 15, 2004

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Workingfor your Credit Union. Workingfor Tou.

Garara

-the gorgeous bodice and skirt

For generations, skirts have been the defining

attire of women. It is said that they bring out the
feminine beauty and modest quality of a woman.
In the fashion world of Indian garments, there is
only one garment that is elegantly graceful second
to the sari. It is the garara (pronounced ga-ra-ra). It
is a remarkably simple outfit that lends an
enchanting allure to a woman.
This outfit makes a smart appearance as it
consists of a bodice and skirt. The bodice varies in
length from under the bust to just above the hips.
It is usually more decorated than the skirt. The
skirt is flowing and often floor-length. It
complements the bodice, but it has less working of
beads and needlework.
Both pieces are often hand-embroidered with
fine-quality sequins and nylon treads. They are
both made of lovely oriental patterns of various
designs. Gararas come in every colour imaginable

to tantalize the eyes. They range from light pastels

to dark somber colours.
Gararas are made with various materials that
range from cotton to silk. Some gararas come in
thin fabrics well-suited for hot tropical days. The
choice is endless. One can easily spend a day
browsing through a collection at an Indian clothes
store. To select one is a difficult choice to make.
They are all so gorgeous. This is an appropriate
wear for any occasion - from weddings to pujas to
everyday use.
The cost of a garara varies with the type of
handiwork that was done on the fabric. The price
ranges from as low as $200 to as high as $10,000
in Trinidad and Tobago. The expensive gararas
can be quite eye-catching. The bead sequin and
careful hand-embroidery combine to give a
stunning ensemble that can surely turn heads.

Apartment hotel with a home away

from home atmosphere, friendly staff.
Moderately priced - Low season
U.S.$30 - $65 High season U.S.$50 - $75
plus room tax (10%)double occupancy.
Suitable for pleasure and business.
Close proximity to Store Bay
and Pigeon Point beaches.t
Pool facilities also available. Co eniently located
with access to shopping, restaurants and
spo ing activities.
Tel: 1-868-639-8810 Fax: 1-868-639-7507
Store Bay Local Road Crown Point Tobago,
West Indies.

Bridal bindis
a pattern of
coloured dots
on the body

In addition to their exquisite clothing and

jewellery, women adorn themselves with fine
removable bindis [dots]. Seen mainly on Indian
dancers and brides, they are commonly placed
above the eyebrows. These bindis span the length
of both eyebrows and enhance the innocent,
seductive look that Indian clothes seem to evoke.
These bindis come in a wide variety to match the
outfit of the wearer, but the most common choices
are silver, red, and black with gold detailing.
They have become the rave of teenage girls
and young women. Bridal bindis are also worn
as body art. And because they are made up of
individual units and are removable, each one can
be used to create both intricate and simple designs
to suit the specific occasion. Sometimes, they are
placed around the navel, and on the lower and
upper back as an expression of artistic freedom.

Lena's Hardware
*Toois *Paints *PVC Wholesalers
*Electrical *Lumber *Blocks
*Plumbing *Steel *Tiles *Plywood

Cross Crossing Shopping Center II

Cross Crossing, San Fernando, Trinidad, W.I.

652-5993
652-0380

*Household Products *Galvanize

Mon - Sat 8:00am - 5:00pm

Sun 8:00am - 12:00 noon

SEATING CAPACITY 250

SECURED PARKING
CATERING FOR WEDDINGS
SEMINARS & ALL SPECIAL OCCASIONS
COURTEOUS STAFF
NEW & IMPROVED FOOD AND DRINKS MENU
DELIVERY WITHIN SAN FERNANDO

FREE DELIVERY SERVICE

OPENING

DINING:

PARKING ON PREMISES

Mon. - Sat.
11:00 am. -10:00 pm.

Tel/ Fax:ALL

MA..JOR CREDIT

HOURS
Take away only:
Mon. - Sat.
11:00 am. - 9:00 pm.
Sun. - 11:00 am. - 2:00 pm.

657-3925
CARDS

ACCEPTED

Greetings
on Indian Arrival Day
from The Management and Staff of

The- Great Northern Insurance Co. Ltd.

29A Edward Street, Pert of Spain. Phone: 625-1116/9 Fax: 625-4996
"Protection

should be your top Priority"

We guarantee prompt claims settlement and ensure customer satisfaction.

With branch offices throughout Trinidad and Tobago
86 Cipero Street, San Fernando.
657-7385
199 Eastern Main Road, Sangre Grande.
668-2508
Cor.Main Road & Marc Street, Chaguanas.
665-5300
Main Road, Montrose, Chaguanas.
665-8959
Main Road, Chaguanas
655-7422
Southern Main Road, Couva.
636-2964
23 Queen Street, North of the Dial, Arima.
667-5022
Agencies: M. Hosein. Main Road, Chaguanas. Tel 665-7422

Tobago Lumber & Hardware Building Apt

14 Milford Road Scarborough, Tobago.
639-2664
Cunapo Southern Main Road, Rio Claro
644-2479
5 Fifth Street, San Juan
674-8046
45 Eastern Main Road, Curepe.
662-1234
1326 San Fernando/ Siparia Erin Rd,
Penal
647-8885
Cor. Morton & Eastern Main Rd, Tunapuna
663-3900
.M. Rivas, 7B Cocorite St. Arima Tel: 667-2152

Tikka the sacred forehead dot

It is placed between the
two eyebrows which is the
seat of contemplation, and
also the inner or
yogic/third eye of higher
perception.
The tikka/tilak [forehead mark] is the defining
symbol of a Hindu. It is a dot-like paste worn
by both male and female, and is usually applied
as part of a Hindu ritual during a puja/pooja
[ceremonial worship]. The tikka usually takes the
shape of a large dot or long stroke. It is very cool
to the touch.
Sometimes it is mistakenly called the bindi.
But the distinction between the tikka and the bindi
is that the bindi is exclusive to women. The tikka
it is also a sacred symbol unlike the bindi which is
an ornament.
The tikka is usually placed on the centre of the
forehead where one of the three principal nerves
ends. This part of the forehead between the two
eyebrows is the seat of contemplation, and also
the inner or yogic/third eye of higher perception.
It is believed to help an individual focus during
meditation. In the past, it signified accomplished
adulthood and the ability to think for oneself.
During puja, the tikka is made from chandan a chalk-like substance mixed to form a sandalwood
paste. A designated person or the pundit would
place a tikka on the centre of the forehead of all
persons in attendance. The paste is usually applied
with the third finger from the thumb (ring finger)
of the right hand.

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Americans should adopt Hindu values

Chris Satullo argues that Hindu philosophy does not try to paint the world into
polar opposites. Instead, it tries to look at the unity underlying those dualities.

Chris Satullo, a columnist with the Philadelphia

Inquirer, believes a lot of problems facing the U.S.
economy will be over if Americans learn to be Hindu. And
he seriously states his case in this very unusual editorial
for a major US newspaper. Satullo thinks the current
crop of politicians in the United States think much like
the way the Christian doctrine tries to look at the world:
good/evil, white hat/black hat. So they tend to blame the
current ills faced by the American economy-job losses,
lack of new jobs-on free-market capitalism. This means
that free-market capitalism is bad, says this review of
Mr.Satullo's recent editorial.
What the country, and its politicians, need now is more
of Hindu monistic philosophy, Satullo says. His argument
is that Hindu philosophy does not try to paint the world
into polar opposites. Instead, it tries to look at the unity
underlying those dualities. So, Satullo points to Siva being
both the creator and the destroyer. "Siva embodies a central
paradox of life. To create the new, you must destroy the old.
To create fire, you must destroy wood. To make oil, animals
must die. For the automobile to prevail, blacksmiths must
suffer. For Bill Gates to rise, the typewriter repairman must
fall," says Satullo. Free-market capitalism, according to
Satullo, is like Siva. It creates and destroys. But it is not
a zero-sum game either. As free-market capitalism does
its Tandava dance, it leaves behind more wealth and more

health for more people. And also much suffering, injustice,

inequality, and corruption, much strain on families and on
nature. In other words, according to Satullo, free-market
capitalism is Siva. It is neither all good nor all bad; it is
what it is, at once creative and destructive.
So, President Bush's rigid mind thinks in black and
white. "He worships capitalism, no; make that the corporate
perverters of it who fund his ambitions. He has one answer
to every economic situation: tax cuts. Not only isn't he
much of a Hindu; he needs work on the Christian thing
too," says Satullo. The Democratic challenger to Bush,
John Kerry is worse. He (and other Democrats) harp on
"protectionism, mindless business-bashing that ignores the
value of entrepreneurship, the use of public dollars to make
bad bets on losing industries," he adds. "I'm looking for a
sign, for someone who knows how to dance with Siva,"
Satullo concludes.

References:http://www.philly.com/mld/inquirer/news
http://economictimes.indiatimes.com/articleshow
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Religion and residence in Trinidad

By Kuniko Chijiwa

The respective proportions [of Hindus and Muslims] are 67.6% in urban areas and 73.4% in rural areas . it is also
evident that the percentage of those who adopt Christianity is higher in urban as compared to rural settings.
The gradual growth of an (East) Indian population in
Trinidad radically changed the demographic, social, and
economic structure of Trinidad and Tobago. Increases
over time in the Indian population have generated a
perception among Africans of the Indians being in control
economically and, in the past, politically. On the eve of
independence from Britain, Trinidad was 43.3 percent
African, 36.5 percent Indian, 16.3 percent mixed, 1.9
percent white and 2.0 percent other. The Indian population
has steadily increased, while the African population has
become a mixed population. The 1990 census indicates
that the Indian population finally exceeded the African
population in Trinidad with respective proportions of
41.9% Indian and 37.4% African. The effects of these
demographics can be seen in the various spheres of
Trinidadian life: religious, economic, geographic and
political. The religious affiliation marks a clear distance
between African and Indians. A large number of Africans
affiliate with the Anglican, Baptist, and Roman Catholic
churches.
Indians predominate in Hinduism, Islam and
Presbyterianism. Trinidad also has many other religious
institutions. In the first column in Table 1.1, the 1990
census shows that 29.2% Trinidadians were Roman
Catholic, followed by the Hindus 23.2% and the Anglicans
10.5%. The other non-Catholic Christian churches were
21.3%. The trend of religious affiliation in Trinidad is that
the number of worshippers of large institutions such as
Roman Catholicism and Hinduism has declined census
by census, while Pentecostal and other non-Anglican
Protestants have drawn noticeable numbers of people
from both ethnic groups since 1970. It must be pointed
out that, though there are Indians in various Christian
denominations, Indians on the whole restrict themselves to
the practice of Hinduism, or rather the variant thereof that
has emerged in Trinidad. My study on ethnic differentiation
in Trinidad relies on the two data sets in order to explore
the character of the differences between the African and the
Indian populations in Trinidad.
In keeping with the pluralist theories of race and
ethnicity in Trinidad, we hypothesize that the two groups
will differ significantly in terms of such variables as
religion, marital status, and educational attainment. Table
1.2 shows the religious affiliations among the two major
ethnic groups. The patterns that are shown in the Table
are not surprising: Among Indians, the major religions

are Hindu and Muslim (57.4% and 14.0% respectively).

However, it is also evident that a small but not significant
number of Indians are also Christians. Nearly 12% declare
Other Christian as their religion, while around 6% to 7%
are Roman Catholic and Presbyterian, respectively. Since
most immigrated Indians originally worshiped Hinduism or
Islam, we can conclude that those who declared themselves
to be members of Christian sects in 1987 must have been
converted to Christianity.
In contrast to the Indians, the Christian religions
predominate within the African descent population. Within
the Christian general category, it is also apparent that some
denominations are more prevalent than others. As shown
in Table 1.2, most Africans are Roman Catholic (38.5%),
followed by Anglican (19.7%) and Methodist/Baptist
(17.0%). Another Table [not shown] is concerned with
findings that bear upon the association between religious
affiliation and ethnic backgrounds, controlling for
respondents place of residence. To facilitate the analyses,
nine categories are collapsed into three categories;
Roman Catholic, Protestant (Anglican, Methodist/Baptist,
Presbyterian, Seventh Day Adventist and other Christians)
and Hindu/Muslim. Since the percentage of respondents
who declared to worship non-Christian religion and no
religion is so low (14 cases), these respondents were
excluded from this analysis. The results show that, among
African respondents, Protestantism clearly draws a large
number of people in both urban (56.7%) and the rural areas
(64.4%) in rural areas.
Indians respondents largely declare affiliation to
Hinduism or Islam. The respective proportions are 67.6%
in urban areas and 73.4% in rural areas. The rural-urban
distinction sheds further light on the Indian population
with respect to the tendency to be affiliated with Christian
religions. Whereas the findings in Table 1.2 shows that
Hindu/Muslim religions dominate within this ethnic
group, it is also evident that the percentage of those who
adopt Christianity (especially Catholicism) is higher in
urban as compared to rural settings. In other words, even
though the percentage of people is comparatively small,
the tendency to find Christian Indians is predominantly
an urban phenomenon.
Chijiwa grew up in Japan, and studied at the University
of Florida for her M.A. in Latin American Studies.

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Table 1.1 Religion Distribution: Census 1990 and DHS Data

% of denomination belonging
to each ethnic group
African
East Indian

% in population
Religion

Census: 1990

Roman Catholic
Anglican
Methodist/Baptist
Presbyterian
Seventh Day Adventist
Other Christian
Hindu
Muslim
No Religion
Other or Not Stated

29.2%
10.5%
4.4%
3.5%
3.9%
9.5%
23.2%
5.7%
0.9%
9.2%

50.7%
75.9%
83.8%
0.9%
69.0%
40.9%
0.6%
3.5%
40.0%
38.5%

11.2%
4.7%
3.0%
92.7%.
17.2%
40.4%
97.8%
93.5%
20.0%
23.1%

Source: Annual Statistical Digest 1998 (Table l3, p. 15)

Demographic and Health Survey, Trinidad and Tobago, 1987

Table 1.2 Religious Affiliation by Ethnicity and Place of Residence

Place of
Residence
Total
Urban
Rural

Ethnicity
Religion
Protestant
Catholic
Hindu/Muslim
Protestant
Catholic
Hindu/Muslim
Protestant
Catholic
Hindu/Muslim

African

East Indian

59.9%
38.9%
1.2%
56.7%
42.1%
1.2%
64.4%
34.4%
1.2%

22.0%
6.3%
71.7%
20.3%
12.2%
67.6%
22.8%
3.8%
73.4%

Note: Two categories of other religion' and 'non-religion' were excluded from this table.
Concequently, the total cases in this analysis is 2,286.
Source: Demographic and Health Survey, Trinidad and Tobago, 1987
Significance: Both urban and rural are significant at .000

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Email: ttbs@ttbs.org.tt
Website: www.ttbs.org.tt

India makes fashion statement in the world

By R.L. Saggar

New marketing thrust is now aimed at untapped markets like South and Central Africa, CIS and East
European countries, Latin America and Australia.
Indias new generation designers have in recent years
made their collections a winning combination. Leading
and famous fashion labels are being associated with
Indian products. The garment industry has made sustained
efforts to put the country on the global map. As a labour
intensive industry, it is next only to agriculture, having
an estimated work force of three million. Contributing
towards 6% of the Gross Domestic Product, the garment
industry is vital to the economy of the country. Its share in
the foreign exchange earnings is nearly 18%. Today, not
only is the apparel export graph rising upwards, interest
and enthusiasm among overseas buyers are also at a high.
Numerous varieties of garments are produced by the
industry, some of them in line with contemporary fashion,
having exquisite Indian workmanship. Leading garment
export units have put together bold and contemporary
designs. They have incorporated extraordinary innovations,
unique designs, embellishments and motifs from across
cultures. The motifs have been sourced from dated artistic
pieces such as paintings, carvings, etc.
Besides the established names like Hemant Trivedi,
Ritu Kumar, Ravi Bajaj, Satya Paul, J.J Valaya, Ritu Beri,
Rohit Bal, et al, new talented designers have also emerged.
They include Siddartha Tytler, Leena Singh, Prasad
Bidapa, Ranna Hill, Rohit Gandhi and Rahul Khanna.
They consider fashion very much an art form; each design
should be uncluttered and aesthetically satisfying.
There is a growing realization that the way we dress
is a statement of our taste and lifestyle. It projects our
preferences and personality, transcending economic
classifications. Traditionally, India possesses a vast
variety of styles, a myriad of dress designs and creative
craftsmanship capable of producing unimaginable
collections. Stunning combinations such as blending fur
with denim, crystal components with the finest black
beads, signature embroidery with chiffons of unusual
shades and antique kundan jewellery mixed with
rhinestone have made their mark.

Fashion designers have been bringing out collections

suited to sharply varied seasons across the country. Fall
winter collection is all about detailing, lots of extra pockets,
zippers and surface ornamentation. There is the fabric
treated by handcrushing or with pintucks. Trousers for men
are loose. The uppers have a Kaftan feel this season.
According to designer Rohit Gandhi, People are
knowledgeable and since they travel a lot now, they are
well-versed with international prices too. They want good
quality at a fair price. In fact, Indian consumers have
become as demanding as their western counterparts when
it comes to quality.
During the last two decades, major developments
have provided powerful impetus into the industry. The
establishment of the network of the National Institute
of Fashion Technology at Delhi, Mumbai, Ahmedabad,
Bangladore, Calcutta and Hyderbad and similar institutes
in the private sector, coupled with the fashion trend
forecasts, setting up of Fashion Design Council of India,
participation in international fashion shows, organizing
exclusive garment fairs in India and abroad have given
tremendous push, making the industry the highest net
foreign exchange earner. According to provisional
estimates, the business will be worth approximately Rs.
20,000 crores (US $4.65 billion) in the current financial
year.
New marketing thrust is now aimed at untapped
markets like South and Central Africa, CIS and East
European countries, Latin America and Australia. With
the expected abolishing of the quota regime, the garment
industry is expecting major gains.

Courtesy: India Perspectives, March 2004

Canadas multicultural model

respecting differences of culture
With no pressure to assimilate and give
up their culture, immigrants freely
choose their new citizenship because
they want to be Canadians.

The Canadian Multiculturalism Act commits federal

institutions to carry out their activities in a manner that is
sensitive and responsive to the multicultural reality of
Canada. Section 8 of the Act requires the preparation and
tabling in Parliament of an annual report on the operation
of the Act.
Canadian multiculturalism is fundamental to our belief
that all citizens are equal. Multiculturalism ensures that all
citizens can keep their identities, can take pride in their
ancestry and have a sense of belonging. Acceptance gives
Canadians a feeling of security and self-confidence,
making them more open to, and accepting of, diverse
cultures. The Canadian experience has shown that
multiculturalism encourages racial and ethnic harmony,
and cross-cultural understanding, and discourages
ghettoisation, hatred, discrimination and violence.
Through multiculturalism, Canada recognizes the
potential of all Canadians, encouraging them to integrate
into their society and take an active part in its social,
cultural, economic and political affairs.
In 1971, Canada was the first country in the world to
adopt multiculturalism as an official policy. By so doing,
Canada confirmed the value and dignity of all Canadian
citizens regardless of their racial or ethnic origins, their
language, or their religious affiliation.
The 1971 Multiculturalism Act is fundamental to our
belief that all citizens can keep their identities, can take
pride in their ancestry and have a sense of belonging.
Acceptance gives a feeling of security and self-confidence,
making them more open to, and accepting of, diverse
cultures. The Canadian experience has shown that
multiculturalism encourages racial and ethnic harmony
and cross-culture understanding, and discourages

ghettoisation, hatred, discrimination and violence. Mutual

respect helps develop common attitudes. New Canadians,
no less than other Canadians, respect the political and legal
process, and want to address issues by legal and
constitutional means.
All Canadians are guaranteed equality before the law
and equality of opportunity regardless of their origins.
Canadas laws and policies recognize Canadas diversity
by race, cultural heritage, ethnicity, religion, ancestry and
place of origin, and guarantee to all men and women
complete freedom. Their dignity is guaranteed through
Canadian citizenship, Canadian Constitution, and Charter
of Rights and Freedoms.
Multiculturalism has led to higher rates of
naturalization than ever before. With no pressure to
assimilate and give up their culture, immigrants freely
choose their new citizenship because they want to be
Canadians. As Canadians, they share the basic values of
democracy with all other Canadians who came before
them.
At the same time, Canadians are free to choose for
themselves, without penalty, whether they want to identify
with their specific group or not. Their individual rights are
fully protected and they need not fear group pressures.
Their diversity is a national asset. Recent advances in
technology have made international communications more
important than ever. Canadians who speak many different
languages and understand many cultures make it easier for
Canada to participate globally in areas of education, trade
and diplomacy.
Multiculturalism is a relationship between Canada and
the Canadian people. Their citizenship gives them equal
rights and equal responsibilities. By taking an active part
in our civic affairs, we affirm these rights and strengthen
Canadas democracy, ensuring that a multicultural,
integrated and exclusive citizenship will be every
Canadians inheritance.
Website: Canadian Heritage www.pch.gc.ca

Mens Indian Wear

Choli - the charismatic Indian blouse

Choli - the charismatic Indian blouse

The latest fashion trend developing in Trinidad is the short mid-riff choli that is
laced up at the back. It is worn with low-rise jeans for casual occasions.
Choli, also known as the Indian blouse, has been
around since the days of the Vedas (1,500 BC). It is
a complementary piece of attire that goes with the
sari/saree or lehenga. It is worn as a matching blouse
under the sari and as a top piece for the lehenga. It is
considered by many reviewers to define a woman's
taste and style of fashion.
The choli is donned for the specific purpose of
complementing and enhancing a woman's figure. It is
therefore, considered a very important piece of attire.
It is extremely beautiful and flattering to all female
shapes.
Throughout generations, the choli has evolved
with the times to accommodate new tastes of the
changing society. When buying this exquisite Indian
garment, women can be assured of infinite sizes,
inspirational colours and intricate beaded designs.
Some tops have full length sleeves, some capped
and others with puffed sleeves. Sequins, crystals, and
beads have been sewn onto the fabric to give a whole
new look. Some designers have been experimenting
with the choli to make it more appealing to teenage
girls.
The back is usually laced to expose a little
skin. Some cholis drop to the mid-thigh to suit the
more conservative woman. The latest fashion trend
developing in Trinidad is the short mid-riff choli that
is laced up at the back. It is worn with low-rise jeans
for casual occasions.
The choli gives a charismatic effect to the wearer
as the pattern and embroidery evoke an exuberance of
style. The rich vibrant blend of colours enchants all
those who see the attire. For the woman who models
this piece, it induces awe-inspiring admiration. Boys
and men are fascinated by this wear because it gives
a woman a sleek new look.
The very versatile choli lends itself to the taste of a
wide cultural spectrum of our rainbow society. For the
rich and the poor, the Indian and the non-Indian, this
fashionable blouse is a "must have" for every woman's
closet.

 a temporary tattoo in demand for Carnival too

Many teenagers prefer to have mehendi done as a
temporary tattoo on various parts of their body to
complement their racy outfits when going to parties.
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 days - much to
the relief of some conservative parents. The application of
this plant pigment has a cooling sensation and no side
effect on the skin.
Although mehendi is traditionally associated with
Hindus, it has become an intrinsic part of the multi-ethnic
culture of Trinidad and Tobago. Many teenagers prefer to
have mehendi done as a temporary tattoo on various parts
of their body to complement their racy outfits when going
to parties.
Mehendi is a boundless art-form with a limitless scope
for various designs, shapes, colours and patterns. This
traditional art originated from India and requires skill,
imagination and patience.
Today, mehendi paintings are in great demand during
Carnival in Trinidad today. Celebrants decorate their
bodies to match their colourful beads, feathers and
costumes. To masqueraders, it is exciting to indulge in the
ancient practice of body art. Indian dancers also wear
mehendi to embellish their hands and feet.
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.

The word mehendi has become synonymous with
marriage. On the dulahin's or bride's wrists, palms, outer
hand, ankles and feet, mehendi plays a significant part of
the traditional Hindu wedding rite in Trinidad. The
ceremony would be considered incomplete if the dulahin is
not adorned with mehendi. Indeed, mehendi is considered
a sacred ornament of a bride.
For this occasion, the design takes the form of fine
lines of lacy floral and paisley patterns. The designs are
done on the entire hands, palms, feet and shins by women
artists. The sessions allow other women to socialize, bond
and offer advice of all sorts to the bride.
Natural ink is derived from the dried leaves of the
Lawsonia inermis tropical plant. The leaves are dried,
ground and soaked in green tea overnight. The rusty-red
pigment is then mixed with eucalyptus oil to produce an
inky paste called henna. It is this ink that is painted to
create the labyrinthine designs on the wrists, palms, hands,
ankles and feet. Mehendi is applied with a cone-shaped
tool through which the paste is piped. After painting, the
ink must be left to dry for eight hours to penetrate the skin
before it is washed off.
These days, mehendi can be bought in packs for
self-application. However, intricate creations done by a
professional cost from TT $45.00 to $250.00, and are
available from the growing number of women artistes who
work from their homes and beauty salons.

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