destination Trinidad
Academic work and internships give Trinity students new insights
into island culture
By
Dorothea E. Hast
Photography: Jeffrey Chock, Pablo Delano, Elizabeth Clark
The Caribbean Republic of Trinidad and Tobago
lies seven miles off the coast of Venezuela. This twin island
nation is home to a diversity of cultures that is reflected in its
music and festivals, including calypso, steel band, soca, chutney,
Ramlila, Divali, and most famous of all—Carnival. The overlays of
culture include European influences: the Spanish governors who
invited French planters, followed by the British who governed the
islands between 1797 and 1962. The two largest segments of the
population today trace their ancestral roots back to India and
Africa. Included in the overall mix are also smaller groups of
Portuguese, Venezuelans, Chinese, Middle Easterners, and people of
mixed heritage.
Within this rich multicultural
environment, Trinity set up its Global Learning Site in 1998 for
the purpose of giving students a unique one-semester cultural
immersion that reinforces course work with internships and
fieldwork. According to International Studies major Nicole Brown
’04, who attended the program in the spring of 2003, students are
urged to get involved in the culture as a whole:
They told us in the beginning that the
island was our classroom. We had our structured meetings and our
structured class times, but we also had so many opportunities to
really explore and go out there and experience it on our own.
Origins of the
program: One faculty member’s move from Shakespeare to Carnival
Milla Riggio, James J. Goodwin Professor of
English, is the program coordinator for the Trinidad site. During
her first trips to Trinidad in the early 1990s, she was struck
both by the island’s diversity and by its strong festival culture:
It still shares with some early
European, African, and Indian cultures the notion of living from
one festival to the other. Living, as one historian put it, in
the memory of one festival and the expectation of the next.
We’re talking about an island that has active working
communities that include strong elements of Hinduism, Islam, and
Christianity of many varieties, including Pentecostal
Protestants, Catholics, a strong spiritual Baptist religion, and
a very strong Orisha or Shango African-based series of
religions. Each one of these religions has its own festival
structure, and on the island, people cross over to celebrate
each other’s festivals so that it is a myriad of cross-cutting
cultures and celebrations that absorb tensions even when they
acknowledge them.
Riggio admits she was hooked by the culture
and began to shift her research focus from medieval drama and
Shakespeare to Trinidad, and especially to the performative
aspects of Carnival:
I suddenly found myself interested in
studying actual living festivals—festivals that have their
origins in the great religious and medieval feasts of the past
or in cultural celebrations from past cultures, but that are
celebrated currently. And that led me to Carnival and kept me in
Trinidad.
Riggio’s work in Trinidad led her to bring
the Trinity-in-Trinidad Global Site to fruition. The first version
of the program was a course she taught at Trinity in 1997 with
Academic On-Site Director Tony Hall called “Festival and Drama.”
During that first class, they took 25 students to Trinidad for
Carnival in the middle of the semester. The following year they
began sending students for the spring term with the idea that the
program would focus on Carnival. Since then, the curriculum has
expanded to six tracks, including music, Caribbean civilization,
theater and performance, community arts and media, and two
Indo-Trinidadian tracks—one focused on Hindu Trinidad, and the
other on Muslim Trinidad and gender studies. Because of interest
in Trinidad’s unique tropical flora and fauna, a new track in
ecology and environment is currently under development. Students
from many Trinity majors, including biology and engineering, as
well as the arts, humanities, and social sciences, have
participated in the program and done extraordinary work and
internships.
On-Site Director Hall, a highly respected
Trinidadian playwright and filmmaker, has helped shape the
curriculum and the media- and Carnival-related internships in
which many of Trinity’s students have participated. Along with
Hall, Lloyd Best, one of the foremost economists and cultural
analysts of the entire Caribbean region, and Ravi Ji, director of
the Hindu Prachar Kendra and a leading cultural activist of Hindu
Trinidadian culture, have been driving forces of the program.
Students take core classes with Hall, Best, Ravi Ji, and other
faculty mentors and attend classes at the University of the West
Indies. Through their academic work and internships, Trinity
students challenge the myth that studying on a Caribbean island is
“all fun in the sun.”
Student internships
encourage hands-on engagement with Trinidad life
Student internships have ranged from work
with NGOs, such as Working Women and NUDE (National Union of
Domestic Employees), to service in a wide gamut of civic,
cultural, and governmental agencies. Mark Witt ’05, an engineering
major, found work with a civil engineer and was able to travel
throughout south and central Trinidad, learning about road
construction and maintenance. Maggie Griffith ’03 did fieldwork on
the Hindu festival of Phagwa, which resulted in a thesis and film.
Nicole Brown ’04, a native of Jamaica, had an internship with the
Association of Caribbean States in the Tourism Department. Her
project was to study sustainable tourism within the Caribbean,
“working with making tourism beneficial to the tourists and to
local people so it’s not just tourists who are benefiting from the
tourist experience.” Her work was so rewarding and successful that
she applied to graduate school in Trinidad and is now in her first
year of a master’s program in international relations.
Many students have worked on music and
media internships, especially in the areas of television,
photography, and documentary film. Two students, Elizabeth
(Eliza) Clark ’05 and Keli Ross-Ma’u ’05, returned to Trinity this
fall after spending the spring semester in Trinidad where they
were both interns with the Pamberi Steel Orchestra.
For Eliza, a Caribbean studies major, this
was her second trip to Trinidad through the Trinity program.
Although she says that she didn’t have a clear motivation for
going the first time, she soon became enamored with all aspects of
the steel drum (or pan as it is commonly called) through her work
with Pamberi. She learned how to play the tenor pan, the highest
instrument in the orchestra, and competed with the group in
Panorama, an annual Carnival competition in which steel bands play
complex arrangements of current Calypso songs. In order to learn
the competition piece, she had to practice eight hours a day. She
describes the intensity of learning the piece and getting it in
performable shape with a group of 90 or more players:
The song you play is eight to ten minutes
long, and they try to cram as much music in that time frame
as possible, so you have to play it fast! You have to know the
song backwards and forwards, every which way, because it has to
be in your body. You know, when you go to sleep, you have to be
closing your eyes and watching your hands move the way they
should go because there are so many notes and they’re so
randomly arranged that it has to be a manual kind of thing . . .
It has to be automatic. So, practice is military, disciplinary;
just practice, practice; go over it and over it and over it.
Even with all the pressures of learning a
new instrument and performing, Eliza loved her internship so much
that she applied to go back the following year. This time, she had
a clear project in mind, to begin documenting the history and
social structure of Pamberi. She did her fieldwork through active
participation, playing with the orchestra and competing in
Panorama, interviewing many of the musicians, and filming the
activities of the panyard. She plans to use her research to
complete a thesis this spring and then hopes to return to Trinidad
in order to turn her thesis into a collaborative book project.
“It brought tears
to my eyes while they were playing.”
Ross-Ma’u, a music major from San Diego, had
already played tenor pan in his father’s band during high school.
Like Eliza, he planned to play in Pamberi for his internship, and
as soon as he arrived in Port of Spain he began intensive
rehearsals with the group in order to get ready for the first
round of competitions.
Keli also began working on his music
project for the semester, composing two pieces that would be
performed by Pamberi in a concert. He wrote one of the pieces in
memory of a friend:
I wrote “Dancing Ashes,” trying to give
the feeling that someone has died and then the ashes rise and
start dancing. I was inspired by the death of a friend and
musician in San Diego named Eddie Sanft. He passed away during
the time I was writing the song.
Keli taught his compositions to the group
note by note, phrase by phrase, since the method of learning is
through imitation and repetition rather than through notation.
After working hard through these
rehearsals and teaching by note, versus handing out music, you
develop a connection with the players, an intimacy. This oral
tradition of teaching creates a unity that’s really special.
For the performance, Keli conducted his
two pieces with Pamberi and performed some of his own music with
his father, who flew down to Trinidad for the concert. Keli was
thrilled with Pamberi’s performance of “Dancing Ashes.”
It brought tears to my eyes while they
were playing. It was a powerful time. They just nailed it. It
was amazing after all that hard work, an amazing night, a huge
success.
One of Keli’s plans after graduation is to
introduce steel drums into the South Pacific. Because of his
father’s background (he is part Tongan and part Fijian), Keli has
family and connections on those islands, as well as in Australia
and New Zealand. On a trip with his family to New Zealand last
summer, he gave steel band lectures at universities, high schools,
and primary schools, which sparked a lot of interest in the
instruments. At this point, he is working with Pamberi’s director,
Nestor Sullivan, to bring pans to New Zealand, and he is
contemplating living there at some point, playing music, teaching,
and composing.
The Trinity-in-Trinidad Global Learning
Site has helped create a whole new generation of scholars and
artists working in the rich cultural environment of Trinidad and
the Caribbean. According to Riggio, 80 percent of the students who
go on this program contrive ways to return to the island. She
credits the uniqueness of the place and the expertise and
generosity of the people as core reasons why students get so
involved in Trinidadian culture:
Our
students are given opportunities to meet and study with people
who have significantly contributed to, and continue to
contribute to, the development of culture. These are
extraordinary artists, scholars, and intellectuals—people who go
far out of their way to make our experiences in Trinidad rich
and rewarding. I can only be astonished at the generosity of the
island and its people in opening its arms to our students.
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