Indian Arrival Day 2015

Indo-Caribbean Cultural Centre Co. Ltd. (ICC) 2015 Indo-Caribbean Cultural Centre Co. Ltd. (ICC) 2015 Indo-Caribbean Cultural Centre Co. Ltd. (ICC) 2015 Indo-Caribbean Cultur

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2015 Trinidad and Tobago Volume 16, Number 1

Mastana Bahar The longest running (45 years) local talent show on TV in Trinidad & Tobago

ISSN 1683-4143

Indian Arrival Day

On May 30th 1845, the Fath al Razak docked near the lighthouse in the Port of Spain harbour in Trinidad and Tobago. There were 225 immigrant passengers on board who had left India to come to the British colony to work on the sugarcane plantations after the abolition of African slavery. They had spent 103 days at sea, enduring a long and dangerous journey that spanned 14,000 miles (36,000 km). The immigrants were contracted to work for five to ten years on the sugarcane estates in a system of indentureship that finally ended in 1917.

A total of 147,596 Indians came to Trinidad over this 72-year period. Although they were promised free return passage back to India, at least

ISSN 1683-4143 Volume 16, Number 1.Cover and page design: Preddie Amit PartapAdvertising: Mera Heeralal and Ramona HarripersadProofreader: Rebecca CaveChief consultant and informant: Khayal MohammedConsultants: Sardar Mohammed, Jamal Mohammed, Rafi Mohammed, Shamoon Mohammed and Holly Betaudier Jr.Interview transcriptionist: Taruna SeebaransinghPhotographers: Preddie Amit Partap, Kumar Mahabir and Fiyaz HoseinResearchers: Vindhar Suraj and Samantha JagdeoContributor editor: Shekhar Mahabir (in London, UK)Editor-in-Chief and Chairman: Dr. Kumar Mahabir

75 per cent of them stayed and settled in the New World. In many ways, they brought India to the Caribbean through their religious traditions of Hinduism and Islam, and eventually transformed Trinidad and Tobago into a colourful, cosmopolitan society.

Descendants of these Indian immigrants, who now comprise about half of the island’s multi-ethnic 1.3 million population, commemorate the arrival of their ancestors annually. The commemoration occurs in the form of prayers, speeches, songs, music, dances and plays which are held in communal as well as public spaces. At various beaches, the spirit of history is invoked with the re-enactment of the landing of the first boat-load of pioneers who gave birth

INDIAN ARRIVAL DAY 2015 TRINIDAD AND TOBAGO

to the Indian community in Trinidad. The historic day has been a national holiday since 1994.

The entire month of May has been deemed Indian Heritage Month, but May 30th holds special historical significance. On this day, participants gather to honour their ancestors who had crossed three oceans and travelled halfway around the world to reach the Caribbean. The descendants gather to pray for the souls of their fore parents, and to seek guidance and blessings for the future. Scholars, teachers, elders and activists continue to share their knowledge of the past and remain committed to increasing public awareness on this important aspect of the nation’s history and heritage.

The 2005 edition of the ICC magazine on the theme “Temples and Tourism in Trinidad and Tobago” won an Excellence-in-Journalism Award

Indo-Caribbean Cultural Centre Co. Ltd. (ICC),10 Swami Avenue, Don Miguel Road,San Juan, Trinidad and Tobago, CaribbeanTel: (868) 674-6008 Tel/fax: (868) 675-7707E-mail: [email protected], [email protected]: http://icctrinidad.wordpress.comCopyright © ICC 2015. All rights reserved. No part of this magazine may be reproduced in any form whatsoever without the written permission of the Chairman of ICC.Cover depicts singer Amit Sooknanan on the set during the taping in Penal in 2014.He eventually won 4th place in the Mastana Bahar Grand Final in 2014.

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Mastana Bahar the longest running (45 years) local talent show on TV in Trinidad & Tobago

Indo-Caribbean Cultural Centre Co. Ltd. (ICC) Indian Arrival Magazine Day 2015

Editorial

Mastana Bahar is the theme of this year’s edition of our Indian Arrival Day commemorative magazine. It captures the history and evolution of Mastana Bahar [Joyful Season] which is undeniably the longest running (45 years), locally-produced TV talent show in Trinidad and Tobago, and perhaps the Caribbean.Mastana is the longest running talent show compared to

competitive and non-competitive shows as well as Indian and non-Indian cultural TV programmes. Its closest local rival is Scouting for Talent which ran for 30 years (1963 – 1993) and was hosted regularly by Holly Betaudier.In 1962, Indian Variety premiered with the memorable

television host, Pat Mathura. Eight years after its debut, Indian Variety paved the way for the emergence of a new show, Mastana Bahar.It became an instant hit. Mastana attracted more

attention than Indian Variety, particularly because of its innovative format which included a dynamic host, intense competition and grand prizes. The show was first produced by Sham Mohammed on July 4, 1970 and aired live on Trinidad and Tobago Television (TTT).The popular talent contest TV series now comprises 14

preliminary rounds, 10 semi-finals, a grand final and an all-star show. In 2014, the season finished on the 11th of December.At present, Mastana is aired on GISL TV 4 on

Saturdays from 5:00 p.m. to 6:30 p.m., Sundays from 11:00 a.m. to 12:30 p.m., and Thursdays from 9:00 p.m. to 10:30 p.m. It is also broadcasted on IETV Channel 1 on Sundays from 4:30 p.m. to 5:30 p.m.Auditions take place on Sunday mornings at four

venues: Barrackpore, Chaguanas, San Fernando and Valencia. As many as 60 contestants from all across the country compete, and from this pool, eight persons are usually selected for the preliminary episode. Rehearsals and recordings for the Mastana Bahar series take place at the Rampersad Brothers’ Ranch at Raju Trace in San Francique Village in Penal.Some of the grand final winners of Mastana who have

become national and international stars include Parvati Maharaj (1970), Mungal Patasar (1974), Jameer Hosein (1975), Polly Sookraj (1978), Virendra Persad (1985), Michael Salickram (1986), Shiv Shakti Dance Group (1988), Dragon Boys Tassa Group (1989), Kiss Natraj Dance Group (2003), Pranava Maharaj (2005), and Neval Chatelal (2006).Since its advent in 1970, Mastana Bahar has never

received an annual subvention from any of the government to help produce the series. Except for one

Since its inception in 1970, Mastana has broadcasted 1,274 episodes (shows), featured approximately 22,650 performers, 10,192 performances and 15 orchestras.

newspaper the popular weekly show does not receive any print media attention.Renowned US musicologist Peter Manuel (2000) stated

that “Mastana Bahar has evolved into an institution in Trinidadian culture.” In her book entitled Music in Latin America and the Caribbean (2004), Malena Kuss wrote that since the 1970s, the local talent TV show has been a central feature of local cultural life.One significant by-product from the success of Mastana

Bahar is the immensely successful Children of Mastana (COM). This distinctly-separate, but still closely-related Indian cultural talent show premiered in 1995 and was originally conceived by Sham’s second son, Jamal Mohammed. COM runs for 12 weeks and Mastana is aired for 26 weeks. Sham’s eldest son, Khayal Mohammed, produces both series for 38 weeks. COM begins annually in January and ends in May, usually on the Indian Arrival Day weekend.Other spin-offs of Mastana have been The Mastana

Bahar Travel Club and the now-defunct The Indian Cultural Pageant. The pageant was a live annual concert that was held for 25 years from 1975 to 2000.Some of the Children of Mastana stars include Ravi

B, Nisha Bissambhar, Nadia Madoo and KI. In 1995, Vishal Kris Persad (KI), son of JMC Triveni Orchestra’s bandleader, Virendra Persad, became the first winner of Children of Mastana when he was just eight years old. Now, he has two Chutney Soca Monarch titles under his belt.Many of the finalists of COM have become popular

artistes in their own right with growing fan bases. For example, Neval Chatelal won second place in Children of Mastana in 1995 and first place in Mastana Bahar in 2006 as well as the first prize in the non-Indian talent show, Digicel Rising Stars in 2010.Sham Mohammed, the founder of Mastana Bahar,

also created other avenues for Indian cultural exposition and competition. He realised that there was no annual national beauty contest highlighting Indian attire. He also noted that there were hardly any beauty pageants in which women did not have to bare themselves in a swimsuit. Therefore, he decided to establish an innovative beauty show entitled “Miss Mastana Bahar Queen” as part of his TV series in 1975. The popular segment continues to flourish to this day.

Dr Kumar Mahabir is the Editor-in-Chief andChairman of Indo-Caribbean Cultural Centre Co. Ltd (ICC)He is also an Assistant Professor at the University of Trinidad and Tobago (UTT)

Greetings from the Prime Minister of the Republic of Trinidad & Tobago

The Honourable Kamla Persad – Bissessar, SC, MP Prime Minister of the Republic of

Trinidad and Tobago

It is indeed an honour for me to bring greetings to the citizens of Trinidad and Tobago as we celebrate Indian Arrival Day 2015. One hundred and seventy (170) years ago our ancestors left their country of birth to come to a distant land with a dream in their hearts and a desire to better themselves.

Through their perseverance and hard work, they were able to forge a destiny and an identity for themselves and their children in this new land which, for many of them, became their new home. Despite many hardships and sacrifices, they were able to keep their customs and traditions alive, and these have been passed down through the generations that followed.As a descendant of those who came before us, and as a product of the

values and traditions of my forefathers, I am proud to lead a government and a nation that uphold, defend and espouse the different and dynamic faiths of all.One of the most enduring features of Indian culture is the love of music.

Indeed traditional Indian music and songs – and chutney music – can be heard emanating from many a home across the country throughout the year. I am certain that many local artistes would have been influenced by Mastana Bahar, the longest running, locally-produced TV talent show in Trinidad and Tobago. I can vividly remember the days when my siblings and I, together with my parents, would sit and watch the show every Saturday evening. Through Mastana Bahar, we were introduced to Indian song, music, and dance that were so ably performed by the many contestants on the show.Tribute must be paid to the late Sham Mohammed, an Indian cultural icon

and son of the soil, who first produced the show on July 4th, 1970, and who also hosted the show for decades. It was indeed a show that was designed to bring to the fore, the talent of Trinidad and Tobago.Today, forty five (45) years later, Mastana Bahar is as strong as ever, and it

continues to give many citizens, young and old, an opportunity to showcase their talents and to carry on the rich heritage and legacy of our ancestors. In fact, in her book entitled Music in Latin America and the Caribbean (2004), Malena Kuss wrote that since the 1970s, this local talent TV show has been a central feature of local cultural life. Even renowned US musicologist Peter Manuel (2000) stated that “Mastana Bahar has evolved into an institution in Trinidadian culture.”It is without a doubt that the Indian community has made, and continues

to make, a remarkable contribution to national development through many disciplines. We recognize and remember the strength and fortitude of our ancestors, and we celebrate their unwavering service and devotion to family and country.We will continue to follow in their footsteps and to make them proud.

Together, all of us, working side by side, and with a boundless faith in our shared destiny, we will continue to transform our beloved country of Trinidad and Tobago into a place which we are all proud of, and where there is prosperity for all.I wish you all a very Happy Indian Arrival Day 2015.

Greetings from the Minister of National Diversity and Social Integration

Dr. the Honourable Rodger Samuel

Minister of National Diversity and Social Integration

It is my sincere pleasure to bring greetings and extend best wishes to the citizens of Trinidad and Tobago in general, and to those of East Indian heritage in particular, as we collectively celebrate the 170th Anniversary of Indian Arrival in Trinidad and Tobago. I am grateful to the Indo-Caribbean Cultural Centre Co. Ltd (ICC) for providing me with an excellent medium such as this to share my thoughts on this significant occasion.As Minister of National Diversity and Social Integration, I consider

Indian Arrival Day as an occasion and opportunity to acknowledge, embrace and celebrate the presence, culture and contribution of one of the many people groups, who today, make up the rich mosaic of ethnicities that comprise our vibrant and cosmopolitan nation. Divinity and destiny have collaborated to bring to our shores, people of diverse origins, cultures and beliefs. Time has permitted synergies among these diverse groups and produced results that could never have resulted, had they remained in their lands of origin.The circumstances surrounding the arrival of our Indian brothers

and sisters as well as their experiences as indentured labourers have been well documented. We recognize that those 143,939 pioneers who disembarked the Fatel Razack and other vessels between 1845 and 1917 came to Trinidad on a mission and with a purpose. Without question, they have succeeded.As we celebrate the heritage and contributions of the people of Indian

origin to Trinidad and Tobago, we can boast that few sandwiches can rival the taste of a “doubles with plenty pepper”. The infectious rhythm of the tassa drums can be found in almost every musical genre, and we are all entranced by the illumination of thousands of deyas at Divali. Phagwa and Hosay contribute in no small measure to making Trinidad and Tobago the Festival Capital of the World. And it would certainly be remiss of me to not recognize the Indo contribution as well, to nation building, for they have excelled in many spheres, such as sport, medicine, law, politics and business.The World Values Survey (2006 and 2010) lists Trinidad and Tobago

as one of the proudest countries in the world, while the 2015 World Happiness Report, ranks Trinidad and Tobago the happiest country in the Caribbean. Without doubt, our pride and happiness lie in the diversity of our people and the inherent potential and spirit within each group. It lies also in our unique ability to coexist peacefully and productively.I note the theme of this magazine is Mastana Bahar and join with it

in celebrating a talent show that has become an institution of iconic status in nurturing and preserving Indian culture and talent in Trinidad and Tobago. I wish the magazine continued success and longevity as it pursues its noble mandate.In closing, and on behalf of the Ministry of National Diversity and

Social Integration, I pray God’s continued blessing for our Indo-Trinidadian and Tobagonian community.

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In the early 1960s, there was a general movement towards independence sweeping across the West Indian islands. The year 1962 was significant to the people of Trinidad and Tobago for many reasons. First, it was the year the nation gained political independence from the British Colonial Empire. It was also the year that the state-owned company, Trinidad and Tobago Television (TTT) was established in this country. At the time, TTT was the only TV station in the country operating through two channels. In the same year (1962), Indian Variety premiered and was hosted by memorable television personality, Pat Mathura. This ground-breaking Indian cultural TV show had an enduring run as a regular feature of the nation’s weekly viewing experience.Eight years after the premiere of

Indian Variety paved the way for the expression of Indian cultural experience, another Indian cultural show debuted on television. This new show, Mastana Bahar [Joyful Season], attracted more attention particularly because of its innovative

THE ARRIVAL OF MASTANA BAHARIn 1962, Indian Variety premiered as the first ground-breaking Indian cultural TV show.

format which included a dynamic host, intense competition and grand prizes. Mastana became an instant hit when it was first launched and broadcasted on July 4, 1970. Mainly Indo-Trinidadians were able to see, hear and appreciate themselves singing, dancing and playing musical instruments on a black-and-white screen in the comfort of their homes. Indians, along with the other ethnic groups in society were mesmerized by the show and many people scheduled their domestic and business activities so that they were available in time to view it at 6:30

p.m. on a Saturday evening.In 1995, after 33 years on air, the

curtains finally came to a close for Indian Variety. During its run, the programme had been a household feature for more than three decades. On the other hand, Mastana Bahar continues to persevere. Now in its 45th year and still running, Mastana has become an integral part of the cultural history of Trinidad and Tobago. Today, Mastana Bahar remains the longest-running, locally-produced talent show on television in the Caribbean.

Presenter Sharda Siewsankar

Giveaways on setCo-producer Sardar Mohammed & Liaison Officer Nazira Mohammed on the set

Pat Mathura

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Sham Mohammed rose from a background of law, politics, and show business which moulded him into an enterprising, dynamic and creative individual. He was a dedicated gardener, a devoted family man, and most notably, the pioneering producer and presenter of the ground-breaking, iconic cultural phenomenon, popularly known and revered by thousands as Mastana Bahar.For 24 years, until his death in

1994, he was the well-known and beloved host of this memorable forum for showcasing Indian talent in song, dance and music. As early as 1947, his brother Kamal Mohammed had been a regular household companion over the airwaves, hosting the first Indian radio programme, “Indian Talent on Parade” on Radio Trinidad. He filled the twilight evenings with Indian film melodies and religious songs that filtered memorably through many a living room, taxi and playground. As a result, both the urban and rural environment in Trinidad and Tobago were uplifted with the sounds of India.In 1954, at the age of 18, Sham

began his broadcasting career at Voice of Rediffusion (also called the B-station of Radio Trinidad),

a British-owned station in colonial Trinidad. While studying law in London from 1960 to 1966, he gained foreign exposure and experience as a scriptwriter and broadcaster for the BBC World Service. Upon Sham’s return to Trinidad in 1966, he further honed his skills by doing short stints as a host with Radio Trinidad 730 AM, the oldest radio station in the country.At that time, Sham’s other brother,

Moean Mohammed was a popular show-promoter who organized concerts and talent shows in cinemas throughout the country. The highly motivated brothers realized that there was a growing thirst to see, perform and compete in Indian cultural shows. Together, they conceived the innovative idea of using television to produce a trailblazing Indian talent contest.The concept germinated and

blossomed into the show known as Mastana Bahar which first aired on TTT on July 4, 1970. Mastana began as a 30-minute talent programme which ran for 13 weeks, on Saturdays from 6:30 p.m. In his own inimitable style, Sham coined many memorable phrases

SHAM MOHAMMED – THE VISIONARY

For 24 years, until his death in 1994, he was the well-known and beloved host of Mastana Bahar.

that became synonymous with the show and even became part of the local parlance. Catchphrases like “solid-liquid cash,” “the people’s programme,” and “everybody wins, nobody loses” are still used today on the programme. These familiar expressions touched a chord in many viewers and promoted Sham to well-deserved legend.

Caricom’s highest award for Kamaluddin Mohammed

, 628-HART

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As impresario and host of Mastana Bahar, Sham Mohammed made an unforgettable impression on the young minds of his children and nephews. Khayal Mohammed, Sham’s eldest son, recalled his experience on that historic date, July 4, 1970, when the first edition of Mastana Bahar was recorded live.Khayal, who was just ten years old

at the time, recalls: “I remember my father holding my hand as we walked into TTT on Maraval Road in Port of Spain. My brother Jamal, my cousin Sadro (Uncle Moean’s son), and Harry Mahabir (the music director) were with us. We all walked into this freezing cold studio which was like a big hall. There were bright lights and electronic equipment. I was fascinated by the

spectacle. Recording the programme live meant that what was happening in the studio on Maraval Road was being seen simultaneously all over the country.”Khayal also reveals: “I remember

my father preparing a typed programme script. The five-page format still remains the same today. It includes the following: ‘Introduction, Emcee to introduce judges, Opening remarks,

MEMORY OF THE FIRST SHOW

Khayal Mohammed recalled his experience on that historic date, July 4, 1970, when the first edition was recorded.

Introduction of contestant #1, Commercial break, Introduction of contestant #2. Commercial break, etc.’ Jamal, Sadro and I were amazed and fascinated. That is how I learnt to produce the show.”From this very first edition

of Mastana Bahar, Sham was convinced that this performing arts competition on TV was going to be a huge success.

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Viewers of Mastana Bahar in the 1970s recalled that watching the show on Saturday evenings at 6:30 p.m. was a family and communal occasion. Women would ensure that all domestic chores would be completed in advance and men would try to be home in time. Entire families would gather around the black-and-white television sets of that era. People without television congregated at their neighbour’s house to enjoy the half-hour entertainment. On occasions, when there was only one TV in a neighbourhood, the owner would sometimes charge a fee: one cent to stand and watch the programme or five cents to sit on a bench that was provided. Some people were so inspired that, in true Indian fashion, they scrimped and saved until they could afford to purchase their own television. With the purchase of more TVs, more people watched Mastana. The popularity

EARLY VIEWING OF MASTANA

The owner of the TV would sometimes charge one cent to stand and watch the show and five cents to sit on a bench.

of the show propelled more artistes to showcase their talent by participating in the competition.The show has been running for

more than three decades and was one of the most popular programmes on state-owned Trinidad and Tobago Television (TTT) in the 70s, 80s, 90s and beyond. TTT was the only television station in operation until 1991 when the privately-owned TV6 was established. According to Wikipedia, TTT was “best known for its cultural presentations such as Mastana Bahar and Scouting for Talent.”

Dancer Seema Deokaran

Production team at work

Mastana Bahar Queen Finalists Fazida Yathali and Vishani Murally.

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The first auditions of Mastana Bahar in the 1970s saw unprecedented enthusiasm from scores of eager participants from all across the country with as many as 37 performers auditioning for the premiere episode. The first ground-breaking audition was held at Trinidad and Tobago Television (TTT) studios on Maraval Road in Port of Spain on the morning of Sunday June 28, 1970 at 10 a.m. Of the 37 performers eager to compete, only six contestants could be selected to appear in the first episode of the 30-minute programme. Due to the overwhelming response from the participants and patrons, subsequent auditions were moved to the Ascot cinema in Woodbrook. TTT studios had become too small to accommodate the growing numbers. Khayal Mohammed, Sham’s eldest son, recalled that as many as 120 persons participated in each audition as the show became more popular.In addition to the prospective

competitors, large groups of families and friends came to offer their support while others came to “lime” [socialise] and enjoy a new experience. People even came to see what was happening behind the scenes. Khayal was always busy as he was responsible for registering the contestants’ personal information, and the type of performance each contestant was prepared to do, whether it was singing, dancing, playing a musical instrument or a combination of them.Khayal recounted: “People used to

come to sing for Harry Mahabir, the

AUDITIONS IN THE 1970SThe first ground-breaking audition had 37 performers competing for 6 spots.

music director. Harry used to come with a drummer who would play for those who were singing.”Inevitably, it was discovered

through the auditions that there were artistes whose enthusiasm exceeded their talents. There were also those whose performances fell short of the standards required for a national audience. These performers were gently and diplomatically guided to explore other fields of creative expression. Artistes may think that they enjoy performing before an audience but when the moment arrives, the presence of a crowd presents a challenge. Performers had to prove that they were up to the task or they would not make it to the final six for the upcoming episode. Today, Mastana Bahar is the only forum on television for Indian cultural artistes to perform and win a prize.

Hamper giveaway on the set

Audience at Mastana recording

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Sham Mohammed, the founder of Mastana Bahar, passed away on May 21, 1994. His unexpected demise was the first of many challenges encountered by Sham’s successors on their journey to continue sharing his legacy with the nation. His eldest son, Khayal, recounted: “When his life left his body, I said in my mind: ‘Pa, everything you used to be doing, we are going to continue them.’ ”At a press conference held at

the family’s home on the day that Sham died, journalist Tony Fraser

enquired: “So what is going to happen to Mastana Bahar?”

Khayal stood up and replied confidently, “Mr Fraser, tomorrow morning we are going to have auditions at the Woodland Community Centre in La Fortune Village in Woodland.”Clearly surprised by Khayal’s

prompt response, Fraser queried, “Tomorrow? But don’t you all have to organise for the funeral?”

Khayal replied, “Yes, but my father used to say, ‘The show must go on.’ ”Sham died on a Saturday. To

honour his word and with a sense of commitment, Khayal rose early the following Sunday morning. He led a crew to the southland to work at the audition. He also arranged for the next televised edition of the programme. The entire team

SHAM MOHAMMED’S DEATH

Sham passed away on May 21, 1994. Just before his death, he said, “The show must go on even if I die.”

returned in time for the funeral on the Sunday evening. On Thursday, Mastana was recorded at the El Dorado Hindu School and the show was aired without a hitch at its regular scheduled time.Nothing was to hinder the

continuation of the programme. This was one of many important and valuable life lessons that Sham had taught his children. Death is a natural part of life and while they must grieve, life must go on. Khayal and his siblings and cousins had been deeply inspired by Sham’s enthusiastic persistence to make Mastana Bahar succeed and continue. Since the programme began in 1970, their impressionable young minds had become the fertile ground which allowed Mastana to grow and bear fruits for future generations.

Pick-a-Pan on Mastana Bahar with Purshotam Singh and Vishani Murally.

Production team members Reshma Doon and Sharda Siewsankar.

Kasturi Maharaj performingNAMALCO Quiz in progress on set at the recording

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When the imaginative founder of Mastana Bahar, Sham Mohammed, passed away on May 21, 1994, many kind volunteers came to lend their encouragement and support to ensure that the series remained alive. With great enthusiasm, they flocked to Khayal, Sham’s eldest son, who took up the mantle of responsibility to continue to produce the show. Khayal readily acknowledges this groundswell of assistance when he said, “I had so much help, I did not know what to do with it.”

VOLUNTEERS AFTER SHAM’S DEATHAfter Sham passed away, many volunteers offered their encouragement and support.

People from various walks of life and places came to offer their condolences. At the audition held the day after Sham’s death, some of them openly cried as they mourned his loss. In the 24 years that it had existed under Sham’s guidance, Mastana had grown into an iconic cultural institution. Even, in 2015,

people still offer their services in support of the talent show.The late prominent businessman,

Frank Ramnarine of Ramnarine Industrial Supplies Ltd (RISL) showed his avid support by vowing that he would continue paying for the rental of the chairs and tables

every week, and he kept to his word. When the show was recorded at NAMDEVCO near to his home in Penal, Ramnarine covered the full cost of renting the facilities. Today, RISL is owned by Ramnarine’s children who maintain that tradition and the family remains one of the oldest sponsors of the series.

Production Team Members Raffique Mohammed and Chhitar Maniram preparing hampers for recording session

Queen Melissa HarrylalVolunteer Sharda Siewsankar

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In 1994, Mastana Bahar entered a new era of production and management under the leadership of Sham’s eldest son, Khayal Mohammed. The new producer came from an impressive educational background. He attended St. Mary’s College in Port-of-Spain and then went on to graduate from the University of the West Indies, St. Augustine with a BSc in Management Studies in 1987. He has been teaching Business Studies at St. George’s College in Barataria for more than 25 years.Since he was 10 years old, Khayal

had accompanied his father, Sham, to recordings of Mastana. He eagerly anticipated attending the

recordings every week as they were always special and unique experiences. Khayal was also aware that with the excitement and enthusiasm came responsibilities to uphold professional standards. When his father died at the age of 58, Khayal vowed to face and overcome the challenges of producing the popular TV show. Khayal was 34 years old when he made the commitment to work hard to honour the memory of his father. To this day, his responsibilities as producer include essential duties such as securing venues, organising the public address system, liaising with supporting organisations to rent chairs and tables, and soliciting prominent businesses for giveaways

THE NEW PRODUCER KHAYAL MOHAMMED

For 38 Thursdays throughout the year, Khayal voluntarily drives between San Juan and Penal.

and prizes. He also regularly petitions sponsors and constantly negotiates numerous details with the TV station. For 38 Thursdays throughout the year, come rain or shine, Khayal devotes more than four hours to the task of driving to and from the recording venue in Penal. He leaves his home in San Juan at three on Thursday afternoons and returns at two the following Friday morning.

Producer Khayal Mohammed

Producer Khayal Mohammed

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“Pick-a-Pan” is a popular Hindi/English vocabulary game in which members of the audience participate for the chance to win a much-appreciated cash prize each week. Before the show begins, each member of the audience is given a number. During the show, the Master of Ceremonies randomly selects a number and the number-holder is given a small cash prize. At the second stage, he or she is called on stage to provide the Hindi name for an English word or expression. If the holder wins this aspect of the game, he/she is then called upon to select one of three pans (hence the name “Pick-A-Pan”) for a chance to win a highly-coveted grand cash prize.The value of the jackpot for the

“Pick-a-Pan” now ranges from TT$500 to $9,000 and has been consistently sponsored by National Flour Mills (NFM) for more than three decades. One of the pans conceals the grand cash prize, the second holds a consolation cash prize of TT$50, and the third pan contains a booby-prize of no value. If no one wins the jackpot, there is a rollover of TT$500.The educational objective of the

game is to increase the knowledge of, and appreciation for Hindi. Running for more than 40 years, “Pick-a-Pan” is still an important feature of Mastana Bahar. It is enjoyed even by non-Indians who often submit relevant questions and answers to this intriguing game.

“PICK-A-PAN”Running for more than 40 years, “Pick-a-Pan” is still an important feature of Mastana Bahar.

Pick-a-Pan Contest segment on set

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“Sundar Capra” is another popular cultural feature for the audience attending the TV talent show, Mastana Bahar. For this feature, members of the audience are specially selected and generously awarded prizes for wearing the best Indian traditional attire. “Sundar Capra” literally means “Beautiful Wear.” For several years, Nestle (Klim) sponsored the prizes. The objective of “Sundar Capra” is to increase the wear and appreciation of traditional Indian garb.Another popular aspect of

Mastana Bahar is an informative national awareness competition. This segment is appropriately entitled “Know Your Country” and is sponsored by NAMALCO, a construction company in La Brea. In the 2014 edition of the series, NAMALCO sponsored the 6th prize valued at $9,000 for the final round, as well as the second prize for each week of the competition.

“SUNDAR CAPRA” AND OTHER AUDIENCE ACTIVITIES

There is also a nature knowledge quiz which continues the trend of educating the population about their country while also helping to increase patriotism. It focuses on local tropical flora and fauna and is supported by Super Industrial Services.Another segment of Mastana

Bahar is the audience-oriented activity entitled “Radio 90.5 Spotlight feature.” In this item, members of the audience are randomly asked to sing an excerpt of a Hindi film song. This feature has proven to be well appreciated by aspiring participants who get an unexpected chance to showcase their talents.

Members of the audience are generously awarded prizes for the best Indian attire.

Presenter Sharda Siewsankar

Mastana Production Team members Mala Sookoo, Fazida Yathali, Kimberly Lowtan and Nazira Mohammed

Mastana Queen Vishani Murally

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Sham Mohammed, the founder of Mastana Bahar, created other avenues for Indian cultural exposition and competition. He realised that there was no annual national beauty contest highlighting Indian attire. He also noted that there were hardly any beauty pageants in which women did not have to bare themselves in a swimsuit. Therefore, he decided to establish a different kind of beauty show entitled “Miss Mastana Bahar Queen” as part of his TV series in 1975, which continues to flourish to this day.

From September each year, unmarried women from as young as 17 years old are invited to audition in an array of colourful and intricately-designed Indian attire. Eight women and teenage girls are then selected as finalists and proudly featured in two half-hour segments on Mastana. One half-hour is featured in the last semi-final round and the other in the “All-Star” presentation. To win the queen title, the contestants must model on stage with poise. They must appear wearing two separate Indian outfits: a sari, shalwar or gharara.The women are also required to

introduce themselves in a brief but fluent and persuasive speech. They must express their vision for themselves as prospective fashion queens and role models before a panel of judges which consists mainly of women. The prize for

THE “MISS NATURALLY FAIR MASTANA BAHAR QUEEN” CONTESTSham realised that there was no annual national beauty contest highlighting Indian attire.

the first-place is $10, 000 and is generously sponsored by Indus Merchants Ltd., distributors of the ‘Naturally Fair’ range of beauty-care products.In 2014, the first-prize winner

was Reshma Doon. Second was Raveena Nandlal and third was Sunasha Balkaran. The second and third place prizes were donated by Home Appliances Parts and Service Limited, and Darren Car Sales Limited, respectively. Other finalists for the 2014 beauty pageant, now titled “Miss Naturally Fair Mastana Bahar Queen,” included Shalini Juteram, Shivana Maraj, Venatri Ramkissoon, Camille Ramdath and Melissa Harrylal. Former well-known Mastana Bahar Queens include the former politician Hulsie Bhaggan, current politician Diane Baldeo-Chadeesingh, and UWI lecturer Dr. Gabrielle Hosein.

Mastana Bahar Queens on the set at recording session

Mastana Queens on the set at recording session

Mastana Bahar Queen Contestant Stacy Mohammed of Santa Cruz

Mastana Bahar Queen and presenter Raveena Kanhai

30



Since 2004, the limited availability of resources has prevented the audition team for Mastana Bahar’s preliminary round from travelling throughout the country. If auditions were held at many different venues, more participants and patrons as well as viewers of the TV show could be attracted.For logistical reasons, auditions

take place at four venues (Barrackpore, Chaguanas, San Fernando and Valencia) on Sunday mornings at 10 a.m. In spite of this limited number of venues, weekly auditions attract as many as 60 contestants from distant locations all across the island. From this pool, eight persons are usually selected for the preliminary episode that week.

AUDITIONS TODAYAuditions take place at four venues with as many as 60 contestants competing for eight places.

The producer, Khayal, realised that some competitors were auditioning regularly and were disappointed that they were not selected. He said, “It is frustrating for someone to come from, say, quite Arima to Barrackpore to be turned down more than once. Since last year, in order to prevent this disappointment, I started to place persons in a later audition in the series.” Recordings only take place at the Rampersad Brothers’ Ranch at Raju Trace in

San Francique Village in Penal on Thursdays from 5:30 p.m.Mastana is a popular talent contest

TV series which now comprises 14 preliminary rounds, 10 semi-finals, a grand final and an all-star show. In 2014, the season finished on the 11th of December. Mastana is aired for 26 weeks while Children of Mastana runs for 12 weeks. Khayal produces all the episodes for the total 38 weeks.

Auditions in progress at Corinth, St. Madeline

Rehearsals in progress at auditionsRegistration in progress at auditions

Auditions in progress at Corinth, St. Madeline

Preparing the stage area for Mastana Bahar auditions

32



The demographics of the live studio audience of Mastana Bahar have evolved mainly because of the location of the venue. From the 1970s to 1990s, the series was recorded in the Trinidad and Tobago Television (TTT) studio, and later in the Gulf City auditorium. These urban venues were well patronised because they were air-conditioned which encouraged the women to wear lavish jewellery and clothes such as shalwars and saris, and men were able to wear kurtas. However, the current venue at Rampersad Brothers’ Ranch in the Penal countryside is sometimes hot and the mosquitoes tend to irritate the spectators.

There is usually an average of 100 persons attending the recordings at the ranch each week. Some people from the neighbourhood walk to the venue while others arrive on bicycles. Some audience members from distant places like Arima hire a 12-seater mini-bus [maxi-taxi] to travel to Penal to support their favourite contestants at the ranch. During school vacations, the number of live spectators increases. The number also swells as the season comes to a climax, during the semi-finals and the grand-finals.During these times, the crowd

overflows, and tents and additional chairs have to be placed in the parking lot and driveway of the

THE AUDIENCE

There is usually an average of 100 persons attending the recordings in Penal each week.ranch. Most of the younger members in the audience come to support the dancers in the competition, who are often young people themselves.At every recording at the ranch

in Penal, two rows of chairs in the audience are reserved for elderly women who are regular attendees. Some of them still wear orhnis [scarves]. Although the show begins at 7:30 p.m., the women arrive as early as 4 p.m. Some of the elderly women are Sumintra Gangapersad from Quenca Street in San Fernando, Kazeeman Mohammed from Seukaran Trace in Siparia, Sumintra Ramsingh from Fyzabad, Soogrim Bhola from Penal and Lalchan Raj from Debe.Two elderly women from Central

Trinidad, Julie Rogers and Yasmin Harricharan, are such dedicated patrons that every week, they take a bus to San Fernando, a taxi to Penal, and finally another taxi to San Francique. After the show ends at about 10 p.m., they are offered a ride with the Master of Ceremonies, Sardar Mohammed, to the highway near their homes. There are a few non-Indians who are live spectators and who participate as contestants, mostly in dance. There is an Afro-Trinidadian from Curepe known as “Marvellous” Marva who attends the show regularly in Penal.Cross section of the audience

Cross section of the audience

Over 30 years of Service.

34



Since its inception in 1970, Mastana Bahar has benefitted from a team of volunteers that has contributed significantly to the success of the programme. In recent years, the team has consisted of about ten dedicated assistants who volunteer their time and expertise in a variety of ways on a weekly basis. They have been motivated to volunteer because of their love for, and loyalty to Mastana Bahar. Moreover, they make it a special occasion by attending with family and friends to see the actual set as a form of excursion and entertainment.Some of these enthusiastic

volunteers were past contestants; others passed on their involvement to their children who have now become keen participants. The older volunteers range from 55 to 70. Some of them were even dear friends of Sham Mohammed, the founder of the TV series. When Sham passed away in 1994,

THE MASTANA BAHAR VOLUNTEERSTheir selfless service derives from their deep commitment to Indian culture.

these volunteers were inspired to strengthen their resolve to prevent Mastana from fading from our memories.The current producer, Khayal

Mohammed, has expressed his gratitude to these supporters by saying that he cannot thank them enough for their help. As a form of expressing his deep and abiding appreciation, Khayal publicly announces their names at every show, and honours them during an annual thanksgiving ceremony. Yet in their humility, the volunteers insist that they do not need any form of recognition because they claim that their selfless service derives from their deep commitment to Indian culture.

Mastana Family/Volunteers – Sardar Mohammed, Sunasha Balkaran, Reshma Doon, Melissa Harrylal and Sham Sookdeo

Production team members

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Each recorded programme of Mastana Bahar involves detailed preparation with a wide range of duties that need to be executed. These preparations entail the cooperation and contribution of a number of volunteers. Every Thursday when Mastana is being recorded, each member of the crew has a scheduled duty to perform. Their teamwork includes erecting and dismantling banners, stacking chairs and packaging hampers. Deodath Juteram, Rahamat Yathali

and Purshotam Singh prepare the stage. Chhitar Maniram and Shamshuddin Mohammed assist in shifting the signage. These crew members hail from different parts of the country. Chhitar Maniram is from Manzanilla, Deodath Juteram is from Sangre Grande and Rahamat Yathali is from Rio Claro. Some of the other volunteers include Raffique Mohammed and Linda Nazira Mohammed from Retrench Village, Sham and Mala Sookdeo from Princes Town, and Ramesh Jagmohan and Sharda Siewsankar from Penal.The producer Khayal Mohammed

collaborates with the television director, Anthony Straker. Even the families of the volunteers help.

THE MASTANA BAHAR FAMILY

Since the TV talent show began in 1970, the family bond has remained strong.

There are five or six young women who assist with administrative paper work including Sharda Siewsankar, Tricia Lalbeharry and Raveena Kanhai. Young Amar Sookdeo also lends his support.Khayal’s niece, Salisha Ali helps

with uploads on Facebook and on the website www.rafimohammed.com. Rafi Mohammed created the Facebook page which he updates. He also announces the names of the weekly contestants on his radio programme. Khayal’s cousins, Shamoon and Sadro Mohammed, are always willing and available to assist. Since the TV talent show began in 1970, the family connection has remained strong.

Volunteers – Sunasha Balkaran, Reshma Doon and Sharda Siewsankar

Host and Co-producer Sardar Mohammed

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One significant by-product from the burgeoning success of Mastana Bahar is the immensely successful Children of Mastana. This distinctly-separate, but still closely-related Indian cultural talent show was originally conceived by Sham’s second son, Jamal Mohammed. It illustrates the Mohammed family’s commitment and determination to promoting, supporting and sustaining the popularity of the Mastana legacy. Children of Mastana premiered in 1995 and it is designed for competitors aged 16 and under to nurture the early signs of Indian talent in the performing arts. Viewers and contestants had expressed concerns that it was too challenging for children to compete against adults. Therefore,

the Mohammed family decided to level the playing field for the under 16s wherein they can be given the opportunities to excel in competition

CHILDREN OF MASTANAConceived by Jamal, it premiered in 1995 for competitors aged 16 and under.

with their own contemporaries. After Children of Mastana premiered, it became just as popular as the adult programme from which it derived its format. Children of Mastana begins annually in January and ends in May, usually on the Indian Arrival Day weekend.Jamal has been educated in the

field of primary education and has had a longstanding career devoted to children as a primary school teacher. From 1987, he taught for 20 years at the El Socorro TIA School. In 2007, he retired from the education sector and entered the wider and more influential world of politics.Every episode of the programme

begins with the announcement which has become a familiar refrain, “Welcome to the Children of Mastana, a programme created by Jamal Mohammed in 1995 in memory of the late Sham Mohammed.”This customary homage to the

founding father goes a long way in securing the legacy of Sham Mohammed in the national memory.

Vindanna Bhini performing on Children of Mastana

Kadeem Emmanuel performing on Children of Mastana

The Amritam Shakti Dance Group performing on Mastana

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STARS OF CHILDREN OF MASTANA

Some of the winners have included popular performers who are now household names.

Children of Mastana was designed to encourage and challenge young contestants to exhibit and nurture their talents in the Indian performing arts. Some of the more enterprising and promising talents have not only competed in Children of Mastana when they were under 16 years old, but they have also climbed the ladder of success and graduated to the grand final of the parent programme. The following are the winners of the grand final of the 2014 season of Children of Mastana, categorised by place, name, prize and sponsor:

1st – Nicholas Mohan $25,000.00 – Ministry of the Arts & Multiculturalism2nd – Rachel Dieffenthaller

$15,000.00 – KARMA & The Band3rd – Liya & Divya Bachan

$10,000.00 – Solo Beverages Limited4th – Kamara Seecharan $ 8.000.00

– 2001 Carpet House Limited5th – Darshana Tulsie $ 7,000.00 –

Radio 90.5 FM6th – Nandita Dwarika $ 6,500.00

– Darren’s Car Sales Limited

7th – Vandhanie Dwarika $ 6,000.00 – Sugar’s Woodwork Shop8th – Karina Sooknanan $ 5,500.00

– NAMALCO Construction Ltd9th – Trinidad Multicultural

Dancers $ 5,300.00 – KI Persad & Triveni Band10th – Neeshana Dance Academy $

5,000.00 – Angel’s Jewellery Store11th – Penal Police Youth Club

Dancers $ 4,000.00 – Xtra Foods Limited12th – Kamelia Moonesar

$4,000.00 – Michael Salickram & Shiv ShaktiSome of the winners of Children

of Mastana have included popular performers whose talents have grown and blossomed as most of them have now become household names in the genres of chutney, chutney soca and film songs. They even perform in other talent shows throughout the country. For example, Neval Chatelal won second place in Children of Mastana in 1995 and went on to win first place in Mastana Bahar in 2006 as well as the first prize in the non-Indian talent show, Digicel Rising Stars in 2010. Some of the other Children of Mastana stars include Ravi B, Nisha Bissambhar, Nadia Madoo and KI. In 1995, KI became the first winner of Children of Mastana when he was just eight years old. Now, he has two Chutney Soca Monarch titles under his belt and is still going strong with contending selections in other competitions. Other grand final winners have included Emritee Ramnath and Abhijit Anchatassoo.

Children of Mastana grand Final Winners The Swastika Dance Group receiving their prize from Producer Khayal Mohammed

Chandana and Darshana Tulsie collecting their prize from Sharda Siewsankar

Winners receiving their prizes from sponsor Mr. Krisha Lakhan

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42



Many of the finalists of Mastana Bahar have become popular artistes in their own right with growing fan bases. Some of them still contribute generously to the series because when they were participants, they witnessed the immense challenges as well as the rewards of producing memorable editions of Mastana. As such, they have decided to donate their time, talent and energy to the programme because of their appreciation of the significance of the show. Even entire families of participants willingly contribute. The Bissambhar family is a notable exemplar of such magnanimity. Teddy and Jeewanlal Bissambhar provided excellent musical backup and support with their well-known band, D Rampersad Indian Art orchestra for nine years from 1991 to 2000. Many of the young Bissambhar family members such as Anil, Ravi, Nisha, Nalini and Akash were eager and enterprising contestants in Mastana. Encouraged by the tremendous response from fans, Jeewanlal, Ravi, Nisha and Anil eventually formed their own band, Karma.Every season, the Bissambhar

family donates two prizes: the second prize for Children of Mastana which is valued at $15,000 and a $5,000 prize for Mastana Bahar. Khayal Mohammed, the dedicated producer of both shows, pays glowing tribute to their benevolence: “I am very grateful for their assistance. This is an

example of artistes giving back to a programme that threw them in the spotlight. Jeewanlal “Buzzy” Bissambhar passed away last year but his children remain close to me.” His reflection testifies to the close relationships that have emerged and continue to emanate from within the Mastana family.Another well-known performing

family that has shown its bounteousness to the series is the Persads. Virendra Persad, who is now famously known as the leader of the legendary JMC Triveni Orchestra, won the first prize in Mastana in 1985. That year was the last time the much-coveted Cressida motor car was offered as the first prize. His son, Vishal Kris Persad

CONTRIBUTION OF PAST PARTICIPANTS TO THE SHOWThey donate their time, talent and energy to the programme because of their appreciation of the significance of the show

(KI) was the first grand final winner of Children of Mastana in 1995. Currently, the family contributes $5,300 towards the 9th prize of Children of Mastana and donates another prize for Mastana.Outstanding solo performer

Ramrajie Prabhu shot into the limelight when she won the first prize for the season of Mastana in 1983 with her most memorable song, “Jeene Re Jeene.” She sometimes offers her services as a judge. Other past participants who have generously donated prizes include Andy Singh and his father, Ras Nancoo Singh. Anil Bheem and his mother, Premattee, offer moral support and have been friends with the production team for years.

Sita Sonnylal performing on Mastana Bahar

Ramraj Dookhantie receiving a prize from Raveena Kanhai

Graham Akshay Singh receiving The People’s Choice Hamper from Sharda

Neeshad Sultan performing in the 2013 Mastana Bahar Grand Final

Chakra Publishing House Ltd.10 Swami Avenue, Don Miguel Road,San Juan, Trinidad and Tobago, West IndiesTel: (868) 674-6008. Tel/fax: (868) 675-7707,E-mail: [email protected]; [email protected]://chakrapub.wordpress.com/

acculturation, music, education, politics, identity and globalisation. Four of the chapters are on Trinidad, four on Guyana, one each on St. Vincent, Grenada, Suriname and Martinique, and one on the Caribbean in general. The volume is the latest, and one of the most comprehensive works published on East Indians in the Caribbean.

IndianDiasporain theCaribbeanEdited by Kumar Mahabir

2009. xiii + 234 pp. 5¾ x 8¾ inches. Hard cover only.ISBN 978-81-8387-224-9TT $260. or US $42.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.

Published by Serials Publications, India. Distributed locally by Chakra. The collection in this volume consists of 13 chapters written on a broad range of themes such as indentureship, migration, racism, violence, conversion,

Available at Chakra Publishing

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The venue for the final rehearsal and recordings of the Mastana Bahar series is Rampersad Brothers’ Ranch at Raju Trace in San Francique Village in Penal. It is not the ideal place because it is not air-conditioned, there are no soft seats and it is not centrally-located to ensure maximum attendance. However, the venue has been offered free of charge every week for the last ten years. Moreover, it enjoys the special importance of being the home of the resident band, the Rampersad Brothers’ Orchestra. The Rampersad brothers’ only payment-request is that their name be publicly acknowledged.Recordings take place under a

permanently built galvanized shed that was once a cow pen in a sugar estate. The shed is now alternatively used as an auto parking garage

during the week and is situated adjacent to the Rampersad family house. The Gulf City Mall, which used to host the show for a few years until 2004, is no longer used. There were complaints by store-owners that the show generated large crowds congregating at shop doorways which sometimes inadvertently resulted in damage to their products. Additionally, the cost to use the venue was too high.There have been numerous

offers from well-wishers, past participants, sponsors, patrons and friends of Sham Mohammed, volunteering their premises to host

THE RECORDING VENUE IN PENALThe venue has been offered free of charge every week for the last ten years.

the programme. However, these generous offers have had to be declined because of the immense challenges entailed in mounting, dismantling and transporting the props to new locations weekly for every show for 38 weeks. With the present arrangements, the equipment is stored at the Rampersad Brothers’ Ranch for the duration of the season. Due to the same logistical problems, using a community centre or a centrally-located place like the Divali Nagar is not an option. Moreover, the cost of weekly rental coupled with a caution fee proves challenging.

This book consists of a wide range of papers on the East Indian presence in Trinidad and to some extant Guyana from a sociological, political, historical and anthropological perspective. The themes include migration, the influence of Madan Mohan Malaviya, Mahatma Gandhi and Cheddi Jagan, Political Pluralism, Hindi, Women Laborers, Indian Culinary Dishes and the Indian use of Marijuana.

The Legacyof IndianIndenture:150 Years ofEast Indiansof TrinidadMahin Gosine, Dipak Malik & Kumar Mahabir


1995. 267 pp. Paperback.ISBN 0-9689-818-74TT$160. or US$25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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Since the inception of Mastana Bahar in 1970, financial support in the form of prizes and advertisements for the programme has been derived mainly from the private sector. As each year’s programming schedule begins, some faithful sponsors call the producer to remind and reassure him that they will continue their funding. This loyal support has facilitated the continued success of the show and made work easier for producer Khayal Mohammed as he has said: “I do not have to do much hunting for sponsors.”Some of the reliable regular

sponsors include Solo Beverages, Chief Brand Products, National Flour Mills, Kaleidoscope Paints, Boodoo’s Funeral Home, SOS Furniture and NAMALCO. These private companies have been

PRIVATE SPONSORS

Some faithful sponsors call the producer to remind him that they will continue their funding.

sponsoring the series for over 40 years. In addition, many private corporations such as Nestle and SM Jaleel frequently donate hampers and prizes for both members of the audience and contestants. Some major private sponsors have been Sookhai’s Diesel Service Limited and Sacha Cosmetics. For several years, the well-known entrepreneur Boland Amar of Toyota, offered the sponsorship of the first prize for the grand finals in the form of a brand new Toyota Cressida car.

Hampers, Giveaways and Prizes on display on setOne of the sponsors Saffire Engineering

Performing area – Backdrop and set

This book contains valuable information on sixty-three local plants, each of which is described and given a botanical name. Their medicinal uses include arthritis, diabetes, high blood pressure, headaches, strokes, impotence, sterility, ulcers and skin infections.

Kumar Mahabir

Medicinal& Edible Plantsused byEast Indiansof Trinidad& Tobago


1991, 2001. Third edition 2008. xx +167 pp. 5¼ x 8¼ inches. Paperback.ISBN 976-8001-73-9TT$100. or US$25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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Since its inception in 1970, Mastana Bahar has never received an annual subvention from the government to help produce the series. However, under the previous People’s National Movement government, Minister Joan Yuille-Williams who was the Minister of Community Development, Culture and Gender Affairs, granted two prizes: the first prize of $75,000 for the grand finals of Mastana, as well as the first prize of $25,000 for the grand finals of Children of Mastana. Dr. Lincoln Douglas, the present Minister of Arts and Multiculturalism under the current People’s Partnership government, has continued that tradition by granting the same two prizes for the same two positions.

While these financial donations are given to the winners, it must be mentioned that money is not contributed towards the costly production. The producers have acknowledged the generosity of the State television – TTT, now GISL – which has always recorded, edited and broadcasted the series without cost to the production personnel. However, an annual subvention would greatly assist in defraying the weekly cost of renting chairs, tables, tents, lights, décor and audio system as well as securing the services of the police and the orchestra. These costs are continually met by private sponsors for the 38 weeks encompassing Mastana’s run of 26 weeks and Children of Mastana’s run of 12 weeks.

GOVERNMENT SPONSORSHIP

An annual subvention would greatly assist in defraying the weekly cost of running the show.It is significant to note that

Mastana has never charged an entrance fee unlike chutney and soca concerts. These performances run for only two nights and each consists of one semi-final and one final round. These concerts have had the good fortune of private sponsorship as well as a generous government grant for the first prize of two million dollars for the final show. Moreover, it should be noted that Mastana is purely a talent competition while the chutney and soca shows double as Carnival fetes. These events are hugely popular even though the content is focused on alcohol and vulgarity. On the other hand, Mastana is a family-friendly event and hampers and gifts are distributed to the adults and children in the audience. Interestingly and perhaps ironically, almost all of the performers in the chutney competitions have originally participated in Mastana.

Recording in progress

TraditionalMedicine &Women Healersin Trinidad:PostnatalHealth CareKumar Mahabir

This book discusses the relationship between traditional healers and modern healthcare practitioners in Trinidad and Tobago. It focuses on folk masseuses, and the new mothers and newborns they treat. The two medical systems are presented in the context of racial, ethnic, class and gender dynamics which give rise to issues of power and control. The study is located in the political-economic context of the Third World which has a history of dependency on foreign goods and services which has been rooted in the plantation economy.


2012. 212 pages. 5½ x 8 inches. Paperback.ISBN 978-976-95049-6-7TT $100. or US $25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


50



The band providing musical backup for Mastana Bahar plays as many as four times each week in the 38-episode series. First, it plays during the audition on a Sunday. Only a few members of the band

REHEARSALS WITH THE ORCHESTRA

The band plays as many as four times each week in the 38-episode series.

play as a warm-up substitute for the entire ensemble. The full band performs for the first rehearsal on a Monday. The second rehearsal is then held earlier on the day of the recording, and finally the full complement of the band plays for the recording/contest itself.The Rampersad Brothers’

Orchestra performs four times each week. During the first rehearsal,

the contestants who are vocalists and solo musicians play their music tracks for the orchestra. These competing artistes practise their performances three or four times with the band in order to ensure that the rhythm and melodies are harmoniously coordinated. The final dress rehearsal is completed about 5:30 p.m. on the day of the contest which begins at 7:30 p.m.

IndianCaribbeanFolkloreSpiritsby Kumar Mahabir.Illustrations by Aneesa Khan

This captivating book provides details of the presence of a brood of spirits believed to roam the Caribbean since the abolition of slavery. For the first time in history, the existence of these spirits is being revealed collectively to the general public, in this compilation. These supernatural beings are (1) the raa-khas – a deformed, demonic newborn child, (2) the chu-rile – a spirit of a deceased pregnant woman, (3) the saap-in – a woman who transforms into a snake, (4) Dee Baba – a mythical protector of the house and land, and (5) the jinn, Sheik Sadiq – a spirit that can be captured in a bottle to grant wishes. Written for readers of all ages, every page of the five stories is enhanced with beautiful coloured illustrations.


2010. 32 pp. 9 x 7¾ inches. Paperback.ISBN 978-976-95049-5-0-2-0.TT$45. or US$12.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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BWIA (British West Indian Airways) National Indian Orchestra was the first band to provide musical accompaniment for Mastana Bahar. It was led by the professional and accomplished Harry Mahabir. Since the band was generously sponsored by BWIA, the producer was not required to pay for its services. As a form of promotion for BWIA, the Master of Ceremonies had to announce the full name of the band. BWIA subsidised and contributed the musical instruments and uniforms in addition to other expenses for the band’s eight or nine-member ensemble. The performances of the band were enhanced by the excellent showmanship and charisma of its leader, impresario Harry Mahabir.T&TEC Gayatones succeeded

BWIA National Indian Orchestra and performed under the same promotional obligations. Over the years, many bands followed after the departure of Gayatones, all of which had kind and generous corporate sponsors. However, the current band, The Rampersad Brothers’ Orchestra, does not have a business or company sponsor and, therefore, has to be paid by the producer of Mastana. It plays three times per week. Although The Rampersad Brothers’ is not a professionally established band, the harmonious quality of its rendition is always superb. The orchestra is comprised of five gifted brothers: Vijay, Suresh, Steven, Sudesh and Rajesh Rampersad.

THE ORCHESTRASBWIA National Indian Orchestra and T&TEC Gayatones were the first to provide musical accompaniment.

This cookbook represents a comprehensive collection of over 70 traditional vegetarian recipes. They have been handed down by indentured immigrants from India by word-of-mouth and practical example for over four generations. From delightful snacks to dinner-party specials – each recipe has been kitchen-tested and, therefore, meets a high standard of accuracy. Some of the dishes are beautifully illustrated in color to tempt your appetite.

Kumar Mahabir

CaribbeanEastIndianRecipes


1992. Reprinted 2001, New edition 2009. xx + 120 pp. 5¼ x 8¼ inches. Paperback.ISBN 976-8012-75-7TT$100. or US$25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


54



For the first competitive season of Mastana Bahar in 1970, the contest was adjudicated by members of the live viewing audience through a ballot system. Thereafter, a select panel of judges in the studio was chosen based on their knowledge of the full range of performing arts. Their experience centred on their widely accepted and recognised

qualification in the performing arts. Some of the judges are well-respected teachers, committed tutors, experienced conductors and choreographers in the performing arts. For the last few years, some of them have even been successful past contestants of Mastana Bahar, performing in song, music and dance. The 10 to 15-member panels

SELECTION OF THE PANEL OF JUDGES

At the grand finals, there are 25 judges sitting around four tables.

are dedicated volunteers. Some of the regular judges include:Ramchand Mohan – Past Finalist/

Musician/BusinessmanSham Sookdeo – Musician/

Electrical EngineerKrishna Ramphal – Musician/

Singer/Dancer/Actor/Past FinalistAfza Mohammed – Musician/

BusinessmanRamlal Chunilal – Musician/Band

Leader/Past Finalist/BusinessmanHema Ramsubhag – Dancer/

Choreographer/Past Finalist/BusinesswomanGirlie Sahadeo – Singer/Past

Finalist/BusinesswomanMondira Maniram – Dancer/

Choreographer/Singer/TeacherNisha Ramkissoon – Singer/Past

WinnerPravinda Persad – Percussionist/

Past FinalistRavi Jagroop – Singer/Musician/

Past FinalistSavitri Rampersad – Singer/Past

FinalistDarrin Beharry – Musician/Singer/

Past FinalistNankissoor Rampartap – Drummer/

Singer/Past FinalistAmarnath Subnaik – Musician/

TeacherAt the grand finals, there are 25

judges sitting around four tables. The producer Khayal Mohammed said, “The liaison judge will tabulate marks and in so doing, eliminate the highest and lowest so no one judge could influence the final decision.”

Judges Hema Ramsubhag, Girlie Sahadeo and Brian Mangaroo

Judges Anthony Batson, Darrin Beharry and Ramlal Chunilal

This is the first book in the Caribbean which provides information on 236 successful Indian women. The 218 annotated references are accompanied by 130 carefully chosen photographs, some of which are in colour.

by Kumar Mahabir

... the book is the outcome of intensive rummaging through local national archives, private libraries, and news-paper offices. -- Krisendaye Rampersad, Trinidad Guardian, July 20, 1992

Mahabir ... has published the first book in the Caribbean on the interesting, though neglected, subject of Indian women. -- Angela Pidduck, Express, August 6, 1992

The information is certainly interesting; and certainly it is well classified... -- Professor Frank Birbalsingh, Indo-Caribbean World, January 6, 1993


1992. vi + 846 pp. 5¼ x 8¼ inches. Paperback.ISBN 976-8012-78-5TT$70. or US$25. [soiled copies only at reduced price](includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


East IndianWomen ofTrinidad & Tobago:An AnnotatedBibliography withPhotographs& Ephemera

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From 1982 to 2003, English subtitles consistently appeared at the bottom of the screen to support the comprehension of songs that were rendered in Hindi on Mastana Bahar. The subtitles helped to attract the wider English-speaking television audience. At that time, the series was broadcast live at 6:00 p.m. on Saturdays. However, the translations had to be typed an hour before the show and then transferred to ticker tape. For many years, this tedious technical task was done by Sardar and Jamal Mohammed. Currently, subtitles are no longer added because of the lack of financial and other resources

SUB-TITLES ON MASTANA BAHARThe subtitles helped to attract the wider English-speaking television audience

(time, typist, CG technician, CG equipment, etc.).To input the subtitles, the

translation of the song must first be provided. Then, a stenographer has to sit patiently at a console with the director to type the meaning as the song unfolds. The stenographer listens to the live broadcast and reproduces the words into a special computer program that then adds the captions to the television signal. The typist has to be skilled at dictation and spelling, as well as knowledgeable in Hindi and English. This process is a technical and time-consuming exercise.

Cameraman – Randolph Merritt

The reports of five surviving ex-indentured immigrant laborers are recorded verbatim to read like an epic poem. A woman, a Madras emigrant, a Muslim, a Brahmin and a cocoa/rubber estate worker narrate the conditions of life in village India when they left, the trauma of crossing the Kala Pani (Black Water), and the experience of adjusting to a new life among strangers under a driver and overseer on the plantation ranges in the New World.

by Kumar Mahabir

Published by Calaloux Publications. Distributed locally by Chakra

The Still Cry:Personal Accountof the East Indiansin Trinidad & Tobagoduring Indentureship(1845-1917)


1985. 191 pp Paperback.ISBN 0-91166-03-5TT$100. or US$23.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


58



Another significant spin-off from Mastana Bahar was The Indian Cultural Pageant which showcased the best of the performing arts aired on Mastana Bahar during the previous seasons. Tejaswini Nirajana, in her book entitled Mobilizing India, wrote that the pageant “was hugely popular with East Indians” (pg. 144, emphasis added).In tune with family tradition, the

pageant was the brainchild of Sham Mohammed’s brother, Moean. He was ably assisted by Sham’s other brother, Haidar and Sham’s son, Jamal. The pageant was a live annual concert that was held for 25 years from 1975 to 2000. The venues ranged from the Grand Stand in the Queen’s Park Savannah to Skinner Park in San Fernando as well as Centre City Mall in Chaguanas and Rienzi Complex in Couva.The concert included segments

of tassa drumming; dancing; local song compositions, folk and classical chutney singing. On his own initiative, Moean, who was the owner of Windsor Record Shop, brought several renowned artistes from India to perform at The Indian Cultural Pageant. These artistes

included famous celebrities and personalities such as Manna Dey, Talat Mahmood, Mohammed Rafi, Kumar Sanu, Vyjayanthimala Bali and Suman Kalyanpur. There were also a number of other local cultural promoters such as Ballyram Kuarsingh, Deokinanan Sharma, Surujdeo Mangaroo and Hans Hanoomansingh. They also brought Indian playback singers to Trinidad.After Sham’s passing in 1994, the

pageant managed to survive for only six years (1994 to 2000), mainly because of the lack of manpower and financial and material resources. The Indian Cultural Pageant came to an abrupt end in 2000 when it rained out and Sham’s two sons, Khayal and Jamal were left with a massive $200,000 debt. Khayal found it impossible to persevere with the pageant mainly because of all the other responsibilities that he had to bear as a full-time teacher, householder and producer of Mastana.

THE INDIAN CULTURAL PAGEANTThe pageant was a live annual concert that was held for 25 years from 1975 to 2000

CaribbeanIssues in theIndian DiasporaEdited by Kumar Mahabir

Published by Serials Publications, India.Distributed locally by Chakra Publishing House, Trinidad and Tobago.

The chapters in the book are classified into four sections: emotions, assimilation, identity, and adaptations. The first section illustrates the neglect of emotions and feelings in the historiography of the people of the Bhojpuri areas in India who migrated to the plantation colonies in the Caribbean, and elsewhere. The second section analyses assimilation, mainly in the form of Christian conversion of Hindu


2013. xvi + 270 pp. 5¾ x 8¾ inches. Hard cover only.ISBN: 9788183876049TT $260. (locally) or US $42.(foreign)(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


and Muslim migrants, which resulted in the absence of mandirs and mosques, and the virtual lack of traditional Indian festivals and ceremonies in Belize, Venezuela and St. Lucia. The third section in the collection deals with the plurality of ethnic identities, which is in fact the opposite of assimilation. The last section discusses the social adaptations and reproductions in forms such as Islamic spaces in politics as well as Bollywood movies. This compilation of scholarly work includes new areas of study and fresh perspectives of timeworn topics

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Sham Mohammed was more than just the founder of Mastana Bahar. One of his favourite hobbies was visiting tourist destinations all over the world. He would often go on these foreign excursions with his close family and friends who incidentally were some of the sponsors of the show. Some of these friends/sponsors included Hansraj Ramhit, Doodoon Ramsaroop and Frankie from Frankie’s Driving Hardware. Eventually, there were numerous requests by eager participants and keen followers of the Mastana brand to join Sham, who willingly agreed. An informal association was soon formed, and called the Mastana Bahar Travel Club. Announcements about tours were made during the show. The club was led by Sham’s nephew, Shamoon Mohammed, who is a well-travelled and accomplished linguist. The club began with 20 persons but membership eventually rose to 100. The members usually travelled during the July/August school vacation. It was not only a source of fun but it was also educational for everyone. However, when Sham died in 1994, the club ceased to function.

MASTANA BAHAR’S TRAVEL CLUB

The members usually travelled during the school vacation. It was fun and educational for everyone

Akshay Khandoo performing in the 2014 Grand Final

Judge Rooplal Satnarine

Tassa drummer Dinesh Rampartap at auditions

Satnarayan (“Sat”) Maharaj is a religious and cultural leader in Trinidad and Tobago. He is the Secretary General of the Sanatan Dharma Maha

Sabha, the major Hindu organisation in the multi-ethnic

society. As much as he is criticised, Sat is also hailed as a champion of Hindus and Indians in the country, and is also described as the most influential and longest-serving Hindu spokesman outside of India.

He struggled tirelessly to change the symbol of the nation’s highest award from the Trinity Cross to the Order of the Republic of Trinidad and Tobago. In the High Court, the Court of Appeal and the Privy Council, Sat fought against discrimination when the Maha Sabha was denied a radio broadcast licence by the then Government. He has contributed significantly to national development in the fields of religion, education and culture.

The author, Dr. Kumar Mahabir, is an Assistant Professor in the Centre for Education Programmes

at the University of Trinidad and Tobago (UTT).

Available at major bookstores, and at Maha Sabha schools and temples in Trinidad, and at Radio

Jaagriti, Corner Pasea Main Road Ext. and Churchill Roosevelt Highway, Tunapuna.

Order copies by contacting: 645-2745, 498-8657, 663-2250, 663-8743, 756-4961, 674-6008, [email protected], [email protected]

TT$100. Paperback.2014. xii + 250 pages.8¾ x 5½ inches PaperbackISBN 978-976-8249-70-8

I ... wish to congratulate Sat Maharaj for the herculean efforts he has made to improve the educational standards of his people, and his determination to ensure that his people receive their rightful share of the national pie. When the history of the second half of the twentieth century is written, I am certain he will take his place as one of the more outstanding Trinbagonians of the era.

Dr. Selwyn R. Cudjoe, Professor of Africana Studies at Wellesley College, Massachusetts, USA

Hindu CivilRights Leaderof Trinidad& Tobago

Sat Maharaj

an authorised biographyby Dr. Kumar Mahabir

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Mastana Bahar [Joyful Season] is unquestionably the longest-running, locally-produced TV talent show in Trinidad and Tobago, and perhaps even in the Caribbean. It is the longest running talent show when compared to competitive and non-competitive TV programmes. Mastana was first produced by Sham Mohammed on July 4, 1970 on Trinidad and Tobago Television (TTT).Other locally-produced,

competitive TV shows in Trinidad which highlight local Indian cultural talent include Caribbean Tarang (2004), Chhote Champs (2010 – 2011), Indo Muqabala (2012) and Madhur Awaaz (2013). The production of these competitive TV talent shows has most likely been inspired by the success of Mastana.Caribbean Tarang [Caribbean

Rhythm] was broadcasted on TV6 and was presented and co-produced by Gillian Lucky, who is now a High Court Judge. Chhote Champs [Little Champions] was a talent show for children and was presented by Shirvani Sookhai on WinTv.

OTHER COMPETITIVE TALENT TV-SHOWS – INDIAN

Indo Muqabala [Indian Cultural Contest] was modelled after American Idol, the popular US TV show. Indo Muqabala was different from Mastana in a number of ways. Firstly, Indo Muqabala was judged by both live panel and text messages from the audience. Secondly, it was produced and presented by Indian-born promoter Bishen Singh. The show was first recorded in Gulf City auditorium in La Romaine. From among 100 contestants, Shiva Lakhan copped the first prize of TT $100,000. Unfortunately, Indo Muqabala ran for just one year (2012).

It is the longest-running competitive Indian talent show on TV.

Madhur Awaaz [Sweet Music] was aired on CTV and presented by Neil Ramdath. In keeping with the modern trend of talent shows across the globe, this competition was also judged by a live panel and involved live text messages. Madhur Awaaz was unique because the judges made public comments soon after each performance.Over the last decade, the number

of television stations in the country has increased, and as a result these Indian cultural shows have emerged to keep up with the demand. Unfortunately, all of them have had the limited run of just a year because of the lack of sustained and sufficient sponsorship.

Contestant performing on set Surindra Harrilal

Website: http://www.iskconradhagopinatha.com/index.html

ISKCON Temples, TrinidadHare Krishna

hare kṛṣṇa hare kṛṣṇakṛṣṇa kṛṣṇa hare harehare rāma hare rāmarāma rāma hare hare

Hare Krishna Temples in Trinidad

Sri Sri Radha Gopinatha MandirEndinburgh Road, Longdonville, TrinidadPhone: 868-665-2249

ISKCON South CentreOrion Drive, Debe, TrinidadPhone: 868-647-6809

Sri Sri Gaura-Nitai MandirEastern Main Road, Garden Village, Arouca, TrinidadPhone: 868-687-8492

ISKCON Madhuvan FarmLP 351, C umuto Main Road, Coryal VillagePhone: 868-332-2486 or 868-745-0294

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Mastana Bahar is unquestionably the longest-running, locally-produced TV talent show in Trinidad and Tobago. It is the longest running local, cultural TV programme (45 years), even when compared to non-competitive talent shows. Locally-produced, non-competitive TV shows in Trinidad which showcase local Indian cultural talent include Indian Variety (1962-1995) and Apne Sitare (2012 – present). Locally-produced, non-competitive TV shows which showcase foreign Indian talent include Sitare and Win Bollywood Countdown (2007 – present).Mastana’s predecessor was the

talent show Indian Variety which ran for 33 years, from 1962 to 1995. Unlike Mastana, Indian Variety was non-competitive. Indian Variety was hosted alternately by three talented presenters: Pat Mathura, Moean Mohammed and Rafi Mohammed. Although Indian Variety was not as attractive and exciting to audiences as Mastana, it provided a national stage for Indian cultural performers.

OTHER NON-COMPETITIVE TALENT TV-SHOWS – INDIAN

Apne Sitare [Our Stars], which began in 2012 and still currently exists, follows the format of Indian Variety. It is broadcasted on Government Information Services Limited (Channel 4) and presented by Zelisa Boodoosingh. Unlike Indian Variety, it has the added attraction of interviews with artistes.

It is also the longest-running TV show even when compared to non-competitive programs

Some locally-produced TV shows which highlight foreign Indian performers include Sitare and Win Bollywood Countdown. Sitare [Stars] was hosted by Sharda Maharaj. Win Bollywood Countdown began in 2007 with host Adita Narinesingh. However, the show was revamped in 2013

and is now called The All New Win Bollywood Countdown, with host Shirvani Sookhai. Unlike Sitare, local singers are sometimes invited to be a part of the presentation and sing along to the Bollywood songs in the videos.Indian Variety has most likely

inspired these non-competitive TV talent shows. With the exception of Indian Variety, Apne Sitare is the longest running non-competitive, locally produced Indian TV talent show.

Production Crew: Vitus Garcia, Fiyaz Hosien and Dave Telesford

Chandana and Darshana Tulsie of Clarke Road, Penal performing on Children of Mastana

Giveaways at the Children of Mastana audition with Vishani Murally and Sangeeta Subnaik.

Moean Mohammed

Chakra Publishing House Ltd.

Job Vacancies Part-time job opportunities

10 Swami Avenue, Don Miguel Road,San Juan, Trinidad and Tobago, West IndiesTel: (868) 674-6008. Tel/fax: (868) 675-7707,E-mail: [email protected]; [email protected]

WORK IN AN OFFICE IN A RESEARCH AND PUBLISHING COMPANY.NINE CATEGORIES OF JOBS ARE AVAILABLE:

1 Office assistant (hours flexible from Monday to Friday between 8 & 4).

2 Research assistants to write academic papers for journals (can work at home)

3 Creative writer to embellish dry factual articles for magazines (can work at home)

4 Proof-readers (can work at home)

5 Researches to go in the field to conduct interviews, administer questionnaires, etc.

6 Photographers to go in the field to shoot photos of people and events.

7 Artists and illustrators for books and magazines.

8 Biographer who must have a literary style

9 Film editors to convert footage into 15 minute documentaries

For positions numbered 2, 4 and 5, applicants must have a university education.They must major in Literature, Education, History, Asian Studies, Communication Studies,

Journalism, Cultural Studies, Anthropology, Sociology or Psychology. They must be computer literate,be exceedingly intelligent, have a high GPA score, and must have excellent writing skills.

Dr Kumar Mahabir, Chairman, Chakra Publishing House Ltd (CPH)

https://chakrapub.wordpress.com/Chairman, Indo-Caribbean Cultural Centre Co. Ltd (ICC)

https://icctrinidad.wordpress.com/about/

Contact

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Mastana Bahar (1970 – current) must be recorded in history as the longest running, locally-produced TV talent show in Trinidad and Tobago (45 years), even when compared to non-Indian programmes. Its closest competitor was the popular Scouting for Talent which ran for 30 years (1963 – 1993).It was first hosted by Holly Betaudier and later by Neil Guiseppi.The first prize was either

merchandise or $1,000 cash. However, it was later increased to include brand new cars and return trips to foreign countries. There was also the bonus of a token appearance fee. The first series ran for eight preliminaries, four semi-finals and a grand final. Like Mastana, the first season of Scouting ran for 13 weeks. The show also produced numerous star performers such as dancer Michael Salickram who won the first prize in Mastana Bahar in 1992.Mastana Bahar has also outlived

Twelve and Under which was first hosted by Hazel Ward-Redman (Auntie Hazel) and later by Neil Giuseppi. Twelve and Under was a talent show for children which began in the 1960s and ran for almost 30 years. Teen Talent was also another TV show aimed at a specific age group and hosted by Ward-Redman.Party Time was yet another teen

talent TV show in the late 1980s and early 90s. From 1987 to 1989, it was hosted by Lisa Wickham. More recently, Bmobile Synergy TV Soca Star was aired for seven years (2004 – 2011). It was broadcasted on Synergy TV and hosted by Supa Jigga and later by Randy Mansoor (Mr. Smooth).Digicel Rising Stars (2006 –

present) was last presented by Sophie Wight in front of a studio

OTHER TALENT TV-SHOWS – NON INDIAN

audience. One of the judges was Michael Salickram who was a 1992 Mastana Bahar winner. Vocalist Neval Chatelal won first prize in Digicel Rising Stars in 2010 after having won second place in Children of Mastana in 1995 and first place in Mastana Bahar in 2006. Indian radio personalities Serala Ramlogan (106.1FM) and

Mastana is the oldest TV talent show even when compared to non-Indian programs

Sheldon Ramgoolam (103.1FM) were also a host and a judge of Digicel Rising Stars respectively.

Mastana Bahar 2013 winner Nisha Ramkissoon celebrating on the set

Omar Samaroo receiving his prize from Reshma Ramsaran

Mastana Bahar Winner 2012 Rishi Gaydeen being congratulated by supporters


desperation embarks on a ‘coolie’ ship bounded for the sugar plantations of the Caribbean. The novel deals with themes rarely explored in fiction. It is a story assailed by tragedy, by man’s inhumanity to man, but it is also evocative of incredible courage and endurance, love and romance, revelation and self-discovery, as Rama moves closer to his destination.

Rama’sVoyage[a novel]Ron Ramdin

2004. 280 pp. 5 x 7¾ inches. Paperback.ISBN 976-95049-4-7TT$100. or US$25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.

Rama’s Voyage is the story of a boy who is forced by circumstances to leave his quiet village for a small town before he makes his journey to Calcutta. The novel is set in British India – at the time prior to and after the Indian Uprising or ‘Mutiny’ – and on the high seas. Alone in the great city, Rama is befriended by two street children and he joins their group. He learns hard lessons, and in


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The resumption of the English subtitles on the screen during the broadcasting of Mastana Bahar would be greatly appreciated. Subtitles for the Hindi lyrics would assist in the further comprehension, deeper appreciation and broader education of that ancestral language. A professionally established orchestra would attract more listeners and viewers to the recordings as well as the screenings. The programme would greatly benefit from having a centrally-located venue with cushioned seats and air conditioned facilities, which

A VISION FOR MASTANA BAHARwould motivate more people to attend. Higher-valued first prizes for contestants should be awarded by sponsors. The prize would be in keeping with the legacy of the first prize in the early 1980s which was a Toyota Cressida car. More advertising and wider distribution of

The Mastana Bahar Cultural Centre should be established to archive Mastana’s 45 years of service to the nation

instruments, etc. would have to be transported from one centre to the next.The finals and all-star shows could

be held at prestigious venues, such as NAPA or Queen’s Hall with full radio and television publicity to highlight the events. The state

the broadcasting rights of the talent show on one of the more popular local television channels would also go a considerable way in drawing a wider audience.The producer Khayal Mohammed

would like to see the series taken to various communities throughout Trinidad and Tobago. The Ministry of Arts and Multiculturalism could also assist in defraying the costs of moving crew and equipment from one venue to the next. For 38 weeks every year, chairs, tables, props, backdrop, speakers, musical

could donate abandoned Caroni Ltd. lands to provide adequate space to build a Mastana Bahar Cultural Centre, which would house an office, museum, archive, library, auditorium, and storeroom to archive Mastana’s 45 years of service to the nation. More government and private sector support could be made available to subsidize the show in celebrating Mastana as an important and significant contribution to the cultural identity of the people of Trinidad and Tobago.

Recording in progress

Production Crew member Verlisa Victory


reforms, including policies that led to an Indian-African “balance” in the police force.His cultural background and political views led him into open conflict with the leader of the PPP, Dr. Cheddi Jagan. The book chronicles the political involvement of Rai in Guyanese politics and exposes the reign of Jagan and the PPP as a series of missed opportunities and contradictions.

Baytoram Ramharack.Introduction by Clem Seecharan

2005. xv + 452 pp. 6 x 9 inches. PaperbackISBN 976-9504-91-2TT$200. or US$45.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.

Balram Singh Rai was a leading figure in Guyanese politics. His involvement in the political life of the nation dates back to the pre-independence period when Guyana was still a British colony. Rai’s most significant impact took place during the late 1950s and early 1960s, when he joined the People’s Progressive Party (PPP) in the struggle for an independent Guyana. Rai was the Minister of Community Development and Education, and was also Guyana’s first Minister of Home Affairs. He supported and promoted many


Againstthe Grain:Balram SinghRai and thePolitics of Guyana

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From 1962 on, Moean Mohammed, the 1950’s radio presenter who is from the same family that later promoted Mastana Bahar, put on an Indian variety show on TTT. Pg. 248…………………………………

Popular East Indian music that was not confined to the domestic space began to take shape with the advent of the widely appreciated Mastana Bahar, started in August 1970 by the Mohammed brothers, well – known promoters and impresarious, as a half-hour TV show on Trinidad and Tobago television. Pg. 95.………………………………….As Afro-Trinidadians sought to

reinvent their African pasts, Indo-Trinidadians also engaged in new forms of cultural assertion. The Indian Cultural Pageant organized by the promoters of Mastana Bahar, which included singing, dancing and a queen contest in “Indian costume”, was hugely popular with East Indians from the 1970s

and so on. If Shorty could say that all he heard on the radio was Indian music, Mighty Chalkdust, with characteristic wryness, sang about “Mastana Bahar (Indian Competition)” (1978), suggesting that it was becoming more popular than Carnival or calypso because of the monetary incentives it was able to offer. Pg.144…………………………………..Chalkdust’s reference to the

growing importance of Mastana Bahar as representing the visibility of East Indians on the Trinidad cultural land-scape was picked up and elaborated many years later, in 1995, when the Indian-dominated United National Congress came to power in Trinidad. As Selwyn Ryan says, “The UNC was variously stigmatized as a ‘Chutney,’ ‘Mastana Bahar,’ ‘Indian’ or ‘Hindu’ government.”

Pg. 179Source: Mobilizing India: Women,

Music and Migration between India and Trinidad.Author: Tejaswini Niranjana

Publisher: Duke University Press. Durham and London, 2006

INDIAN SONGS MORE POPULAR THAN CALYPSO

Popular school-teacher calypsonian, the Mighty Chalkdust, sings about Mastana Bahar being more popular than calypso.

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The popularity of Mastana Bahar is attested to by Mighty Chalkdust, the school-teacher calypsonian whose successful career has spanned four decades. He sang “Mastana Bahar, or Indian Competition” in 1978.The primary addressee of the

calypso is the promoter of the Calypso Monarch competition, who, Chalkdust sings, must “hang his head in shame” that an “Indian competition” is overtaking the annual calypso contest in popularity and, more important, prize money. (The first prize for the Calypso Monarch was four thousand Trinidadian dollars, whereas the Mastana prize was twenty thousand Trinidadian dollars.Chalkdust’s reference to the

prize money plays on the popular prejudice that all East Indians are wealthy. No wonder the Mastana competition is able to lure all of the singers, Indian as well as African,

the song says.Chalkdust then sings, “Dil deke

dekho, dil deke dekho ji (Give the heart, give the heart and see) / Dil lene waalon dil dena seeko ji ( Those who take the heart, you must learn to give the heart),” which comes from the Hindi Film Dil Deke Dekho (1959), by Nasir Hussain.Sham Mohammed, Mastana

Bahar’s promoter, impressed by Chalkdust’s “Indian song,” ask the calypsonian why he is “singing for mere chick feed/ In a national competition.“Mohammed promises Chalkdust

airplay on radio and television if he will “forget the calypso crown.”

The Bollywood Dance Group preforming on Mastana

(These lines give the impression that East Indians control a lot of space in these media.) Chalkdust warns Mohammed that this is last time he will participate, since it is the promoter who gets “the lion’s share,” not the singers. Even “the fifth prize on Mastana Bahar /Is a trip to Barbados and back!” Pgs. 178 and 179Source: Mobilizing India: Women,

Music and Migration between India and Trinidad.Author: Tejaswini Niranjana

Publisher: Duke University Press. Durham and London, 2006

Mastana Family Queens – Queen Raveena Nandlal

UNIVERSITY OF CHICAGO PROFESSOR STATES:

Popular Indian music began to take shape with the advent of Mastana Bahar.

Indian Arrival Day 2015

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Transcript of Indian Arrival Day 2015