Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

AN INVENTORY OF RESOURCES AND SOURCES ON EAST PORT OF SPAIN CULTURAL HERITAGE (EPOS) THE UWI-TRINIDAD AND TOBAGO RESEARCH AND DEVELOPMENT IMPACT FUND

Leveraging built and cultural heritage for economic development in East Port of Spain Authors: Sharda Patasar and Michael Mooleedhar

View of Laventille, Port of Spain from Flyover (Photo 2009 )

Date Submitted 21st January, 2014

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

AN INVENTORY OF RESOURCES AND SOURCES ON EAST PORT OF SPAIN CULTURAL HERITAGE (EPOS) THE UWI-TRINIDAD AND TOBAGO RESEARCH AND DEVELOPMENT IMPACT FUND Leveraging built and cultural heritage for economic development in East Port of Spain Scope and Aim The core objective as outlined in the UWI Trinidad and Tobago Research and Development Impact Fund Project is to “facilitate the implementation of the Government of the Republic of Trinidad and Tobago’s, Heritage City Growth Pole Initiative (HCGPI) as outlined under Budget 2009/2010 by improving the understanding of the built and cultural heritage in the East Port of Spain area in order to leverage these assets for economic development’. The University of the West Indies (UWI) has been facilitating this initiative via the Caribbean Network for Urban and Land Management (CNULM) since October 2010. The GORTT has committed to the restoration of Fort Picton in Laventille. The IDB, which is implementing their Emerging and Sustainable Cities Platform in EPOS, is also supporting this goal. In keeping with the movement to create sustainable cities, the GORTT and IDB have also proposed the establishment of a heritage complex at the “top of the hill” which will see significant urban revitalization in the area. Since economic development of inner cities via the leveraging of built and cultural heritage is a new concept, neither the GORTT nor the IDB have the requisite knowledge regarding the nature of built and cultural heritage of EPOS nor information on the approaches necessary in order to use the cultural heritage to achieve the development objectives of the GORTT. The aim of this project is to fill the gap in knowledge regarding the cultural heritage of East Port of Spain. Following from the historical overview, the inventory positions an understanding of the value of preserving cultural heritage with the literature and visual representations pertaining to EPOS cultural heritage that has thus far been written and recorded and that were made accessible in various repositories including the Internet. The remainder of the information will be collected through oral interviews with residents and cultural practitioners in the areas of East Port of Spain identified for study. Though a separate team of researchers is handling the built heritage, during the compilation of this inventory it was found that the built is often inextricably linked to the cultural. As such, it is difficult to separate these completely in this listing and analysis. The cultural has been broken down into three categories: Music, Religion and Art/Craft. The term culture itself is fraught with debate. To different people, culture means different things and people of a particular culture may have varying images of it depending on their social, economic, religious and political experience of the landscape that they occupy. Richard Hoggart, whose work The Uses of Literacy (1957) is credited with initiating discussions on the subject of culture, attempted to explore, through his personal experiences,

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changes in working-class life in post-war Britain. He ‘wanted to show how those changes affected an individual’s ‘whole way of life’. For him, culture was… important…because it helps us recognize that one life-practice (like reading) cannot be torn out of a large network constituted by many other life-practices-working, sexual orientation, family life…”1 V.S. Naipaul, writing about Trinidad in the 1960s shared a similar view, noting that ‘Few words are used more frequently in Trinidad than ‘culture’. Culture is spoken of as something quite separate from dayto-day existence, separate from advertisements, films and comic strips. It is like a special native dish, something like a callalloo.”2 Early cultural studies as Simon During notes, did not shy away from the fact that “societies were structured unequally, that individuals are not all born with the same access to education, money, health-care, etc. and it worked in the interests of those who have fewest resources.”3 Raymond Williams, another founding father of cultural studies, like Naipaul and Hoggart criticized the removal of culture from society. His primary thesis is that culture is a whole way of life and needs to go together with the arts and learning which provide ‘the special processes of learning and discovery’.4 They cannot be separated. In an increasingly globalized world, the impetus to preserve cultural heritage in different parts of the world, has become a greater necessity. There are currently movements to inventory the cultural heritage of various countries with the aim to preserve their identities through the documentation of the various facets of this heritage. The United Nations Organization for Education, Science and Culture (UNESCO) notes that the term ‘cultural heritage’ has changed content considerably in recent decades. It is not longer just about built and material objects but now includes what the organization terms ‘intangible cultural heritage’. According to the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003), intangible cultural heritage is defined as “the practices, representations, expressions, knowledge and skills – including the instruments, objects artifacts and cultural spaces associated with them – that communities, groups and individuals recognize as part of their cultural heritage.” 5 The intangible cultural heritage may take many forms. Some include but are not limited to ‘oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts.’6 UNESCO has deemed these forms of intangible cultural otherwise called living heritage as important to people’s sense of identity and functions to promote creativity and social well being. This is turn contributes to the management of the natural and social environment and generating

Simon During, “Introduction” in The Cultural Studies Reader, ed. Simon During, London and New York: Routledge, 1993, 1, Print. 2 V.S. Naipaul, The Middle Passage: A Caribbean Journey, Basingstoke and Oxford:Picador, 19, Print. 3 During, op. cit. 2, Print. 4 Raymond Williams, “Culture is Ordinary” (1958) Web. 15 Jan. 2014, 5 “Identifying and Inventorying Intangible Cultural Heritage”, United Nations Organization for Education, Science and Culture (UNESCO) Publication, 3, Web. 14 Jan. 2014, . 6 Web. 14 Jan.2014, . 1

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

income. There are also possibilities for the integration of these various traditional elements into health care and management of natural resources.7 In Trinidad, The Freetown Foundation’s8 President Elton Scantlebury and a resident of Belmont expressed this vision of living heritage Speaking about tours organized by the committee aimed at educating people on the history and culture of Belmont he said, “The tours are important because it’s history and it’s something you can taste and something you can feel which may not be written in the history books. We are defining our past according to our standards so that we can take all its elements and analyze them for our young people to benefit.”9 He identifies here cultural heritage as that heritage which is felt and practiced. It is about a people’s whole way of life. According to the East Port of Spain Development Company’s survey the geographical and district boundaries that are referred to as East Port of Spain stretches from Charlotte Street and Sea Lots in the West to the Beetham South area, covering approximately 6700 acres. It is near impossible, therefore, to provide an in depth and extensive study of the area due to the variety and complexity of communities that may be found in this densely populated and rich cultural urban environment. The first sight of East Port of Spain that greets the eyes, as commuters drive to Port of Spain, is the Beetham area. Dilapidated housing constructed out of an assortment of materials, wood, galvanize and bricks give the picture of people struggling to acquire basic necessities. When rain falls, it is not a strange site to see resident collecting water with an old paint tin from the huge potholes outside the walls of Beetham Gardens. Opposite, the housing area, the country’s waste is deposited. The scent from the garbage mixes with that of burning tyres and the general smell of refuse that emanates from the shantytown on any arbitrary day. Corbeaux, scavenger birds with a resemblance to vultures, circle overhead, enhancing the feeling of poverty that exists in the area. Sea Lots is the next sight just before the main city area in sharp contrast to the simultaneous view of the city’s high-rise buildings and a general feeling of affluence. A large portion of East Port of Spain, the areas of Sea Lots, Picton, Upper Belmont and certain parts of Laventille, are populated by those from a lower income, bracket and do in fact have a high incidence of crime. Located on the outskirts of the main city area, East Port of Spain was not factored into the early stages of structural planning that was accorded to the main inner city area. The haphazard arrangement of roads in Belmont for instance points to the lack of planning in the early stages of the area’s development. Some areas like Laventille, Picton and Sealots are characterized by unplanned settlement and a lack of basic living facilities like water,

“Intangible Cultural Heritage”, Web. 14 Jan. 2014, . 8 The Freetown Foundation was created to preserve the cultural heritage of Belmont. They conduct regular tours of Belmont, showcasing the important buildings and heritage sites in the area. They aim to promote the residents and the general Trinidad population’s sense of pride in their country. 9 Zahra Gordon, “Heritage tours come to Belmont”, Trinidad Guardian Newspaper, Monday, July 30, 2012, Web. 14 Jan. 2014. . 7

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

sewage and electricity in some instances.10 There is a general spirit of desperation and struggle to eke out a living. This is highlighted by a high incidence of crime and gang-related warfare that bombards the population via the media almost on a daily basis. Two of the limitations to development of the area highlighted by the East Port of Spain Development Company Ltd’s website are 1) ‘the challenge of employing outsiders to work in an area where unemployment is high. 2) contractors do not feel safe in the focus areas, as they fear not only personal safety but also loss of expensive equipment to be used in the development of the physical infrastructure.11 These limitations provide an insight into the outsider impression of the communities chosen for this RDI study, as places riddled with crime and violence. It is an image that the media continues to portray. With regular headlines like “Beetham Residents Fire shots at police, soldiers”12 “Diego Martin PH Driver Killed in Laventille”13 and “Army deployed in Laventille to curb violence”14 pervading the print and online world, the few positive images that are attempted, are erased by the barrage of mainly negative media coverage. The Youth at Risk Report of Trinidad and Tobago observes that such constant focus on the negative aspect of a community affects “the image of the wholesomeness of a society. When violent crime is daily rendered in local and international news, the sense of a society as “dangerous” becomes the common currency of opinion that is shared by local and international populations alike”.15 Laventille for instance, which figures prominently in the report, actually has ‘only about 10 to 20 percent of areas that are crime ridden while the remaining 80 percent is relatively stable except in instances “when war breaks out”. The real Laventille is different to the stereotyped version’.16 The area, however, has become more a matter of class. Many of the people of the middle classes who can provide youths with alternatives to becoming gang leaders, move out to avoid social stigma. As a result, the culture of poverty continues in the area. 17 The view that the entire area is built on low-income earnings accounting for its reputation as home to criminals and social rejects, however, is grossly misleading. Despite the poverty and violence that are linked to Laventille and Belmont these areas are comprised of important cultural and built heritage sites and still maintain some that have been forgotten. In addition to Fort Picton that the GORTT has identified for restoration, Laventille Hill has another significant cultural heritage site that is an important remnant of the island’s history - Churucca’s Observatory now called Fort Chacon, ‘where the Spanish astronomer Don See the East Port of Spain Development Company’s website at http://www.eposdctt.com for a breakdown of the weaknesses and strengths of areas in East Port of Spain targeted for development. 11 East Port of Spain Development Company Ltd. “Implementation Barriers”, Web. 3 Jan. 2014 . 12 Kalifa S. Clyne, The Trinidad Guardian Newspaper, September 2, 2013, Web. 13 Jan. 2014 . 13 Gyasi Gonzales, Trinidad Express Newspaper, October 8, 2013, Web. Jan. 13, 2014, . 14 CNC 3 Television, 11 September 2012, Youtube, Web. 13 Jan. 2014, . 15 Selwyn Ryan et al., No Time to Quit: Executive Report of the Committee on Young Males and Crime in Trinidad and Tobago, 2013, Web. 12 Jan. 2014 . 16 Ryan, op. cit. 31. 17 Ryan, op. cit. 32. Statistics for migration out of the area can be found here. 10

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Churucca fixed the meridian in the New World. The Observatory was established on a ridge known as Lavant (East Wind).’18 It is posited that Laventille derives its name from this word. An African diviner who came to be known as Papa Nanee established the Rada community yard in Belmont in 1868. “The compound created by him in Belmont Valley Road consisted of a chapel, called a vodunkwe, a covered area for dancing and several shrines, one of which was dedicated to Papa Legba and another to Ogun, both deities of the Dahomean people”.19 By the time Andrew Carr penned his A Rada Community in Trinidad (1989), the Rada compound was over eighty-five years old and was once the centre for the African practice of vodun. Though the community is smaller than previously and many of the descendants of Papa Nanee have migrated, the yard is still a central historical landmark and is still a centre for traditional African religious practice of voudon.20 Within the time frame allocated for the proposed RDI project, an attempt to cover all the areas comprising EPOS can only result in a study that will provide at best, a superficial analysis of the rich cultural heritage of the communities. As a result the Project directors have selected three major areas for in-depth study: Laventille, Belmont and areas surrounding the East Dry River. Since the focus is on cultural heritage rather than built these areas presented some of the richest and most fertile sites for discovery and inventory. Laventille is the birthplace of the steel pan while both Laventille and Belmont were the homes of most of the African religious practices and yards in the Western part of Trinidad. Some of the early Masonic Lodges also remain intact such as the United Brothers on Mount Moriah in lower Laventille. With religion, also came art forms like drumming and dancing as well as art. Picton has been chosen for the lack of information on what exists and provides room for discovery of new cultural heritage that may exist. All three areas give the opportunity for archiving what is already present as well as discovering aspects of cultural heritage that are in danger of being lost.

B. Methods for sourcing data

The East Port of Spain Development Company, an initiative of the GOTT is charting a parallel course as that proposed by this project in its urban planning and development. The main focus of the GOTT interest is however on the development of the physical infrastructure of the different communities.21

18

Citizens for Conservation Calendar, 2014, Pembroke Street, Port of Spain, Trinidad, www.citizensforconservationtt.org 19 Gerard A. Besson, “The Rada Community”, Caribbean History Archives, Paria Publishing Co. Ltd., Jan. 6, 2011, Web. 15 Jan, 2014, . 20 The Belmont Rada Community. Web. 15 Jan. 2014 . 21 See the East Port of Spain Development Co. Ltd.’s strategic plan documents one and two at and the situational assessment at Web. 11 Jan. 2014.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

As an initial inventory, the major sources of information are gleaned primarily from secondary material. At the proposed second stage of the project that moves this inventory to a documentary film on the cultural heritage of EPOS, oral interviews and capturing of filmic data within the communities will reveal more material pertaining to the cultural heritage of East Port of Spain. The project of data gathering was divided into two sections: the audio/visual sources and the written documentation. While libraries and the Ministry of Multiculturalism host audio/visual material, Youtube has become the holy grail of research in modern times. There were many important videos highlighting old scenes mainly from Carnival footage taken by foreigners on visits to Trinidad in the 1930’s onwards. The pan Trinbago website also hosts videographic data and written footage on the history of steel pan, some of which makes reference to East Port of Spain. Several repositories and libraries were utilized for research: The University of the West Indies’ Main Library, particularly West Indiana which houses a rich archive of data contained material mainly focused on Steel pan and Carnival. Some of this literature is directly related to the East Port of Spain Area. Most of the information uncovered was sifted out of larger works mainly on music, religion. These are reference under the sources. There are also a number of photographs detailing old Port of Spain, like those of St. Vincent Street and Frederick Street, circa 1950’s, though none uncovered thus far that give visuals of East Port of Spain. An internet search revealed two photographs, one of a Belmont drummer in the Andrew Carr catalogue that is stored at Indiana University22 and a painting by Jean Michael Cazabon of the Dry River, Belmont circa 187023 though none that focuses heavily on the areas identified in this research. A second major source of data for audio-visual material was at the National Library Services of Port of Spain (NALIS). It would have been useful to have scanned images of the photographs for the purpose of framing the proposed second phase documentary film aspect of the project. These, however, were not available even for photocopying.24 This presents a gap that could have been filled. The problem of seeking audio-visual sources is that they are difficult to locate and when located are heavily protected. Despite the ease with which technology allows for simple forms of data collection e.g. mobile phone cameras, there is still heavy resistance to any form of copying material that presents the possibility of duplicating the work. The existing lack of clarity about copyright for digital and audio/visual resources creates even further problems for this project but remain valuable resources. 22

Andrew Carr Trinidad Collections, Indian University Bloomington, Archives of Traditional Music, Web. 13, Jan. 2014, . 23 Geoffrey MacLean, “Introduction to the Art of Trinidad and Tobago”, Web. 14 Jan. 2014, . 24 Michael Mooleedhar, the researcher for the audio-visual content incorporated here, reported that the librarians did not allow him to photograph the material and that he was informed that library policy did not allow for any type of digital copying of photographs. Monday Jan. 6, 2014.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

The Ministry of Arts and Multiculturalism has an inventory of audio and visual sources but has over the years collected little written documents on the music, art, crafts and religion of East Port of Spain. Banyan has a comprehensive online database of Gayelle TV Series. This database currently contains five thousand entries and is still being compiled. It however provides a rich source of information comprising interview with personalities like Ja-Ja Onilu, a Laventille musician known for his drumming. His sons are now carrying out his tradition of making organic instruments crafted out of material found in nature. Another musician and master drummer, Andre Beddoe of Laventille is another the subject of a Gayelle interview.25 A search of the National Archives via the Internet revealed a list of collections available such as photographs, old maps, colonial reports and census reports from1850-1990. The documents provide the possibility of a rich source of information for both the written and film elements of the RDI project.26

C. Inventory by categories cited above As noted above, there is a natural overlap between the built and cultural heritage. Culturally, East Port of Spain was founded on the culture of former African slaves and the freed Africans who began coming into the island from 1841. Many inhabitants of the area also came from the surrounding islands of Grenada and St. Vincent. Some East Indians settled in some areas of East Port of Spain particularly Belmont and Laventille. The majority demographic profile by ethnicity is that of Africans and therefore, it follows, the dominant heritage one would expect to emerge is African related. This section gives brief details of some key texts that either reference of deal in detail with the culture of East Port of Spain. It is organized under the categories of religion, music and arts/crafts.

Religion Christianity, Islam, Hinduism (notably absent but mentioned in studies on Orisha), Shango, Orisha, Rada, Catholicism. The major religions that existed in the areas of Laventille and Belmont in particular, were Catholicism, Shangoism, Spiritual Baptists and Orishas. The yards of the Orisha and Shango were central to community life as were the catholic churches. Some include: Our Lady of Laventille, St. Francis Roman Catholic Church and the Rada compound in Belmont. From the literature surveyed, the church and yards functioned as community centers. Ralph Araujo,27 writing on his memory of life in Belmont during the Depression Years remembered “Here and there as in a village, were certain identifiable and accepted landmarks, the St. Francis R.C. Church, St. Margaret’s Anglican Church… The Belmont Intermediate School, huddled under

25

Banyan archive database, Web. 14 Jan. 2014 . 26 The National Archives remains to be consulted for more information pertaining to the current project. 27 Ralph Araujo, Memoirs of a Belmont Boy, Trinidad: Imprint Caribbean Limited Publishers, 1984, 16.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Belmont Orphanage…formed a solid Catholic enclave with the school.28 Catholicism was a serious practice. Lent and Advent were days of fasting and abstinence. Christmas was also a time of fasting but younger boys below the age of twenty-one were exempt from the rule of fasting.29 Families came together in solidarity at these times to observe the traditions associated with the events. A Dominican missionary writing in the late 1880’s30 on the Our Lady of Laventille church established in 1879, though the statue of Mary was gifted in 1878 to the sanctuary, writes about it as a communal space where people of Port of Spain gathered to worship and celebrate various festivals. The construction of the church began as a Laventille community effort. During the course of its life, rains destroyed the chapel and money for reconstruction came from Chinese Catholics. The Portuguese celebrated their festival for the first time in 1885. These events culminated in the church becoming a centre of pride and religious fervor not only for the people of the Laventille area but for those of the inner city of Port of Spain as well. Another site of communal gathering were the Orisha and Shango yards. This hosted not only people of the East Port of Spain area but worshippers from other areas like Moruga in South Trinidad, Sangre Grande and Tacarigua in East Trinidad gathered at these places of worship for various festive occasions. Most notable were the Orisha feasts that were common in the early 1900’s and up to this day, are still community events. Orisha, as Frances Henry notes, was a syncretized ‘creole’ religion. She traces the arrival of the religion to the free Africans, many of whom were ‘English speaking Christians’ in the first instance. These were followed by the 1841 arrival of those Africans rescued from slave ships who were not Christians and who had strong tribal customs and culture. They tended to live among their own countrymen, remaining distinct from the rest of the population throughout the nineteenth century.31 The religion had to however adapt to its new home and “constraints placed on them in the colonial societies of the Caribbean.”32 This resulted in the incorporation of other religions’ practices. Roman Catholicism was easier to syncretize because of the multiple saints, similar to Orisha deities.33 There were also other mystical and religious practices that became a part of Orisha. Pa Nezeer, for instance belonged to two Masonic Lodges while Tanti Silla, an Orisha priestess from Belmont, was influenced by a Hindu Orisha called Mahabil who claimed that she was an Indian version of St. Michael. Tanti Silla was one of the first to acknowledge, according to Henry, the East Indian presence in Trinidad by incorporating some aspects of this religion in Orisha.34

28

Araujo, op. cit. 1-2. Araujo, op. cit. 30 A Dominican Missionary in Trinidad, Our Lady of Laventille, or the origin of pilgrimage in the West Indies, G.M. O. Dea, OP. January 11th 1938. Print. 31 Frances Henry, He Had the Power: Pa Nezeer, The Orisha King of Trinidad: A Personal Memoir, Trinidad: Lexicon Trinidad Ltd., 1989, 2. Print. 32 Henry, op. cit, 20. 33 Henry, op. cit. 21 34 Henry, op. cit, 21. 29

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

The yards were sites of music and dance since both practices were intimately linked to worship. Spirit possession for instance common to many of the African derived religions happened during drumming. In Shangoism for instance, ‘the use of folk music, drumming and dancing…makes worshippers…aware that God is directly involved in their situation and that he accepts them as they truly are, that is, products of the culture into which he created them.’35 Since the Shango religion attracted mainly grass-root type people, those who are most oppressed, exploited and unemployed and are most likely those engaged in criminal activities, the religion provided for the needs of these deprived people. With belief in bush medicine and magic, it provided hope to poor Africans.36 Drums and other percussive instruments were central to African devotions and feasts, be it Shango, Orisha or Baptist. In the Orisha religion for instance they were responsible for bringing down the orishas to possess worshippers.37 Andrew Carr provides a brief insight into the drums and other percussive instruments used in the Rada compound in Belmont, each one serving a different function in the percussion arrangement. They are also arranged in a particular order. Only those who are possessed do dances as he notes.38 The centrality of drumming to African religious and secular life is cited as a precursor to the development of the steel pan, the national instrument of Trinidad. The 1881 ban on drumming affected Orisha worship and Spiritual Baptists. Not only did the religious life suffer but also the secular celebrations of Carnival. The search for an alternative form of percussion resulted in the eventual development of the steel pan. Shannon Dudley’s Music From Behind the Bridge: Steel band Spirit and Politics in Trinidad and Tobago is a fascinating account of the rise of steel pan out of economic and social deprivation. The term behind the bridge not only located this development in communities East of Port of Spain, but it also becomes a metaphor for the general state of desperation and deprivation faced by the communities which became associated with the steel pan. This vision of the aggressive, deprived pan man is highlighted in Dudley’s account of the inclusion of the steel pan at Beryl McBurnie’s inauguration of The Little Carib Theatre in 1948, “The Little Carib theatre …became the first venue in which lower-class pan men had regular face-to-face encounters with Trinidad and Tobago’s most influential cultural brokers… For cautious middle-class Trinidadians who ducked into side streets when they saw a steel band coming on the road, the Little Carib afforded the opportunity to enjoy steel band music in a safe environment”. 39

35

George Eaton Simpson, The Shango Cult in Trinidad, Institute of Caribbean Studies, University of Puerto Rico, 1965, 3. Print. 36 Simpson, op. cit. 3. Print. 37 Ennis, B. Edmonds and Michelle A. Gonzales, “Afro-Christian Faiths: Revival Zion and Spiritual Baptists, 138-154 in Caribbean Religious History: An Introduction, New York and London: New York University Press, 2010, 140. Print. 38 Andrew Carr, A Rada Community in Belmont, Trinidad: Paria Publishing Company Ltd., 1989, 27-28. Print. 39 Shannon Dudley, Music from Behind the Bridge: Steelband Aesthetics and Politics in Trinidad, Oxford: Oxford University Press, 2008, 92-93. Print.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Its rise from a vulgar musical expression of the lower classes to symbol of the creativity of the human being in the midst of poverty and hardship, characterizes the development of steel pan. Another religion that seems to be central to Laventille is Islam. The mosque that is situated along the East Dry River in Port of Spain is evidence of the existence of African Muslims. Yet, from the data gathered from this initial research for the inventory, there is little to no information of the Muslims of this area. From the research conducted thus far, the main body of literature focuses on the Orisha, Shango and Rada communities as sites of music and dance. Because most of these religions were part of oral culture, there is still a lot of archiving to be done on the songs, drumming and dances. As in the case of the Spiritual Baptists, documentation prior to the 1950’s is very sparse.40 Given that Orisha only became recognized as a legitimate religion in the 1980’s in Trinidad and Orisha marriages were recognized in 1999,41 much of the archival work that has been found has been recorded and written by foreign researchers.

Music The music of East Port of Spain is diverse but the area has become synonymous with the pan, being the birthplace of this national instrument. The literature on steel pan is extensive. Drumming and dance however, arises as a main musical activity in religious and secular life. Most of the literature uncovered on music during this research, focuses on steel pan, drumming, mainly in the context of religion and very little calypso. Here the religion and music literature also overlaps. The making of his own instruments out of the natural materials like wood and goatskin for drums was a natural way of life for Africans. Gerard Besson’s “Music of East Port of Spain” references water percussion, the beating of two calabashes that were placed upside down in water and beaten with two sticks.42 Music was a natural part of African religious and secular life. Andrew Beddoe, a resident of Belmont and an Orisha drummer, speaking of how he learnt to drum remembers it as a natural inclination. “Nobody never put me to sit down and put a drum in to me and show me how to play yuh know. I used to just watch my father and when my mother had she bele business and I go and get any ole box I used to make them ole box see trouble.”43 Drums were used in Orisha worship to invoke the deities. Each drum in the Rada community for instance, played different rhythms, one keeping a steady beat, another kept sharp syncopated movements and another, a rolling sound. There were also other percussive instruments like the 40

Ennis B. Edmonds and Michelle A. Gonzalez, Caribbean Religious History: An Introduction, New York and London: New York University Press, 2010, 145, Print. 41 Edmonds and Gonzalez, op. cit. 140, Print. 42 Gerard Besson, Caribbean History Archives, “The Music of East Port of Spain,” Paria Publishing Co. Ltd. Thursday 22 September, 2011, Web. 15 Jan. 2014, . 43 Rawle Gibbons and Joy Ryan, Interview with Andrew Beddoe, March 31, 1988, OPREP Catalogue, OP 23, West Indiana Division, The University of the West Indies, St. Augustine. Print.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

maracas and the gãn, a round bar of steel about thirteen inches long, beaten out flat at the ends to resemble a double hoe. It was beaten with a round think rod of the same material of approximately same length.44 No doubt the fashioning of the tamboo bamboo subsequent to the banning of drumming and later on, the steel pan, arose out of these percussive models. Stephen Stuempfle’s The Steelband Movement: The forging of a National Art in Trinidad and Tobago, (1995) is a valuable source for an overall study of the development of the steel pan and its relationship to the development of a national identity. There is mention of Laventille, the Laventille Shrine and its proximity of the Desperadoes pan yard in his introductory chapter where he gives a broad overview of the location of several key steel band yards. The yards usually Shango or Orisha were usually the community centers where people gathered for both religious and social activities where religion was also a social affair. The pan yard would eventually become a similar communal space where people gathered for music and socializing. Other texts dealing with the development of steel pan are Kim Johnson’s Ph.D. Dissertation “The Soul in Iron” (2002) which begins in the hills of Laventille. Like many of the books on the development of steel pan, there is no direct focus on social conditions of the East Port of Spain area itself. Ancil Anthony Neil’s Voices from the Hills: Despers and Laventille is a more direct study of Laventille and the effects of pan on violence. Shannon Dudley’s, Music From Behind the Bridge: Steelband Spirit an Politics in Trinidad and Tobago as mentioned earlier is a valuable study of the rise of pan from a situation of economic and social deprivation to an instrument that represents the people of Trinidad and Tobago. Kenneth Anthony Lum’s: Praising His Name in Dance: Spirit Possession in the Spiritual Baptist Faith and Orisha Work in Trinidad, West Indies examines music and dance within the religious context. Here dance in possession is cited as a way of expressing and acting out behaviours that are otherwise socially unacceptable. Andrew Beddoe also makes extensive mention of dance in rituals. There were ‘different songs for different nations of the Yoruba, the Ibo, Mandingo, Kici and Cromantie. The song was accompanied by dance and drum whereby a ring was opened to allow the spirit in to dance.45 He also provides insight into different dances such as the gran bele, pique, Alora, La Bailey, Bongo and Kalinda. Music from the literature surveyed generally comprises of drumming, steel pan and calypso. Dance is associated with each as well. With the exception of the information gathered through sifting out material from larger works mainly on religion, there is no other known study of other dance forms existing in Trinidad, far less, the East Port of Spain area.

Arts/Crafts The concept of art and craft as commodity items are largely a Western way of looking at these practices. In the African contexts, these are tied to ritual life. They are a part of the people’s lived realities. There is no body of literature focusing on the concept of art and craft 44

Carr, op. cit. 7. Print.

45

Beddoe, op. cit. 37. 12

Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

items in any depth. Most of what has been uncovered thus far has been taken from passing remarks about drawings on the floor or the making of instruments like drums and other percussion instruments. Chats with those of the Spiritual Baptist Faith revealed ritual drawings used in ceremony when a devotee is immersed in spiritual travel. The Hindu practice of decorating the ceremonial seat of the Gods known as the bedi for prayers, with flour, vermillion and saffron is an example of the similarity between the faiths. Though there is very little mention of a substantial Hindu community in the East Port of Spain area, literature on Orisha as discussed in the section on religion, mentions the syncretization of Hindu items like idols and utensils used in Hindu worship. The Spiritual Baptists too feature drawings of Hindu deities even on the walls of their shrines. There is however no literature exploring this fact in any depth. The information on this has been gleaned through casual chats with people of this faith. Art in the Western sense of the word are usually things to be looked at, those that we hang on walls or place as centre pieces on tables. Items that we now consider craft items were items that people used in everyday life. The calabash that is now sold for instance as a drinking utensil or as purses that can be seen on beaches or souvenir shops with local products was used in daily life in more rough forms. Today they are produced for sale though there are members of the African community who still hold on to traditional practices and use them in their daily lives. Beaded work, and bamboo jewelry were once part of ritual wear and art. Today they are marketed as accessories for daily wear and feature in Carnival costumes. The drag mall located along the East Dry River showcases art work now seen as craft in the Western sense. The East Port of Spain area has also produced many national artists. While some come out of the religious traditions like Leroy Clarke, there are those who came from more middle class families not particularly rooted in traditional African culture and religion. Artist Leroy Clarke who is from Laventille is more Afro-centric in his outlook while filmmaker and Jamaican based Franklyn St. Juste who comes out of Laventille and artist Jackie Hinkson of Belmont are not necessarily African centered.46 Their works too reflect their central preoccupations and education. The area of art and craft is one that will invite discovery of new material not previously recorded.

East Port of Spain Audio Visual Inventory Audiovisual content provides a visual chronology of time and how the area has changed. Most of the work of older Trinidad, are seen through the lens of the outsider, many tourists, earlier colonial lens on race and class. The outsider lens focused on the everyday. Physical landscape is very apparent in video footage, as are images of daily life. This survey of audio46

See Frances Henry, Reclaiming African Religions in Trinidad: The Socio-political Legitimation of the Orisha and Spiritual Baptist Faiths, Jamaica: The UWI Press, 2003, for case studies of artists, musicians and poets and the relationship between their art and religion. Among them are calypsonian David Rudder and artist Leroy Clarke. Most seem to come from the middle class population of Belmont. 13

Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

visual material sets the stage for the documentary aspect of this RDI project as it provides a body of photographs that can be interspersed within the film as well as some film footage that can also be used within the proposed visual component of the project. The material here also provides a visual of social, religious and infrastructural history of East Port of Spain, thereby creating a more comprehensive picture of the importance of particular spaces and events in people’s daily lives and changes, both physical and social that have occurred within the area. The inventory of audio-visual resources presented here is organized according to the sites from which they were sourced. The video resources are separate from the photographs. They are arranged in chronological order wherever dates are available.

Audiovisual sites of research University of the West Indies, West Indiana Division Laventille here we come! W.I. 2123 l3 l38 1992 Publisher Success Pub. 1992 ISBN 9766080429, 9789766080426 Length 31 pages Photographs of Historic places in East Port Of Spain. Pictures of Fort Chacon and Fort Picton, Express House, Independence Square, The Catholic Presbyterian Centre, Areas surrounding Laventille like the East Dry River. Photos taken in what looks to be the 1980’s early 1990’s of the different spaces. The book is part of a school exercise to celebrate the surroundings in which the students of Laventille exist. Album Photographs W1160 f(2121) Pg 486 Volume 2 & Volume 1 • Port Of Spain Market House W1162 • View of Port Of Spain from hills (1800’s) • Railway Shed W1172 • The New Port Of Spain Market W1176 (1800’s) • The Dry River Port Of Spain before it was paved. W1183 & W1184 • The War Memorial Port Of Spain (With troops in shot) W1240, W1241, W1242 • Photograph Park Street view from Belmont across the street. (No date but looks like 1950’s) Example: Photographs Rare Photographs 1) St. Vincent Street, Port of Spain, St. Vincent Street showing the Custom House and the Wharf 2009-02-05 Rare Photographs of Trinidad in the 1890's

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Photograph 1: St. Vincent Street showing Custom House and Wharf

http://uwispace.sta.uwi.edu/dspace/handle/2139/3389 1) Government house facing the Savannah - Unknown author (2009-02-05) posted

Photograph 2: Government House facing the savannah

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Michael Goldberg Collection Special Collection 61 Box 3 (Post Cards) • Colonial Hospital – Colour Post Card • Stollmeyer’s Castle & Hall of Justice

Photograph 3: Taken from the Michael Goldberg Collection depicting a Port of Spain street scene

Special Collections 133 Drawings • Rose Hill Estate East Port Of Spain • Steps to Hills Street Scene (Page 56 East Port Of Spain)

National Library and Information System Authority (NALIS) HERITAGE LIBRARY Photographs from Belmont Special Collections Heritage Library Division NALIS (All photographs are Black and White) Photographs included: 1) 2) 3) 4) 5) 6)

Belmont Police Station – (1890) very old picture of steps leading to station. Shows the front of building from under the steps. Panoramic Belmont – Beautiful shot from on top the mountain looking down on Belmont streets. View of houses and church, streets inside Belmont can be seen. Pelham Street – House on Pelham Street. Very tight on house a road sign can be seen in the picture Ralph Araujo – Author of ‘Memoirs of A Belmont Boy’ Picture of him as a boy. One leg up on a stairs posing for the camera, he has long boyish hair to his neck. Casablanca 45th Anniversary – 3 men playing pan. Date of picture: 21/07/84. Belmont International School – (Belmont Circular) Top photograph shows 2 cars in the road driving towards school. Picture is from the road.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Photograph 4: Photographs from the NALIS Heritage Library Belmont Collection. (Top) Cars driving towards the Belmont International School (Bottom) The corner of St. Francois Valley Road, Erthig Road and Belmont Circular Road depicting the early home of Ralph Araujo.

7)

8)

The corner of St. Francois Valley Road, Erthig Road and Belmont Circular Road – The bottom picture shows the early home of Ralph Araujo. Just after St. Francois Valley Road goes off to the left, is 58 Belmont Circular Road, the empty lot just before old wooden house is where he used to live. This picture is of one of the busiest intersections in Belmont. Catholic life in Belmont centered around the beautiful Gothic in style St. Francis R.C. Church, where many ladies remember Father Graham’s stance on no back back.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Photograph 5: (R) Belmont Church, (Left) St. Margaret’s Church

9) 10)

11) 12)

Belmont Church – Majesty of Belmont church can be seen in the picture to the right. The peak of the church building has the cross high in the sky. A study of St. Margaret’s Church – Site of the Original sugar mill on the Belmont Sugar Estate. This was an extraordinary black and white photo. Low angle to ground showing a entire side of the church. Wooden House Belmont – really old house in front of roadway. Tangle of Progress – - opposite Queens Park Savannah. The picture below shows how developed Belmont is becoming at this point in time. Seen by the many power lines hence the title Tangle in Progress.

Photograph 6: Radix and Jerningham Ave Upper Charlotte Street POS

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

13)

First Coal Shop – Still exist at Willis street Belmont.

Photograph 7: First coal shop. This still exists in Belmont.

(Please note that these pictures were taken with a camera phone and copyright would need to be received for them before they are reshot to be used in proposed documentary). Historic Landmarks of Port Of Spain Michael Anthony Publisher: Macmillan Caribbean (June 30, 2003) ISBN-10: 0333975553

Fort Picton

Photograph 8: Fort Picton from Michael Anthony’s Historic Landmarks of Port Of Spain (2003)

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Ministry of Arts and Multiculturalism Banyan Ltd. 25 Warner Street, POS Trinidad and Tobago Title: Overview of Culture) Begins with Carnival looks like the year 1995 full clothing, name of section Rat Poison people in full clothes not like today. Everyone has on a rat costume. Panorama, Calypso Tent (Sparrow as a young boy singing). Playing a house Parang band outside a house real ole time parang, Rhythm section, building of Carnival costume, Big King costume, Bel air Dancing and Baptiste dancing / Old time dancing.

Google Search http://www.flickr.com/photos/striderv/4006373636/in/photostream/

Photograph 9: Date of Belmont picture is posted Oct 12th 2009, Street scene in Old POS

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

Youtube search of East Port Of Spain 1) 1938 Port Of Spain Sailors and Horse Carriages Black and White footage of all around Port Of Spain random people. Savannah Hills Mountains Good Quality / Mining. https://www.youtube.com/watch?v=DCq9k6YpawQ Uploaded on Feb 17, 2009 A visit to the Caribbean island of Trinidad in the late 1938. To purchase a clean DVD or digital download of this film for personal home use or educational use contact us at [email protected]. To license footage from this film for commercial use visit: www.travelfilmarchive.com 2) Old Trinidad 1948 – Buildings train, POS https://www.youtube.com/watch?v=5g0vK27bdqc Uploaded on Feb 4, 2011 Essence making time out of her promotion tour to visit family living in Belmont Trinidad...experience driving up the steep hills in St. Babs road, which is a narrow street, they call "Two Way" jeeeze sus...Thank GOD my uncle Ivan...is a good driver. Keep ya hand on the clutch...and keep pressing the accelerater...I got the breaks...lol...And my cuz Aisha...for laughing at me. ALL IN FUN...make time for family time which is my time. 3) Carnival 1957 Savannah https://www.youtube.com/watch?v=2ccbF4DMqHU Uploaded on Mar 21, 2010 Footage contributed by Sooty1312. This video is not to be copied without express written consent of the operator of this channel. These wonderful 8mm colour home movies capture Trinidad Carnival of over 50 years ago. Note the beautiful art deco Queen's Park Hotel and the unmistakable American influence on the revelers' costumes. At that time, the Chaguaramas Naval Station was still in operation, with thousands of American servicemen stationed there. Look for the Coat of Arms of the Federation of the West Indies and the Anchor Special cigarette headgear! A beautiful troupe of Dakota "Red Indians" dance by among others. The camera work is good and the colour is still relatively stable on this old film that captures a Trinidad that has long since disappeared. 4) Time Out In Trinidad1950s - Pt.6 - Carnival 1957 https://www.youtube.com/watch?v=2ccbF4DMqHU Uploaded on Mar 21, 2010 Footage contributed by Sooty1312. This video is not to be copied without express written consent of the operator of this channel. These wonderful 8mm colour home movies capture Trinidad Carnival of over 50 years ago. Note the beautiful art deco Queen's Park Hotel and the unmistakable American influence on the revelers' costumes. At that time, the Chaguaramas Naval Station was still in operation, with thousands of American servicemen stationed there. Look for the Coat of Arms of the Federation of the West Indies and the Anchor Special cigarette headgear! A beautiful troupe of Dakota "Red Indians" dance by among others. The camera work is good and the colour is still relatively stable on this old film that captures a Trinidad that has long since disappeared.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

5) Ole Time Carnival 1959 Part 1 https://www.youtube.com/watch?v=Owvlto0GoEo 3 part series on Carnival shots on old Mass. 6) Swing and Sway Trinidad Way, 1960s – Churches and Savannah Dancing and Steel pan. https://www.youtube.com/watch?v=cAd-_wGsbpA Uploaded on Jun 23, 2010 A tour of the Caribbean islands of Trinidad and Tobago in the 1960s.To purchase a DVD of this film for personal home use or educational use contact us at [email protected]. To license footage from this film visit: www.travelfilmarchive.com 7) This Land of Ours Part 1 Shots of Ole Time POS (Year?) https://www.youtube.com/watch?v=Oa0RDnSkt58 This is a four part Series on the History on Trinidad and Tobago covers Religion, Steel pan, Carnival, Eric Williams, very interesting good quality. Queen handing over Constitution to the Prime Minister. 8) When Steel Talks – (Pan Trinbago) Series of interviews on Pan nothing directly linking to EPOS. 9) Old time days-Trinidad https://www.youtube.com/watch?v=BfdyLtjgFL8 Ole Time Days Music Video shots of the good old time days POS Belmont Donkey Cart, Frederick Street, Government House, 10) Machel Montano & Morgan Heritage - I See Lots (Official Music Video) [HD] https://www.youtube.com/watch?v=aS0cOKjd7gU Shots and visuals of Sea Lots – Music Video 11) Present Day News: Gang Warfare 2013 https://www.youtube.com/watch?v=Ucenals9Oqg Published on Aug 14, 2013 Gang warfare intensifies in East Port of Spain. The latest victim is a pregnant 16 girl 16 years old. She was one of two teenaged relatives shot dead on Wednesday. Films Bim 1974 Political film shots of Belmont and around the Savannah, Belmont Gas station and houses in Belmont. Bim was one of Trinidad and Tobago's first feature films. It was written to be a West Indian answer to the Godfather. The film is set in the 1950's, just prior to Trinidad and Tobago's independence from England in 1962. The film follows the violent life of a young man

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

named Bim, who's whose life experiences wind through petty crime all the way to political office. The film explores the political life of Trinidad and Tobago, including the development towards independence, the process of British de-colonization, relations between African and Indian descendants, and the rise of labor unions. Initially, the film was banned in Trinidad and Tobago. It is an extremely rare film, but worth locating if possible with permissions sought to use some of the footage if this is found useful. Audacity of the Creole Imagination – History of Pan (2013): Filmmaker Kim Johnson Old carnival Pan in POS. Documentary from the creation of Steel band to present. This documentary captures footage of streets and local life of communities who were involved in the production of the steel band. The documentary made use of a wide range of original black and white photographs, some of which may be useful for a documentary representation of East Port of Spain cultural heritage. The Cool Boys (2012): Filmmaker Michael Mooleedhar used Belmont park and backstreets of Belmont for locations of a gunfight shoot out. The small streets, buildings and atmospheric feel of Belmont are fully captured in the dramatic episode that takes place in Belmont.

Photograph 10: Scene from Trinidadian local film Cool Boys (2012) shot in streets of Belmont

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

God Loves the Fighter (2013): Film Locations EPOS Trinidad - King Curtis, a vagrant on the streets of Port of Spain, is constantly ignored by passersby. He speaks and if he has to - sometimes shouts the truth about the stories behind the newspaper headlines. As the conductor of our story, King Curtis introduces us to a young man named Charlie... Charlie, a resident east of the lighthouse, is trying his best to stay on the right path. However, with no job in sight, he is finding it hard to say no to other "opportunities". A chance of redemption presents itself when Dinah, a professional streetwalker, crosses his path in need of help. As the story unfolds, King Curtis reveals the ripple effect created by a person's decision making; leading to moments of triumph and moments of tragedy. Written by Alexa Bailey. A large majority of the film is shot in East Port Of Spain

D. Analysis of data A survey of the literature reveals in the fields of religion, music, art and food, only a few recurring elements that may be considered typical of the cultural heritage of East Port of Spain. Studies on the Orishas and Spiritual Baptists, while numerous, are not however centered on East Port of Spain communities. There are Caribbean studies of African religions, again, very general and focusing on various countries, not necessarily specific areas in particular islands. Nonetheless, these religions and their practices are fundamental to the kind of musical and aesthetic traditions that emerge from the area and as such provide a focal point for both textual and visual documentary recording. The literature on music reveals much on the development of steel pan, less on calypso and the EPOS region and still less to none on any other forms of music. While this is a gap in the literature, we are aware that musical traditions forthcoming from this area are valuable to understanding the heritage of the geographical space – their origins may be embedded in religious or community forming practices that the literature does not render up, but which might emerge from oral interviews and from a close reading of the range of audio visual data that is surfacing. There is little to no study on the artistic practices of the people of East Port of Spain, though there is evidence in the craft and art sold in different areas of the island, that such practices do exist in the area. Other arts like sculpture has found no mention in literature, yet, there are two known sculptors, both from Laventille who produce and sell work of relatively high value. This is in keeping with the heritage of African culture that has a distinctive tradition in the arts, particularly craft and fine art production and is a potentially fruitful one to be followed up, again, through interviews and tracing of such handicraft items that may have emerged from this area. Most of the studies on each of the categories are told mainly from male perspectives and narrated by men. Interviewees except in the field of religion, which finds a few female voices,

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

are largely male. The female view of social and cultural life in the East Port of Spain area is a gaping hole to be filled since East Port of Spain itself is highlighted in media as a predominantly male area. Most criminal activity, the news that finds most male coverage is done by men and boys. Steel pan is seen as a male dominated field, so too art though there is evidence that shows female involvement in these fields of endeavor. The audio/visual material too confirms this analysis of the written work. Similarly much of the audiovisual material told from the outsider perspective also comprises of mainly male narrative voices, one of the gaps that will be addressed in the film component. The literature and visual material uncovered has identified some key focal areas and hinted at those that require more focus. Since most of the culture of East Port of Spain still resides in the memories of those who were born and lived there most of their lives, this implies that much remains to be gleaned from documenting the oral against the current geography and architecture, including houses, churches, located shrines, site denoted as central to the cultural life of the region and so on. This is proposed in the oral interviews that will form the second component of this inventory. Community involvement here is important to the successful accessing of individuals and respondents to filling some of the gaps in the data uncovered thus far. Such an approach will also place importance on the voices and memories of people of the communities selected and hence contribute to a more collaborative and joint process of developing and preserving the cultural heritage of the communities of the East Port of Spain area.

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Sharda Patasar and Michael Mooleedhar EPOS Cultural Inventory

References A Dominican Missionary in Trinidad. Our Lady of Laventille or, the origin of pilgrimage in the West Indies. G.M. O. Dea, OP. January 11, 1938. Print. Aiyejina, Funso and Gibbons, Rawle. “Orisa Tradition in Trinidad.” Proceedings of the 6th World Congress of Orisa tradition and Culture, August 15-22, 1999, Port of Spain, Trinidad and Tobago. Print. Anthony, Michael. The Making of Port of Spain Vol. One. Trinidad and Tobago: Key Caribbean Publications. 1978. Print. ____________. Port of Spain in a World at War 1939-1945. Trinidad and Tobago: Ministry of Sports, Culture and Youth Affairs, 1983. Print. Anthony, Michael. Historic Landmarks of Port of Spain. Trinidad and Tobago: Macmillan Caribbean. 2003. Print. Araujo, Ralph. Memoirs of a Belmont Boy. Trinidad: Imprint Caribbean Ltd. Publishers, 1984. Print. Bynoe, Quintin. The Old Belmont. 1985. Print. Belmont Children’s Athletic Committee. Focus on Belmont: Capital of Port of Spain. Belmont Children’s Athletic Committee. N.d. Print. Carr, Andrew. A Rada Community in Belmont. Trinidad: Paria Publishing Co. Ltd., 1989. Print. Dudley, Shannon. Music From Behind the Bridge: Steelband Aesthetics and Politics in Trinidad, Oxford: Oxford University Press. 2008. 92-93. Print. During, Simon. “Introduction” in The Cultural Studies Reader. ed. Simon During. London and New York: Routledge. 1993. 1. Print. East Port of Spain Development Company Ltd. Web. 18 Dec. 2013. . Edmond, Ennis B. And Gonzalez, Michelle A. “Afro-Christian Faiths: Revival Zion and Spiritual Baptists” in Caribbean Religious History: an Introduction. New York and London: New York University Press, 2010. 138-154. Print. Gibbons, Rawle. Andrew Beddoe. Interview. OPREP Catalogue. March 31, 1988. UWI Main Library, St. Augustine. Print. Henry, Frances. He Had the Power: Pa Nezeer, The Orisha King of Trinidad: A Personal Memoir. Trinidad: Lexicon Trinidad Ltd., 2008. Print.

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Henry, Frances. Reclaiming African Religion in Trinidad: The Socio-Political Legitimation of the Orisha and Spiritual Baptist Faiths. Jamaica: The UWI Press, 2003. Print. Johnson, Kim. “The Soul in Iron”. PhD. Thesis. University of the West Indies, 2002. Print. Lum, Kenneth Anthony. Praising His Name in Dance: Spirit Possession in the Spiritual Baptist Faith and Orisha Work in Trinidad, West Indies. Routledge, 2000. Print. Naipaul, V.S. . The Middle Passage: A Caribbean Journey. Basingstoke and Oxford: Picador. 19. Print. Neil, Ancil Anthony. Voices from the Hills: Despers and Laventille: The steelband and its effects on poverty, stigma and violence in a community. 1987. Print. Ryan, Selwyn. Behind the Bridge. Trinidad and Tobago: I.S.E.R., University of the West Indies, 1997. Print. Simpson, George Eaton. The Shango Cult in Trinidad. Institute of Caribbean Studies, University of Puerto Rico, 1965. Print. Stuempfle, Stephen. The Steelband Movement: The Forging of a National Art in Trinidad and Tobago. Philadelphia: University of Pennsylvania Press, 1995. Print.

Web sources Andrew Carr Trinidad Collections, Indian University Bloomington, Archives of Traditional Music. Web. 13, Jan. 2014. . Banyan archive database. Web. 14 Jan. 2014. . The Belmont Rada Community. Web. 15 Jan. 2014 . Besson. Gerard. “The Music of East Port of Spain.” Caribbean History Archives. Paria Publishing Co. Ltd. Thursday 22 September, 2011. Web. 15 Jan. 2014. . ––––––––. “The Rada Community.” Caribbean History Archives. Paria Publishing Co. Ltd. Jan. 6, 2011. Web. 15 Jan, 2014. . Clyne, Kalifa S. Trinidad Guardian Newspaper. September 2, 2013, Web. 13 Jan. 2014 .

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CNC 3 Television. 11 September 2012. Youtube. Web. 13 Jan. 2014. . East Port of Spain Development Co. Ltd. Strategic plan Part 1. Web. 11 Jan. 2014. . East Port of Spain Development Co. Ltd. Situational assessment Part 2. Web. 11 Jan. 2014. . Gonzales, Gyasi. Trinidad Express Newspaper, October 8, 2013, Web. Jan. 13, 2014, . Gordon, Zahra. “Heritage tours come to Belmont.” Trinidad Guardian Newspaper, Monday, July 30, 2012. Web. 14 Jan. 2014. . “Identifying and Inventorying Intangible Cultural Heritage.” United Nations Organization for Education, Science and Culture (UNESCO) Publication. 3. Web. 14 Jan. 2014. . “Intangible Cultural Heritage”. Web. 14 Jan. 2014. . MacLean, Geoffrey. “Introduction to the Art of Trinidad and Tobago.” Web. 14 Jan. 2014. . Ryan, Selwyn et al. No Time to Quit: Executive Report of the Committee on Young Males and Crime in Trinidad and Tobago. 2013. Web. 12 Jan. 2014. . Williams, Raymond. “Culture is Ordinary” (1958). Web. 15 Jan. 2014. . “What is Intangible Cultural Heritage?” Web. 14 Jan. 2014. .

Audio Visual Resources Photographs Belmont Special Collections Heritage Library Division NALIS: 1890-1990. Photographs. National Library and Information System Authority (NALIS) HERITAGE LIBRARY. Rare Photographs, University of the West Indies, West Indiana Division, 5th Feb 2009. < http://uwispace.sta.uwi.edu/dspace/handle/2139/3389>. 28

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Online videos Striderv. Web. 8 Jan. 2013. . Travel Film Achieve. “1938 Port of Spain: Sailors and Horse Carriages.” Online video clip. Youtube. Youtube, Web. 17 Feb. 2009. Web. 8 Jan. 2013. https://www.youtube.com/watch?v=DCq9k6YpawQ “Old Trinidad 1948 – Buildings train, Port of Spain.” Online video clip. Youtube. Youtube, Web. 04 Feb. 2011. Web. 8 Jan. 2013. . “Carnival 1957 Savannah.” Online video clip. Youtube. Youtube, Web. 21 Mar. 2010. Web. 8 Jan. 2013. .

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“Time out in Trinidad 1950s, Part 6 Carnival1957.” Online video clip. Youtube. Youtube, Web. 21 Mar. 2012. Web. 8 Jan. 2013. . “Ole Time Carnival 1959 Part 1.” Online video clip. Youtube. Youtube, Web. 13 Oct. 2009. Web. 8 Jan. 2013. . “Swing and Sway Trinidad Way, 1960s.” Online video clip. Youtube. YoutubeWeb. 23 Jun. 2010. Web. 8 Jan. 2013. pan. . www.travelfilmarchive.com “This Land of Ours Part 1 Shots of Ole Time POS.” Online video clip. Youtube. Youtube Web. 14 Oct. 2009. Web. 8 Jan. 2013. . . “Old time days-Trinidad.” Online video clip. Youtube. Youtube, Web. 22 Apr. 2009. Web. 8 Jan. 2013. . “Machel Montano & Morgan Heritage.” Online video clip. Youtube. Youtube, Web. 16 Aug. 2013. Web. 8 Jan. 2013. . “Present Day News: Gang Warfare 2013.” Online video clip. Youtube. Youtube, Web. 14 Aug. 2013. Web. 8 Jan. 2013. .

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