Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.2.0033
Dominique Stewart
Nachania (नचंनिया), translated as ‘female dancer’, refers to both a traditional Indo-Jamaican folk dance that has local origins in indentureship, and to those who perform it. The dance is characterized by flamboyant flailing hands, counterbalanced by acrobatic feats and yogic moments synchronous with beat drops. Its unbound choreography salvages important religio-cultural and historical narratives through ecstatic paroxysmal dance often with sexual overtones. This performance is important in ritualized and celebratory spaces to entertain crowds. While performing, Nachanias would have money launched at them, and they would sometimes engage men in dance. The performers were, and still are, frequently men who assume a different gendered role garbed in conscious ‘feminizing’ technologies such as make-up, jewellery and a frock. Especially during indentureship and the period immediately after, it was ‘vulgar’ for women to dance publicly or perform at religious ceremonies. Early women Nachanias were read as tainted spectacles, some of whom the archives record as professional ‘entertainers’. Inspired by the author’s curiosity, Indo-Jamaican identity, observations of Nachania and discourses with Ghanesh Maragh (one of the few contemporary performers of this artform), this article casts Indo-Jamaicans into the unbound erotic gendered tradition of Jamaica and indentureship by (a) tracing the (inter)religious, gendered, and historical anatomy of the lauded folk performance from the period of indentureship to the present in Jamaica and the Indo-Jamaican diaspora; (b) exploring themes of bidesia; and (c) examining possible problems with situating Nachania within categories of queer.
{"title":"Krishna kee bansi bhajay","authors":"Dominique Stewart","doi":"10.13169/jofstudindentleg.2.2.0033","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.2.0033","url":null,"abstract":"Nachania (नचंनिया), translated as ‘female dancer’, refers to both a traditional Indo-Jamaican folk dance that has local origins in indentureship, and to those who perform it. The dance is characterized by flamboyant flailing hands, counterbalanced by acrobatic feats and yogic moments synchronous with beat drops. Its unbound choreography salvages important religio-cultural and historical narratives through ecstatic paroxysmal dance often with sexual overtones. This performance is important in ritualized and celebratory spaces to entertain crowds. While performing, Nachanias would have money launched at them, and they would sometimes engage men in dance. The performers were, and still are, frequently men who assume a different gendered role garbed in conscious ‘feminizing’ technologies such as make-up, jewellery and a frock. Especially during indentureship and the period immediately after, it was ‘vulgar’ for women to dance publicly or perform at religious ceremonies. Early women Nachanias were read as tainted spectacles, some of whom the archives record as professional ‘entertainers’. Inspired by the author’s curiosity, Indo-Jamaican identity, observations of Nachania and discourses with Ghanesh Maragh (one of the few contemporary performers of this artform), this article casts Indo-Jamaicans into the unbound erotic gendered tradition of Jamaica and indentureship by (a) tracing the (inter)religious, gendered, and historical anatomy of the lauded folk performance from the period of indentureship to the present in Jamaica and the Indo-Jamaican diaspora; (b) exploring themes of bidesia; and (c) examining possible problems with situating Nachania within categories of queer.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115129784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0001
Crispin Bates, M. Carter, Khal Torabully
: Torabully’s poems are both an act of and call for grieving. His poem that most clearly communicates this manifesto is ‘The Tears of Exile’… Coolitude demands mourning not only as recognition for and tribute for indentures, but also as a healing strategy operating at both the private and public, a practice toward claim of a fuller humanity.
{"title":"Coolitude, the concept, its resonances and afterlives","authors":"Crispin Bates, M. Carter, Khal Torabully","doi":"10.13169/jofstudindentleg.3.1.0001","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0001","url":null,"abstract":": Torabully’s poems are both an act of and call for grieving. His poem that most clearly communicates this manifesto is ‘The Tears of Exile’… Coolitude demands mourning not only as recognition for and tribute for indentures, but also as a healing strategy operating at both the private and public, a practice toward claim of a fuller humanity.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"266 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123699015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.1.0158
Amílcar Sanatan
{"title":"Poems","authors":"Amílcar Sanatan","doi":"10.13169/jofstudindentleg.2.1.0158","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.1.0158","url":null,"abstract":"","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125246306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.2.0142
Maria del Pilar Kaladeen
{"title":"Arunima Datta, Fleeting Agencies: A Social History Of Indian Coolie Women in British Malaya (Cambridge: Cambridge University Press, 2021), 254 pp.","authors":"Maria del Pilar Kaladeen","doi":"10.13169/jofstudindentleg.2.2.0142","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.2.0142","url":null,"abstract":"","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122584266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0133
Matthew Ryan Smith
Andil Gosine’s participant-driven performance Cane Portraiture aestheticizes the social history of indentured labourers in the Caribbean. The work expands the field of relations surrounding the discourse of ‘coolitude’ – the dissemination of Indian labour during the 19th century – by redressing the ‘coolie odyssey’. By doing so, Gosine suggests that the pathos of displacement produced by the ‘coolie odyssey’ moves through generations of the Caribbean diaspora. In an attempt to define and reconcile this tension, Cane Portraiture attempts to locate a renewed sense of place and of ‘home’. For Gosine, then, the conceptualization of ‘home’ is approached as an embodiment of a person or site that is shared with others.
{"title":"Andil Gosine’s Cane Portraiture and the aesthetics of indenture","authors":"Matthew Ryan Smith","doi":"10.13169/jofstudindentleg.3.1.0133","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0133","url":null,"abstract":"Andil Gosine’s participant-driven performance Cane Portraiture aestheticizes the social history of indentured labourers in the Caribbean. The work expands the field of relations surrounding the discourse of ‘coolitude’ – the dissemination of Indian labour during the 19th century – by redressing the ‘coolie odyssey’. By doing so, Gosine suggests that the pathos of displacement produced by the ‘coolie odyssey’ moves through generations of the Caribbean diaspora. In an attempt to define and reconcile this tension, Cane Portraiture attempts to locate a renewed sense of place and of ‘home’. For Gosine, then, the conceptualization of ‘home’ is approached as an embodiment of a person or site that is shared with others.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116576828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.1.0098
Jordache A. Ellapen
This photo essay curates two interrelated bodies of creative work, Queering the Archive: Brown Bodies in Ecstasy (2013-ongoing) and The Brown Photo Album: An Archive of Feminist Futurities (2020), to explore the queer afterlives of indentureship in South Africa through the aesthetic realm. Queering the Archive and The Brown Photo Album are influenced by the photo archive of an Afro-Indian family from rural Kwa Zulu Natal. The curation of these two interrelated projects as this photo essay, Brown Femininities and the Queer Erotics of Indentureship, positions the maternal-feminine as central to the making of Afro-Indianness and to my own understanding of sexuality, beauty, pleasure and the erotic as informed by the home-space of the Afro-Indian family. This project maps my mother’s desire to create a visual archive of the Afro-Indian woman in the immediate afterlife of indentureship onto my own desire to create a visual archive of the Afro-Indian queer experience in contemporary South Africa. The images translate the violence associate with the sugarcane plantations and indentureship into an aesthetic of pleasure where the past, present, and future as well as Black, Brown, and white bodies rub against and touch each other as an ongoing practice dedicated to re-imagining Afro-Indian intimacies and South African Blackness.
{"title":"Brown femininities and the queer erotics of indentureship","authors":"Jordache A. Ellapen","doi":"10.13169/jofstudindentleg.2.1.0098","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.2.1.0098","url":null,"abstract":"This photo essay curates two interrelated bodies of creative work, Queering the Archive: Brown Bodies in Ecstasy (2013-ongoing) and The Brown Photo Album: An Archive of Feminist Futurities (2020), to explore the queer afterlives of indentureship in South Africa through the aesthetic realm. Queering the Archive and The Brown Photo Album are influenced by the photo archive of an Afro-Indian family from rural Kwa Zulu Natal. The curation of these two interrelated projects as this photo essay, Brown Femininities and the Queer Erotics of Indentureship, positions the maternal-feminine as central to the making of Afro-Indianness and to my own understanding of sexuality, beauty, pleasure and the erotic as informed by the home-space of the Afro-Indian family. This project maps my mother’s desire to create a visual archive of the Afro-Indian woman in the immediate afterlife of indentureship onto my own desire to create a visual archive of the Afro-Indian queer experience in contemporary South Africa. The images translate the violence associate with the sugarcane plantations and indentureship into an aesthetic of pleasure where the past, present, and future as well as Black, Brown, and white bodies rub against and touch each other as an ongoing practice dedicated to re-imagining Afro-Indian intimacies and South African Blackness.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124770405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0157
Danny Amos Flynn
Referencing two 19th-century identity photographs of Indian migrants named Beekano and Doorgana, taken from the research of historian Marina Carter at the Mauritian Archives, Flynn has produced artworks using the obsolete method of screen-printing to transform the portraits that originally were to aid an oppressive colonial regime focused on policing and immobilizing its immigrant labour. He has also involved the same two individuals in a fictionalized scene in which a surreal fantasy takes Beekano on a journey where he is stripped of his physical body and disappears to be released before any destination is arrived at.
{"title":"Artistic meanderings through Coolitude","authors":"Danny Amos Flynn","doi":"10.13169/jofstudindentleg.3.1.0157","DOIUrl":"https://doi.org/10.13169/jofstudindentleg.3.1.0157","url":null,"abstract":"Referencing two 19th-century identity photographs of Indian migrants named Beekano and Doorgana, taken from the research of historian Marina Carter at the Mauritian Archives, Flynn has produced artworks using the obsolete method of screen-printing to transform the portraits that originally were to aid an oppressive colonial regime focused on policing and immobilizing its immigrant labour. He has also involved the same two individuals in a fictionalized scene in which a surreal fantasy takes Beekano on a journey where he is stripped of his physical body and disappears to be released before any destination is arrived at.","PeriodicalId":179792,"journal":{"name":"Journal of Indentureship and Its Legacies","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121605542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.2.1.0015
Suzanne C. Persard
‘Archives in drag: Performing nachaniya towards a queer theory of indenture’ takes as its object the figure of the Indo-Jamaican nachaniya dancer as a paradigm for re-thinking queer theories of indenture. Nachaniya is a highly stylized Indo-Jamaican folk dance featuring a heterosexual male dancing in drag. The performance, which can be traced to the nineteenth century, is still common within present-day Indo-Jamaican communities and the diaspora. Nachaniya therefore presents both parts of a queer historical and living archive. By using an archival photograph from the 1960s of a nachaniya dancer as a point of entry, I consider the ways in which this genre of Indo-Jamaican folk performance demonstrates gender non-normativity as deeply embedded within the indentured archive. Since nachaniya is also read as not necessarily queer but ‘cultural’, I am interested in the tensions between a refusal to categorize the performance as a kind of drag while simultaneously elevating its ‘cultural’ status and the slippage between ‘queer’ and ‘culture’. I consider the figure of the nachaniya dancer as what Anjali Arondekar has termed a site of ‘ordinary surplus’ rather than a site of queer exception. Through a reading of this queer archival photograph, I consider destabilizing narratives of loss or absence that saturate approaches to the queer archive of indenture to suggest that nachaniya is a useful paradigm for theorizing the nexus at which Indo-Jamaican archives and queers of indenture have been theorized as ‘nothing to see’.
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Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0087
Nancy Naomi Carlson
In coining the term ‘Coolitude’ to re-imagine and re-vision the indenture experience, Khal Torabully has created a new identity and language, based on the strength and resiliency garnered through the rich intercultural exchanges among indentured workers. The central image in Khal’s seminal work, Cargo Hold of Stars: Coolitude, is a ship’s cargo hold from where its occupants – no matter their country of origin, language, religion, gender, caste or shade of skin – could still look up and see the stars. Believing that ordinary language was not capable of representing the myriad diverse voices of indenture, Khal’s ‘poetics of Coolitude’ or ‘corallian poetics’ intersperses French with Mauritian Creole, Hindi, mariner’s language, Bhojpuri, Urdu and neologisms, among other lexicons. To bring the music of this unique language into English, without sacrificing significant meaning, the translator employed a sound mapping technique to identify the salient patterns of assonance, alliteration, rhythm and silence that characterized each poem, performing a kind of ‘linguistic acrobatics’.
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Pub Date : 1900-01-01DOI: 10.13169/jofstudindentleg.3.1.0154
Suzanne Persard
‘From Calcutta to Kingston: A cartography of Coolitude’ meditates on the ancestral inheritance of the indentured Indian diaspora through coordinates mapping time and space, tasks historically completed by imperial powers upon seizing colonial lands. In this poetic-prose, coordinates anchor an origin – yet sugarcane becomes a new set of coordinates, following the call to unmoor the geographical fixity of origins invoked by Khal Torabully in his theorizing of Coolitude. This specific piece conjures the coordinates of indentured Indian descent among Indo-Jamaicans, a diaspora that has remained eclipsed within histories of Indian indentureship. Mapping the coordinates of places like Ashoka Road and Cockburn Pen in Kingston, Jamaica – significant sites of the indentured Indian diaspora – to the coordinates of the indentured Indian diaspora in New York City, the piece engages in its own kind of map-making: one that threads the echoes of indenture alongside its geographical uprooting, yet an uprooting that has generated a new form of survival among descendants of the indentured.
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