Clarke and Clarke have created a journal that provides an ethnographic record of the East Indians and Creoles of San Fernando - and the entire sugar belt south of the town known as Naparima. They record socio-political relations during the second year of Trinidad s independence (1964), and provide first-hand evidence for the workings of a complex, plural society in which race, religion, and politics had become, and have remained, deeply intertwined. Entries occur whenever there is evidence of social scientific importance to the project, and these range from descriptions of weddings and pujas (prayer ceremonies devoted to a Hindu deity) to interviews with religious leaders, politicians and members of the south Trinidad elite.

This study of a contemporary indigenous culture documents the vitality of a number of self-constructed "indigenous" Carib communities in the postcolonial Caribbean. These small groups, which have asserted their presence through folklore, tradition, and ceremony, have received recognition and support from the state, attention from national media, and a privileged place in historical discussions of the figure of the "Carib." The Caribbean is typically thought of as having no precolonial survivors. Maximilian Forte demonstrates that this is not the case. He convincingly argues that an indigenous presence has persisted in Trinidad and Tobago--as an actual demographic presence and a symbolic force--since the colonial period. Focusing on the Santa Rosa Carib Community in Arima, Trinidad, he explores how "Carib" has come into being as a meaningful category in Trinidad, how it has been challenged and reengineered, and how it affects the relationship between colonial political economy and modern identity formation. He also explores two previous resurgences of Amerindian community and identity in Trinidad, in the 1820s and again in the 1870s to the 1920s. Balanced between history and contemporary ethnography, this book ranges from the analysis of the forces of globalization to the performance of local rituals. By tracing notions and labels--Carib, Arawak, Indian--through time, Forte shows how indigeneity is deeply enmeshed in historical processes and has deliberately been constructed from the time of the first encounters between Europeans and Trinidad's native peoples up to the present. He maintains that the social position of "Indian" is created by various agents, including culture brokers or intermediaries, as well as by institutions such as the church and by organs of the state. Using the individual biographies of activists in Arima, where he conducted fieldwork for nearly four years, Forte also shows how intracultural diversity looks at the ground level. In addition, his historical analysis offers a fascinating commentary on attitudes toward African, European, Asian, and Venezuelan peoples and heritages and on the flow of images and information between the Americas and the Caribbean.

This book situates its contemplation of the nineteenth-century Trinidadian landscape in the context of an emerging sub-field of Caribbean postcolonial studies, by connecting the visual representation and indexing of colonial landscapes and peoples with the making of colonial power. Emphasis is placed on three pivotal image catalogues which span the pre and post emancipation periods and which connect the projects of British slavery and indentureship. The book unearths sketches, paintings, lithographs and engravings and analyzes them as central to the iconic framing and disciplining of colonized subjects, tropical nature and the plantation landscape. Focusing on the image works of British travellers Richard Bridgens and Charles Kingsley and Creole artist, Michel Jean Cazabon, the chapters consider how an aesthetic logic was not only illustrative but constitutive of racialized and gendered scripts of colonial landscapes, nature and identity. While these various strands of aesthetic reasoning reveal a seemingly coherent operation of colonial power, they also register the very ambiguity of these disciplinary projects in moments of uncertainty regarding the amelioration of African slavery, the emancipation of slavery, and the highly contested project of Indian indentureship in the Caribbean. The book reflects the dynamic instability of colonial inventive projects manifest in a period of experimental and troubled British rule that potentially frustrates any attempt to recover the truth of Caribbean colonial reality.

An important contribution to the still largely unresearched history of Trinidad.

Boasting new extracts from major works in the field, as well as an impressive list of contributors, this second edition of a bestselling Reader is an invaluable introduction to the most seminal texts in post-colonial theory and criticism.

Provides an in-depth introduction to debates within post-colonial theory and criticism. The many contributors include Frantz Fanon, Amilcar Cabral, Gayatri Chakravorty Spivak, Homi Bhabha, Edward Said, Anthony Giddens, Anne McClintock, Stuart Hall, Paul Gilroy, and bell hooks.

In an effort to deny the ongoing effect of colonialism and imperialism on contemporary political life, the death knell for a multicultural society has been sounded from all sides. That's the provocative argument Paul Gilroy makes in this unorthodox defense of the multiculture. Gilroy's searing analyses of race, politics, and culture have always remained attentive to the material conditions of black people and the ways in which blacks have defaced the "clean edifice of white supremacy." In Postcolonial Melancholia, he continues the conversation he began in the landmark study of race and nation 'There Ain't No Black in the Union Jack' by once again departing from conventional wisdom to examine—and defend—multiculturalism within the context of the post-9/11 "politics of security." This book adapts the concept of melancholia from its Freudian origins and applies it not to individual grief but to the social pathology of neoimperialist politics. The melancholic reactions that have obstructed the process of working through the legacy of colonialism are implicated not only in hostility and violence directed at blacks, immigrants, and aliens but in an inability to value the ordinary, unruly multiculture that has evolved organically and unnoticed in urban centers. Drawing on the seminal discussions of race begun by Frantz Fanon, W. E. B. DuBois, and George Orwell, Gilroy crafts a nuanced argument with far-reaching implications. Ultimately, Postcolonial Melancholia goes beyond the idea of mere tolerance to propose that it is possible to celebrate the multiculture and live with otherness without becoming anxious, fearful, or violent.