Culturepulse issue 34

Issue 34

November 2015

BeautĂŠ Congo Introducing

Gayanese Comfa Italian Halal Tasting 1

Every time this publication reaches a milestone we like to give thanks to all our contributors, supporters and readers, for without each and every one of you; this journey would not have been possible.

Contents Where’s Caribbean Vogue nah? p.3 She called Me Mother…a review p5 Introducing Guyanese Comfa p. 7

You will be pleased to know, according to the current ISSUU statistics, our readership stands at 3,717 across more than 10 countries including the US, Canada, Guyana, Belgium, Taiwan, Ireland, France, Italy, India, Trinidad and Tobago, St. Vincent and of course the UK. Over 65% of readers access our magazine through mobile devices and 31% from their desktops while 4% read on their tablets spending an average of 2.10 minutes on our publication.

Trouble in Paradise p.17 Beauté Congo p.14 Aubrey Williams: Realm of the Sun p.20 Come out of the Dark p.26 The Humble Sand Fly p.27 Italian Halal Tasting p.30 Production and concept: D.T. Kalloo

Culturepulse would like to thank everyone for nurturing this growth. We will strive to continually bring you engaging topics and share the stories of those in the Diaspora from whatever corner of the globe we chose to call ‘home’ and share our cultural traditions with a wider audience.

Culturepulse is designed and produced by Cashewmedia ltd and published online through www.issuu.com Copyright 2015 Views and comments expressed by contributors are not necessary those of Culturepulse but of the author/s For all enquiries, please contact Culturepulse at 07920752131 Email: culturepulse@hotmail.co.uk

David Kalloo

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cashewmedialtd@gmail.com Making Culturepulse magazine a success.

Editor

Natalie Alicia Dookie Lyndon Brathwaite, Ansel Wong, David Wears, Chris Boothman, Nasser Khan, Malaika Crichlow, Amos Armstrong, Soshina Stephen, David Rudder, Jimmy Kainja, Paul Ade, Akilah Holder-Stewart , Michael La Rose, Rhianna Kalloo, Angelique, Dorothy Scott, Memory Pincheck, Erica WilliamsConnell, Darren Lewis and Afridiziak.

All photographs pertaining to Beauté Congo courtesy Fondation Cartier pour l’art Contemporain website.

2

Where’s Caribbean Vogue Nah?

be an article on a wedding documented, and I see how a perfect wedding differs from someone else’s, granted it’s some rich heiress somewhere off in some European country, but it's new and different, and I gobble all of it up.

It's being able to see what is considered beautiful in another part of the world, how people decorate their houses in a Swedish city, what’s great to eat in Italy, or the fashion that is practically art because to me, any type of self expression is art. All creative expression is art; whether it’s painting, drawing, spray painting, writing, singing, dancing, poetry, acting, sculpting, style, interior decorating, cooking, baking -- basically any way a person can express themselves and their love or passion for something, I enjoy seeing and learning from it. I’m not sure why I need to know how other people think and feel, and why I like seeing how that differs from mine, but I suspect this can in turn influence my thinking and expand my mind. I relish it and can't wait to see something new, consider what I think about it or how it makes me feel, and see if I got the same feeling as the creator intended or did I get something completely different.

Malaika stumbles upon an area that not many people have challenged in the past and, if they did, maybe their voices weren’t loud enough to e heard by Vogue. The Caribbean region is teeming with world class designers, the vast majority, with original designs and concepts yet the fashion world pays scant notice to these super talented people.

Malaika adds her voice.

The other day at work, I was scrolling through this free app for magazines, so I can keep up a little with what new styles and looks are taking the fashion world by storm. I didn't have homework, and I thought, hey, why not indulge yourself in looking at some pretty things; it relaxes me and puts me in a good mood, so I searched for Vogue in the app because I really enjoy their photographs (to me it's like browsing an art magazine). I also enjoy the clothes, makeup and background sets, and the ways this publication shows me something new and different. It’s a lot like peeking into someone else's mind and is another way of seeing what’s happening in the world at large, and more importantly, the world of fashion.

While I was casually browsing the app, I noticed different editions for different countries and I was excited; I was devouring magazine after magazine, trying to get the feel of these different countries that I had never been to and the people, getting glimpses of what is important to them, trending in beauty, health and what good food looks like to them. I was enthralled with the Turkey edition of Vogue, Spain, Brazil, Portugal, Japan and Thailand. I mean, every issue was different and filled with new

I know people may think fashion magazines are trivial, but I think it stretches my mind a bit and gives me a new outlook or different perspective on something. It could be an article on a famous person, but I find out some weird thing that happened to them, or it could 3

information and ideas about life related to the specific locations. You see, this is how I travel, through books and magazines, as I can't actually go to these countries due to circumstances. It’s a great way to learn about different cultures.

Put your business here with the next issue of Culturepulse magazine.

And then it hit me: there was no Caribbean Vogue? No Vogue for any African countries and no Vogue for the entire African continent.

I know this may seem inconsequential to many and maybe it is, but I would love to learn about different African styles, weddings, and health and home interiors. I am sure there are many people who would love to see Caribbean art, fashion, culture, food and living.

We offer reasonable rates for short and long term advertising.

It would be such a lovely glimpse into our world. I know, I know, I have seen the articles and editorials on the Maasai, on Kenya and an article on Saint Lucia’s carnival etc., but it's not a Kenyan Vogue, like an Italian Vogue. I don't know what the criteria are for having an edition of Vogue for a particular region. I don't by any means; know what it takes to take a magazine to print, how the sponsors work, and how the money is generated to produce such a magazine. Nor do I ever want to presume to tell anybody how to run their business.

For further information contact us at: culturepulse@hotmail.co.uk

I am just saying, “Hey editors at Vogue, I think the world may be interested in seeing these perspectives from these parts of the world, and there is a wealth of art, fashion and culture to fill an illustrious magazine such as Vogue, just in case you didn't know, if not every month at least quarterly, no?” Give us a chance; I am sure you won't be disappointed.” I believe in their potential so much that I offer my services if people are needed to travel to get the stories for the magazine. I am just kidding, but not really. I could be wrong though, maybe these Vogue editions exist and I just haven't discovered them. If so, please let me know; I would love to journey through their pages and learn something new.

Or call: 07920752131 07547875460

Promoting business in the Diaspora

By Malaika Critchlow This article was first published in Huffington Post, Black Voices Reproduced with the kind permission of the author 4

She Called Me Mother A Review

By Lena Pamphille

What defines the character of our existence? Is it the end of faith?

Permission to laugh? Murder or the power in the thought of it? Is it a healing process?

I’m certain that these were some of the questions that the audience and I were left to ponder on after the thought provoking performance by Cathy Tyson.

‘She Called Me Mother’ is about the heartache, reconciliation, and healing. A subject and place, where, though many are aware of most don’t care to tread. This is especially so within the ethnic Caribbean Diaspora. The belief in God, God alone

adolescence-adult and sand play which are rather warm, visual and therapeutic.

The beneficent gaze that, the daughter (Shirley) yearns for, and demands that her mother looks at her. Again, how do we measure validation? – herstory describes it as opaque, that black box of cause and effect and the mysterious pause in trying to determine which event produced what effect.

will take care of it above all ‘ah tell yuh, leave it tuh him’. About how hoping for a rare occurrence to bring absolution.

Believing that the universe will grant our requests in itself is a phenomenon.

Looking at the vicissitudes of how and what we pay attention to? Is the mother totally immersed in self without compassion for the other, and the daughter vice versa? “She Called Me Mother’ was full of metaphors, unexpected humour and profound emotional truths. Who left whom to wait at the bridge of life, for the transition to the spirit world?

There are several archetypes depicted in She called Me Mother including the theory of the black swan is the focal theme explaining what may seem to leave the many questions unanswered in reference to certain kinds of rare and unpredictable events and human tendencies to find simplistic explanations for these events retrospectively. This is exactly how the piece unfolds. The healing absolution sought from the highly improbable yet believable outcome.

Well captured is the Caribbean vernacular, Tyson was magnificent in the character of the first person giving primacy to the concept that things are not real until observed. More so is the gaze that would unlock the prison of loneliness, hate and deprivation. The child in the adult – child-

For the mother, fear becomes curiosity, complex become simple, chaos is 5

unfolding and the secret is revealed. And the expectation that everything would return to normal.

ourselves and others; of kindness and compassion and the question of whose reflection can we see in the mirror.

Repeatedly punctuated by ‘anyhow or let’s not talk about that’ least we uncover what’s cooking in the pot, a metaphor meaning that the story continues but saying we won’t go there as yet creates a sweet suspense; The notion of coming of age an expected restoration to the time before a separation and its transitions from loss of innocence to old age. The protagonist then becomes the daughter who blames the mother for the cause of her struggles and strengths.

The cast in some invites the audience to be the analysts following herstory and picking out the archetypes. As well as holding that space for the protagonist, we journey through in understanding the contents of that little bag that we carry with us. What a burden it becomes.

The cultural code by which human survive influences on the surface, behaviour, music, food, and attitudes. We leave behind imprints, memories, pain, beliefs about life, marriage and death.

The redeeming power of a mother’s gaze could contain the transgenerational contagion that can create a lot of healing.

For mother and daughter is the idea that we are separate but equal – or culturally conditioned. The Caribbean intrinsically has a moral system based on Victorian values and the now generation follow no model but have the courage that their parents did not possess. The third generation didn’t adopt that same model of punishment and sacrifice, therefore everything gets exposed. The rules of our societies repress the unconscious and complexes develop producing the societal shadow and stigma and talking out and seeking help not just from the great Architect, but from others nearby.

The audience in the role of analysts are caught in empathy and stirring of varying emotions – shame, guilt, reparations, helplessness. The quality of the pain for want of a better term is as much physical as it is mental, there is a parallel in causing anguish, but at whom is it directed.

Overall, She called Me Mother highlights the complexities of the unconscious and the stigma of mental illness thereby appealing to our connection with others.

She called Me Mother At selected theatre houses across the country until 21st November 2015

Social themes such as the bliss of domesticity masking the issues and secrecy of domestic violence and abuse among Caribbean families are hard to swallow. However the audience is put in the position perhaps to reflect on how these may have impacted on their lives or that of someone they know. At some point you find yourself hoping for a favourable outcome through the uneasiness of the subject matter being addressed.

For further information on theatre near you visit: www.blacktheatrelive.co.uk or www.pitchlakeproductions.com

She called Me Mother triggers our thoughts on the prison we set up for 6

Introducing Guyanese Comfa Dr Michelle Yaa Asantewa Comfa is arguably one of the least known among other syncretic African- Caribbean religious practices.

My consideration of Guyanese Comfa through the ‘arts of imagination’ emphasises the complementarity of imagination and reality which embeds African cosmology. ‘Arts of imagination’ is a framework I borrow from Wilson Harris. Harris observes that after independence Caribbean leaders didn’t make use of certain cultural sensibilities, but instead maintained the European gaze on them which had previously outlawed and demonised them. He calls for a cultural renascence in order for Caribbean communities to be creatively empowered by these forms of creative expressions – thereby constituting a ‘Caribbean Aesthetic.’

Photo by Philip Moore

short story ‘Table Wuk,’ is an example.

Drawing on Harris’ suggestion of creating a ‘Caribbean aesthetic, I use Guyanese Comfa as a cultural resource and it is the basis for a novel called Something Buried in the Yard, to be published in 2016.

Another consideration is that Guyana is usually identified with violence and racial division – between the dominant African and East Indian groups. There is in the symbol of Comfa the potential to subvert this since it has a pantheon of made up of seven ethnic spirits, calling to question the nature of cultural identity. That said, it is an African practice. (East Indians and Amerindians don’t practice Comfa, but through spirit possession cultural cohesion is made possible.

I use the creative process (the imagination) specifically because it allows me to interpret reality subjectively. The imagination enables me to situate my study of Comfa within disciplinary boundaries – literature/literary criticism, cultural anthropology, social sciences, and post-colonial theory/criticism. In doing so I am attempting to present an encompassing (‘formidable’) rereading of Guyanese cultural identity. Although other studies (sociological, anthropological and historical) of Guyanese culture have included its religious elements Comfa has only been implicit as a subject in Guyanese literature (Pauline Melville’s

What is Comfa?

In Comfa religion Gibson argues that, unlike other African-Caribbean religions (that stem mainly from Yoruba in Nigeria), Comfa is ‘essentially Bantu’. Dale Bisnauth more specifically provides an Akan derivation of Comfa. In Akan, possession is (among other names, such as ‘fume fume’, for example) known as ‘Akom’. Akom also involves drumming 7

and dancing and is considered culturally to be a form of artistic expression. I see a link between Guyanese Comfa and Akom in Ghana – for me making Comfa a potentially resourceful form of artistic expression, as the dance of Akom is in Ghana. Okomfo (akomfo – plural) is an Akan word meaning, traditional Priest, soothsayer, diviner. The most renown is Komfo Anokye, who legend tells summoned the golden stool from the skies, which was to represent the ‘soul of Ashanti.’

terrifying, just as the many tales of ‘jumbies’, ‘ole higue’, ‘bacoo’, and ‘obeah’. I was terrified of these spiritual entities that were somewhat aligned to my sense of being Guyanese.

Mammy Watra/Fair maid Comfa was formerly linked to the worship of mammy watra (water mammy) or ‘fairmaid’. It was easy to syncretise this West African water deity into the Guyanese worldview because of Guyana’s many waters. Christian influence through the Jordanites and later the Church during the 1950s forced the Mammy water element to be redefined in the faithist practice. Water would still be relevant but it was now linked to baptism. It was not unusual therefore for practitioners to belong to a church whilst at the same time continuing Comfa practice. Over time, however the practice was forced underground where it largely remains.

I was too young to remember and therefore to be afraid of the Jordanites, a millennial religious organisation likened to other spiritual Baptists across the Caribbean.

They adorned themselves in white clothing from head to foot, roaming the streets whilst zealously proclaiming Old Testament damnation on the unrighteous.

Thus they appeared to both adults and children like liminal spirits/ghosts sent from some mystical place to chastise them.

So they were scorned and vilified.

Fear has a way of masking itself, however, and I would say that for as many who regarded their proclamations as nonsensical there were those who were simply afraid of them. They mostly operated in Guyana’s capital Georgetown, some distance from the small mining town of Linden where I spent my early childhood before moving to London.

The Jordanites were also called ‘Faithists’ or ‘Spiritualists’, by which names practitioners of Comfa are also known. The only thing I knew about Comfa was that it was something frightening that ‘happened’ to people; ‘something’ overwhelmed them to the extent that they had no control of their behaviour.

This vague understanding was lodged in my subconscious as something real and 8

What is spirit possession?

There are various positions held by social scientists and anthropologists on the subject of spirit possession. I take as relevant to my purpose, James T Houk's assertion that spirit possession is only a specific type belonging to a broader category of “altered states of consciousness” and is notably ‘culturebound’ and therefore variable. According to Houk social scientists and anthropologists agree that to analyse the cultural aspects of spirit possession, an examination of the ‘meaning and significance of behaviour and ideology from the worshippers’ perspective’ is necessary.

represents a means by which they interpret their individual and collective experiences.

Faithist/spiritualist worldview In Faithism the spiritual realm is comprised of Celestial and Terrestrial Forces, and Earthworkers. The Celestial includes the Judaeo-Christian God, Jesus, the angels, saints and the biblical prophets. The Terrestrial realm includes ‘entrees, deities and friends of the family,’ The ‘entrees’ is made up of seven ethnic spirits: African, Amerindian, Chinese, Dutch, English, East Indian and Spanish. Although all seven spirits are available to them, Comfa practitioners are believed to have “three workers”- one of whom will be the “main [or dominant] worker” (or spirit); the three are reduced to one to designate the unity of God. Participants submit their petitions to the seven ancestral spirits but their instructions come from God. In any case, the ancestral spirits must be honoured, not merely because they ‘do the work’ for participants, but because they would otherwise harass and chastise individuals for failing to acknowledge them.

Ketching Comfa – spirit possession represents transformative power. During the period of liminality, possession serves as a dramatic symbol through which social change is derived. Within the social antistructure (an opposite space/place of the spirits) the main plot and sub plot of the ritual drama is enacted as a sort of prequel to the renewing, reviewing and redressing of social order. Spirit possession is an inevitable, if unpredictable, outcome of Comfa ceremonies and indeed to cultural practices that are not formally identified within the Faithist religion. Ketching Comfa links practitioners to an ancestral past but it is not simply of the past (or ‘archaic’). It is a practice activity that allows practitioners to find solutions to their everyday problems.

Comfa is therefore a culturally specific symbol that gives meaning to the everyday lives of participants and is the means by which they perceive their place in the broader Guyanese social context. It

The ‘friends of the family’ category comprises the acquaintances of the entrees and deities. There is another category in the Terrestrial realm known as ‘Depth’ to which the English spirits are also assigned.

I’ve not been able to verify the rationale for 9

this but an economic motivation (given the English expansionist drive) seems fair to suggest. The greater function of these ‘Depth’ spirits is to provide assistance in the form of healing, advice or financial solutions for participants.

although each ceremony (unless it is a dedicated Celestial work) will acknowledge all the ancestral spirits.

Ceremonies are called either ‘African Work’; ‘English Dinner’; ‘Banquet’, ‘Indian Work’, ‘Chiney (Chinese) Dinner’, ‘Table Work’ or ‘Drum Work’ and so forth. Notably, ceremonies for English, Chinese and Spanish spirits are called ‘Dinner’ and for the other spirits they are considered a ‘work’. The ceremonies vary from between two and ten hours and can be either ‘Celestial’ – such as honouring those in the Celestial realm – or a combination of ‘Terrestrial’ and Celestial. Objects included in the ceremonies are candles (of varying colours, but white candles are used mainly for Celestial work); floating wicks, flowers, rainwater, sea or creek (spring) water, various stereotypical ethnic foods (curry for Indian, chowmein for the Chinese for example), liquor (white or brown rum, beers) and spiritual colognes such as Kananga and Florida water.

The Pantheon The seven spirits have ethnically stereotyped characteristics and designated functions. The Amerindian (also called ‘Buck’ – man or woman; note this word though in the Guyanese cultural idiom is derogatory) and the African spirits are skilled in the use of herbs and plants. They are therefore ‘healers’. Kongo (or Congo) refers to a specific African spirit. Dutch spirits – also called ‘Djukas’, are consulted for the acquisition of wealth. Djukas traditional religious practices are believed to be very powerful and are perhaps incorporated in the Comfa practice for this reason. Practitioners travel to Suriname for more potent spiritual remedies or for a specific spiritual work. Indian spirits are believed to inhabit the sea (as befitting the Indian deities) and are known for their ‘protective powers’.

Song and dance are also features of the ceremonies. Songs will include hymns, ‘Sankies’ (so named after Ira D Sankey, an American gospel singer and composer) and Creole rhythms. The Comfa drums are the main musical instruments played at the ceremonies, though this will also depend on the ethnic spirit being entertained, in which case the saxophone, trumpet, guitar and other percussion instruments might be included. Music is played according to the ethnic spirit being acknowledged in the ceremonies. African rhythms are called ‘kromanty’ or ‘Congo’.

The Chinese are healers, ‘readers’ and ‘priests’. As earlier noted the English are considered as ‘depth spirits’, and thus regarded as being in a ‘class of their own’ – almost on the same platform as God. They too are ‘readers’ and ‘high’ priests and are associated with wealth. The Spanish spirits are hardly entertained because they are conceived as sexually demanding prostitutes. I’m not able to expand on the reason for this but Gibson explains that promiscuity whether heterosexual or homosexual is believed to be the consequence of having a Spanish spirit.

The ambivalence Al Craighton in an article called ‘African Heritage in Guyana’ writes that “Through successive combinations of legislation, criminalization, political suppression, natural processes of language change, language death and acculturation, several traditions disappeared. Despite the part

The Ceremonies Comfa ceremonies are defined in terms of the ethnic spirit/s being entertained, 10

played by such forces, one effective cause of the decline in African cultural traditions in Guyana was self-inflicted. This is the affliction known as self-contempt.

Through centuries of socialization including a hierarchy or race and class, many blacks came to regard their own culture as inferior and degrading; as something to be ashamed of. As a result, they themselves suppressed it, severely reducing its passage down to succeeding generations.”

resembles the hip gyrations and small hand and feet movements of East Indian dances.

Entities that are referred to as ‘wandering spirits’ are seen to manifest by participants moving on the ground or being visibly unable to control the movements of their muscles.

Ceremonies also include the African derived system of divination. Divining would be manifested through one of the ‘reader’ spirits - during which revelations are made about illnesses and sorcery (such as spiritual ‘blockings’ – the malicious prevention of an individual’s prosperity or progressiveness) and where futures are foretold. Evidently, Comfa has transplanted some aspects of an indigenous, though uncertain African past, but the gods have not made the transition into the heterogeneous multi ethnic Guyanese complex. I think though that a look at Gibson’s outline of the candles used in Terrestrial ceremonies reveals an interesting process of syncretism that appropriates Catholic saints into the ethnic composition of Guyana.

I’m somewhat inclined to agree. Thus Brian Moore argues that in Guyana ‘by the time of emancipation African-Creole religious rites [which enslaved Africans had brought with them to Guyana] were dismissed as “superstition” or “fetish”’.

Many Guyanese profess ignorance about Comfa; this might be true given that the practice was demonised by the Church/colonists and forced underground.

However, an honest self-examination might indicate that whilst knowing about Comfa, many internalised the demonization of the practice and thus dismissed it as nonsense. The lack of knowledge about Comfa is perhaps also problematised because of the explicit association with the controversial AfricanCaribbean practice of obeah, which I discuss below.

Shared characteristics with other African derived practices Common amongst the religious traditions that were brought to the Caribbean from Africa, was the belief in a Supreme Being, an almighty God, who was referred to by different names by the groups of enslaved Africans. Although referred to by different names, similar characteristics were recognisable in this Supreme Being.

According to Mozella Mitchell for example, this Supreme Being was believed to be:

The Dance Dances are also stereotyped: waltzing or ‘a simple two step’ will express the manifestation of an English spirit. The twostep might also identify the manifestation of a Spanish spirit. A Chinese spirit might manifest by hopping on one leg. Africans dance by bending their upper torso and moving up and down which is similar to the way the Dutch spirits dance. Congo spirits dance by shaking their shoulders and rolling on the ground. The Buck (Amerindian) and (East) Indian also perform a similar dance - one that

“the author and preserver of all creation, who is almighty, omnipresent, omniscient, infinitely good, transcendent.

11

act as ‘intermediaries’ between the Supreme Being and humans.

2: The practices acknowledge a link with dead ancestors who have an influence on the experience of the living. This characteristic demonstrates the inherent Africanicity of all the Creole Religions.

3: The practices share the belief that certain objects can be effectively invested with ‘supernatural power’ – ‘mineral, vegetable, animal and humans’.

4: There is also a belief in other spirits – outside the deities and ancestral spirits who can be resorted to for good or bad influences over someone. Adepts and participants of the practices adhere to the African worldview in which all things living or animate are believed to have ‘a will and a soul’.

5: The religions are based on the ‘mediation’ between humans and spirits, derived through a variety of rituals, ceremony, initiation, divinations, spirit possession and healings.

6: Contact between humans and spirits is ‘mediated by a central symbol or focus, a fundament or philosophical foundation that serves as the dynamic organizing principle of spiritual worship’. For example, in the context of Comfa this would be the ganda – the ceremonial space where the service takes place or the ceremonial table consisting of various ritual items.

7: Central to the Creole religious practices is the performance of magical spells and conjurations as well as herbal/magical medicinal healing. The practice of Obeah (in various guises) is generally inherent in African Caribbean religions, and is believed to be effective in manifesting good or bad consequences.

8: Fernández Olmos and Paravasini-Gebert cite Roger Bastide’s observation that ‘magic’, as inherent in Creole religions must be seen also as a ‘syncretic variant,’ meaning that Europeans also brought with them to the ‘new world’ their own varieties of medieval magic. ‘Bastide’s term ‘magical accumulation’ refers to the

Only among a few was the Supreme Being actually worshipped (such as among the Akan [of Ghana]).

Worship, however was accorded the lesser deities, who were closer to humans in existence.

The lesser deities functioned as mediators between humans and the Supreme Being from whom they were derived. As will be shown, it is the retention of African deities/spirits, having been syncretized with Catholic Saints that distinguishes the more widely known practices (Santería, Vodou, Orisha religion) from those with Christian (mostly Anglican) influences. In Jamaica, for example, the practice of Myal -out of which came Revival -does not incorporate the worship of multiple gods. Kumina practitioners worship one God - King Zambi of Congo origin. In the Surinamese practice of Winti three major deities are entertained, one of whom is known as ‘Kromanti’ (African) but adepts also acknowledge lesser deities and spirits, such as ‘Bakru’ (a demon spirit). The Orisha religion of Trinidad comprises elements from five traditions: African, Catholic, Hindu, Protestant and Kabbalah.

Practitioners of Guyanese Comfa entertain a pantheon of seven (ancestral) spirits based on Guyana’s multi-ethnic complex.

The rituals, beliefs and practices regarding ancestors and the interrelatedness between life and death are also common characteristics of African traditional religions that survived in the Caribbean.

Fernández Olmos and ParavisiniGebert’s 12 characteristics (Creole Religions) 1: African-Caribbean religious practices generally combine Monotheism and Polytheism. They all share the belief in one ‘Supreme Being’ or ‘Creator of the Universe’. But as well as the one God – there are also a ‘Pantheon of deities’ who 12

blending (syncretism) of African practices with European magical formulas.

9: Music and dance are central to this ‘magical accumulation’. Drumming, clapping, singing and chanting by way of enticing the spirits and deities to possess practitioners are general functions of the Creole practices.

10: As a general feature of African Caribbean religious ceremonies, music and dance re-engender a sense of community and Africanicity. ‘African space’, family structures, inter-community relations/responsibilities and obligations to deities is recreated in houses, temples and designated rooms.

11: The functions of religious leaders are central to the maintenance of Africanised structures. Other than the community based power invested in these leaders, there is no ‘central authority’ to which they are accountable. Participation in the practices, is ‘individualised and community based’.

12: ‘spiritual power is internalized and mobilized in human beings who become...possessed.’ Whether by deities, Orisha/loa or ancestral spirits, possession is therefore a defining element of African Caribbean religious practices by which means myths are dramatised, ‘relived’ and ‘renewed.’

(traditional Ghanaian priest). The social function of akomfo was to challenge and condemn the activities of obayifo, who were associated with ‘sasabonsam’. Thus in Akan belief, obayifo were considered evil and they functioned merely to disturb the peace of village communities.

The distinct functions of ‘akomfo’ and ‘obayifo’ were, however, conflated in the colonial context since men who were akomfo were called upon to ‘injure the whites’ using the methods of obayifo.

Indeed it was those men who were associated with obeahism, such as Tacky of the 1760 rebellion in Jamaica and Cuffy of the 1763 revolt in Guyana, who had inspired various slave uprisings throughout the Caribbean. Consequently, obeah practices were outlawed by the British colonial government throughout its colonies forcing it and other associated practices underground. This ‘underground’ existence prevails in the Caribbean and perhaps contributes to the attitudes of suspicion about traditional cultural practices.

Obeah is an aspect of Caribbean cultural identity that is misunderstood and incomprehensible to both insiders and outsiders of the Caribbean. A ‘reader’ or fortuneteller, a person who dresses in a certain way (particularly in African clothing and/or with white head ties) might be identified as an ‘obeahman’ or ‘obeahwoman’. Such persons are believed to be knowledgeable in the uses of herbs, magic/trickery, poisons etc to manifest an outcome -usually perceived as evil. But as Kean Gibson observes: “In Africa, the priests, ritual elders, diviners and medicine men are the trained people who conduct religious matters such as ceremonies, prayers, divination etc. In Guyana, these are the Elders and Mothers who are commonly known as “obeahmen” and “obeahwomen”. These are the people who know the beliefs of the system – i.e. topics relating

Obeah Definitions about the meaning of obeah vary throughout the Caribbean. Moore suggests a Twi (Ghanaian dialect) derivation from the word ‘obeye’. The ‘obeye’ is considered to be the ‘won’ entity that witches have, something effective though invisible (1995, 142-43). This reminds me of the way the Surinamese Ndyukas conceive of obeah (or Obiya) as a kind of enormous power that exists in the universe and which can be manipulated for good and bad. Dale Bisnauth identifies ‘obeah’ with ‘obayifo’, an Akan word meaning witch or wizard. The role or obayifo contrasted with that of the okomfo 13

to God, spirits, magic. They know how to perform rituals and ceremonies.

My consideration of Comfa is primarily aimed at contributing to the study of African Caribbean religious and cultural practices with a specific focus on this under researched perspective. There is a much deeper aim, however. Overall, I hope that it provides a formidable representation of the Comfa practice that not only initiates a rereading of Guyanese cultural identity, but also conveys its potential for healing the historically blighted nation. Guyanese Comfa constitutes a ‘daring and complex creative perspective’ that has yet to impact the racially split and culturally dislocated Guyanese psyche. It is there, I feel, that the imagination meets reality and thus designs a new creative space that enables cohesion, healing and unity.

This means of course that some obeahmen and women are also the genuine practitioners of folk medicine who are consulted for the purpose of healing remedies. The cultural misalignment of obeahism must also be understood as a reflection of ‘the British mind during the romantic period’ when it [obeahism] ‘held much the same connotations as voodoo inspires now…[as] a mysterious cult of obscure African provenance, associated with fetishes, witchcraft and poison, with secrecy and midnight rituals, with magic potions, exoticism and revenge. And naturally anything practiced in secrecy, in the dark of night and by Africans must by deduction be savage and evil. But it is essentially obeah’s connection to slave revolts and ‘British anxieties about’ its power that continues to equate the practice with savage African customs and barbarity, ‘superstitious nonsense’ and ‘mumbo jumbo.’

Dr. Michelle Yaa Asantewa was born in Guyana, South America in 1969. She migrated to Britain to join her Mother. Her interest in African traditional spiritual practices and cultural identities prompted her to pursue a PhD on the Guyanese Comfa ritual. Dr Asantewa formerly taught English Literature and Creative Writing at London Metropolitan University where she also accomplished her Masters Degree.

Currently, she is an independent Creative Writing facilitator and editor at Way Wive Wordz Publishing. This was born through the initiative of her blog, Way Wive Wordz which fuses spiritual, social and cultural experiences with artistic expressions. Her first novel Elijah and her collection of poems The Awakening are her first major publications, her second novel Something Buried in the Yard and her

Naturally, colonialism meant that there remains ambivalence on the part of Guyanese and others in the Diaspora about our ancestral traditions. Arguably, obeah is a maligned, unknown and underused power that exists in the universe. Such power can be enormously beneficial to humans although they can also be harmful in some situations. Obiya, as conceived by Ndjukas/Winti of Suriname is therefore conceived as a force by which humans can be possessed as with other minor deities. It is a force that is nurtured and developed over time. In Suriname to be possessed by an obiya is something to be revered, unlike in Guyana where there is widespread scorn about obeahism. That said, it is not unusual to associate every conceivable misfortune with obeah, or indeed for it to be used nefariously as opposed to its more positive means of restoring order and healing to individuals and communities.

doctoral thesis on Comfa will be published in 2016.

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Now available online at Amazon or to order a copy direct, please contact: Michelleyaa@waywivewordz.com

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Trouble in Paradise killing. Since 2006 there have been seven killings on the island of foreigners ranging from their late 60s to mid 70s. It has prompted a popular Trinidad journalist to dub the island ‘the world’s leading septuagenarian murder tourist destination.’ Maybe as T&T is trying to market itself as a leading destination for film producers, this could be open water for a next blockbuster.

The Trinidad and Tobago Police Service have detained three people in connection with the double brutal murder of a British couple was holidaying on the island of Tobago, known as the sister isle of the twin island state.

Two of the people three people arrested in connection with the murders have been remanded in custody while the other, a woman have since been released.

Rapid action you might think from the T&T police department! Pop across to Sao Paulo, Brazil and the police there recently nabbed nine of their colleagues in connection with the killing spree that resulted in 19 people being shot dead within the space of a few hours.

The gunmen, so as to be sure they did not kill the wrong people asked the victims to confirm their names before opening fire.

Just how does this relate to Trinidad and Tobago you may ask? Very little if the truth be known however, the contrast is the speed in which these cases was handled and, to an extent a favourable result.

Back in T&T at the police press conference held in Tobago, journalists probed whether this could be a serial

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Beauté Congo 19262015 Congo Kitoko The exhibition is the brainchild of curator Andre Magnin whose passion for DRC art spans over 30 years. Viewed as a world expert in African art, Magnin has finally seen his vision realised at the Fondation Cartier pour l’art Contemporain in Paris.

The exhibition comes at a time when there is a surge of global interest in African art, one of the reasons why Magnin seized on the opportunity to curate this exhibition.

Magnin said. “People see the DRC as just a country of war and death and suffering but look around- these are such beautiful works, filled with such colour and humour

Travelling to Paris? Be sure to find some time and visit Fondation Cartier to see the extensive collection of art from the Democratic Republic of the Congo. The exhibition, incorporating 350 paintings, photographs, comic books and sculptures from over 41 different artists including; Chéri Samba, Antoinette Lubaki, JP Mika, Pili Pili Mulongoy et al.

There is the chance to see works never before displayed to the public. Some have been in private collection in Switzerland, Belgium and France while others were retrieved from colonial archives in Belgium and France and those that were brought to the exhibition from Kinshasa by the artists themselves.

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and sensuality. I want this exhibition to widen people’s perception of the country.”

Renowned Congolese artist, 58year old Cheri Samba, who began as a billboard painter and whose works have been defined as a Popular style art with bright eye-catching works which focuses on everyday life and would often incorporate text was vocal about his work. He said.

“With my paintings, I want to captivate people and I want the messages of my paintings to be direct. I direct my work at leaders and I want to use my paintings to talk about subjects that may have been forgotten but are important to the people.”

Beauté Congo 1926-2015 Congo Kitoko is on at Fondation Cartier pour l’art Contemporain in Paris July – November 2015 All photographs courtesy Fondation Cartier pour l’art Contemporain website.

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Aubrey Williams: Realm of the Sun October 8 to 21 November 2015 The October Gallery in Bloomsbury is hosting an exhibition by Aubrey Williams, the Guyanese born painter who has made a significant contribution to British Contemporary Art in the Twentieth Century.

It is a chance to see works by the artist that’s not previously seen before and to enjoy the brilliance of an artist who came to study in London in 1952. Williams came to London to study agricultural engineering but later discarded the notion and followed his love for painting. He went on to study at St Martins School of Art and later staged his first exhibition at the Archer Gallery in 1954.

conscious of the fragile balance of our civilisation’ which he expresses ‘through the rich fabric of his paintings.’

While I am not qualified to delve into the intricacies of techniques and subtleness of brushstrokes, or the emotions and thoughts to give elucidation to artistic interpretation, I can safely say; Aubrey Williams work stands alongside the great artists and painters of our time. From Caravaggio, Berni, Rembrandt Picasso et al, Williams stands shoulder to shoulder with the great painters.

Aubrey Williams needs no introduction to the British art circle. He is an artist and painter internationally renowned, an artist of an immense spiritual intellectual. He demonstrates this vividly with his Shostakovich series as he interprets the Russian composer’s music through his abstracts. Equally his Cosmos series invites you to look deeper and beyond the canvas as his paintings take you on a journey and, each one a reflection that infuses universal expression. A London Times critic once wrote of Williams; ‘in his hands the method, and the emotion, are full of vigour and much of the philosophy too- proving how facile these linear notions of change in art can be.’

At the October Gallery, you actually have the opportunity to really appreciate this great Guyanese painter. Aubrey Williams is yet another prolific son of a region, synonymous with the Caribbean who has weaved an indelible mark on the tapestry of London and Britain.

David Kalloo Aubrey Williams: Realm of the Sun From 8 Oct – 21 November 2015

Williams work belongs to our surroundings, the earth, the atmosphere, the sun, the Cosmos. All these intricacies are beautifully captured and rendered on canvas to remind us of the beauty that encompasses our daily lives. Someone described Williams work as ‘ever

October Gallery 24 Old Gloucester Street London WC 1N 3AL 02072427367 www.octobergallery.co.uk

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Uneasy tension between India and Pakistan

Put your business

I am curious if these two isolated incidents could have political repercussions between Pakistan and India in the coming months.

A few weeks ago tensions were high in Uttar Pradesh, India when a Muslim man was publicly lynched after being suspected of eating beef.

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Most of the states in India have laws prohibiting the slaughter of cows. Hindus in India consider the cow to be sacred and with 80% of India’s 1.2billion population it is not difficult to comprehend how the consumption of beef would resonate with the Hindu community.

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Beef if eaten in India by its minority Muslim and Christian population and by lower-caste Hindus. The recent intolerance is being blamed on the Bharatiya Janata Party whose aims are reportedly to terrorise Muslim liberals

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In a separate incident, this time involving an Indian national resulted in the arrest of at least six people when they doused black ink on Sudheedra Kulkarni. Mr Kulkarni was attacked after he hosted the launch of a book on foreign policy by a former Pakistani politician. He was accused by the Shiv Sena, a far-right Hindu nationalist party of being a Pakistani agent.

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Minor as these events may appear, they are signifiers that can motivate political thinking that can result in widespread protest that can inevitably spill over into violent disorder between Indians and Pakistanis.

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Until 21st November: See www.pitchlakeproductions.com @Twitterpitchlakeprod or www.blacktheatrelive.co.uk for a venue near you

What’s in your Name?

Peacock was thought to be vain and pompous. Places also played an important part in how we arrived with our surnames.

The middle and upper classes would often take their surname from their holdings, names such as Castle, Manor and of course Windsor which was adopted by George V as the Royal family name. In other instances geographical markers such as Bridge, Lake, Brooks, and Wood featured as surnames.

Have you ever wondered how you came about your name? Our name is our signifier, it identifies us and we are recognised by it, in sound by someone calling your name or in written form.

Before the Norman Conquest in 1066 people seldom, if ever used surnames.

After 1066 with population growth surnames became much more common as a means of describing someone; for example, Alan the Baker or McDonald the Farmer. These later transcended in to names like Alan Baker and Donald Farmer. Other ways to identify people were to pin-point them to a locality, such as Jane of Ashford or Mark of Hastings.

There are too, the matronymic and patronymic names as well; a son of Maud would be called Madison while a son of Robin would become Robinson. Names also took on the form of a patronage or in honour of a patron. A follower of say Patrick would take on the name Kilpatrick while Hickman would be patronage to Richard (Hick being the nickname of Richard)

Today there are more than 40,000 different English surnames, however, most of them have their origins from less than 10 types, namely deriving from occupational names such as Baker, Butcher, Farmer, Dyer, Fisher, Woodman, Mason, Turner and Wright.

This method of assuming names is not symbolic only to English names however; the French and Germans also have a similar history. A German with the name Schneider would have came from a family of tailors and Berger from a line of Shepherds. The French name Beaumont would have derived geographically meaning beautiful hill.

Surnames normally would come from an employer, much the same as slaves were given the names of the masters and the plantation to which they belonged. This would evolve into a pluralizing of the name i.e.; someone employed by Mr. Fisher would subsequently be known as Fishers or someone who served the William would be called Williams.

According to a recent survey, there are many English names that have disappeared altogether since 1901. Names such as; Hatman, Southwark, Harred, Chips, Temples and Woodbead have more-or-less been confined to history books. Many would have been lost thorough marriage or because the names existed in smaller families who has subsequently demised over the years.

Other names evolved out of characteristics such as; short, long, little or even through colouration, for instance black, white, brown, green and red. It is believed that Red evolved into Reed while other characteristics like strong and swift were also adopted. A person with the name

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The survey also found that there are scores of names that are cited as being ‘endangered’ and could be lost within a few generations. They include; Mirren, Nighy, Pober, Portendorfer and Bonneville are among those that are on the ‘endangered’ list. Efforts are not just focused on the ‘endangered’ names alone as there are as many names on the decline as there endangered. Greenwood, Kershaw, Clegg, Butterworth, Ogden, Cohen, Nuttal and Brook are just a few of the surnames that are rapidly declining.

The good news for those with names that either in decline or in danger of being lost altogether is the enormous interest people are taking in researching their names. This trend has led to people acting on preserving rare names. Some are hyphenating their names in an effort to preserve their family’s name.

David Kalloo

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More for Women to Worry About

HRT Study

It seems that in the everyday lives of women they don’t have enough to worry about.

Forget about how processed foods are now carcinogenic and what outfit and make-up to choose for specific days, scientists have now thrown another worry into the hat. They now say women who have been receiving IVF are a third more likely to develop ovarian cancer.

It has been reveled that more and more British women are turning to hormone replacement therapy (HRT) to stave off hot flushes and mood swings, common symptoms in menopause. According to New York university who carried out the study said, ‘some women didn’t even put on anymore body fat’ concluding that the risks associated with HRT has been overstated.

The study found that women who had taken HRT and tracked over the last decade found no ‘significant link’ between serious illness and the treatment.

However, critics have cited that the study involve only 80 women on HRT and was to limited a study for any significant benefits to be associated with the findings.

Scientists using records from over 250,000 British women who have had fertility treatment found they had a 37% greater risk of actually developing cancer than other women. It was revealed that the treatment itself increases the vulnerability to the disease. Those found to be more at risks are women after three years of starting treatment.

However, to alleviate some of the fears, researchers said there may be more underlying links such as the problems that caused their infertility. The research found that ’15 out of every 10,000’ who had IVF developed ovarian cancer in the period of the study. The standard rate according to the study is 11 in 10,000. While the ‘variation in the risk is significant’ the absolute risk of developing ovarian cancer is relatively small according to the findings that was revealed last month The findings have not done much to assure women who may want to seek IVF treatment much as the WHO have thrown into the fray that eating processed meat such as bacon, salami and possibly red meat are carcinogenic.

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attentively enough?� - Lyndon H. Brathwaite My encouragement to those folks is to bring your challenges into the light. The light meaning "bring it into a reality" let someone know what you are dealing with or most importantly "admit to yourself" you are dealing with something. To move out from your darkness (problems) is slow because we cannot see where we are going, sometimes we get so accustomed to the darkness, we accept it and spend the rest of, or a large portion of our lives there.

We need to bring things into the light!

Today I'll like to encourage, friends, acquaintances or even if we have never meet and you just happened to come across this to article to start brining your darkness into the light.

The flashlight was invented to bring light to a dark area; you do not have to carry your burdens by yourself. Light always overcomes darkness, that's why there is no such thing as a flashdark but it's a flashlight, and its sole purpose is to give visibility, clarity to a dark situation.

A lot of people are dealing with tough personal situations in their life at this present moment, and sometimes they feel like they have no options of overcoming.

This personal challenge can be financial, relationship matters, marriage issues, the burden of being a single parent, family issues, addictions (alcoholism, pornography, drugs, etc), lack of a successful career, fear of a new career move, mistakes in our past (that we have not let go of, but the world has moved on) and a host of other things to long to list.

Look deep within yourself today get the courage to bring your concerns, challenges, feelings, etc. forward. Bring it to a friend, coworker, religious leader, and counselor or just bring it to GOD. The goal is to "bring it".

"Fifty percent of every solution is determining or accepting what is the root cause."

Sometimes a person feels so overwhelmed by these things that they live a double life, one their friends see, where all is cool and happy and the other, where no one sees that they are depressed daily. If you pay attention to someone's social media activity, you can sometimes get an idea as to what's important to them or what is happening with them at that present moment especially if "as a friend" you know the person personally and some of the things they post looks different to what you talk about or they share with you.

Bring that problem forward and you will start finding the root cause. Those of us willing to help but seem oblivious as to what might be happening, let us start listening more, by using more than just our ears.

Written by: Lyndon H. Brathwaite Inspired by: Real Events Š 2015 OPAAT-SWY **CHANGE _CREATE_DIFFERENCE_ACHIEVE

"Everyone is saying something or at least trying to. As friends are we listening 26

The Humble Sand Fly And It’s Lethal Bite How can you protect yourself from sand fly bites? It is advisable to wear protective clothing such as long sleeve shirts, closed shoes and trousers. However, you are unlikely to be wearing these if you’re at the beach. One proven way of keeping sand flies away is applying DEET to your skin. It is by far the most effective and highly recommended. DEET ha a particular extract of Lemon and Eucalyptus oil (not essential oil) that works to repel to 0.3mm pest from devouring you.

For many of us in the Caribbean the humble Sand fly is just a miserable little pest that usually irritates you at the dusk when you’re having an evening at the beach or for those who live near wooded areas it could be a daily occurrence. What most of us are not aware of is that this little pest can deliver a fatal fleshingrotting parasite disease into your body called, Leishmaniasis.

If you are bitten by sand flies, the simple treatment is to take an Antihistamine that will help to relieve swelling and itching.

A cold compress could also be useful, an icepack or wet cloth will also give some comfort but you should always seek

Sand fly is a blood-sucking Dipteran, related to the Tabanidae family such as midges and gnats. Sand fly bites leave a large, red itchy patches and bumps and can turn into a painful rash. The bumps are similar to those of mosquito bites but are several times more itchy, causing irritation and discomfort. The bites can develop into sores and cause intense pain.

Sand flies are found in over 90 countries in the tropics and many sub tropics, including parts of the US, South America and believe it or not, notorious in the Caribbean region. The humble sand fly transmits two diseases, pappatci and the dreaded Leishmaniasis. Only the female sand fly is known to bite and suck blood which is required for her to make eggs.

medical treatment as if left untreated, the disease can recur years later attacking tissues around the nose and lips. You should not scratch sand fly bites as secondary infection can occur.

D.Kalloo

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200 years of Courvoisier Raise your glass and help celebrate over 200 years of fine cognac with Courvoisier.

Gustave Eiffel himself celebrated the symbol of France with a glass of Courvoisier when the Eiffel was built in 1889, eighty years after the illustrious Courvoisier first touch the lips of the French aristocrats.

Courvoisier was founded by Louis Gallois, the mayor of Bercy and Emmanuel Courvoisier in 1809 and it was even favoured by Emperor Napoleon III himself and those of the decadent Parisian Golden Age. To celebrate over 200 years of Courvoisier and the Parisian Golden Age, Courvoisier have launched two gifts sets for you to indulge in this Christmas. The Célébration Sensorielle InitialeExtra at a modest £397 and the Célébration Sensorielle XO which would set you back a mere £190. The gift sets are available at selected outlets however, prices may vary.

Pour yourself a glass of history and savour the aromatic expedition through romantic Paris with every sip. Merry Courvoisier.

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My recommended books by Caribbean writers Since Caribbean literature is seeing a new emergence on the international market, I want to recommend three books by Caribbean authors. Whether you are picking them up as Christmas gifts or for yourself they are a treat.

At the top of the list is the recent Man Booker Prize winning A Brief History of Seven Killings by Marlon James. If you have not read anything by James before, I strongly recommend you get The Book of The Night Women however, if you feel you want to dive straight into his prize winning novel go right ahead.

The second is Monique Roffey’s House of Ashes set in the backdrop of the failed coup attempt in Trinidad weaving the revolutions of other islands into it. Roffey tells a superb story and for those who have not yet read it, this is your chance to grab a copy.

My other recommendation is from another Caribbean sister Dr Michelle Yaa Asantewa. Her first novel Elijah delves into youth and crime. Elijah is a 15 yr who gets mixed up with the fatal stabbing of another teenager. Police do not have enough evidence to charge Elijah or the other two young boys they suspect is responsible for the killing.

Nuff said get the book and enjoy.

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a vibrant metropolis, teeming with cultural diversities and so, its cuisine could be said,

Italian Halal Tasting Experience

to be one of the most cosmopolitan on the planet.

Chef Enzo Oliveri combined the authenticity of a traditional Roman dish and indulged a cultural twist with his exciting Halal menus.

The welcome aperitivo of rosemary and grapefruit spritzer was perfect for awakening the taste buds for the selection of cured meats, cheese and succulent olives for guests to nibble and get to know each other. Many of attending guests was unaware that none of the products wasn’t pork. Demensione Carne has, without a doubt cornered this market. Their Goat Ham, Beef Speck, Bresaola, Honey Beef Salami and Spicy Salami with Pink Pepper really do take you to another experience in food. No wonder they are the number one producers of Halal meat products in Italy.

By David Kalloo 20 Ways in collaboration with Fratelli La Bufala, Demensione Carne and Princess SRL brought an evening of Halal Tasting to Knightsbridge, London.

As the evening progressed Chef Enzo demonstrated to guests his innovative Halal recipes of a traditional Roman dish, Spaghetti Amatricianna Halal. The aroma of authentic Italian cooking wafted across the room as Enzo did with his magic, and ofcourse with 100% pure products of Italian excellence. His Spaghetti Amatricianna Halal was followed by a Saltimbocca in an exquisite basil and butter sauce this culminated with a delicate Tiramisu. To accompany the meal Princess SRL supplied two beautiful non-alcoholic wines, Alternativa Bubbles White and Alternativa Red. The red worked well with the Spaghetti Amatricianna Halal while the Bubbles White went nicely alongside the Tiramisu.

It was an evening where traditional Italian cuisine met the cultural traditions of Islam, offering authentic Italian cuisine incorporating the Halal process. London is

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Speaking to Chef Enzo Oliveri he said. ‘I am enthusiastic about this new and exciting venture, it give me the pleasure to work with other cultures and pioneering new dishes.’

Enzo is hoping to take this new dining experience to other areas of London where the demand for Italian Halal cuisine is breaking new ground. 20 Ways founder, Laura Bianchini who promotes the excellence of Italy is keen to see more Halal dishes in more Italian restaurants. Along with Demensione Carne and Princess SRL, the only Italian company specializing in zero per cent alcoholic wines and beers. Laura says. ‘We are working hard to offer a full and satisfying food and wine alternative to diners and also promoting excellence made in Italy.

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Photos by Joan Achong For further information: 20 Ways Laura@twentyways.co.uk Fratelli La Bufala 12 Knightsbridge Green SW1X 7QL Aternativa analcolica info@princesssrl.it www.princesssrl.it Demensione Carne www.demensionecarne.it

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Congratulations to Dana de France winner 32 of Best National Costume at the recently held Miss Globe 2015 in Canada.

Dana represented Trinidad & Tobago. Her costume was made by Carivog’s Director Valerie Noreiga.