Culturepulse issue 45

April 2017

Issue 45

“Have some respect for an old West Indian Negro�

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CONTENTS Have some Respect for an Old West Indian Negro. 5

Production and concept: D.T. Kalloo

The Place of Dance in Carnival. 7 Let’s Talk Detox. 11

Culturepulse is designed and produced by Cashewmedia ltd and published online through www.issuu.com

Darcus Howe: A True Renegade. 14

Copyright 2017

Commentary: Women as political leaders – not a gender issue. 19

Views and comments expressed by contributors are not necessary those of Culturepulse or Cashewmedia Ltd but of the author/s.

Paresha Amin, wins Art Prize. 23

For all enquiries, please contact: 07738864335

A Picture of my Agi who crossed the Kalapani. 27

cashewmedialtd@gmail.com

Royal Caribbean returns to New Orleans. 30 Culturepulse list of contributors’ to making the magazine a success.

Horse racing continues to thrive in the Caribbean. 31

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, Dr Michelle Yaa, Dr Juanita CoxWestmaas, Dianne A Kalloo, Shabaka Thompson, Ron Ramdin, Rhianna Kalloo, Angelique, Dorothy Scott, Memory Pincheck, Erica Williams-Connell, Darren Lewis, Tessa Robinson, Cindy Mollineau, Omardath Maharaj,

Selena Carty, Alison Bajaican, Mahalia Mayne, Afridiziak, Ron Ramdin, Caroline Muraldo and Nestor Sullivan

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and black showbiz personalities including Paul Robeson and Mohammed Ali.

“Have Some Respect for an Old West Indian Negro”

Darcus was one of nine people arrested along with restaurant owner Frank Critchlow who became known as the ‘Mangrove Nine’ when they were tried at the Old Bailey and acquitted. A decade later Darcus took to the streets of London again with national prominence in a protest against the handling of a police inquiry into the death of 13 black youths at a house fire in New Cross. 20,000 people marched through London against what Darcus describes as ‘neglect and indifference’ by authorities. The rioting that followed in Brixton brought the British authorities to take notice of the Caribbean community which ‘culminated in the Scarman Report. After findings of Scarman, Darcus was invited to assess the report, Darcus concluded that the report was “way off beam in all matters that are essential and crucial.”

D. Kalloo Anyone who knew Radford ‘Darcus’ Howe knew he abhorred injustice. He was received with mixed adoration as some saw him as a troublemaker while to the greater community he served embraced him as a fearless fighter.

He rose to fame campaigning for black rights in Britain and was a polemical journalist and presenter.

Darcus was born in Moruga, Trinidad, he was the eldest of seven children. His father was an Anglican deacon and headmaster and his mother a teacher. After being award a scholarship to attend Queen’s Royal College in Port of Spain, the family moved to the city so Darcus could attend college.

Having led two marches on the streets of London with none of them inciting violence Darcus was very outspoken 30 years later when a new wave of rioting broke out in the inner cities of Britain in 2011. In an interview on BBC News, Darcus objected to being accused of condoning the riots by Fiona Armstrong, bluntly said to her; “Have some respect for an old West Indian Negro and stop accusing me of being a rioter.”

During his time in Port of Spain Darcus was associated with Renegades Steelband and a group called Lawbreakers. At 18 his parents sent him to Britain to pursue Law at Middle Temple, instead Darcus followed a route into political activism and journalism when he encountered racism. His career into political activism and as a journalist was influenced by his Marxist philosopher uncle, CLR James who was already living in London. Darcus recalls “When I first came across (London) you couldn’t walk the streets at night if you were black.” His encounter with racism led him to join the ‘British counterpart of the American Black Panthers’ and first took his militant politics onto the streets of London by leading a march on Notting Hill police stations to protest the constant harassment and ‘frequent raids on the Mangrove restaurant’ in Ladbroke Grove that was a magnet for black radicals. The restaurant was also popular with visiting black civil rights activist from the US

Darcus Howe journalist career saw him as editor of Race Today magazine, a columnist with the New Statesman, the London Evening Standard as well as presenter of Channel 4’s Devil;s Advocate and Black on Black series and the documentary Son of Mine about his troubled relationship with his son. Other programmes include; Who You Callin’ a Nigger? and Is This My Country?, White Tribe, Slave Nation and The Bandung File Darcus also chaired the CDC at Notting Hill carnival.

Darcus Howe 26th February 1943 – 1 April 2017

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The Place of Dance in Carnival

By Caroline Muraldo

ideas to an audience where the dance choreography comes first and all else is created to support it but with choreographing for carnival in Notting Hill the challenge increases to include the effective movement of the costumes which is often made without dance in mind to be danced by non-professional in a sizable group of masqueraders of mixed levels of dance ability, making sure that the dance is enjoyable for all, yet still effective in communicating the all important theme.

My Trinidadian father helped to develop a passion in me for all things Caribbean, often talking to me as I grew up about steel pan, so proud of the fact that classical music could be played so brilliantly on this instrument which was the only one to be created in the 20th century and often referring to ‘The Katzenjammers’, he spoke about Calypso pointing out to me how these songs were used for social commentary always mentioning his favourites calypsonians Sparrow and Lord Kitchener and of course Trinidad carnival which he always said I was made for. He spoke of all of this with great pride.

However, what I see regarding dance in carnival these days all too often amounts to hastily put together routines on the actual day of carnival, simple practised routines merely mimicking music lyrics or no dance sequence at all but merely, a mishmash of whining up to the music.

This is in front of the judges. On the rest of the route, I find myself all too often having to advert my eyes as too much of what can be seen really belongs in a bedroom setting not on the road for all ages to see! This year I was very uncomfortable as i notice the little girl holding my hand clearly trying to make sense of just such a display!

As I began to discover the integral role of dance within Carnival, a rich area of interest opened up, forming part of my life long dedication to the traditional dances of the Caribbean islands.

One only has to look back to the mas characters of Ol’ Mas or to contemporary greats of Trinidad such Peter Minshall, Wayne Berkeley and George Bailey to see examples of how dance has been utilised in creating a spectacle that is not only about delighting in the costumes or music but true performing art theatre, something for all to enjoy intertwining all the true carnival elements to communicate in the unique way that only mas can.

I do recall one year asking for time to choreograph and rehearse only to be told ‘Oh you can do that when we are at the holding point waiting to start, you have an hour!’

While there are a minority who can and do take dance as a vehicle for artistic expression, as a professional dancer/choreographer of more years than I care to admit too, the aforementioned distresses and saddens me that dance appears to have lost its integral position

Over the past four years in particular I have had the opportunity to have a much more intimate relationship with carnival utilising my experiences of costume and dance creation.

As a professional choreographer I always delight in the challenge of communicating 5

within the carnival mas presentation in Notting Hill.

traditionally all over the continent of African within the myriad of dance traditions to be found there. The bat for example used bat like movements crawling, flapping, dancing on his toes, and folding his wings in a series of choreographed movements, imitating a real bat. Those who danced this role often enough would develop their movements over time to truly resemble the bat.

I of course, accept that everything changes over time so just as costume and music forms change and develop, dance must do so too but it is my opinion that dance has not merely changed but has somehow lost its true place as an integral component of the organic whole that a mas presentation should be underlining, enhancing and being a conduit for whatever the carnival band has to say to its audience. To not

What about the Burrokeet who mimics the antics of a donkey this character dances the Burriquite dance which originated Venezuela or the Dragon who when confronted by a pool of water on the road has to dance in submission to the Imp king before he can attempt to jump over the water after being taunted by the little imps.

Then there were the fancy clowns who had their own dances and perhaps more well know are probably the fancy sailors who have several dances to go along with the sailor mas portrayal, such as the Bote, Crab, Marrico, Pachanga, Rock de Boat, Skip Jack and the Camel Walk. The dance movement of each of these characters were an inextricable part of these portrayals.

At the other end of the spectrum in more recent years are the productions by great mas artists such as Peter Minshall, Wayne Berkeley and George Bailey as mentioned earlier. Peter Minshall described mas this way:

Mas Is a powerful communicative expression of the spiritual and physical energy of human beings Mas is a combination of music dance sculpture and painting. Mas is communication with gesture and movement, it is danced, it is played, from the speech of the Midnight Robber to the extraordinary brilliance of the fancy sailor.

employ dance in this way is a miss a significant opportunity.

Let’s consider the ‘old mas’ characters who each had their own costume, music and dance movement by which they could be identified just as to be found 6

Of course, there are many factors as to why dance does not have a place of serious import in carnival in Notting Hill which are derived from many historical and social factors which time would not allow me to discuss a in depth so I will touch a on a few.

not unusual in her generation, a fact that was borne out by one of my fathers in dance who is a few years younger than my mother and was a professional dancer/choreographers in Grenada from the late 50’s but even more disturbing to me was when I once had the opportunity to attend a dance conference held in Grenada, my mum’s island. I was sorely disappointed as there during a talk the question was asked ‘Does Caribbean traditional dance have technique? The answer from the panel was no, unfortunately in those days I did not have the confidence to voice my disagreement even though I could have made my argument to prove this conclusion false.

One is that Ol’ Mas in Trinidad developed within a culture that had a rich tradition of dance creation, practice and participation as part of everyday life. When carnival began here there was no context of communal dance practice enjoyed in the English communial life which could compare or support the continuity of practices found in ‘ol mas back in Trinidad. In fact dance is not generally esteemed or taken seriously by English culture unless of course you talking about classical ballet and it supporters who are in themselves not a large percentage of the population Likewise having taken part myself in English traditional dance festivals I know that this area of dance is also the pastime of the relatively few. I am always amazed at the amount of my white English friends who tell me they don’t dance or don’t know how to dance or didn’t even listen to music growing up.

Unfortunately, the negative view of dance and arts generally has filtered into Caribbean culture.

When I studied dance at BA Hons, MA and Phd. levels my objectives was to utilise the learned knowledge that deepened my understanding, promotion and participation in dances of African heritage generally and Caribbean dance forms specifically I took every opportunity to apply what I was learning to these dance forms that I loved. During my vocational training, there lay another contributory factor. I was dismayed at the lack understanding and dismissiveness that dance of Africa heritage was treated with, in such dance establishments I attended. The blatant ethnocentric racist views that pervaded most of the texts I had to study concerning dance forms from Africa, (We were never given any texts that were about dances of the Caribbean as if they didn’t exist, even renown dance practitioners such as Beryl Mc Burnie and Catherine Dunham didn’t get a look in). This meant apart from anything else that unconcerned or unthinking dancers came out of such training believing dance of African

My own mother said on my announcement that I had been accepted to do a dance degree, why do you want to jump up and down all day and what’s going to happen to Shona?’ This is from the lady who would love to tell everyone I don’t know what is wrong with this child! From the time she could stand up she can’t stop dancing! I thought she be pleased that I actually was doing something with my passion! I found that my mum’s view was 7

heritage was of little worth, while ballet and contemporary dance forms were real dance after all ballet was the basis of all dance! Yeah right! (This will contribute towards the explanation as to why there are not many professional choreographers contributing their skills towards the development of dance in carnival) Yet when given the opportunities to analyse the actual characteristic movement forms I was absolutely delighted and proud range to belong to cultures that have such a rich, diverse and analytically complex range movement vocabularies and styles.

Dance’s predicament is also not helped by the fact that dance tends to be the poor cousin of other arts forms. Why? Adding to what I have outlined, the fact that there is a dichotomy about the way in which dance is regarded in black cultures. On the one hand, good dancers are esteemed and recognised generally but to be a dancer is not considered a serious career after all everyone can dance! Oh yes! I remember those days very well when I would be asked what I was doing. My response was always met with suitable disappointment when I said I was doing a degree in dance, it more often, lead to changing of the subject. But then I was just jumping up and down all day, if only they knew.

I found myself throughout my studies and even more so as a university dance tutor defending and explaining the worth of dance of African heritage. At Surrey University, I was with further controversy with the head of the dance department at that time, who told students that there was actually no benefit to them as dancers studying the Africa heritage dances.

Turning back to dance in carnival, I found it interesting that no carnival band would employ someone who just like to make costumes yet had no real knowledge of how to make them. No one would get a DJ to play the music on the day who has no professional experience of being a DJ. Or to play pan without proper training. Yet dance all too often, is a last-minute consideration or, a task given to the youngsters without even getting a professional to at least advise. If dance continues to be treated this way, dance will be of little real importance compared to costume and music.

There is also the issue of expectations.

Carnival for many is purely an opportunity to dress up get on bad and get drunk.

While this is of course their choice this is because they have not had the opportunity to experience anything different. I believe that this view of carnival is a wide spread misrepresentation. The idea of presenting something for an audience to enjoy outside of simply wearing costume does not enter in to the equation it is all about me having

These views experienced were not new but long held and formed part of the social context in which dance in carnival would need to survive.

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my fun! To ask a significant number of such people to rehearse dance seriously becomes an imposition. I have been met with negativity, purely because individual carnival experiences so far, has taught them that this is not what carnival is about and they feel that their individual fun is being violated! Having stated that however, I have found that more people in my own experience welcome doing something more, something that they can truly be part of and something where they can bring their own expression into something they can share with others that can truly enhance their carnival experience.

carnival setting, but to help these dance artiste to have the opportunity to learn about the artistic craft of dance as any carnival costume artist would have to learn about their craft, or the panist would need to learn his or her skill. We believe that there is no reason why dance should not be allowed to assume its rightful place within the Notting Hill Carnival context collaborating and intricately woven with the costume and music to challenge, delight and communicate what carnival is truly about.

Caroline Muraldo is the Artistic Managing Director at Muraldo D.C.

I am not for one minute suggesting that bands should all go back to ol’mas characters or even attempt to produce Peter Minshall style productions. I am however trying to convey how dance has been integral to mas presentations on the road in the past and, I believe that there is no reason why dance cannot have a significant place in mas presentations. I am convinced that the inclusion of dance as a true strand of the mas presentation on the road would surely contribute to the portrayal and presentation of carnival bands on the road in a positive and powerful way.

Photos courtesy Caroline Muraldo.

This article was first published in Soca News and republished here with the kind permission of the author.

I am however not merely pointing out the problems that dance faces as artistic expression at Notting Hill carnival but I am working practically towards helping to find a solution with an equally enthusiastic colleague towards presenting a project to the carnival community of Notting Hill.

The aim of this project is to inspire and aid budding potential mas choreographers to develop the role of dance on the road. Not by simply taking dance forms from elsewhere and simple plonking them in the 9

The London Air Ambulance was established in 1989 in response to a report

by The Royal College of Surgeons, which documented unnecessary deaths from trauma and criticised the care that seriously injured patients received in the UK. Since then the pioneering and effective delivery of time critical interventions has proven to be one that have saved many lives. The service has a strong sense of responsibility for patients both through social and medical innovation.

The London Air Ambulance is a charity that operates in partnership with Barts Health NHS Trust and London Air Ambulance(LAS). The Trust employs and remunerates the advance trauma doctors who are seconded to the service, as well as providing some direct financial support and helipad facility for charity operations. The LAS provides paid paramedics who are seconded to the service and operate from the LAS control room and are responsible for dispatching the service to critically injured people in London 24 hours a day.

The London Air Ambulance service serves over 10 million people who live, work and travel within the M25. They can perform open chest surgery for patients in cardiac arrest at the roadside with an 18% survival rate, noted as the highest in the world. On average, five people every 24 hrs in London are seriously injured and need advanced life-saving treatment on the scene.

The London Air Ambulance trauma team and paramedics can be on the scene within minutes to provide medical aid that is normally only available at a hospital emergency department. To date, the London Air Ambulance has treated over 35,000 people.

The service is a registered charity and its survival is dependent on funds raised to keep the service operational. London Air Ambulance has many ways in which you can help make a difference and to keep them reaching people in time of need. To find out more about donating and to get involved with the charity please visit: www.londonsairambulance.co.uk or to donate: www.londonsairambulance.co.uk/donate Telephone: 0203023 3300 or email: info@londonsairambulance.co.uk Registered Charity No: 801013 10

Let's talk detox with Cindy Mollineau There are so many diets and detox programs out there that it can all become quite confusing if you decide to give yourself a proper clean out. I remember growing up in the Caribbean; every major holiday period meant detox! This is even after eating only organic, grown out of your garden foods, home cooked meals and delicacies and a life where fast food was a myth. In today's society, sadly we are fighting more pollutants and toxins every day in our skincare and body products, our diet and of course our alcohol and chemical intake, including prescriptive medications, cigarettes and illicit drugs. So, for these reasons, I've decided to talk about a liver detoxification as it crucial in getting rid of toxins and impurities from the body and increasing energy levels.

to detoxify our blood, produce the bile needed to digest and regulate fat, break down hormones, glucose levels in the bloodstream and store essential vitamins, minerals and iron. The liver also produces cholesterol and specific proteins essential to blood clotting.

Some of the signs of inefficient liver function: Bloating and gas, Acid reflux and heartburn, Constipation, Skin and/or eyes that are yellowish (a symptom of jaundice), Inability to lose weight, High blood pressure, Moodiness, anxiousness, or depression, Dark urine, Skin breakouts, Chronic fatigue, Excessive sweating, Bruise easily and Poor appetite.

The liver is an amazing organ that is located on the right side of the abdomen. It is a meaty organ divided into 2 lobes. One of the greatest fascination with this organ is its ability to regenerate itself and sustain high levels of trauma. However, even this organ has its limitations and can cause severe consequences to the rest of the body if it isn't working as it should.

A quick overview of the function of the liver: One of the main ways that the body gets rid of toxins is through the liver. In fact, the liver is one of the hardest working organs in the body. Of course, we know that the liver metabolises alcohol and chemicals after a night out. But there are many other important functions performed by the liver besides getting us road worthy again. It works in the background

So, what can we do to improve our liver function? We can sort by incorporating the following foods into our daily diet; Garlic, Grapefruit, apples and citrus fruits. Beets and Carrots, Green Tea, Leafy Green, cruciferous vegetables and Avocados.

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toxins into water-soluble metabolites during the detoxification process. Natural supplement milk thistle is a highlyrecommended supplement during a liver detox. It has anti-oxidant and antiinflammatory properties that can help the liver repair itself.

Foods high in potassium levels: Sweet potatoes, bananas and tomatoes are high in potassium. Cold pressed Oils such as Olive Oil, flaxseed oils, linseed oils.

Simple Liver detox: The beauty is that you can do this as part of your daily regime. On average however, my advice would be 7-10days is sufficient for a liver detox twice a year.

There are special liver detox potions and tinctures also available at your local health store that can be taken during a liver detox.

To flush out toxins and help the liver repair itself. These should only be taken for the specified time stated on the packaging.

Stop the Alcohol.... yes, even the merlot.

You need to rid your body of toxin and all alcohol falls into that category.

Following these simple steps can aid in both steps of detoxification without you feeling sick and experiencing the awful symptoms associated with diets and hangovers in the process. There’s no need to go on crazy cleanses.

Take care of your body with a whole food, no junk, and booze-free vegan diet, light exercise such as walking or swimming where possible, and get some fresh sunlight whenever you can.

Stop all processed foods, fast foods, quick meals, carbonated drinks. Processed and ready meals have a high nitrate and nitrite content which is added pollutants to the body.

Oh! and cut down on smoking, late nights out with no sleep and you will feel the difference. Promise!

Increase intake of dark leafy vegetables, foods such in potassium and vitamins and minerals. Juicing vegetables is an easy way of getting your 5 portions a day.

Where possible, eat organic foods. It's the most natural and contains the least number of additives and pollutants.

Cindy Mollineau Beauty & Holistic Therapist Independent Distributor for Forever Living Products and Independent Presenter for Younique Products

Drink lots of water! The more the better.

Add some lemon to your water to help your liver flush out toxins even faster.

Lemon is an excellent source of vitamin C which is an anti-oxidant. You can also have fruity teas and non-caffeinated drinks as well.

Incorporate supplements such as vitamin B into your diet which are needed to turn 12

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DARCUS HOWE: A TRUE RENEGADE

By Nestor Sullivan Darcus Howe was a very close friend of mine for many years, whenever I visited London we would meet to discuss a number of issues including: Politics; Economics; The Mass Movements in the Caribbean and Europe; Steelband; Carnival and several other topics. I visited him at his home or we would meet at the Tabernacle in London. I used to read and hear about Darcus here in Trinidad since the 1970’s, he was a schoolmate of my very good friend, the late Ian Teddy Belgrave who died a few years ago.

Movement and The George Padmore Institute; Professor Gus John; Linton Kwesi Johnson, people of Caribbean roots.

Together with Darcus and others, this collection of people presented this Book Fair for several years. Writers; Poets; Musicians; Teachers; Workers; Students from: England; the Caribbean; Africa; North America; Europe, all came together to display and share knowledge and experiences documented in books, pamphlets, poems and songs.

It was at one of these events I got to know Linton Kwesi Johnson, a Dub Poet originally from Jamaica, living in London.

He was a member of the Race Today Collective who wrote, recorded and performed a piece titled “Man Free”. This piece was about the successful struggle of the Mangrove Nine where Darcus and eight others were arrested, charged, tried at the Old Bailey and won their case.

I was the Vice-President of Pan Trinbago, the representative organization for Steelbands in Trinidad and Tobago, for several years between 1979 and 1994. In 1981, I participated in Carifesta, the Caribbean Festival of Arts, held in Barbados. Trinidad and Tobago was represented by several cultural groups and individuals. Renegades Steel Orchestra was one such group. It was here, in Barbados, that I met Darcus in person, for the first time, he was rooting for his band, Renegades.

“Him stand up in court like a mighty lion….Him stand up in court like a man of ironDarcus outa jail…Race Today cannot fail”

In 1990 I attended and participated in the International Book Fair of Third World, Black and Radical Books in London, England. This event was put on by: New Beacon Books; Bogle L’Overture Publications and Race Today Collective.

Darcus was the lead person at Race Today, a magazine dedicated to the struggles of Black people in England and around the world. It was my first visit to England and we met on several occasions during this International Book Fair. Here I also met persons from many different parts of the world who shared common interests. It was here that I met with John La Rose, of New Beacon Books, The Black Parents

This is a Linton Kwesi Johnson Composition with Music by Dennis Bovell and the Dub Band on the recording.

This article traces Darcus’ involvement with one of the leading Steelbands of Trinidad and Tobago. Darcus was in fact a bona-fide member of Renegades Steel Orchestra of La Cour Harp, Port of Spain, Trinidad. He jokingly claimed that he was born with an “R” (for Renegades) on his forehead. I interviewed Rupert BostockMader also known as Little Axe (Lil Axe), a founding member of the legendary Renegades Steelband. It was Lil Axe who 14

introduced Darcus to La Cour Harp, the place that became the home of Renegades Steel Orchestra.

La Cour Harp was a collection of Barrack Houses in the Port of Spain area occupied by working class people. Darcus was introduced to this community by Rupert whose mother sold Mauby, a tropical nonalcoholic drink that Darcus really enjoyed.

He would visit regularly just to get his supply of this refreshing drink.

Darcus’ birth name was Radford Howe, he came from Princes Town, South Trinidad and lived on Glouster Lodge Road, Port of Spain, with his parents. Here he was located near to the Casablanca Steelband of Argyle Street in the same area. Darcus was more affiliated to that band.

While Darcus was still a student at QRC and he met young men from the community who had nicknames like: Mousso; Boldface; Tantan; Whitey; Bamby; Niggers; Peas Eye; Tampico and many others. They were all connected to Renegades Steelband. He also met Stephen Nicholson also known as “Gold Teeth”, the leader of the band. They were also members of a community-based group that was called Law Breakers.

Rupert was a member of Renegades Steel Orchestra and lived in La Cour Harp, he spent his free time on Oxford Street in the same community. What follows is the first meeting between Rupert and Darcus, which took place in the early 1960’s. Rupert began the discussion this way….

“One day this person started pelting bottles across the road at the corner of Oxford and Observatory Streets, Port of Spain…so I asked who is this young guy pelting….is he going mad?”

The names of the groups were taken from movies which was a main form of pastime entertainment during that era. That was a pattern that existed in other communities as well, groups called themselves names such as: Silk Cats; Navarro; Applejackers; Thunderbirds; Prodigals. The early Steelbands in Trinidad used the Hollywood movies to name their bands’ names such as: Desperadoes; (Destination) Tokyo; Casablanca; Invaders.

That person was later identified as Radford Howe, a student of Queens Royal College (QRC), a prestigious Secondary School in Port of Spain that he attended. Rupert and others went to Darcus’ home after this incident. Darcus was informed that it was Lil Axe and a group from Renegades that visited him. At that time Darcus did not know Lil Axe.

Radford joined Renegades and because of his intelligence and training he received as a QRC student, he was involved in a leadership capacity with the band. He chaired the band’s meetings, offered advice on issues affecting members and the band itself and gave advice and explanations to members on local, regional and international issues. He did not play an instrument in the band but participated in the administration of all the activities on a year-round basis. He was a very close ally to “Gold Teeth” the natural leader in the

Learning about the visit to his home by Lil Axe and members of Renegades, Darcus left Port of Spain and returned to Princes Town. One month later Boysie Lewis said to Rupert. “Radford wants to see you urgently.” They met at the corner of Oxford and Observatory Streets where Darcus apologised. “I am sorry for pelting bottles, let’s make peace”. This symbolic meeting marked the beginning of their relationship, one that endured for many decades.

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community. Darcus related this incident to me some time ago, he said;

invited members of Renegades to visit London Notting Hill Carnival to play mas with Mangrove Steelband in a presentation called “Forces of Victory”.

“I was still at QRC where Ray Holman and David ‘Splav’ Waddell were also students. They were members of Invaders Steelband from the Woodbrook community where they both lived. One day I went to Woodbrook to meet a girl friend with whom I had a relationship. I went to the Invaders Steel Orchestra’s Panyard where I met my school friends, Ray and David. They were playing some music and I joined them on a FiveBass. A person from La Cour Harp passed by and saw me, they told Goldteeth, who said to me..I hear you are an Invader now….Change your mind or change your address”.

Some of the Renegades members who took up the invitation included: Winston Bruce (Dr Rat); Neville Seaton (Banlon); Albert Bostock-Mader (Papito); Katie Brown and Rupert Bostock-Mader (Lil Axe).

Darcus’ role with Renegades was influential with his involvement the London Notting Hill Carnival where he adopted a leadership role in the Carnival Development Committee (CDC) for a many years and maintained close ties with Mangrove Steelband, a leading Steelband in London.

No one can deny that Darcus was a true national of Trinidad and Tobago, his involvement in the struggles for the betterment of Black people, Steelbands, Mas Bands, Workers and Students in the Caribbean, United Kingdom, Africa, Europe and the Americas has made us all proud. He remained a Renegade to the end…Rest in Peace my Brother!

He changed his mind.

Around that time there was a man from the neighbouring community of Laventille Hill, a member of Desperadoes Steelband whose name was Darcus Edwards. He was tall, dark-skinned handsome man and walked with a crawl. He was also a community leader and defender. These were the features that Radford possessed.

Goldteeth then re-christened Radford “DARCUS” a name he adopted for the rest of his life.

Darcus’ parents were concerned about the company he was keeping with Renegades and the Law Breakers. His parents in an effort to keep Darcus out of trouble encouraged him to go to England to study Law. In England he became involved with the Notting Hill Carnival and with the Mangrove Steelband from Ladbroke Grove.

He maintained his relationship with Renegades Steelband. In 1978 Darcus

Darcus Howe with Nestor Sullivan

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Commentary: Women as political leaders – not a gender issue completed. She broke that pledge for many reasons, the primary one being that the opposition Labour Party appears lacklustre and unappealing under the present leadership of Jeremy Corbyn.

By Sir Ronald Sanders

Calling the election while there is no formidable challenger from the main opposition party is an expedient decision.

The Labour Party was caught napping, unable to oust Corbyn for a more dynamic and acceptable leader in time. In that context, May has a chance of being the elected prime minister of a Conservative government for the next five years.

Modern history is showered with women as political leaders and heads of government. When women first emerged in these roles, it was regarded as ‘breaking a glass ceiling’ – a breakthrough for the female gender in occupying high positions once regarded as the preserve of men

Ironically, however, it is another woman that might upset her cart and scatter her apples. Nicola Sturgeon, the feisty leader of the Scottish National Party, is determined that Scotland should eschew Brexit. The Scottish people voted overwhelmingly in last June’s referendum to stay in the EU. The battle between these two women is now firmly joined on fundamental political matters; gender has nothing to do with it.

There was truth in that sentiment at the beginning of that revolutionary trend, but even though women leaders do still attract support from some women – and the opposition of some men – purely on the basis of gender, the human race has moved on from solely gender considerations.

Should the pro-EU Liberal Democratic Party do well at the election with the backing of those voters in England, Wales and Northern who want to remain in the EU, a coalition of forces might yet topple May, having nothing to do with her gender.

Today, women as political leaders is not a gender issue. They have to prove that they are every bit as capable as men.

Two events over the last few days brought this reality into sharp focus. The first was Theresa May, the unelected prime minister of Britain, calling a sudden general election for June 8, and the other was the launch of a new political party in Antigua and Barbuda by Joanne Massiah, a former elected member of the opposition United Progressive Party (UPP) who recently declared herself an independent member of the House of Assembly.

Across the ocean in a much smaller island nation, Antigua and Barbuda, a woman threw her hat in the ring for the second time to become leader of a political party.

On the last occasion, on the rubble of a defeated UPP, she sought the leadership in a contest against Harold Lovell. She had won her seat in Parliament in the general election; Lovell had not. Her decision to run for the leadership had nothing to do with gender, and all to do with a belief that she was a better candidate.

In calling the British election, Theresa May brazenly broke a pledge she had given to the British people not to call an election before the Brexit negotiations with the European Union (EU) was 19

There are fine examples of such women in other places at this time and in former times. Altogether, 70 countries have had women as heads of government. History reminds us of the formidable Golda Meir of Israel; the tough stewardship of Indira Gandhi of India; the two Bandaranayke women presidents of Sri Lanka; Margaret Thatcher of Britain; Isabel Martínez de Perón of Argentina; Benazir Bhutto of Pakistan; Gro Harlem Brundtland of Norway. Today, the highly-regarded Angela Merkel is serving her 12th year as chancellor of Germany; Michelle Bachelet is in her second term as president of Chile and Ellen Sirleaf has been president of Liberia since 2006.

Margaret Thatcher is universally remembered as ‘the Iron lady’. She caused the coining of that phrase when she said: “If you lead a country like Britain, a strong country, a country which has taken a lead in world affairs in good times and in bad, a country that is always reliable, then you have to have a touch of iron about you.”

As it turned out, she may have been too trusting of a system that she subsequently regarded as treacherous when Lovell won the contest overwhelmingly but, as she saw it, not fairly. Eventually, bad blood between the two led to her expulsion from the UPP. Now, she has formed the Democratic National Alliance (DNA), and Antigua and Barbuda has its first woman as the leader of a political party, not because of gender but because she holds the view that she has the capacity to lead the country.

In reality her observation is true for running any country – however large or small. The women who led countries did so not because of their gender, but because they had iron.

The Caribbean’s modern history has many such women, among them Mia Mottley, the present leader of the Barbados Labour Party. Then, there are those who made it to the office of head of government – Eugenia Charles of Dominica; Janet Jagan of Guyana; Portia Simpson-Miller of Jamaica and Kamla Persad-Bissessar of Trinidad and Tobago. The essential ingredient was not their gender, but their readiness to take on the rough and tumble of politics.

Sir Ronald Sanders is Antigua and Barbuda’s Ambassador to the US and the OAS. He is also a Senior Fellow at the Institute of Commonwealth Studies, University of London and Massey College in the University of Toronto.

The views expressed here are his own.

To respond to his comments please visit: www.sirronaldsanders.com

© Copyright to this article is held by Sir Ronald Sanders and its reproduction or republication by any media or transmission by radio or television without his prior written permission is an infringement of the law. Republished with kind permission of the author.

Appealing to gender alone, and the refrain of “time for a woman’, does not cut it in the world of real politics. Faint hearts do not make leaders; courage, drive and political astuteness are the criteria by which any leader is judged – man or woman.

Photo: Sir Ronald Sanders courtesy the author Photo: Joanne Massiah courtesy CaribDirect.com

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Show your respects for our War Heroes.

Place your orders now for Windrush Day 2017

www.blackpoppyrose.org info@blackpoppyrose.org

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Dentons Art Prize winner, Paresha Amin Paresha Amin has been judged winner of the Dentons Art Prize Spring/Summer 2017.

The Dentons ArtPrize was launched in January 2016 in collaboration with Curator Niamh White. Dentons launched the scheme to support emerging artists which carries a cash prize of £5000 and pro bono legal advice for all artists. Lucille De Silva, a partner at Dentons said, “The Dentons Art Prize competition supports

The Kenyan born artist paintings depict combinations of real landscapes intermingling with imaginary landscapes in the artist mind. They depict an in-between place where real and imagined places come to life on her canvas. Paresha’s work is an interrogation into the relationship between the liminal places of memory and fantasy come together in the material world of paint and colour.

Paresha lives and works in London where she received a BA in Fine Art from Middlesex University and a MFA from Slade School of Art at UCL. In 2014 she was awarded the Arthur Silver Prize from the Museum of Domestic Design and Architecture and the Duveen Travel Prize from University College London, which enable her to travel to Jaipur and learn Indian minature painting techniques. She has had solo shows recently at the Parallax Art Fair at Chelsea Town Hall, Highgate Gallery and Chorak Gallery as well as exhibiting her work at the Original gallery, The Slade, Camden People’s Theatre, Truman Brewery, Vyner Street Gallery and the Noble Sage Gallery for Battersea Art Fair.

our Firm’s goal of having a positive impact on the communities in which we work and live.” And in the words of Eli Broad, “civilisations are not remembered by their business people, their bankers or lawyers.

They’re remembered by the arts.”

Among the past winners of the completion are Alexandria Lethbridge who won the inaugural competition in 2016 and Aimee Parrott. Independent judges for the Spring/Summer Art Prize included; Valeria Napoleone - Collector and Philanthropist, Mark Titcher - Artist, Neil Wenman - Senior Director Hauser & Wirth, Richard Wenthworth - Artist and Hannah Barry – Gallerist. http://www.mdx.ac.uk http://www.mintarts.com

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Two Female Lawyers admitted to Practise in Guyana Two Attorneys-at-law were admitted to the Bar before Justice Roxane George Tuesday afternoon after attorney Rinee Kissoon petitioned on their behalf.They are Vanessa Thomas and Cheryl-Ann Steele, both of whom reside and practise in Trinidad and Tobago.

Thomas, a Guyanese, first completed her secondary education at Bishop’s High School, then went on to pursue higher education at the University of Guyana (UG) attaining a law degree after which she enrolled at the Hugh Wooding Law School in Trinidad.

She was successful and gained her Legal Education Certificate in 2003 and in October that same year she was admitted to the Bar in Trinidad.

She told the Guyana Chronicle that she was ecstatic, particularly after 13 years of being admitted to practise in T&T and she pledged to work in Guyana as well.

Steele, a Trinidadian, has close ties to Guyana and will practise here as well.

She earned a law degree in London and in 2004 she completed her Legal Education Certificate at the Hugh Wooding Law School.

Steele practises civil, criminal and family law in T&T and she wants to assist Guyana with the resumption of the Family Court.

After the submissions, Justice Roxane George told the lawyers that she hoped to see them both practising in the courts in Guyana, where they could bring their expertise. She wished them well.

Thomas has more than a decade of practice in the twin-island republic and specialises in employment and industrial relations law and is also a lecturer.

Photo and story courtesy www.westindianlawyers.com

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Afrofuturism, Women, Spirituality and Media

By Black History Walks

Sat 17th June 2017 14:00 – 18:00 BFI Southbank Belvedere Road London SE1

Part of our sisters in Science Fiction season. A whole day of short films about Black women in Afrofuturist films plus Q & A with directors, activists and authors on media portrayal.

Films include: Caleb, A lone Black female astronaut fights the alien takeover of her world Ori Inu, A young New Yorker confronts her Christian family with Brazilian Candomble.

Summer of Gods, A beautiful little Brazilian girl undergoes rights of passage which link her to African Goddesses.

Rise of the O. A black female superhero series which draws on West African Orishas The panel will include Director/Producer of Ori Inu, Author, Director Nosa Igbnedion, Dr Michelle Asantewa and other special guests.

Tickets go on sale from 16th May at 11:30 via the BFI’s website 26

A Picture of my Agi who crossed the Kalapani

By Leela Ramdeen

Your hands have changed with the years – Grown a little out of shape and worn.

Worn rom the indentation of the cutlass That ate into your soft flesh as you cut The cane – day in, day out.

your true worth but us, your children.

You are the object of our love and Adoration. We appreciate the single – Heartedness of your life, your sturdy Unselfishness and the sacrifice you made for Your family – day in, day out.

You used to hold me high on your hips Looking at me with knowing eyes, Your long, black hair smelling of Coconut oil with streaks of silver Glistening in the sun, Your shoulders bent from backbreaking Work in the fields – day in, day out.

Leela Ramdeen is a lawyer and education consultant. She is also Chair, Catholic Commission for Social Justice at Archdiocese of Port or Spain, Trinidad and Tobago.

I saw you once literally bleed from the bottoms of your feet as you walked through the smouldering fields – still blazing in parts – just to male sure you cut your quota of cane for the day – under the watchful eye of the overseer sitting high on his horse – day in, day out.

You taught me how to count in Hindi Ack, do, teen. You sang about Those you left behind, while I Climbed unto your lap and curled into The crook of your left arm.

You cradled me and as the starin Of your sweet voice was carried by the wind My eyes grew drowsy from the Swaying of the hammock – day in, day out.

If you ad any hidden dreams, other than Of being a good wife, mother, grandmother, No one ever knew about them. If deep regrets, Fears, or personal doubts tormented you You never stated them. You were here Sitting stately on your perha Grinding masala early in the morning Before the sun rose – day in. day out.

Agi, they say there is no other success for parents except to feel that they have made some contribution to the development of their children. No one knows 27

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Royal Caribbean will return to New Orleans The administration in March 2016 approved Americans to take so-called "people-to-people" trips to Cuba. Now Americans who want to travel there simply fill out a form asserting their trip is for educational purposes, not tourism.

Carnival and other cruise lines have said their planned Cuba calls fall into the approved "people-to-people" category.

Royal Caribbean will return to New Orleans, sailing week-long cruises to The Bahamas and Mexico's Yucatan Peninsula. The itineraries are set to launch for the 2018 winter cruise season.

Carnival Corp., the cruise line's parent, has been sailing voyages to Cuba since last May, though under the Fathom flag, a lesser-known, one-ship brand that specializes in so-called "social impact" cruises.

Royal Caribbean's 2,435-passenger Vision of the Seas cruise ship will relocate Dec. 15, 2018 to the Port of New Orleans, according to a news release. The company announced the move as part of an overview of its 2018-2019 fleet plans.

Carnival announced in November it plans to end Fathom cruises in May after struggling to carve a market for the line.

Photo and text courtesy nola.com

Carnival plans to add an overnight stop in Havana, Cuba to select cruises departing from Tampa on the Carnival Paradise ship starting this summer, according to a news release.

The four- and five-night voyages begin June 29. The five-night trips will also feature a stop in Cozumel, Mexico or Key West, Fla. Carnival Cruise Lines joins more than half a dozen other cruise lines that have won approval from the Cuban government to sail there. Carnival competitors Royal Caribbean and Norwegian Cruise Lines are among those that have also received the go-ahead for Cuba sailings.

American tourism in Cuba is still technically off limits, but President Barack Obama's administration had begun to chip away at travel restrictions as part of an effort to normalize relations between the two countries.

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and that is part of the appeal of the race. It is no surprise to see horses win this race at odds as high as 100/1, as occurred in 2009 when Mon Mome came out on top.

Horse racing continues to thrive in the Caribbean

The weights list for the 2017 running of the Grand National has already been revealed and if you want to take a look at the full runners and their respective odds.

The betting is headed by 10/1 Vieux Lion Rouge for trainer David Pipe, who won this race in 2008 with Comply or Die.

Horse racing has a rich history in the Caribbean: the sport takes place not just on the English-speaking islands of Barbados, Jamaica and Trinidad and Tobago, but also in Dominican Republic, Martinique and Puerto Rico

Once the Grand National is out of the way in the UK, the focus then turns onto the Flat season. There are five Classics each year in the UK. The 2000 Guineas and 1000 Guineas, which are for colts and fillies respectively, take place in early May. The Oaks for fillies and Derby for colts then occur in June. Finally, the St Leger ends the Classic season in the UK, and this is the longest race the three-yearolds takes part in as it is over the trip of 1m 6f. Any horse who wins either the 2000/1000 Guineas, Oaks/Derby and the St Leger is a Triple Crown winner in the UK. The last colt to do this was Nijinsky in 1970.

The most prestigious and popular race in the Caribbean is the Clasico Internacional del Caribe. This has a worldwide appeal and takes place annually in December at a different track. In 2016, it was hosted by Camarero where a horse from Panama named El Tigre Mono came out on top.

This is also known as the Caribbean Derby. Like the most famous derby in the world at Epsom in the UK, it is open to three-year-olds and has Grade One status.

Largely due to the weather, flat racing is the only form of the sport which has really taken off in the Caribbean. The majority of the racing at the tracks takes place on dirt, which is safer for the horses as it would be very difficult to keep turf tracks watered to ensure they are not too firm. Jumps racing, which is very popular in the UK and large parts of Europe, would not be practical as soft ground is needed to ensure safe conditions for not just the horses but also the jockeys, who sometimes come off their mounts and hit the ground at speed.

Although the UK is not known for having great weather, their quality of racing is as good as anywhere in the world; it is what many parts of the world including the Caribbean strive towards.

Although jumps racing has never taken off in the Caribbean, like many parts of the world, they still tune into the Grand National at Aintree in England in April every year. As you can see from the infographic below, the steeplechase was first run in 1839 and won by a horse called Lottery. The name of the inaugural winner has proved fitting, as it has often been a lottery as to who has come out on top –

Photo and text courtesy www.caribbeannewsnow.com

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