divali 2015

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2015 Trinidad and Tobago Volume 16,Number 2

Theme - Janeo: The Hindu student admission ceremony

Samskaras [The Rites of Passage] in HinduismThe word samskara is derived from “samskaroti,” meaning “to grow and prosper.”

Maticoor night: The celebrations beginIn Trinidad, the first step of the upanayan ceremony includes an event that resembles the Friday night...

Naugraha Pooja: The preparatory prayers beginAfter the procession returns to the inductee’s home, he makes his first public appearance.

The Hardi [Turmeric paste] CeremonyHardi [turmeric] is renowned for its medicinal purposes as well as the benefits it provides for the skin...

Guru Diksha: the teacher accepts the studentAt this stage, the boy is dressed in a yellow cotton dhoti [loincloth] and is ready to begin the actual ceremony.

The Study of the Vedas and departure for KashiThe Vedarambha samskara is the twelfth of the 16 Vedic sacraments.

Contents

Divali Souvenir Magazine 2015.Trinidad and Tobago Volume 16, Number 2.Theme: “Janeo: The Hindu student admission ceremony”Cover Photo: Janeo inductee, Arun Maharaj

Published by Indo-Caribbean Divali Publication Ltd. (IDP)10 Swami Avenue, Don Miguel RoadSan Juan, Trinidad and Tobago

Tel: (868) 674-6008 Tel/fax: (868) 675-7707 E-mail: [email protected], [email protected] Website: http://icctrinidad.wordpress.com Copyright © IDP 2015. Copyright: All rights reserved. The writing, artwork and/or photography contained herein may be used or reproduced ONLY with an acknowledgement to Indo-Caribbean Divali Publication Ltd. (IDP).

Disclaimer: Although all efforts have been made to ensure accuracy of the contents of this publication, IDP cannot accept responsibility for errors, omissions or advice given. The views expressed in this magazine are not necessarily those of IDP.

Divali Souvenir Magazine 2015 Indo-Caribbean Divali Publication Ltd.

PublisherIndo-Caribbean Divali Publication Ltd. (IDP)

Editor-in-ChiefKumar Mahabir

Contributing writerPraveena Kalloo

ProofreaderRebecca Cave

ResearcherSamantha Jagdeo

ConsultantsPundits Navin Omadath Maharaj, Shiva Maharaj, Keshav Maharaj,

Shyam & Vivek MaharajHosts

Geeta Maharaj and Pundits Rudranath Maharaj, Deopersad Maharaj, Rudranath Maharaj

and Sunil RagbirsinghCover and Page Design

Preddie PartapPhotographers

Karina Rajkumar, Pooja Maharaj,

Preddie Partap and Kumar Mahabir

Janeo initiates in photosAkshay Chandrica Maharaj,

Arun Maharaj, Sanjeev Maharaj, Viresh Anand Maraj and Satyam

ParmanandAdvertising

Ramona HarripersadMarketing AssistantNicholas Mathura

Chief Financial OfficerMera Heeralal

Indo-Caribbean Divali Publication Ltd. (IDP)10 Swami Avenue, Don Miguel Road, San Juan, Trinidad and Tobago

Tel: (868) 674-6008, Tel/fax: (868) 675-7707 E-mail: [email protected], [email protected]

Website: http://icctrinidad.wordpress.com

On Divali night, thousands of people take to the streets on foot and in vehicles to behold houses and communities that look like an illuminated fairyland.Trinidad and Tobago, land of Carnival, steelband, tassa, calypso and chutney, is the same country that gives the world its unique brand of Divali. In fact, the Hindu Festival of Lights has become Trinidad’s second-largest, national open-air festival, second only to Carnival.

Divali is a welcome alternative to the rambunctious indulgence in meat, alcohol, party and “wine”. The festival is arguably the largest vegetarian, alcohol-free festival in the Caribbean, if not the Western Hemisphere.

Divali is one of the festivals which establishes Trinidad as a multi-religious, multi-ethnic society. Hindus comprise the second-largest religious group (24%) after Roman Catholics in the twin-island’s population of 1.3 million people. While Divali is essentially a Hindu festival, people of all faiths enthusiasti-cally celebrate the triumph of light over darkness, knowledge over ignorance, and good over evil.

Only in Trinidad do non-Hindus and non-Indians actively participate in lighting over ten million deyas annu-ally during Divali celebrations. These tiny clay lamps are lit in homes, yards, streets, offices, public parks and play-ing fields. Perhaps only in Trinidad, one can find split bamboo tubes transformed into magnificent works of art on which the deyas are set.

Multi-coloured and multi-patterned streamers are made with kite paper and plastic, and strung from jhandi [flag] poles. Brightly coloured fabric, balloons and bulbs decorate homes, offices and stages. Indeed, Divali heralds the joy of the end-of-year celebrations. Strings of

twinkling lights – clear and coloured – are strung high on buildings, trees, and even across streets. Effigies of Mother Lakshmi are made from bamboo tubes and large cardboard cut-outs. The starry designs of deyas and bulbs transform simple houses into magical kingdoms. During Divali, tons of sweetmeats like parsad, kurma, burfi, pera, ladoo, jalebi, gulab jamoon and kheer [sweet rice] are made and distributed free of charge.

Divali is also associated with Ram Leela/Lila which is, perhaps, the oldest living form of outdoor folk theatre in the Caribbean. The nights are filled with free public performances in parks and play-ing fields. Divali provides the perfect forum for showcasing both foreign and local performers’ talent in Indian song, music, dance and drama. During the months leading up to Divali, Indian trade fairs become shopping hotspots for women who flock in the thousands to buy clothes and accessories. Indeed, no celebration is considered complete without a fashion show that is always eagerly anticipated by all.

The Divali Nagar in central Trinidad is the hub of all Divali celebrations in the island. Indeed, during Divali, the Nagar is the most frequented entertainment centre in Trinidad, second only to the Grand Stand in the Queen’s Park Savan-nah during Carnival. The grand display of fireworks at the entertainment park resonates with the thunder of bamboo cannons, the explosions of firecrack-ers, and the sparkle of “star-lights” in villages across the country. On Divali night, thousands of people journey to behold houses and communities which resemble an illuminated fairyland.

Divali Festival in Trinidad and TobagoDr. Kumar Mahabir

The theme of this year’s edition of our magazine is “Janeo: The Hindu student admission ceremony.” Also known as the upanayan samskara, this ceremony is one of the lesser-known expressions of Hinduism in Trinidad since it was initially observed only by the upper caste Brahmins. The janeo ceremony is also part of an ancient tradition which has survived in Trinidad, far away from ancestral India. The ceremony represents the 10th of 16 samskaras or rites of passage in the life of a Hindu.

The ceremony, which usually lasts for three days, is celebrated lavishly. The first part of the upanayan ceremony is called the maticoor. It consists of three major parts: digging of earth, performing a pooja [ceremonial worship], and anointing hardi [turmeric paste] on the child who will be undertaking the initiation. Offerings are also made to the maandar [bass tassa drum] by the child’s mother. Ear piercing is also

done so that the boy’s hearing will be more acute to receive the sacred mantras and teachings.

On the eve of the actual janeo ceremony (Saturday), coconut oil is applied to the boy’s head to soften the scalp for shaving. Hardi [turmeric] is also pasted on the boy’s skin three times during the day. While some families provide lively entertainment for their guests, others believe that a night in silence is more beneficial to the child’s mind in preparation for the ceremony the next day.

On the actual day (Sunday), the boy shares a sweet breakfast with his young male companions. He then changes into a yellow cotton dhoti [loincloth] for another pooja. Then, there is the chudakarana samskara or mundan samskara, which entails the shaving of his hair, symbolising the boy’s dedication and commitment to the renunciation of material pleasures. Only a shikhã [small knotted tuft of hair] is left. After shaving, the initiate bathes with cow’s milk, dahee [natural yogurt] and warm water. This mixture prepares the child for a life of purity and devotion.

The parents give their permission and state their sankalp [intent] to allow their child to enter the student stage of life and to begin his studies under the guidance of the guru diksha [appointed priest]. A sacred mantra is passed from the pundit to the boy. The pundit is now the boy’s guru [teacher] and the boy is his batuk [disciple]. The batuk receives three types of janeo: Karpas [cotton], Munj [kush grass] and Ajin [deerskin]. The three cords remind

the wearer of his debts to the gods, his ancestors and holy men. The inductee also receives three gifts.

To conclude the upanayan ceremony, prayers are offered to the God of Fire [Agni Devta] via the feeding of the havan [sacrificial fire]. This fire is kept burning for at least three days after the ceremony to ensure the maintenance of a high level of good and protective energy

Traditionally, the batuk stays with his guru at his ashram [temple-school] to learn the Vedas as well as basic life skills. However, in contemporary Trinidadian society, this tradition is maintained symbolically by the student who collects alms from the congregation. The child’s mamoo [maternal uncle] then entices him with jewellery or other gifts. Accepting the gifts from his mamoo, the boy returns to the mandap [sacred platform] where the pundits and guru remove the sacred threads, leaving only the cotton janeo. This ritual illustrates that the young student is embracing a householder’s life to eventually become a husband and father.

Once the initiate promises to study the religious texts, his mother escorts him out of the mandap. He returns, adorned in princely attire: a festive turban and kurta and bedecked in jewellery. The pundit then leads him in conducting a final pooja.

Dr. Kumar Mahabir, Ph.D. Anthropology, University of Florida Assistant Professor, University of Trinidad and Tobago (UTT) Chairman, Indo-Caribbean Divali Publication Ltd. (IDP)

Editorial Janeo: The Hindu student admission ceremony

This ceremony is one of the lesser-known expressions of Hinduism in Trinidad since it was initially observed only by the upper caste Brahmins.

The observance of the Festival of Lights is a deeply rooted tradition among members of the Hindu faith throughout the world.

However, over time in Trinidad and Tobago, people of all backgrounds have grown to ap-preciate the Festival and participate in several aspects of the celebrations. Almost everyone has lit a deya at some point in their lives or has stood spellbound by the sheer beauty of the lights that dot the landscape of our country during the Divali.

Yet, we must move beyond general under-standing. National festivals, like Divali, do al-

low us to share in the diverse cultures that exist within Trinidad and Tobago, and also afford us the opportunity to pass on our traditions and values to the next generation.

The themes associated with Divali are universal but, while applicable to all, are especially valuable for our young citizens. Today they are bombarded with images that contradict their natural desire to engage in more noble pursuits. Divali symbolises the path from ignorance to knowledge by the movement from darkness to light and reassures us that our adversities and challenges can be overcome. It bears witness to the power of goodness in the world and is one of those religious occasions that can help to illuminate the path towards positivity that some of our young people so desperately need.

It is my wish that the principle of Divali becomes more than an annual concept but a cultural norm that forms the basis of our everyday decisions. May we daily nurture that light within so that we can be more understanding and show greater compassion for each other.

Dr the Honourable Nyan Gadsby-Dolly Minister of Community Development, Culture and the Arts

HONOURABLE MINISTER OF COMMUNITY DEVELOPMENT, CULTURE AND THE ARTS

DIVALI GREETINGS, 2015

I am delighted to learn that Indo-Carib-bean Divali Publication Ltd is bringing out their Annual Souvenir Magazine with the theme “Janeo” on the auspicious occasion of Divali- the Festival of Lights.

I take this opportunity to congratulate all members of the Publication for dedicating the time and efforts to this valuable publi-cation to educate the public at large.

Ramayana and Mahabharata are defin-ing elements of Indian civilization. The festival of Divali, based on the epic of the Ramayana, constitutes one of the most

important elements of civilization ethos of India. In brief, Divali symbolizes triumph of good over evil and light over darkness.

This joyous festivity provides a unique opportunity for all of us for introspection and self-improvement so that the evil force in the world could be defeated. On this great occasion let us work for the enlightenment of humanity as a whole so that social and religious conflicts that characterize the world today could be minimized and even eliminated. This is an occa-sion to embrace one and all to spread the message of love, non-violence and enlightenment across the globe.

I take this opportunity to extend greetings to you and all your readers on this great Festival of Lights. I sincerely hope the coming year brings health, happiness and prosperity to one and all.

Shubh Divali

Gauri Shankar Gupta

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Indo-Caribbean Divali Publication Ltd.

Janeo: The Hindu student admission ceremony

Divali Magazine 2015

The janeo rite-of-passage cer-emony is part of an ancient Indian tradition which survives in Trinidad. This student admission ceremony represents the 10th of 16th samskaras or rites of passage in the life of a Hindu. The janeo ceremony is significant because it emphasizes the importance of teaching and learning in one’s life, particularly spiritual education.

The ritual of the granting of the sacred thread marks the coming of age of a male child who is believed to be sufficiently developed to enter into the brahmacharya or student stage of life. At this stage, he be-comes “twice-born.” Traditionally, he would leave his natal home for his teacher’s ashram or gurukula where he has to live without luxury or sense-gratification to keep his mind pure and focused. Under the strict guidance of a guru [teacher], the young boy begins to study the Vedas and learns to recite the sacred Gayatri Mantra. This initiation cer-emony, which can last for three days, is celebrated lavishly in Trinidad.

Introduction

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The word samskara is derived from “samskaroti,” meaning “to grow and prosper.” Samskara is equivalent to the English term “rite of passage.” This phrase refers to an event demarcating a phase in the lifespan of an individual. These rites of passage vary across cultures, loca-tions and time.

Professor Shrikant Prasoon states: “Samskaras can be defined as the process of increasing the potential [of an individual] and refining his/her steps towards inner and outer progress. Each samskara leads one

Samskaras [The Rites of Passage] in Hinduism

to a better, healthier and sattvika [righteous] way of life.”

People observe these samskaras to achieve all-rounded develop-ment which allows the possibility to live a complete and contented life. People believe that the performance of the samskaras washes away sins to reveal purity, piety and compas-sion. Samskaras contribute to build a better society. In Hinduism, there are 16 Vedic samskaras, or rites of pas-sage, the first of which begins before conception and the last concludes after death.

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01 Garbhadhan samskara - This samskara is conducted before conception to ensure that chil-dren are born without physical deformity and illness.

02 Punswan samskara - This sam-skara is conducted three months after conception to guarantee the well-being, mental growth and safety of a child. The expectant mother must lead a pious life during pregnancy to give birth to a well-behaved and godly child.

Shodasa Samskaras: The 16 rites of passage03 Seemantonnayan samskara -

The highest chakra [energy center] is activated for the all-round development of a child in the womb. This samskara is conducted one month before delivery to ensure a safe birth.

04 Jatkarma samskara - At the time of the child’s birth, this samskara is performed to en-sure that all necessary precau-tions have been taken to liberate the father from his debts to the deities, sages, ancestors and society. This rite of passage also guarantees that the mother and child are healthy.

05 Namkaran samskara - This naming ceremony is conducted eleven days after the child’s birth to give him/her an indi-vidual identity.

06 Niskraman samskara - This ceremony occurs four months after the child’s birth. For the first time, the child is presented to the world and experiences the wind and the sunshine.

07 Annaprashana samskara - 6 months after birth, there is a ceremonious feeding of cereal to the child for the first time.

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08 Chudakarma or Mundan samskara - This samskara is usually performed three years after birth by the child’s father. The child’s hair is shaved for purification and beautification.

09 Karnavedha samskara - This ceremony involves the piercing of the child’s ears for beautifica-tion after the child has reached three years of age.

10 Upanayan samskara - A sacred thread is tied around the boy’s

Shodasa Samskaras: The 16 Vedic rites of passage (Continued)neck to mark the beginning of his formal studies and his readi-ness to gain new knowledge.

11 Vedarambh samskara - This samskara can be performed together with the upanayan samskara as it signifies the child’s initiation into the study of the Vedas.

12 Samavartan samskara - This is the Convocation or Baptism into the Vedas after 16 years of age. It is performed to officially

end the individual’s period of study. The boy’s head is shaved once again but, this time it is presided over by the teacher.

13 Vivah samskara - The marriage ceremony. This samskara marks the beginning of a household-er’s life and the various roles and responsibilities one must uphold.

14 Awasthyadhana/vivahagni parigrah samskara - This samskara includes the couple’s encirclement of the sacred fire during the marriage ceremony.

15 Tretagnisangrah samskara - The fire element is worshipped, signifying the start of domestic life.

16 Antyeshti samskara - This ceremony marks the end of a physical form of an individual. For this samskara, the funeral rites are conducted to aid the departed soul on its journey to God.

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In Trinidad, the first step of the upanayan ceremony includes an event that resembles the Friday night celebrations of a Hindu wedding cer-emony. The maticoor is usually held on a Friday. This ceremony consists of three major parts: digging of the dirt, performing a pooja [ceremo-nial worship] at a bedi [altar], and applying hardi [turmeric paste] on the child who will be undertaking the initiation.

Maticoor night: The celebrations beginThe maticoor night is a lively

affair and is accompanied by tassa-drumming, dancing and singing of traditional classical songs. This cer-emony has both a sacred and secular atmosphere. It also has a profound symbolic and religious meaning. In the context of the upanayan ceremony, the maticoor serves as a preparatory rite to assist the child in commencing the phase of formal spiritual education.

In Hinduism, it is believed that the three upper classes (particularly Brahmins) have two births; the first being the physical birth from a mother and the second being the intellectual and spiritual awakening that is achieved through education. This “second birth” is referred to as dvija, and the ceremony to mark this transition is called the upanayan samskara.

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Tassa-drumming is a welcome addition to any Hindu ceremony as it creates a fun and lively atmos-phere. The tassa ensemble was first invented in Trinidad and Tobago. Tassa-drummers perform at concerts, weddings, and political and cultural events, as well as at the Hosay/Mu-haram commemorations in Cedros and St. James. Tassa has replaced the dholak drum at maticoor [Friday, hardi night] ceremonies.

Before the night’s festivities begin, offerings are made to the maandar [bass tassa drum]. This ritual sancti-fies the drum which is partly made from animal skin. During the mati-coor night of the janeo ceremony, the child’s mother performs the ritual. She places five paan leaves, sopari nuts, one-cent coins, flowers, rice and dhoob grass on the drumhead.

Teekaying the Drum: Reverence to the Drum

She also applies five tika [sacred marks] of sindhoor [vermillion powder] and water to the drum.

She then ouchays [encircles] the drum using a lota [brass cup] of water. As she completes each round, she pours a few drops of the water into a thaali [brass plate] held by another woman. The drummer then strikes the drum so that the items on the drum tumble into the orhini [veil] of the child’s mother. The items are then replaced on the drumhead. This transfer of ritual objects is done three times before the items are finally removed from the drumhead by the naaw [pundit’s assistant]. The child’s mother then gives dachna [money] to the drummer, who returns to his choir and signals for them to begin playing.

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Another aspect of the maticoor [hardi night] begins just before sunset on a Friday. Five elderly women, including the mother of the young boy, place a tray of ritual items on the head of a young female relative. The beautifully decorated tray is covered with a yellow cotton cloth as well as paan leaves, sind-hoor powder, hardi [turmeric paste], sopari nuts, coins, flowers, dhoob grass, daal [yellow split peas], rice and sweetmeat. The items are used to worship Dharti Mata [Goddess of the Earth] and Mother Durga [Goddess of strength]. This ritual guarantees the smooth transition the events which climaxes in the main upanayan ceremony.

Accompanied by tassa drummers, the young girl leads a procession which includes the five elderly women, as well as other women and girls. The group travels to an open,

Maticoor: The digging of the dirtgrassy area near running water where rich soil can be found. One of the elderly women carries a new hoe to dig dirt while another woman carries a flambeau or lamp to guide the way in the fast approaching darkness.

Traditionally, men were not al-lowed to participate in this ceremony as it was a private and intimate gathering for women. Today, the ceremony of the digging of dirt is not solely a female affair. The men follow the procession to offer security to the women because it is night. However, some men follow the procession out of curiosity and to show camaraderie.

When the procession reaches its destination, the same five elderly women remove the tray from the girl’s head and place it on the ground, next to the lamp or flam-beau. The boy’s mother sprinkles

water on the dirt next to the tray and leepays [smoothens] it into an even surface. The ritual is performed on this spot.

The boy’s mother washes her hands and lays five paan leaves onto the smoothened earth. Each leaf receives items from the tray and a piece of lit camphor. The boy’s ajee [paternal aunt] uses the hoe to dig some dirt near the tray. She drops a few lumps into the boy’s mother’s veil. The mother then places the lumps in the tray to take home.

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At the end of the procession, the student’s ajee [paternal aunt] ap-plies sindhoor [red vermillion] to the forehead of his mother who then returns the gesture. After this act, the mother puts sindhoor on the forehead of all the married women in the group. Unmarried women receive kurma and other types of sweetmeat. The women and girls then begin to dance to the pulsating rhythm of the tassa drums.

Sindhoor has decorative, therapeu-tic, symbolic and spiritual values. This item is made of mercury, lime and turmeric. Its application is be-lieved to relieve stress, control blood pressure and provide the wearer with more energy. It is also believed that a wife who wears sindhoor daily prolongs the life of her husband.

After water and lumps of earth have been collected from the site, and the women have danced to their heart’s content, the tray is replaced

The application of Sindhoor [Vermillion powder]

on the head of the young girl by the same five elderly women. The procession returns to the inductee’s home or the temple where a pooja [ceremonial worship] will be con-ducted. Upon arrival, the boy’s mother takes a lota [brass jug] of water to perform aarti [waving of lights] on the girl with the tray.

The initiate’s mother and four other women take turns in perform-ing aarti five times. Each time that they perform this act, they pour some water into a thali [brass plate]. The boy’s mother then ties a tiny lingam [sacred stone] in the corner of her veil and venerates the young girl five times, each time touching the stone to her heart. All five women then reward the young girl with money as compensation for her assistance in the ceremony. This act is the last step before the tray is finally removed from the girl’s head.

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After the procession returns to the inductee’s home, he makes his first public appearance. The guests stand to welcome him as he makes his way towards the mandap [stage]. He is accompanied by his mother who extends her veil so that the edge of it covers his head. This act symbol-izes that the child is still under the protection of his mother. The boy carries raw rice and a dhori [ball made of ground rice and sugar water] in his hands. Invocation prayers are offered before the pundit guides the boy throughout a pooja [ceremonial worship] offered to nine devtas and devis [gods and goddesses].

Naugraha pooja [ceremonial worship] is performed to seek bless-ings from God for the child and his family in their preparations for the upcoming janeo ceremony. During this pooja, the water and lumps of earth that were collected during the maticoor, are buried in a hole in the bedi [altar]. A haris [stake] and a young banana tree are planted on it. This ritual is performed to sanctify the mandap.

After conducting the havan [of-ferings to the sacred fire], the pundit wraps a sopari nut, a one-cent coin and grains of white rice into a strip of yellow cloth, and attaches a small penknife to it. These items are tied around the wrist of the young initi-ate while mantras are recited. The wristband becomes a kangan [sacred bracelet] which protects the boy from evil forces or bad luck.

The kangan should not be re-moved until the janeo ceremony is fully completed. It should only be removed upon completion of the entire ceremony when mantras will be recited. After the child receives the kangan, he performs aarti to the bedi, the pundit, his parents and

Naugraha Pooja: The preparatory prayers begin

elders. Meanwhile, the naaw [pun-dit’s assistant] ties strips of yellow cloth on various items around the altar: the peerha [low stool], sil and lorha, okhri and musar [tools used to grind seasonings], haris, and kalsa [cup made of clay].

The haris has seven indenta-tions, symbolic of the seven heav-enly worlds that one can attain only through education and devotion. This item is a reminder to the student that

he must aim to achieve and transcend these seven heavens to acquire one-ness with the Supreme Being. The ultimate goal of every human being is to gain salvation at the feet of the Lord.

Before the pundit formally closes the evening’s pooja with mantras, he applies tikka [sacred mark] which is made of hardi [turmeric], to the boy’s forehead. The tikka is meant to help “open” his ‘third eye’.

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Hardi [turmeric] is renowned for its medicinal purposes as well as the benefits it provides for the skin as it promotes a fair complexion and healthy glow. The application of hardi is essential in both the janeo ceremony as well as the Hindu wed-ding ceremony because it is symbol-ic of purification and beautification.

The bride and groom are annointed with hardi during the wedding ceremony. Hardi is applied to the young student in the janeo ceremony to make him more handsome before he presents himself to his teacher and God.

In Trinidad, the hardi ritual involves the assistance of five “pure” or pre-pubescent girls. During the janeo ceremony, the boy’s mother is the first to apply hardi to his face. Before applying it, she anoints his head with coconut oil to prepare his scalp for the eventual shaving of his hair. The remainder of the hardi is then mixed with the remainder of the coconut oil and smeared on the boy’s body and face by the young girls.

The Hardi [Turmeric paste] Ceremony

After being annointed with the hardi, the initiate again holds the raw rice and the dhori. Each of the five girls takes some dhoob grass in one hand and chumay [touch] his palms, feet, knees, shoulders and head. This act is done five times. Usually, the ritual is enjoyed by everyone except perhaps the boy. He is not allowed to have a full bath until the day of the janeo ceremony so that the beneficial

properties of the hardi can enhance his skin tone overnight.

Once all of the girls have chu-mayed the boy with the strands of grass, his mother indicates that he should stand. She once again holds her veil over his head and leads him out of the mandap [stage] and into the house. The congregation stands as they exit.

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The karnavedha samskara or the piercing of the ears is the ninth samskara in the Vedic rites of pas-sage that should be observed in the life of a Hindu. The appropriate time that this ceremony is to be performed varies across the Hindu diaspora. Some pundits believe that it should be done in early childhood while oth-ers believe that it can be done at any time before marriage.

Traditionally, in India, this sam-skara was conducted after the child’s third year when the mother would hold the child on her lap and pacifies him with toys and sweets. The father

The Piercing of the Earswould whisper a different mantra into each of the child’s ears. A skilled jeweler would perform the ear pierc-ing. Before the pundit pierces the young child’s ears, he would first bless his tools and the earrings. He would also purify them by reciting mantras and sprinkling holy water over them.

It is believed that the left ear of girls should be pierced first, while the right ear of boys should be pierced first. In Trinidad and other countries, a child’s ears are usu-ally pierced between six to twelve months so that the pain would be

forgotten by the time the child gets older. However, today it is more common for the ears of young girls’ to be pierced instead of those of boys.

The piercing of both ears is done not only for aesthetic purposes but also to open the “inner ears.” Open-ing them is believed to make one more receptive to receive man-tras and teachings from the guru [teacher]. Therefore, piercing is appropriately done at the time of the upanayan samskara.

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In Trinidad, the janeo ceremony usually lasts for three days, begin-ning on a Friday evening with a maticoor and ending on a Sunday afternoon with the upanayan sam-skara. Usually on the eve of the janeo ceremony (Saturday), coconut oil is applied to the boy’s head to soften his scalp for shaving.

Hardi [turmeric] is again pasted on the boy’s skin three times during the day. The same five girls, who anointed hardi to his skin during the maticoor, return to his home to repeat the ritual in the early morning, at midday and at sun down. The initi-ate is still not allowed to bathe as the turmeric must properly soak into his skin overnight for maximum effect.

Sometimes, the inductee’s family may host an event in which guests

Preparation for the actual Janeo Ceremonylisten to religious chants or readings from the holy Ramayan. Stories are told with emphasis on living a celibate life and dedicating oneself to the study of the sacred texts.

Some families prefer to have lively entertainment for their guests, while

others choose not to have a celebra-tory event. Traditionally, before the upanayan samskara, the child is expected to spend the night in silence so that his mind and body would become calm and better prepared for the ceremony the following day.

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On the day of the actual janeo ceremony, the inductee’s family awakens before sunrise to begin the preparations. At dawn, the pundits, family members and other guests ar-rive to witness the preparation of the initiate for this life-changing event.

The first step on the actual day commemorates the last “childish” activity that the boy will do: sharing a meal with his young male compan-ions. This activity teaches the child that when a student has dedicated himself to their studies, he should abandon childish thoughts and actions and should adopt a serious attitude instead.

Similar to the Sunday morning Hindu wedding preparations, break-fast is usually a sweet meal which the young boy shares with five young

Breakfast with childhood friends

Brahmin boys. The boy and his com-panions sit near the mandap [stage]. Banana leaves are used as plates. The initiate’s mother serves them kheer [sweet rice] and a drink.

The food must be blessed before the boys begin to eat. In most cases, the inductee’s mother feeds him the first mouthful of kheer. In Trinidad, some families offer money to all the boys after they eat or present them with gifts. There is added excitement when the boys are “paid” twice for eating two servings.

After breakfast, the initiate leaves the mandap to enter the house or change room where his father helps him to put on a yellow cotton dhoti [loincloth]. After changing, the inductee participates in a simple bedi pooja [ceremonial worship] in rever-ence to nine gods and goddesses, similar to the Naugraha pooja. At the end of this pooja, the pundit blesses various materials that are important for the next step of the ceremony.

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After eating breakfast with his friends and completing the pooja [ceremonial worship], the initiate, his family and the pundits go outdoors to conduct another samskara, the mundan samskara. The chudakarana samskara or mundan samskara, is the 8th of the 16 Vedic rites of pas-sage in the life of a Hindu. It entails the cutting of a child’s hair.

Most Hindus in Trinidad conduct this samskara during the first few years of a child’s life. Traditionally, it is believed that the hair with which a baby is born is impure or linked with undesirable traits from one’s past life. However, the shaving of the head is a regular practice of the Brahmin, Kshatriya and Vaishya castes. Tonsure symbolizes the removal of animal qualities from his life. The tonsure reinforces that the boy is considered to be dweja or “twice born” and therefore, superior to other human beings.

The young initiate stands facing the direction of the rising sun and touches his ears while the pundit re-cites mantras. The boy’s father then

The Mundan Samskara: ... the shaving of the headplaces kush grass on the boy’s hair in various locations and trims it with a pair of scissors. Next, the father empties a kalsa [clay pot] of water on the boy’s head and the naaw [pundit’s assistant] or barber lathers the boy’s head with soap.

Before the barber begins to shave the inductee’s head, the mother positions herself behind him with her veil opened to collect the shaven hair as it falls. The boy’s hair is shaved off, leaving only a tuft of hair at the crown of his head called a shikhã, known in Trinidad as a churki.

Once the shaving is complete, the mother transfers the hair from her veil into a thali [brass plate] contain-ing dough similar to that used to make roti [Indian flatbread]. She also adds a few strands of kush grass and kneads these items into the dough. She then places this dough at the bot-tom of a banana tree and pours a lota [brass jug] of milk over it. Hindus believe that placing trimmed hair at the base of a banana tree assures a fast regrowth of hair. Meanwhile, the boy’s shaven head is rinsed with soap and water. He is now prepared for the ceremonial bath.

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According to Rishi Sushrut, the foremost surgeon of Ayurveda, there is a sensitive spot on the human head called the adhipati marma. He explains that this point, in which the 7th chakra [energy centre] resides, governs the mind and connects to universal energy. It also regulates the nervous system and represents the centre of wisdom.

The shikhã [small knotted tuft of hair] is left to protect the most vulnerable part of the head, and boosts and conserves the energy of the 7th chakra. It is also believed that the churki helps one to control his desires, to think noble thoughts and to attain self-discipline. For the upanayan samskara, the shaving of

The Churki [tuft of hair]

the inductee’s head symbolizes his dedication and commitment to the renunciation of material pleasures. The shaving of his head also signi-fies his surrender of his ego and his desire to be handsome.

Many Hindus believe that upon death, Lord Krishna removes one’s soul or divine light through different parts of the body. However, a soul taken from this point of the head is liberated to the highest plains of the spirit world.

While the shikhã or churki is a prominent feature of Brahmins in Sanatan Dharma, it is also worn by Vaishnav sadhus [sages] and men who perform pooja [ceremonial worship]. In Trinidad, it is common to see men with shaven heads and churkis during the shaving ritual of a Hindu funeral ceremony which is performed on the 11th day after death.

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For this bath, a mixture of cow’s milk, dahee [natural yogurt] and warm water is used. The cow is revered in Hinduism because it is associated with Lord Krishna. The milk that it produces nourishes a calf, just as it nurtures a baby. Cow’s milk is considered to be one of the purest liquids and it is beloved by the gods and goddesses. It is believed that a bath with cow’s milk prepares the initiate for a life of purity and devotion.

The Ceremonial Bath

The father is first to bathe his son by pouring one lota [brass jug] filled with the mixture of cow’s milk, dahee and warm water over his head. After the father has performed the first step, five men who have previously been invested with the sacred thread, also pour a lota of the mixture over the inductee’s head

while mantras are recited. These are the final steps of beautification and purification before the initiate begins his transition into a batuk [student]. He can now proceed to the bathroom for privacy as he bathes himself and gets dressed for the beginning of the actual janeo ceremony.

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At this stage, the boy is dressed in a yellow cotton dhoti [loincloth] and is ready to begin the actual ceremo-ny. His mother once again covers him with her veil and brings him to the mandap [stage]. To officially begin the ceremony, his parents must state their sankalp [intent] to allow their child to enter the student stage of life and begin his studies under the guidance of the guru diksha [ap-pointed priest]. In the same way that they register their child in a school, the parents must also give their permission for their child to under-take the upanayan samskara [sacred thread ceremony], the Vedaramb samskara [study of the Vedas] and the Gayatri Upadesh [initiation into the sacred Gayatri].

Guru Diksha: the teacher accepts the studentWhen the inductee arrives at the

mandap, his parents place his hands into those of the pundit who is to be entrusted with the responsibility of a teacher. Then, the initiate and the pundit briefly converse and the boy asks his spiritual instructor to take him under his wings and be his guru [teacher]. The pundit then obliges and the boy prostrates at his feet, ap-plies tilak [sacred mark] to his fore-head, adorns his chest with a mala [necklace of flowers], performs aarti [waving of lights] to him and again touches his feet to seek blessings from his future teacher. In Hinduism, a teacher is the doorway to God and he must, therefore, be revered and treated like God.

The pundit’s and the boy’s heads are then covered with a cloth while a sacred mantra is whispered into the ear of the boy. This part of the ceremony is quite intimate as the mantra is only known to the student and the guru. This mantra is special because it kindles a light in the heart of the disciple once the mantra is repeated continuously. The energy which flows in the form of the guru mantra helps tremendously to control the mind to achieve a pure state of consciousness. The conclusion of this part of the sacrament officially signifies that the pundit is now the boy’s guru and the boy is his batuk [disciple].

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The word brahmacharya refers to the student stage of life. This stage focuses on the importance of educa-tion as well as celibacy. Education entails concentration and sacrifice, and therefore, a student’s mind and body must be prepared for the process. During this stage of life, all students should surrender their attachments to physical and material pleasures to achieve ultimate success in their studies.

This renunciation is symbolized by the shaving of the head in the mundan ceremony. The initiate in the janeo ceremony is gifted with

The gift of simple garb

simple, unstitched clothes by his guru. This outfit may include a dhoti [cloth wrapped as a trouser], a yellow cotton scarf, a head tie or hat, and a sack or bag, also made of yellow cotton. The colour of the clothing resembles that of saffron which is traditionally associated with sannyasa or renunciation. The clothes are made of breathable fabric to facilitate the student’s comfort during his period of study.

This practice of wearing simple clothing also serves as a reminder that although one can become learned through education; one must

still retain his humility and ap-proachability. A student must always remember his debt to society and use the new knowledge gained from his studies for the improvement and sustenance of his family, community and religion.

The guru touches the clothes and blesses it through the recitation of mantras. The initiate is then given a mekhala [belt or waist cord] made of deerskin and kush grass which symbolizes that he is now encircled/protected by the Vedas.

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Ashtow Bhaandani: The gift of eight kalsasThe kalash or kalsa is a tradi-

tional Indian utensil used as a pot or pitcher. It can be made of metal or clay and is decorated in different colours and with various designs. In Trinidad, it is a popular ritual object in pooja [ceremonial worship], wed-dings and in temples as decorations or religious paraphernalia. For the upanayan samskara, eight kalsas filled with rice grains and dak-shina [money], yagyopaveet [sacred threads] and fruits, are given to holy men for blessings.

The parents of the batuk offer the eight kalsas to be blessed by the pundit. The items are then distributed to eight Brahmin pundits who have already undertaken the upanayan samskara. Each of the eight kalsas represents the different forms of Saraswati, the Hindu Goddess of Wisdom and Education.

While offering and distributing the kalsas, the inductee’s parents ask each of the eight forms of the Goddess Saraswati to bless their

child with different boons: riches, intelligence, worldly passions, rich vocabulary, charm, contentment, radiance and patience. This ritual ensures that the young batuk is saved from the eight different diversions of the mind.

Through this ritual, the inductee gains blessings from the Goddess in her various forms as well as from the Brahmin pundits who receive the offerings.

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Pundits believe that the length of the sacred thread should be 96 times the breadth of the four fingers of a man. Each finger represents one of the four states that a human soul experiences - consciousness, dreams, dreamlessness and absolute nirvana [physical liberation].

The batuk [student] is soon granted three types of janeo, each made of a different material. One cord is made of karpas or cotton, the other is the cord made of munj or kush grass, and the third is made of ajin or deerskin.

The Granting of the Sacred Thread: Yagnopavit

Each cord reminds the wearer that in spite of environmental circumstanc-es, the sacred thread must always be worn. If one material is unavail-able, another should be substituted. The initiate must remember that the sacredness of the janeo must never be violated, in the same way that a student must ensure that no institu-tional rules are ever violated.

Each cord consists of three strings of thread held together by one knot which represents the Holy Trinity of the gods Brahma, Vishnu and Shiva

(Brahma granthi) and three addition-al knots overlapping on each cord. Each chord signifies the three Gunas (Sattva, Rajas and Tamas), out of which the entire universe is said to have evolved. The three cords must remind the wearer of his threefold debt to the gods, his ancestors and holy men. It must also remind him to control his mind, words and deeds, and finally, it must remind him to study at least three Vedas: Rig, Sam and Yajur.

Chakra Publishing House Ltd.

Job Vacancies Part-time job opportunities

10 Swami Avenue, Don Miguel Road,San Juan, Trinidad and Tobago, West IndiesTel: (868) 674-6008. Tel/fax: (868) 675-7707,E-mail: [email protected]; [email protected]

WORK IN AN OFFICE IN A RESEARCH AND PUBLISHING COMPANY.NINE CATEGORIES OF JOBS ARE AVAILABLE:

1 Office assistant (hours flexible from Monday to Friday between 8 & 4).

2 Research assistants to write academic papers for journals (can work at home)

3 Creative writer to embellish dry factual articles for magazines (can work at home)

4 Proof-readers (can work at home)

5 Researches to go in the field to conduct interviews, administer questionnaires, etc.

6 Photographers to go in the field to shoot photos of people and events.

7 Artists and illustrators for books and magazines.

8 Biographer who must have a literary style

9 Film editors to convert footage into 15 minute documentaries

For positions numbered 2, 4 and 5, applicants must have a university education.They must major in Literature, Education, History, Asian Studies, Communication Studies,

Journalism, Cultural Studies, Anthropology, Sociology or Psychology. They must be computer literate,be exceedingly intelligent, have a high GPA score, and must have excellent writing skills.

Dr Kumar Mahabir, Chairman, Chakra Publishing House Ltd (CPH)

https://chakrapub.wordpress.com/Chairman, Indo-Caribbean Cultural Centre Co. Ltd (ICC)

https://icctrinidad.wordpress.com/about/

Contact

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The Granting of the Sacred Thread: Yagnopavit (continued)The cotton thread must first be

sanctified by the guru. He purifies it by sprinkling holy water over it and threading it on his thumbs while reciting special mantras. He then places the thread on a thaali [brass plate] at the altar. The nine principal devtas [gods] are invited to reside in the nine knots of the janeo. The thaali is lifted in the direction of the sun for blessings. After this act, the guru retrieves the thread and holds it close to his heart while reciting the Gayatri mantra ten times to infuse his power and that of the gods into the thread. The thread is then returned to the thaali and is revered by the batuk. Then, five Brahmins who have already received the sacred thread, assist the boy’s father and guru in placing the sacred thread over the right shoulder of the boy.

The Gayatri mantra is then taught to the student. The mantra or chant is broken up into three parts, and each part is recited by the guru and then repeated by the student. The student may be asked to write the mantra on a piece of paper so that he will always remember it.

After completing this lesson, the inductee’s father may gift him a sym-bol of the Gayatri mantra. In most cases, the gift is a whiteboard or slate annotated with the mantra in Sanskrit which is attached to a string and then tied across the boy’s shoulder.

This book consists of a wide range of papers on the East Indian presence in Trinidad and to some extant Guyana from a sociological, political, historical and anthropological perspective. The themes include migration, the influence of Madan Mohan Malaviya, Mahatma Gandhi and Cheddi Jagan, Political Pluralism, Hindi, Women Laborers, Indian Culinary Dishes and the Indian use of Marijuana.

The Legacyof IndianIndenture:150 Years ofEast Indiansof TrinidadMahin Gosine, Dipak Malik & Kumar Mahabir

Available at Chakra Publishing

1995. 267 pp. Paperback.ISBN 0-9689-818-74TT$160. or US$25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.

Chakra Publishing House Ltd.10 Swami Avenue, Don Miguel Road,San Juan, Trinidad and Tobago, West IndiesTel: (868) 674-6008. Tel/fax: (868) 675-7707,E-mail: [email protected]; [email protected]://chakrapub.wordpress.com/

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The firm staff, the seat of deerskin and wooden slippersThe father of the initiate places a

long wooden stick before the altar. While the pundits recite mantras, the inductee picks up the staff with his right hand and holds it upright. In older times, the staff was a personal tool of protection as the student would have to travel to forested areas during his studies to search for food, and often to fend off wild animals. The staff also represents the pledge that should be taken by all students: to uphold the values and principles of dharma [righteousness] and to re-main as strong and stern as the staff, and to protect the holy texts and values of one’s religion and beliefs.

Now that the batuk has pledged to uphold dharma and wear the sacred

thread, a seat must be reserved for him at all religious events. The father gifts his son with a square deerskin mat which symbolises purity.

The inductee also receives a pair of wooden sandals shaped like human feet with one knob between the first and second toes. These slippers are known as a paduka and are one of the oldest types of footwear invented in India. They are worn by sages, hermits and holy men.

The batuk’s outfit is now com-plete. His garments show humility, simplicity and his renunciation of pleasures. He is now prepared for the commencement of his studies.

This book contains valuable information on sixty-three local plants, each of which is described and given a botanical name. Their medicinal uses include arthritis, diabetes, high blood pressure, headaches, strokes, impotence, sterility, ulcers and skin infections.

Kumar Mahabir

Medicinal& Edible Plantsused byEast Indiansof Trinidad& Tobago


1991, 2001. Third edition 2008. xx +167 pp. 5¼ x 8¼ inches. Paperback.ISBN 976-8001-73-9TT$100. or US$25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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In Hinduism, fire is considered sacred as it represents the suste-nance of life through the cooking of food. It also represents destruction. Therefore, it is central to all Hindu religious ceremonies.

The upanayan ceremony is now almost complete. However, the boy must first offer prayers to the God of Fire [Agni Devta] by feeding the havan [sacrificial fire]. The initiate prays to Agni Devta to grant him the gift of speech, strength and all the attributes of a good student. He offers small cakes of gobar [cow

The Sacred Havan and Blessing of the Limbs

dung] which is sacred for its antibac-terial properties as well as its ability to serve as fuel. Next, he soaks one strand of kush grass in ghee [clarified butter], circles the entire mandap [stage] and then offers the grass into the fire while mantras are recited.

This ritual is repeated three times. Once the havan is finished, the batuk [student] passes his hands over the flames and over the various limbs of his body: his head, mouth, nose, eyes, ears and shoulders. This gesture is indicative of the words: “Lord, you are the protector of

bodies, protect my body. You are the giver of life, sustain my life. You are the giver of vigour, impart vigour to me. What is imperfect, Lord, in my body, restore it to fullness.”

This fire should be kept burning for at least three days after the upa-nayan samskara has been completed to ensure the maintenance of the high level of good and protective energy that it emits, and also to guarantee that all of the materials offered to the God of Fire are consumed by the flames.

TraditionalMedicine &Women Healersin Trinidad:PostnatalHealth CareKumar Mahabir

This book discusses the relationship between traditional healers and modern healthcare practitioners in Trinidad and Tobago. It focuses on folk masseuses, and the new mothers and newborns they treat. The two medical systems are presented in the context of racial, ethnic, class and gender dynamics which give rise to issues of power and control. The study is located in the political-economic context of the Third World which has a history of dependency on foreign goods and services which has been rooted in the plantation economy.


2012. 212 pages. 5½ x 8 inches. Paperback.ISBN 978-976-95049-6-7TT $100. or US $25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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Traditionally, the student would stay with his guru at his ashram [temple-school] to learn the Vedas as well as basic life skills. During this time, the student would be entrusted with the responsibility of finding pure, uncooked food for both himself and his guru. However, in contem-porary society, this tradition is only maintained symbolically by the student who makes one round among the congregation to collect alms.

After walking around the altar three times, the batuk [student] is gifted a kamandal [brass pot] which is tied to a piece of yellow cotton cloth and fastened on his wrist. He

Bhiksha: The collection of alms

is either given a special seat before the congregation or he walks around to meet those present. Originally, the upanayan samskara would signal the departure of the initiate from his parents’ home to live at an ashram with his guru for years until his education is complete. Therefore, he must receive alms as all holy men do before departing for his journey.

The mother plays an important role in the giving of alms as she repre-sents mamta [maternal attachment]. Therefore, she is the first person to offer alms to her son. First, she gives him a sip of water and a bite of something sweet (fruit, Indian

sweets, etc.). Then she performs his aarti [waving of lights] and puts money into his lota [brass jug] and fruits into his bag. The father then feeds the inductee, performs aarti and gives him alms. Finally, his gesture is repeated by other fam-ily members and members of the congregation.

After receiving his alms and dachina [money], the batuk returns to the mandap [stage] and surrenders everything he has just been given to his guru as he will soon be living under the protection of the guru.

IndianCaribbeanFolkloreSpiritsby Kumar Mahabir.Illustrations by Aneesa Khan

This captivating book provides details of the presence of a brood of spirits believed to roam the Caribbean since the abolition of slavery. For the first time in history, the existence of these spirits is being revealed collectively to the general public, in this compilation. These supernatural beings are (1) the raa-khas – a deformed, demonic newborn child, (2) the chu-rile – a spirit of a deceased pregnant woman, (3) the saap-in – a woman who transforms into a snake, (4) Dee Baba – a mythical protector of the house and land, and (5) the jinn, Sheik Sadiq – a spirit that can be captured in a bottle to grant wishes. Written for readers of all ages, every page of the five stories is enhanced with beautiful coloured illustrations.


2010. 32 pp. 9 x 7¾ inches. Paperback.ISBN 978-976-95049-5-0-2-0.TT$45. or US$12.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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The Vedarambha samskara is the twelfth of the 16 Vedic sacra-ments. It translates to “the beginning of the learning of the Vedas” and symbolizes the beginning of the student’s education. Traditionally, in the Guru Shishya Parampara, the student would undertake the study of the Vedas while living with the teacher between a period of 10 and 12 years. Usually, both teacher and student would depart for Kashi, also known as Varanasi, which is the spiritual capital of India. This place is mentioned in the Mahabarata, the Ramayan and other religious texts in Hinduism, Buddhism and Jainism. In ancient India, Varanasi was the centre of education where the Vedas, among other religious texts, were taught to students.

To emulate the symbolic departure for Kashi, the batuk [student] leaves the mandap [stage], in some cases exiting the mandir [temple] or the courtyard of his home. The boy’s mamoo [maternal uncle] follows him and begs him to return home as his family will not be able to bear his absence. The mamoo persuades the

The Study of the Vedas and departure for Kashiinitiate to embrace the householder stage as a part of his life and to ac-cept his duty to have children in the future to repay his debts to society.

In the Trinidadian janeo ceremony, the mamoo entices the boy with materialism in the form of jewellery or other gifts. Once the boy accepts the gift from his mamoo, he returns to the mandap where the pundits and guru remove the boy’s sacred threads, staff and waist cord and seat made of deerskin, leaving only the cotton janeo.

This gesture illustrates that the young initiate asks the guru’s permission to renounce his saf-fron coloured, unstitched garb and embrace a householder’s life, and to eventually become a husband and father. He, therefore, vows to fulfil the debt owed to his forefathers and to adopt a worldly life while keeping the sacred thread and maintaining its discipline and sanctity.

This cookbook represents a comprehensive collection of over 70 traditional vegetarian recipes. They have been handed down by indentured immigrants from India by word-of-mouth and practical example for over four generations. From delightful snacks to dinner-party specials – each recipe has been kitchen-tested and, therefore, meets a high standard of accuracy. Some of the dishes are beautifully illustrated in color to tempt your appetite.

Kumar Mahabir

CaribbeanEastIndianRecipes


1992. Reprinted 2001, New edition 2009. xx + 120 pp. 5¼ x 8¼ inches. Paperback.ISBN 976-8012-75-7TT$100. or US$25.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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Once the batuk [student] returns and promises to study the religious texts, his mother once again escorts him from the mandap [stage]. How-ever, he later returns to the mandap, adorned in princely attire: a festive turban and kurta [shirt] and be-decked in jewellery. The pundit then leads him in conducting a special pooja [ceremonial worship] to Lord Vishnu, the Preserver and Protector.

Lord Vishnu is a Hindu God who is regarded as the Supreme Being. The saying: “Yajnah Yvai Vishoh” means every sacrifice goes back to him. Sacrifice, be it academic or dharmic, is the basis of all blessings. The inductee is being permitted to worship the divine being of Lord Vishnu because he has been given Guru Diksha and he has fully ac-cepted the sacred thread as a part of his life.

The last step in the upanayan cer-emony is a thanksgiving to the gods and goddesses for the well-executed ceremony and the previous days. This is formally done through a final aarti [waving of lights] and closing prayers. The initiate’s family then distributes seedha [gifts of grains] to the pundits and holy men present to obtain their blessings on the new chapter in the child’s life.

The student returns in Royal garb

The reports of five surviving ex-indentured immigrant laborers are recorded verbatim to read like an epic poem. A woman, a Madras emigrant, a Muslim, a Brahmin and a cocoa/rubber estate worker narrate the conditions of life in village India when they left, the trauma of crossing the Kala Pani (Black Water), and the experience of adjusting to a new life among strangers under a driver and overseer on the plantation ranges in the New World.

by Kumar Mahabir

Published by Calaloux Publications. Distributed locally by Chakra

The Still Cry:Personal Accountof the East Indiansin Trinidad & Tobagoduring Indentureship(1845-1917)


1985. 191 pp Paperback.ISBN 0-91166-03-5TT$100. or US$23.(includes handling, registration and local/foreign postage)Please confirm prices and availability before placing an order.


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In India, the ceremony can be con-ducted for a child as young as five years old. However, both Indians and Trinidadians maintain that it must be performed before the vivah samskara [marriage] of a man.

One difference between the ceremony in India and the one in Trinidad is that fathers conduct the ceremony for their sons. However in Trinidad, both parents participate. Another difference is that in India, the ceremony usually lasts for five days, while in Trinidad the ceremony lasts up to three days. The first day’s celebration, called pendugal is observed solely by women who pay

Indian Janeo ceremony vs Trinidadian Janeo ceremony.homage to previous generations of women to obtain their blessings. On the second day, pooja [ceremonial worship] is performed for the family or village deity to ensure that nothing goes amiss in the preparations for the upanayan samskara.

In India, prayers are offered to Varun, the Water God, on the third day of the janeo ceremony. River water is collected to later bathe the child on the day of the ceremony. Seedlings are placed inside clay pots and offered to various gods and god-desses who are guardians of the four cardinal points of Mother Earth.

Satnarayan (“Sat”) Maharaj is a religious and cultural leader in Trinidad and Tobago. He is the Secretary General of the Sanatan Dharma Maha

Sabha, the major Hindu organisation in the multi-ethnic

society. As much as he is criticised, Sat is also hailed as a champion of Hindus and Indians in the country, and is also described as the most influential and longest-serving Hindu spokesman outside of India.

He struggled tirelessly to change the symbol of the nation’s highest award from the Trinity Cross to the Order of the Republic of Trinidad and Tobago. In the High Court, the Court of Appeal and the Privy Council, Sat fought against discrimination when the Maha Sabha was denied a radio broadcast licence by the then Government. He has contributed significantly to national development in the fields of religion, education and culture.

The author, Dr. Kumar Mahabir, is an Assistant Professor in the Centre for Education Programmes

at the University of Trinidad and Tobago (UTT).

Available at major bookstores, and at Maha Sabha schools and temples in Trinidad, and at Radio

Jaagriti, Corner Pasea Main Road Ext. and Churchill Roosevelt Highway, Tunapuna.

Order copies by contacting: 645-2745, 498-8657, 663-2250, 663-8743, 756-4961, 674-6008, [email protected], [email protected]

TT$100. Paperback.2014. xii + 250 pages.8¾ x 5½ inches PaperbackISBN 978-976-8249-70-8

I ... wish to congratulate Sat Maharaj for the herculean efforts he has made to improve the educational standards of his people, and his determination to ensure that his people receive their rightful share of the national pie. When the history of the second half of the twentieth century is written, I am certain he will take his place as one of the more outstanding Trinbagonians of the era.

Dr. Selwyn R. Cudjoe, Professor of Africana Studies at Wellesley College, Massachusetts, USA

Hindu CivilRights Leaderof Trinidad& Tobago

Sat Maharaj

an authorised biographyby Dr. Kumar Mahabir

64




Paying Obeisance to AllThe batuk [student] now gazes

at the sun to pay respect to the invigorating forces of its light. He cups water in his hands while saluting the Sun God and then sprinkles the water three times upwards over the bedi [altar]. He then clasps his hands and prays wholeheartedly while mantras are recited. After praying to the sun, the batuk approaches his guru to pay obeisance to him before they briefly converse. The guru places his hand on the student’s chest, just over his heart and asks his name. The batuk replies. The guru then asks whose student he is, and

the boy replies, “Yours.” The guru then says to the student, “Into my heart, I will take thy heart.”

The inductee bows toward the north, west, east and south, as well as upwards and downwards to ask for blessings from all gods, pundits present as well as invited guests. After returning to his seat, he is asked to mount a stone with the words “Tread on the stone, like a stone be firm. Tread the foes down, turn away the enemies.” This ritual illustrates the student’s intended loyalty in the pursuit of his studies.

It is said that with the blessings of one’s parents, gurus, holy men and elders, nothing is impossible. Therefore, paying obeisance to everyone teaches that one, especially a student, must always remain humble and obedient to earn the blessings of authority figures. Additionally, the stone shows that firmness, determination and strength of character are essential qualities to achieving success as a student.

divali 2015

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