Deosaran Bisnath
Editor, International Jahajee Journal
Please find attached and pasted below details of PHAGWA PICHAKAAREE 2008
Courtesy Raviji
SOCIAL AND CULTIURAL DYNAMICS OF PHAGWA AND PICHAKAAREE IN TRINIDAD AND TOBAGO – by Raviji
(KENDRA PHAGWA FESTIVAL 2008 IS DEDICATED TO THE LUSIGNAN AND BATiCA MASSACRES IN GUYANA. PICHAKAAREE CALLS ON THE CARIBBEAN TO BEWARE OF THE DEMISE OF DEMOCRACY AS A WAY OF LIFE THREATENED BY CRIME IN THE CARIBBEAN.)
(This article examines an interpretation of the Pauranik narrative which is viewed as the origin of Phagwa Festival. It also examines Pichakaare, a new song genre, as an instrument to deliver a contemporary community voice within the received festival tradition brought to the Caribbean by indentured laboures from India to serve on colonial sugar plantations from 1845 – 1917.)
The twin island state of Trinidad and Tobago has harvested a diverse cultural heritage harvested from many civilizations. The Hindi-Indian heritage is one which provides an oceanic source for a complex and dynamic cultural diversity of its own. It has endured the colonial experience and struggled for recognition and the equal place promised by the National anthem with increasing success. But there has been great casualties. The community has turned to this cultural heritage for presenting and expressing itself. This has been part of the process to and shaping its identity and creating its voices.
Phagwa, also called, Holi or Rangotsava has claimed a special place for itself. This festival has been traditional categorized as a festival of the masses. Naturally, it is marked by lesser demands of the religious disciplines of a traditional religion. Even before entering this space well known for its carnival, Phagwa entertained features which are clearly close to carnival. This is perhaps why it is often referred as Indian Carnival. The host community however has always been cautious about this fearing an appropriation by a zeal to carnivalise everything within its grasp. That may cause phagwa to slip away making it prohibitive to its conservative host community.
All Hindu festivals however, have a spiritual centre a narrative from a shastra-sacred text which informs the festival. Phagwa has retained its spiritual centre which is expressed by adherence to astrology, ceremonies and fasts. It laso maintains the links with the Pauranik narratives from shaastras-sacred texts. This spiritual centre on one hand and the ribald nature of a festival of the masses provide a dynamic tension and a balance between the sacred ansd the profane. The spiritual centre allows for the festival to go thus far but reins it in when it threatens to travels too far on the paths of excesses.
The kathaa-narrative is of boy-saint, Prahlad, whose faith and resistance led to a revolution against his tyrannical father, Emperror Hiranyakashipu. Hiranyakashipu was a powerful ruler who wanted to convert all Hindus from the worship of Bhagvaan Vishnu. He even declared himself God and demanded all his subjects to worship him. Al except his son, Prahalad were converted by force.
Hiranyakashipu persecuted his young son for his faith in Bhagwan Vishnu of whom Lord Rama and Lord Krishna are avataaras. When his personal admonitions were useless to dissuade Prahlad from his Hindu faith, Hiranyakshipu, recruited teachers to brainwash Prahlaad and convert him. When that too failed, he recruited soldiers to destroy Prahlad through violent means.
In the end, Hiranyakashipu went to his sister Holika, Prahlaad’s aunt, to help him destroy Prahlad. Holika had a boon which prevented fire from burning her. She sat on a pyre of fire holding Prahlaad on her laps. Prahlaad was unshakeable in his faith in Bhagvaan Vishnu. In the end, when the fire subsided, Holika was burnt to ashes while Prahlaad walked away from the pyre, unscathed. The people went wild with joy at the demonstration of faith.
These features of the narrative inform the folks of the nature of society and the human condition. In this case, the society view the danger of tyranny when the state may recruit the education system and the power of the military to secure tyrannical rule; like colonialism. All these ideas seed the culture of Phagwa with opportunities to build cultural expression to carry a discourse to the masses through a popular method. Pichakaaree takes its mandate from this value embedded in phagwa.
The ribald nature and freedom of expression makes Phagwa an explosive and colourful festival. A central feature is the free mixing of the leveling of people during Phagwa. This is best dramatised by the end result of the constant drenching of each other in different colours where everybody looks alike. Phagwa is an attempt to level all differences into the moving experience of One Humanity. It is also a time of mischief and playfully taking liberties with each other accompanied by the slogan in which all join – “Buraa naa maan – holi hai! – Take no offence, it is holi time!†This allows for phagwa songs and verses to be sung as vyang, equivalent to what we call in TT, picong and social commentary.
Kendra Phagwa Festival has always been conscious of the need to celebrate the values and cultural identity embedded in the received heritage of Hindu festivals in Trinidad and Tobago. The festival has also been shaped to give space for active demonstration to the needs of the Hindu of today in the context of Trinidad and Tobago in particular and the Caribbean in general.
It is for this reason that the Kendra Phagwa Festival encourages the traditional songs called chowtal, but has also consciously developed “pichakaaree,†– an expression directed to serving the need for recording, interpreting and celebrating matters arising in the Caribbean. Conscious attempts are made to integrate the formal English language and the local dialect as well as to secure a space for expressions from Indian languages. This is an attempt to deliver a local voice dedicated to Trinidad and Tobago, the Caribbean and wider humanity.
DEDICATION PHAGWA 2008
It is in pursuit of the recognition of and deep concern for this Caribbean space as the nursery of our development that we have dedicated Kendra Phagwa Festival 2008 as a vehicle to highlight the threat that crime has visited on our cherished democracy and way of life. For this reason, Kendra Phagwa Festival is dedicating Phagwa 2008 to the Lusignan and Batica Massacres in Guyana that horrified the peoples of the Caribbean. This is to suggest that Trinidad and Tobago is concerned about the state of Guyana, Barbados, Bahamas and Jamaica as it is for our own nation. It is becoming more evident that crime is impacting on the democratic way of life. Pichakaaree 2008 hopes that by publicly alerting the Caribbean of this issue, the region would pull together to save democracy from the increasing tyranny of crime even as the Prahlaad was saved from the tyranny of Hiranyakashipu.
Kendra Phagwa Festival in 2001 was inspired by Prahlaad’s stand against his father the mighty Emperror Hiranyakashipu, to take a stand against use of alcohol at Phagwa. KENDRA PHAGWA FESTIVAL continues the stand taken 17 years ago that declared The Kendra Phagwa Festival, a NO ALCOHOL ZONE.
This stand was taken at the inception of the Kendra Phawa Festival in 2001 and continues today. Use of alcohol had almost ruined phagwa some years ago because it became increasingly unsafe for families to go to various venues.
KENDRA PHAGWA FESTIVAL IS NO ALCOHOL ZONE
TAKING A STAND is inspired by the origin of phagwa itself. Taking a principled stand is one way to celebrate Prahlaad, the boy-saint hero of the story of the origins of Phagwa. Prahlaad took a stand against his father’s demand that all must convert from the Hindu Way of Life of worship to Bhgvan Vishnu and worship him, Emperor Hiranyakashipu. He was persecuted by his father, the state, the military and by the education system because of his stand.
In the midst of all the celebrations, therefore, phagwa invites us to take a community stand against the all pervasive use of alcohol at community events. All participants must be vigilant to ensure the development of phagwa into an attractive festival. One of the elements for ensuring a comfortable environment is for all to eschew alcohol and discourage others from abusing the community efforts including Kendra Phagwa Festival.
raviji
PICHAKAAREE
A pichakaaree, is a shiny brass instrument which looks like a large syringe. It is traditionally used in Phagwa to squirt abeer – coloured water – on participants at phagwa celebrations. The word pichakaaree is often used in many phagwa songs to record the playful aggression re enacted by in phagwa as the participants shoot abeer on each other. The lyrics the most popular phagwa song, ‘Holi kheka Raghubeera,’ which is often looked upon as the anthem of phagwa holds, ‘Rama ke haathe kanak pichakaaree – Rama holds in His had a golden pichakaaree.â€
The abeer is made up of a vegetable crystal which is prepared by boiling the chrystals in water. Abeer is transported in large tins and containers to the venues of ‘play’. Locally pichakaarees are made out of PVC pipes and plastic bottles.
HOW THE SONGS CAME TO BE CALLED ‘PICHAKAAREE’
The original name of the song was Local Phagwa Composition. Many factors contributed to the naming of the songs as Pichakaaree.
Kendra Phagwa Festival continues to cherish the traditional songs called chowtaal. The lyrics of chowtal communicated ideas and moods of India. It also provides the community with a source for information on the religion and couture.
The jahajee community originally possessed almost ten languages eventully lost – all these languages.
Songs had to be composed in the language which they now possessed; English.
In order to preserve at least words and phrases through this new form, rules were laid to ensure that composers use Indian words.
The need which inspired the naming of this genre of songs as’pichakaaree’ came from the need to address through songs, the need for recording for posterity the experiences of the community as it addresses life in the context of its present space an time; modern day Trinidad and Tobago and the wider Caribbean.
A common image visible in all phagwa celebration inspired the naming of pichakaaree;
The nozzle of the pichakaaree is placed in a container of abeer located where one is standing. The player draws in the abeer into the belly of the pichakaaree, points it at a target and squirts out the warm, colourful liquid.
This image of drawing in the material from a container where the person is located, right at his feet, is exactly the metaphor r needed to define pichakaaree as an instrument which celebrates our own landscape. This would be a fitting compliment to the traditional chowtaal which which celebrated another landscape.
Further the play with pichakaaree instruments turns into many forms of play and mock battles which further strengthens pichakaaree as a metaphor for the local need.
Popular colours are red, blue, green and yellow.The pichakaaree leaves a signature of colour coming from within its belly, on walls, on the roads, on people, on whatever its target. This satisfies the need of the community to leave its mark on the landscape where they are located.
The name pichakaaree therefore symbolizes the idea of songs which seek to represent the voice, interests, concerns, history, emotions and creative instinct of a people and inform the society. The pichakaarees are sung in English but they must contain Hindi or Bhojpuri words and phrases. The Kendra Phagwa Festival started the pichakaaree song competition in 1992. This year we are 16 years old.
‘PICHAKAAREE – BOILING DE ABEER’
‘Boiling de Abeer’ is used figuratively to refer to the period used for composing the lyrics and melodies for the pichakaaree songs.
Boiling de abeer, referring to imformal workshops, begins on Vasant Panchami. The day celebrates the Birth Day of Mother saraswatti as well as the onset of the season of Spring. On this day the Phagwa season begins with a ceremony called Holikaa Aropanam or locally ‘Chook-o-likaa’;the planting of the castor oil tree.
The castor tree symbolically refers to Holika, one of the main characters in the origin of Phagwa. The community begins spring cleaning and deposits discarded material need to be burnt. A pyre is formed and burnt on the fullmoon night of the month of Phalguna. As the fire subsides, ashes is smeared on the foreheads of all then followed by throwing ashes on each other. This is followed by mud play then water. In this way, the festival uses the elements in its festival;fire, eareth and water.
The first offering of chowtaals and pichakaarees in praise of Maa Saraswati are sung on this day to seek her blessing. (Vasant Panchami and Saraswati Jayanti – birth fall on the same day)
From this day workshops are hosted nightly by the pichakaaree organizers for composers and singers to work on the lyrics and melodies of their songs. Many rivals could be seen listening to and making suggestions to each other to improve the compositions and the forum as a whole. This period which is symbolically called ‘Boiling the Abeer’ goes on for about one month prior to the competition.This year, due to the crime situation, most rehearsals were held during the days, on weekends.
Raviji 2008
Raviji@carib-link.net
PICHAKAAREE WIDENS ITS SCOPE
By raviji
Pichakaaree draws its inspiration from the entire gamut of the phagwa festival even as it is informed of the needs of the communityin the context of Trinidad and Tobago and the wider Caribbean. In fact Pichakaaree is an attempt to deliver a local voice dedicated to Trinidad and Tobago, the Caribbean and wider humanity.
Pichakaaree as a forum must pursue an awareness of the wider Caribbean. Not only does the Caribbean culture affect the status of Indian Culture in Trinidad, but we share our resources in times of need. Pichakaaree must enter the discourse of the wider Caribbean.
The health of the Caribbean does affect the health of TT. Crime, in the Caribbean has its faal out in TT. Pichakaaree therefore must express its concern for the rising crime wave in the Caribbean. Voices from Jamiaca, Barbados, Guyana and Bahamas indicate that the democratic way of life is being incrementally threatened.
Kendra Phagwa Festival 2008 is therefore dedicated to THE LUSIGNAN-BATICA MASACRES IN GUYANA which has horrified the peoples of the Caribbean.
Phagwa celebrations is a national holiday in Guyana.We believe that this year, joyous spirit of phagwa will be greatly drowned by the Lusignan and Batica massacres. Our phagwa and pichakaaree in Trinidad and Tobago, fully cognizant of the pain in Guyana will also carry the burden of your pain and feelings of insecurity and our great concerns for Barbados, Bahamas and Jamaica even as we have deep concerns for Trinidad and Tobago.
Pichakaaree 2008 hopes that by publicly alerting the Caribbean of this issue, the region would pull together to save democracy from the increasing tyranny of crime even as the Prahlaad was saved from the tyranny of Hiranyakashipu in the story of the origin of Phagwa.
Raviji
KENDRA PHAGWA FESTIVAL 2008 – PICHAKAAREE FINALS
List:
1) CONTESTANTS IN ORDER OF APPEARANCE
2) BIO OF CONTESTANTS
3) EXCERPTS OF PICHAKAAREES – FINALS 2008
ORDER OF APPEARANCE FOR THE PICHAKAAREE COMPETITION
1 Mukesh Babooram
2 Mohip Poonwassie
3 Ravi Babooram
4 Pooja Ramoutar
5 Doodnath Radhakissoon
6 Priya Poorai
7 Toolsie Ramdass Singh
8 Jagdeo Phagoo
9 Marva Mckenzie
10 Pundit Beesram Sewdat
11 Reena Teelucksingh
Contestants’ Bio Data – ACCORDING TO ORDER OF APPEARANCE
Mukesh Babooram
A past Pichakaaree champion, Mukesh has been in Pichakaaree for the past 14 years. He is a master in the art of social commentary and has also written several festive compositions. A radio personality known for his forthrightness, he can be heard on the airwaves of Radio Shakti on the programs “The Maaro†and “On The Road Againâ€. He also writes calypsos and has on two occasions been in the finals of the Young Kings competition. He was also in the cast of finalists in the TUCO Chutney category in 2006. His greatest accomplishment, however, is his new son.
Mohip Poonwassie
He has been involved in the Pichakaaree art-form for the past 14 years. He is a photographer/videographer by profession. He has been the past Pichakaaree Champion for three consecutive years. He hails from Calcutta Road #3 in Mc Bean, Couva. Poonwassie has grown up with the Pichakaaree forum. Today he is a profilic composer and a powerful performer the people always want to hear.
Pooja Ramoutar
She was born on the 2nd June, 1990. She attended the Orange Field Hindu School where she participated in the Baal Vikaas Vihaar competitions. She was a student of the Miracle Ministries Penticostal High School. She placed 2nd in both the “Sugar and Energy Festival†and the “Sanfest†in 2006. In 2003, Pooja received the Prahalad Bhakta award and went on to capture the Festive Champion title at Pichakaaree in 2005 & 2006.
Doodnath Radhakissoon
Father of one beautiful girl, Doodnath is a Driver by profession. He sings with many bands and classical groups around the country. This is his first appearance on the pichakaaree platform.
Priya Poorai
She is from a family steeped in trhe Bhojpuri cultrure of Bownath Trace, Penal. She has been employed with the Ministry of Finance for the past six years. She is an active member of the Ramayan Gita Cultural and Drama Group and the Ramayan Gita and Kirtan Mandali. She has been involved in promoting Indian culture at a very tender age and she has been in the Pichakaaree finals for the past six years.
Toolsie Ramdass Singh
He was a Pichakaaree finalist for the past 9 years. He hails from #92 Soledad Road in Claxton Bay. He is an electrician by profession and the lead singer of the Savera Soca Chutney Band. He started his musical career at the age of 7, singing at Ramayan Satsanghs with his father. The father of three plays the harmonium as well as the dholak.
He placed first in the Festive category for five years and enjoys singing Festive Pichakaaree. Singing is his hobby. .
Jagdeo Phagoo
He is a contractor with Petrotrin, father of two boys and comes from S.S. Erin Road, Penal. He is a four time Pichakaaree Champion. He is a past finalist in the Mere Desh local song competition, TTCO Calypso and Chutney competition, National Mardi Gras competition, 2006 National Chutney Monarch and also Young Kings Calypso Competition 2007. Phagoo has also played the theme song on the harmonica for the radio programme “On The Road Again†on Radio Shakti 97.5 fm. Phagoo is a prolific composer. He has been a keen sportsman who represented Trinidad and Tobago in badmington.
Marva Mckenzie
Her date of birth is May 5th. She lives at #12 Farfan Street, St. James. Her hobbies are sewing of bridal gowns, singing, listening to all kinds of music, meeting people and traveling.
She has been involved in the arts for 15 years. She was a finalist in the Indian Cultural Local song competition on many occasions. She was a finalist in the Mere Desh song competition in 1998, placing second. She was a finalist in the National Nation Building and Chutney competition 1998, placing third. She was a finalist in both the National Chutney Monarch and Chutney Soca Monarch. She was the National Calypso Queen of TnT in 2003. She was the recipient of two Calypso Gold Awards in 2002 and 2003. She was a finalist in the Kendra Pichakaaree Competition for three years, placing 2nd in the Theme Category in 2006.
Marva is a registered nurse and mother of two boys and one girl. Her greatest desire is to remain healthy as long as she can and to strive to be the best in whatever she does. She would also like to be a finalist in the Calypso Monarch of TnT. Her greatest joy is being involved in the various arts, especially the Pichakaaree, where the atmosphere is different. Music is different, yet electrifying. The closeness and friendliness of everyone. There is no discrimination, there is always oneness. Her greatest fear; Not being able to perform.
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Pundit Beesram Sewdat
He hails from No. 1 Asgarali Development, Raghoonanan Road, Chaguanas. He is attached to Hindu Swayam Sevak Sangh and Chinmaya Mission of Trinidad and Tobago. He is a Ramayanist and bhajan singer. He is a Hindu religious and social activist. He has been a composer and singer of Pichakaaree songs for the past 10 years and was Pichakaaree champion in 2002.
Reena Teelucksingh
A final year student of the University of the West Indies pursuing a Bsc. in Agribusiness (major) and Economics (minor). She is 22yrs of age and has been a participant in Pichakaaree since 1997. Since the tender age of 4 she started studying Indian dance and has been a student of both Kuchipudi and Kathak dancing. Reena is a very active sevikaa and social worker and is currently the Secretary of the Hindu Students’ Council Trinidad and Tobago among many other youth organizations. She spearheaded the recent protest against the manner in which students who wore Raksha thread to school after worship on Shivaratri night.
LYRICS
Song Title : CHALIYEA PICHAKAAREE
Singer : PRIYAPOORAI
Composer : PRIYAPOORAI
Aaray suno na suno re bhaiyai
Is pichikaaree again
Awo re parosin awo re behin
Holi ayea
Holi ayea pichikaaree
This is my culture, meh own dignity
Verse (1):
Ah boilum abira to saveum we dharma
To saveum we culture, ah joinum the Kendra
Dong in the nagar dey waitin for me
Is dallghotnie, laatie for all them kutnie…Holi ayea pichikaaree
Chorus:
Holi ayea pichikaaree
Today ah happy day for meh ajie
Verse (2):
She put on she ghangree and chook up she ornie
She put on she chapal and potay she bindi
Telling everybody chalo pichikaaree
Ghoorkeying at them young gyal with slinkey mini
She talking bout de courage of jahaaji…Holi ayea pichikaaree
Chorus:
Holi ayea, pichikaaree nacho gawoh we ha integritty
Verse (3):
Meh ajie stop meh phoowa
From gonium in the river
Leh we join the Kendra
To enjoy the Phagwa
Put away the bailna and phookni
Leh we go and celebrate, celebrate holi…Holi ayea pichikaaree
Chorus:
Holi ayea pichikaaree
Meh ajie getting bazodee, she only hurrying me
Verse (4):
Aaray maxi taxi manwaa, na stopum rumshopwaa
Chalo sewalaa, to buildum we dharma
Meh moiyaa and poiyaa all dem happy
Dey singing and clapping, dey gonium pichikaaree…Holi ayea pichikaaree
Chorus:
Holi ayea pichikaaree
Dong in the Nagar we reach with maxi
Verse (5):
Ah like to see dem betiya
Climb for the gaila
Lifting we culture is Mohip and Geeta
Sanaying the condense milk and roti
Dem chirren only blowing powder at me…Holi ayea pichikaaree
Chorus:
Holi ayea pichikaaree
Ah seeing Lord Krishna dancing with me
NACHO GAWOH PICHIKAAREE
TODAY IS VICTORY FOR PICHAKAAREE
PICHAKAAREE VICTORY FOR ALL AH WE
PICHAKAAREE CELEBRATE, CELEBRATE HOLI
HOLI AYEA PICHAKAAREE…HOLI AYEA
PICHAKAAREE DOING IN THE NAGAR WAITING FOR ME
Hey brij basiyaa Nanhay ki rasiyaa
Roko na meray dagariyaa
Roko na meray dagariyaa Sawariyaa
Roko na meray dagariyaa…hey brij…
Hey Jogira
SA RA RA RA (2x)
Agee cooking bun karailee
Roti and takarie
Ajaa bringing kala pani
Baap baap chilaye
Jogira Sa Ra Ra Ra {2}
Sa ra ra ra Sa ra ra ra RA {3}
Bolo bolo PICHAKAAREE KI JAI
PICHAKAAREE 2008
TITLE: GUYANA MASSACRE MUST BUSS WE KAREJA
COMPOSER AND SINGER: PUDIT BEESRAM SEWDAT
(see blue for explanations in blue of underlined words placed after each verse )
INTRODUCTION:
REWATI BETI
TOOKRE TOOKRE KYON KI?
DE BLOW-UP YU BRAINS
WHO GO FEEL YU PAIN?
SEEGOPAAL AND SEEGOBIN
IS BULLETS LIKE RAIN
SEE THEY BLOOD CHATKE (EVEN)
JAMRAJ LEAVE IN PAIN
MAAI AND BAAP SCREAMING
BAHIN ON DE GROUND ROLLING
BALIDAAN! OR SLAUGHTER
‘MUSS BUSS! WE KAREJA’
LUSIGNAN ELEVEN GONE
TWELVE IN BARTICA
BUXTON OR LAVENTILLE
GUYANA BAWLING (T&T)
BELIZE OR JAMIACE
CRIME CARIBBEAN ‘SHRAAP-WAA’
OUR GENERAL RESPONSE-
‘CARIBBEAN INDIANS’:
(Rewati Seecharan) 11 year Guyanese was a victim of Lusignan massacre ‘2008 in Guyana.)
Brain shatterd to pieces by Gunman. WHY?
4 & 8yr old brothers of Lusignan in Guyana also ‘slaughtered’
Splatter
God of death
Sacrifice
Must deeply hurt us
1st MASSACRE- JAN 2008
2ND MASSACRE- FEB 2008
Infamous hidout for criminals
Crime Caribbean Curse
WE SUSKE WE PhASRE!
ONLY BHOONBHOONAAWE!
FRETTING BUT FETE-ING
LET DE DEAD BURY DE DEAD
NAHI ACTION! COMPLAINING!
ON WE BELLY CRAWLING
BAS SAY:LOOK IN DE MIRROR
WE GO FIND DE ANSWER’ (BUT)
ABHIMAAN AND CORRUPTION
‘TURN HE MIRROR UPSIDE DOWN’
UNITY UNDER DURESS
IS HYPOCRACY- YESS!
UNC SPINELESS
WINSTON TRY HE BEST
MONOLOUGE #1
WHEN AH HEAR THAT!
AH BURN ME DAMN BERRET
AH MASH-UP ME BLASTED MIRROR
CAUSE OF HURT AND ANGER
‘KAA KARE KE HOYA! BHAIWAA?
SO AH ASK ME PICHUKAARIYAS
MUKESH, PHAGOO & INDIRA
“LOOK IN ALL-YU MIRROR…
TELL ME WHAT ALL-YU SEE?â€
KETCHING BAZODEE! AND JEE-JEE-REE!
HEAR ‘WHA-DE’ TELL ME
We cry but do nothing
Meaningless mutter
T&T slang
T&T slang
Pichakaaree Theme – 2008
Pride/Ego
Cop leader
Panday’s Signature headwear- elections ‘07
What else to do brother?
New word coined: For Pichakaaree Singers
Totally confused
Cold-feet
What they
CHORUS # 1
1. WE PEEYO IN DE MORNING
PEEYO NOON AND NIGHT
WINING TO DE CHUTNEY
THEN START TO CUSS AND
FIGHT
2. WE BRING IT IN A POSEE
POUR IT FROM A FLASK
DRINK IT FROM A BOTTLE
DHAKOLE IN A GLASS
3. DAARU WE BARDAAN
RUMSHOP WE BAIKOONT
DOH WORRY! BE HAPPY!
DAH IS DEM! NOT-WE!
MONOLOGUE # 2
ARE! CHUTNEY GAA-O
KHAA-O! PEEYO! MAJAA-KARO!
WE DOES EVEN CHANGE-AM WE TUNE FOR-SO!
CHORUS # 2
1. AH WAAH! ME RUM IN DE
MORNING
AH WAAH! ME RUM IN DE
EVENING
GIMME! ME RUM RIGHT AWAY
NO TIME! TO EVEN TAPAAWE
2.DEKHO BULLETS IN DE EVENING
RANSOM FOR KIDNAPPERS
COWARD TAX FOR THE GOONDAS
OH LAAD! DEM CHUTNEY SINGERS
JALDEE! BE PICHUKAARIYAS
Drink
Quarrel amongst each other
Gulp-down
Rum: Our boon/gift
Vaikuntha: Heaven
American Slang
T&T slang
Sing
Eat drink and be merry!
Guyana Slang
T&T slang
CHUTNEY SINGER- HUNTER’ TUNE
(taken from Mohammed Rafi’s song)
‘Spiritual-offering’ of alcohol
Look
Criminal/rogue
Oh Lord!
Hurry! Be pichakaaree singers
WE DOES ONLY MOCK WE
INDIANS! MAT KARO BOBOLEE!
CHORUS # 3
BUT REWATI BETI
VISHI FEELING YU PAIN
CRIME CARIBBEAN TIME BOMB
BONG TO EXPLODE AGAIN
VERSE # 1
(PICHUKAARIYA-MUKESH SEE! AND TELL ME! )
1. BAHUT BARE CHALLENGE
IN DE CARIBBEAN
IS CHOKE AND RAAB
BANDOOK-KE MURDERS
2. DOH-MIND ‘DE’ BEACHES
RUM PUNCH AND CRICKET
C.S.M.E. – E.P.A.
PETRO CARIBE
3. WITHOUT MAKING SECURITY
WE NUMBER ONE PRIORITY
WE COU-COU-COOK FROM
FROM GUYANA TO HAITI
4. IN TWO THOUSAND AND
SEVEN
FOUR HUNDRED MURDERS
SNAKE-DE-IN-BALISIER
MARTIN JOSEPH ‘KYAA-
KARE?
5. MAKE DARREN GANGA
POLICE COMMISSIONER
DEOSARAN PROFESSER
Don’t be; Habitually Bullied
My daughter Vishala Sewdat- participated in Guyana Ramdilla ‘08
Will certainly
Very formidable
Infamous Guyanese term for robbery
Gun-related murders
For which Caribbean is well known
Caribbean Single Market Economy
We in trouble!
Famous calypso lyrics
What are you doing?
Because of excellent managerial skills
UWI Criminologist- Senator Prof. Deosaran
SECURITY MINISTER
JUSTICE SHARMA
NEW PRESIDENT-WAA
CHORUS # 4
BUT REWATI BETI
DEEPO FEELING YU PAIN
CRIME CARIBBEAN TIME BOMB
BONG TO EXPLODE AGAIN!
VERSE # 2
(PICHUKAARIYA PHAGOO SEE! AND HE TELL ME!)
1. NINETY TWO GANGS
NINETY-TWO GANGS
SEVENTEEN HUNDRED
MEMBER
COMMUNTIY LEADERS
HAVE U.R.P. CONTRACTS
P.N.M. DIRTY TRCKS
STEPPING UP WITH PATRICK
2. ALOES KE BETA
LOOK HOW THEY MURDER (BUT)
ALOES SING ‘BOUT OMA
WIN HALF MILLION DOLLARS
CALYPSO ROTTENING
ARE! MAARSAARELAA
3. HEALTH IN SHAMBLES
EDUCATION IN CRISIS
ENDLESS TRAFFIC JAM
AND HIGH FOOD PRICES
4. HAIL! RAJA MANNING
RAAJ-MAHAL HE LVING
PRIVATE JET HE FLYING
Former Chief Justice- (sack present president- politically tainted)
Randy Deepo- well known US/ Guyanese Lawyer-responsible for restarting Ramleela in Guyana after 32 years.
Statistics revealed by Prof. Deosaran
PNM 2008 election song
Son of Sugar Aloes- Calypso Monarch 2008
About the “Pandaysâ€
Complain the mighty ‘Chalkdust’.
Destroy it because of Indian bashing
King Manning!
Palatrial Home(PM’s residence)
LOC-JACK WAS LYING
5.VISION TWENTY-TWENTY
DOG GO PEE ON WE
CO-BO GO PEE ON WE
WE GO KETCH MALCADEE
VERSE # 3
(PICJUKAARIN-YAA INDIRA SEE! AND TELL ME!)
H.C.U. –NOW
HARRY CREDIT UNION
RADIO SHAKTI GO BE
QURBAANEE
SHAKTI GO BE
RADIO QURBAANEEE
JAGRITI RADIO
NOT FOR ALL AH WE
CHORUS # 5
BUT REWATI BETI….
RAVIJI FEELIN YU PAIN
CRIME-MINISTER
MANNING
BHAGWAN EH SLEEPING!
CAL Chairman
PNM’s mantra
Bad Luck/ Everything Going Wrong
Corbeaux: Jinx
Epileptic Conclusions
Hindu Credit Union (formally)
Word Hindu dropped
97.5FM Radio
Literal meaning- SACRIFICE
Muslim Connection in H.C.U.
102.7 FM Radio
Conducted 2008 Ram Leela in Guyana
Chairman-National Security Council (responsible to curb crime)
God
TITLE : Ah different Style
SINGER : Reena Teelucksingh
COMPOSER : Revan Teelucksingh
WHEN YOU LOOK IN THE MIRROR WHAT DO YOU SEE
CAN YOU HEAR THE WHISPER OF JAHAAJEE (ancestors)
TUM KOWN HO BETA (who are you son)
TUM KOWN HO BETI (who are you so daughter)
LOOK IN THE MIRROR WELL
WHAT KAHAANI DOES IT TELL (story)
IS OUR LEGACY
DYING JALDI JALDI (quickly)
NOWADAYS LARKIS (girls)
AND ALL THEY SAKHIS (friends)
PATKAY THE GHANGHRI (throw away, long skirt)
FOR THE SLINKY MINI
LONG IS OUT AND SHORT IS IN
THICK IS OUT SO BETTER BE THIN
IT JUST NAHI RIGHT (not)
IF THE JEANS NAHI TIGHT (not)
AND THE MORE PEER PRESURE
IS THE MORE EXPOSURE
BAHUT COMPROMISE (plenty)
FOR MODERN DISGUISE
IN THIS HIGH FASHION WORLD
ONLY DIGNITY IS SOLD
BETI THIS IS NOT YOU (daughter)
TO YOURSELF BE TRUE
BEFORE THE MIRROR SAY
IS NO SHARMAAYE (shame)
IS THE AGE OF THE WILD
SO LARKAS HAVE NEW STYLE (boys)
CHOOSAYING THEY PAISAA (wasting, money)
ON KAPRAA AND MOTOR CAR (clothes)
CYAR WAIT FOR WEEKEND
FOR TAMASHAA WITH THEY FRIENDS (fun)
DANCING AH NEW GAANA (song)
IN AN ALIEN GHARHAANAA (musical tradition)
COME ON DREAD, WE’LL PAINT THE TOWN RED
BUILD A HEAD AND KNOCK ‘EM DEAD
WHAT YUH DHAKOLAY (drink)
AND WHAT YUH DOES PHOOKAY (smoke)
WHAT TAKIN YOU ASTRAY
MAY NOT BRING YOU BACK ONE DAY
BETA THIS IS NOT YOU
TO YOURSELF BE TRUE
BEFORE THE MIRROR SAY
IS NO SHARMAAYE
BAHUT PROSPERITY
CORRUPTING IDENTITY
SO SANSKAAR THE BACHO (give values, child)
SHOW THEM THE WAY TO GO
THEY’LL NIK NIKAAYE (give difficulty)
TO HAVE THEIR OWN WAY
IF YOU ONLY FALL PREY
IT WILL BACKFIRE SOME DAY
KHABAR DAAR WITH DOOLAR (take care, pampering)
DANGER IN THE SAMSAAR (this world)
BE CAREFUL WHAT YUH CHANGE
AND WHAT YUH REARRANGE
THE CULTURE YOU TEACH
PRACTICE DON’T PREACH
BEFORE THE MIRROR SAY
IS NO SHARMAAYE
AAJAA AUR AAJEE (grandparents)
GETTAM NEW HOBBY
SOAP OPERA ON TV
SO THEY CLOSE THE RASOYI (kitchen)
NO ROTI AND DAHI (home made yogurt)
SAYKAYING IN THE CHULHEE (roasting, earthen stove)
SO NO JOHR IN THE NAATI (strength, grandchildren)
KFC LAUGHING AT WE
TAKE BACK THE PALANAA (cradle)
SAVE THE PARAMPARAA (tradition, legacy)
BEFORE YUH LALANAA (‘pampered’ child)
END UP IN THE FIRE
NOW ITS MAKE OR BREAK
CAUSE THE FUTURE IS AT STAKE
WILL YOU LET THE MIRROR SAY
IS NO SHARMAAYE
THIS TIME NAA LAANG TIME (2)
THIS TIME NAA BEFORE TIME
LAANG TIME GATTAM GHANGRI
NOW TIME GATTAM MINI
LAANG TIME GATTAM DONKEY
NOW TIME GATTAM GAARI (car)
LAANG TIME GATTAM POVERTY
NOW TIME GAT PROSPERITY
LAANG TIME GATTAM ROTI DAHI
NOW TIME GATTAM KFC
BETA BETI BHAIYAA BHOWJI (son, daughter, brother, sister in law)
LITTLE LAANG TIME GOOD FOR WE
MUMMY DADDY AAJAA AAJEE
LITTLE LAANG TIME GOOD FOR WE
RAVIJI BRING PICHAKAARE
LITTLE LAANG TIME GOOD FOR WE
LOOK HOW WE ENJOYING HOLY
LITTLE LAANG TIME GOOD FOR WE
………………….
PHAGWA CONTINUES THE STAND AGAINST ALCOHOL IN PHAGWA.
EXCERPT FROM AN ARTICLE BY RAVIJI
KENDRA PHAGWA FESTIVAL continues the stand taken 17 years ago that The Kendra Phagwa Festival is a NO ALCOHOL ZONE.
This stand was taken at the inception of the Kendra Phawa Festival in 2001 and continues today. Use of alcohol had almost ruined phagwa some years ago because it became increasingly unsafe for families to go to various venues.
TAKING A STAND is inspired by the origin of phagwa itself. Taking a p[rincipled stand is one way to celebrate Prahlaad, the boy-saint hero of the story of the origins of Phagwa. Prahlaad took a stand against his father’s demand that all must convert from the Hindu Way of Life of worship to Bhgvan Vishnu and worship him, Emperor Hiranyakashipu. He was persecuted by his father, the state, the military and by the education system because of his stand.
In the midst of all the celebrations, therefore, phagwa invites us to take a community stand against the all pervasive use of alcohol at community events. All participants must be vigilant to ensure the development of phagwa into an attractive festival. One of the elements for ensuring a comfortable environment is for all to eschew alcohol and discourage others from abusing the community efforts including Kendra Phagwa Festival.
raviji
…………..
PROGRAM OF ACTIVITIES FOR KENDRA PHAGWA FESTIVAL 2008
For seero to do
*******************************************
BACHON KA KHEL – CHILDREN’S GAMES
FOR CHILDREN 12 YEARS AND UNDER
SADA ROTI AND CONDENSED MILK EATING COMPETITION
Many families who reared cows long ago and some elders would remember eating small pieces of sada roti soaked in sweetened cow’s milk for breakfast or dinner. Then came condensed milk and everyone just loved having it with roti or bread as a snack and would often hide and eat it. This competition takes one down memory lane back to those long time childhood days.
A small sada roti is pasted with condensed milk. A string is passed through the centre of the roti which is then strung horizontally across the stage and held in position by 2 poles. Clean clear plastic is placed beneath the roti area, if the roti falls the contestant may eat it from there. The contestant’s hands are tied behind their backs. As soon as the whistle is blown the competition starts.The contestant finishing in the shortest time is declared the winner.
RANG KA GULAAL – POWDER BOWING COMPETITION.
FOR CHILDREN 12 YEARS AND UNDER
Equal amounts of coloured powder are placed in small plates. The contestants must blow all the powder out of the container. The contestant finishing in the shortest time is declared the winner. The bigger children are taken for this competition because certain skills are required to avoid getting the powder into the nose and mouth. Some children even keep their eyes closed during the competition. The blowing of the various colours is a beautiful site and depicts the rainbow nature of the festival of colour that is being celebrated.
*Adults and trained first aid personnel are always on standby to look after the children should they get into difficulty.
MAAKHAN CHOR
FOR YOUTHS AND ADULTS
Maakhan means butter and Chor means thief, put together it translates the butter thief.
This ancient story of the Maakhan Chor can be traced to the childhood days of the Avataar (Divine manifestation) of Lord Krishna, when He and his friends played tricks on the villagers especially the women-folk who adored them. According to the story, the child Krishna and His friends would sneak into the homes of the women folk and climb up on top of each other to reach the pots of maakhan which was usually hung on rope slings placed high beyond the reach of children.
The childhood stories of Lord Krishna recount His pranks of which teaming up with his childhood friends they would form a human pyramid to reach the butter and enjoy themselves. On rare occasions when Krishna was caught, He was never punished since it was part of His Divine Leela and His way of pleasing his devotees who loved Him dearly and who enjoyed His childhood sports.
The Maakhan Chor competition is very similar. It is an extremely exciting, nail-biting experience. A pot similar to the maakhan pot is suspended 18 feet high in the air with little jhandis (flags) inside it, representing the maakhan.Teams of not more than ten persons are required to form a human pyramid and attempt to take down one jhandi, re-enacting the way Lord Krishna and His friends climbed on each other to reach the tasty Maakhan.
Practice, co operation and strategy are necessary to be successful. The team which does this in the fastest time without breaking the pyramid is declared the winner. Cash prizes are awarded. Caution is advised to all participants. This competition has attracted many teams in the past and this year a special prize will be given to the team which breaks the all time record of 9 seconds held by the United Brothers of Longdenville.
RANGA BARASE – COMMUNITY DANCE
Ranga Barase means a shower of colours and this is exactly what Phagwa is about, colour and beauty. During this feature, abeer of varying colours is sprayed on all participants from overhead pipe and sprinkler systems, designed for the special effect of bathing in coloured rain. The vibrations of appropiate music and songs are irresistable and the whole community gets involved in the grand celebration by joining in the community dancing.
The sprinklers are turned on several times during the celebration but in full force for the community dance, until the 2,000 gallons of prepared abeer is finished. There is also the chirkaying (scattering) of gulaal (coloured powder) from a specially constructed pump and pipe system, creating a wonderful Phagwa ambience.
By community demand, Kendra Phagwa Festival has increased the time for Rang Barse. The committee has prepared a non stop session of marathon community dance.
PHAGWA TAKES A STAND
KENDRA PHAGWA FESTIVAL has taken the stand that The Kendra Phagwqa Festival is a NO ALCOHOL ZONE. This stand more than a decade ago and still continues today. was taken. Use of alcohol had almost ruined phagwa some years ago because it became increasingl unsafe for families to go to various venues.
All participants must be vigilant to ensure the development of phagwa into an attractive festival where all feel safe to participate by eschewing alcohol and discouraging use of alcohol at venues including Kendra Phagwa Festival.
.
SEERO NEED TO COMPLETE BIO DATA OF PERFORMERS
Mukesh Babooram
A past Pichakaaree champion, Mukesh has been in Pichakaaree for the past 14 years. He is a master in the art of social commentary and has also written several festive compositions. A radio personality, he can be heard on the airwaves of Radio Shakti on the programs “The Maaro†and “On The Road Againâ€. He also writes calypsos and has on two occasions been in the finals of the Young Kings competition. He was also in the cast of finalists in the TUCO Chutney category in 2006. His greatest accomplishment, however, is his new son.
Reena Teelucksingh
She is a final year student of UWI, pursuing a degree in Agri Business and Economics.
She is a Kuchipudi and Kathak dancer hailing from #1 Ramjohn Street, Tunapuna.
She has been participating in the Pichakaaree competition since 1997. Reena is an active Sevika and the assistant Chair person of the Hindu Student’s Council of Trinidad and Tobago.
Marva Mckenzie
Her date of birth is May 5th. She lives at #12 Farfan Street, St. James. Her hobbies are sewing of bridal gowns, singing, listening to all kinds of music, meeting people and traveling.
She has been involved in the artform for over 15 years. She was a finalist in the Indian Cultural Local song competition on many occasions. She was a finalist in the Mere Desh song competition in 1998, placing second. She was a finalist in the National Nation Building and Chutney competition 1998, placing third. She was a finalist in both the National Chutney Monarch and Chutney Soca Monarch. She was the National Calypso Queen of TnT in 2003. She was the recipient of two Calypso Gold Awards in 2002 and 2003. She was a finalist in the Kendra Pichakaaree Competition for three years, placing 2nd in the Theme Category in 2006.
Marva is a registered nurse and mother of two boys and one girl. Her greatest desire is to remain healthy as long as she can and to strive to be the best in whatever she does. She would also like to be a finalist in the Calypso Monarch of TnT. Her greatest joy is being involved in the various arts, especially the Pichakaaree, where the atmosphere is different. Music is different, yet electrifying. The closeness and friendliness of everyone. There is no discrimination, there is always oneness. Her greatest fear; Not being able to perform.
Priya Poorai
She is from Bownath Trace, Penal. She has been employed with the Ministry of Finance for the past six years. She is an active member of the Ramayan Gita Cultural and Drama Group and the Ramayan Gita and Kirtan Mandali. She has been involved in promoting Indian culture at a very tender age and she has been in the Pichakaaree finals for the past six years.
.
Jagdeo Phagoo
He is a contractor with Petrotrin and father of two boys and comes from S.S. Erin Road, Penal. He is a three time Pichakaaree Champion. He is a past finalist in the Mere Desh local song competition, TTCO Calypso and Chutney competition, National Mardi Gras competition, 2006 National Chutney Monarch and also Young Kings Calypso Competition 2007. Phagoo has also played the theme song on the harmonica for the radio programme “On The Road Again†on Radio Shakti 97.5 fm.
Pundit Beesram Sewdat
He hails from No. 1 Asgarali Development, Raghoonanan Road, Chaguanas. He is attached to Hindu Swayam Sevak Sangh and Chinmaya Mission of Trinidad and Tobago. He is a Ramayanist and bhajan singer. He is a Hindu religious and social activist. He has been a composer and singer of Pichakaaree songs for the past 10 years and was Pichakaaree champion in 2002.
Pooja Ramoutar
She was born on the 2nd June, 1990. She attended the Orange Field Hindu School where she participated in the Baal Vikaas Vihaar competitions. She was a student of the Miracle Ministries Penticostal High School. She placed 2nd in both the “Sugar and Energy Festival†and the “Sanfest†in 2006. In 2003, Pooja received the Prahalad Bhakta award and went on to capture the Festive Champion title at Pichakaaree in 2005 & 2006.
Toolsie Ramdass Singh
He was a Pichakaaree finalist for the past 9 years. He hails from #92 Soledad Road in Claxton Bay. He is an electrician by profession and the lead singer of the Savera Soca Chutney Band. He started his musical career at the age of 7, singing at Ramayan Satsanghs with his father. The father of three plays the harmonium as well as the dholak.
He placed first in the Festive category for five years and enjoys singing Festive Pichakaaree. Singing is his hobby.
Mohip Poonwassie
He has been involved in the Pichakaaree artform for the past 14 years. He is a photographer/videographer by profession. He has been the past Pichakaaree Champion for three consecutive years. He hails from Calcutta Road #3 in Mc Bean, Couva. Poonwassie has grown up with the Pichakaaree forum. Today he is a profilic composaer and a powerful and performer the people always want to hear.
LYRICS
Hindi words, phrases, and their translations are in bold print
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Posted By Deosaran Bisnath to Caribbean Talk at 3/21/2008 06:59:00 AM
