Post 232.

I’m a child of the UWI.

I came here as an MPhil student in 1997, but my earliest memories are of roller skating in the quadrangle at six years old or bicycling on a weekend with other children of UWI parents, over an expanse of concrete that then seemed unimaginably vast. I return to then whenever I see staff and their children getting exercise or playing on campus. As a younger generation, we gather long memories of the place, over decades, as if it is our second home.

There are many of us. Children of academic and administrative staff who grew up with intimate familiarity of the campus. We come to the UWI as students and meet lecturers who know us since we were small. We follow in the footsteps of our uncles, aunts and parents who studied or worked here, who were part of student politics, or who made life-long friends and memories.

Such a long view indelibly informs my deep commitment to the UWI today. The university is a place where people grow and give back, where knowledge can come to matter for how it changes individual lives and families, not just meets state ‘development’ goals.

Three generations of my family have been academics here. After Naparima College, my dad’s mother’s brother, Inayat Hosein, gained a diploma from the Imperial College of Tropical Agriculture in 1937. In 1945, he graduated from Mc Gill University with a Bachelor of Sciences degree in Agriculture. In 1948, he was offered a scholarship to Kew Gardens. He obtained the M.Sc. in Botany from London University in 1955. He was a citrus expert and Senior Lecturer at the UWI when he retired in 1977.

My dad’s sister, Taimoon, studied international relations at UWI and became a senior research fellow focusing on trade and competition law at the Institute for Social and Economic Relations. Just before I submitted my thesis, she gave me her mother’s wedding ring, which she had promised me as a gift when I finished. She was the first among my dad’s siblings to earn a PhD and retired soon after I became faculty. I never take off the ring, remembering a matrilineal investment in education.

For a while, my dad was Head of Management Studies. I recollect sharp images of walking across endless grass to the huge rooms housing the university’s mainframe computers, trying to keep up while he carried tall stacks of rectangular boxes full of punch cards used for creating and storing computer programmes. As a child, I’d marvel that these cards could communicate with this hulking, futuristic technology. This week, I became Head of the Institute for Gender and Development Studies, after nineteen years first studying and then teaching here. On my first day at work, my dad texted to say that he expected me to surpass him one day, as a professor. I guess what one generation doesn’t fully achieve, but continues to aspire to, it hopes for in the next.

I remember lecturers in dashikis and leather sandals. There was Vere Knight, who wore shorts throughout his university career, whose family was like mine as a child. Today, tertiary education has narrowed to an ideal of preparation for employment and entrepreneurship, and jackets, worn by both women and men, fill a meeting room. I always thought of jackets as a capitalist uniform, drawing on Rastafarian cultural resistance, but bought my first jacket this year, in preparation for headship, on the advice of my predecessors who know women need every resource to negotiate the system and its hierarchies in a neoliberal age. Times indeed change a place.

Stories communicate how we make the history, community and landscape around us meaningful. Our stories give spaces humanity, inviting others to share where matters and why, allowing for our eccentricities. We tell such stories about Naps or Bishops. For UWI, they are a counter-narrative to easy public disparagement and generalized dismissal or, alternatively, to policy language and economic rationales.

Others can point to such generational relationships, chances for a first job, inspirational teachers and supervisors, and long-term mentorship. We follow in the footsteps of those who came before, literally walking the paths under the trees as they once did.

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On my first day at Head of the Institute for Gender and Development Studies, UWI, St. Augustine Campus. It’s been 19 years under the mentorship of countless academics, especially women, especially Professor Rhoda Reddock and Professor Patricia Mohammed. I walk with all their spirits. Forward ever. 

Post 222.

Neither Lewis Caroll’s Alice in Wonderland nor modern day zombie flicks come close to the creatures that leap out from fantasy and hell as they take over bodies, turn ordinary neighbours into mythical forms and gorge on human life to reincarnate year after year, on sticks, in paint, within wire, emerging from embryonic, easily unnoticed rooms, defying us to acknowledge what we usually fail to see.

Moms morph into deformed folk like Erzulie the La Diablesse, with her cloven hoof, horns and complex sweeping spirit. Old men turn bat or Jab, like Carnival has full moon power, casting an overpowering spell, despite people’s poverty or pain. Young bredren oil down, revealing true selves in Devil blue and black skins, daubing each other with love, despite familiarity with anger.

In this magical place, even a bookish sort of child need only glance around to gather and store imaginative resources, meanwhile learning to be patient, to look carefully, to draw value from what others dismiss. While for most, traditional mas seems repetitious or cliché, I’ve found characters within traditional mas communities provoke a greater sense of humanity, deeper connection to land, and humbling appreciation for the beauty that people insist on making from their experiences of negation and oppression, near starvation and intimacy with horror. It’s these netherworld creations twisting through her home place that I want Ziya to learn to notice.

For little ones like her, Tuesday night’s Kings and Queens competition required sitting through many crossings of the stage that didn’t seize her sense of the truly inventive, but more importantly, there were those that did. I took her to see Peter Minshall’s King, ‘The Dying Swan – Ras Nijinsky in Drag as Pavlova’, for her to see how the stick legs of moko jumbies, instead of being hidden, might be seductively sculpted, as if on tip toe, and held in ballet shoes. Jha-Whan Thomas danced like a steelpan that plays classical scores in ways their composers never saw coming, in a way I understand as uniquely ‘Made in Trinidad and Tobago’. There is all this for her to know.

Such possibility is always present.  I wanted Zi to observe how vision means seeing the taken for granted anew. And, there are visionaries to learn from right here, making orchestras of whipped rope made from plant leaves, overturning devils’ horns to point at onlookers, perfecting thirty-foot-high mas that really does dance.

With Carnival upon us, with attention on bikinis and beads, and hot bodies, iced rum and deafening soca, my gaze as anthropologist, educator and mother is on the best of traditional mas, including the gigantic sculptures that embody their makers’ highest aspirations. Contemporary and breathing, these all provide lessons in art, design, family, memory and history, making Carnival a museum without walls, where artifacts handed down over generations are chipping down the road, stepping like sailors or rhyming like robbers, rather than encased in glass or hanging lifeless and still.

This handing down is a reminder that, beyond the materials assembled, Carnival makes people, who we often overlook, visible. And that is one of its truths. It matters that, this year, young Lionel Jagessar Junior and his partner Kareena Badall, both made it to the finals, as another generation making multiple crossings, not just on stage, for a band that has brought Indian mas to San Fernando for more than 35 years. It matters that a generation that comes after Zi might therefore still have access to their mas camps as an alternate space, if only under a shed, for education, stories, creating characters and representing moments in history, which no one has to fly out to reach.

All I can say for certainty is that, in this place that makes wonderland from damnation, as Ziya develops a sense of dreaming for herself, from Carnival dragons to rainforest guardians, her earliest inspirations won’t only come from mere books on a shelf.