Hosay Trinidad. Frank J. Korom

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       Hosay Trinidad

       Hosay Trinidad

      Muḥarram Performances in an Indo-Caribbean Diaspora

      FRANK J. KOROM

      University of Pennsylvania Press

      Philadelphia

      Copyright © 2003 University of Pennsylvania Press

      All rights reserved

      Printed in the United States of America on acid-free paper

      10 9 8 7 6 5 4 3 2 1

      Published by

      University of Pennsylvania Press

      Philadelphia, Pennsylvania 19104–4011

      Library of Congress Cataloging-in-Publication Data

      Korom, Frank J.

      Hosay Trinidad : muḥarram performances in an Indo-Caribbean diaspora / Frank J. Korom.

      p. cm.

      Includes bibliographical references and index.

      ISBN 0-8122-3683-1 (alk. paper)—ISBN 0-8122-1825-6 (pbk. : alk. paper)

      1. Tenth of Muharram. 2. Shi‘ah—Customs and practices. 3. Shi‘ah—Trinidad and Tobago. 4. Muslims—Trinidad and Tobago. 5. Trinidad and Tobago—Religious life and customs. I. Title.

      BP194.5.T4 K67 2002

297.3'6—dc21 2002075894

      Contents

       List of Illustrations

       A Note on Orthography

       Introduction

       1. Orientations and Overview

       2. Muharram Rituals in Iran: Past and Present

       3. The Passage of Rites to South Asia

       4. Onward to the Caribbean

       5. Building the Tadjah, Constructing Community

       6. Conclusion: Maintenance and Transformation via Cultural Creolization

       Epilogue

       Notes

       Glossary

       Bibliography

       Index

       Acknowledgments

      Illustrations

       Figure 1. An unadorned nakhl frame from Nain

       Figure 2. A large nakhl from Mahriz

       Figure 3. A nineteenth-century muḥarram procession

       Figure 4. A nineteenth-century majlis

       Figure 5. An attendant fanning a ta‘zi̅yah

       Figure 6. The inside of an imāmbāṛā, with a ta‘zi̅yah and a rauz̤eh khvān

       Figure 7. A nineteenth-century standard bearer

       Figure 8. A contemporary muḥarram ‘alam

       Figure 9. Nineteenth-century tassa player

       Figure 10. Nineteenth-century bass player

       Figure 11. An Indian sipar

       Figure 12. A muḥarram procession with ta‘zi̅yahs and men performing mātam

       Figure 13. Master tadjah builder Anthony “Muggy” Millette

       Figure 14. Kirk “Purple” Rodriguez working on a tadjah

       Figure 15. Trinidadian youths practicing drumming

       Figure 16. A chowk with tassa drums

       Figure 17. Noble Bisnath playing his bass on the streets

       Figure 18. Drummers perform in unison during a procession

       Figure 19. Named tassa drums hanging in a drum room

       Figure 20. A bass maker busy at work

       Figure 21. Women carrying flags

       Figure 22. A cutter performing in front of a chowk

       Figure 23. A pensive bass player

       Figure 24. The green moon resting on its chowk

       Figure 25. The Balma katheeyah on Small Hosay Night, 1991

       Figure 26. Noble Bisnath crowning a tadjah

       Figure 27. Another step in crowning a tadjah

       Figure 28. A completed tadjah resting on a chowk

       Figure 29. A tadjah being kissed by the red moon

       Figure 30. Tassa drummers heading to the Queen’s Royal College

       Figure 31. The two St. James moons prior to the janaaza prayers

      A Note on Orthography

      With a few minor modifications that should be obvious to the specialist, the transliteration of all terms in this work follows the guidelines set by the Library of Congress’s series of Cataloguing Service Bulletins. For Arabic, see Bulletin 91; for Persian, see Bulletin 59; for Urdu, see Bulletin 120; and for Hindi, see Bulletin 64. Because many Perso-Arabic words are used in Hindi and Urdu, I do not necessarily use the etymological transliteration but opt for the form used in the sociolinguistic context under discussion when a term is used. For the reader’s convenience,


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