From Holi to Color Runs, chai tea to turmeric lattes, from dandiya raas to “Pound” workouts, and even artisanal chutney, who better than millennial hipsters to pick and choose the best parts of brown culture for mass consumption? Since, apparently, our South Asian grandmothers have been ahead of the “trends” for years, we predict which of Dadi’s secrets will be the next big thing.
1. Putting everything but yogurt in yogurt containers
Reusing yogurt containers is highly sustainable and they preserve everything from lentil soup (A.K.A. dal – it’s Paleo!) to kale products.
2. Using ginger and honey to combat the common cold
Sweet and spicy? That’s just two ingredients short of how the Powerpuff Girls were created! Combine these two totally disparate flavors to nip that cold in the bud and relish the confusing sensation of how awful they taste together.
3. Indian toilets
Why sit comfortably atop a porcelain throne when you can get a quad workout and also fear death by falling into a small hole?
Pro-tip: Ditch the toilet paper for a fresh, clean, not-dry feeling when you’re done. It’s the only way to stay authentic.
4. Three-hour movies with intermissions
This is basically already happening. According to Mashable, more Hollywood films—Leonardo DiCaprio’s “The Revenant,” Quentin Tarantino’s “The Hateful Eight,” and the newly released “Captain America: Civil War”—are practically as long as most Bollywood films. More big screen time means more popcorn, soda and entertainment, so who could say no to that?
This cannabis-milk beverage contains calcium and Vitamin D, which is super healthy, and make this drink 100 percent acceptable.
6. Arranged marriages
It’s easy! Just narrow your search by looking for people within a certain age range who share your interests. You’ll need a third party to introduce you, and you should talk or text online before you meet. Then go on a few dates, try it out and – oh.
FYI: This is basically Tinder, but with your parents instead of your phone. So duh, much better!
7. Eating with your hands
Subcontinental hipsters don’t pollute the environment with cutlery or plates— you’re eating off banana leaves. Whether you’re trying to get the full experience at an Indian restaurant or overwhelmed by a Chipotle order, eat with your hands! Celebs, this is a pro tip for standing out at galas and other fancy events.
Honestly, who wouldn’t love these? Of course, it’s rumored they contain stones and some lead, but those only enhance the taste —right?
Tone your legs and destroy your knees with this authentic South Indian art form! See how sexy people think Indian dance is when you perform a 30-minute varnam about Lord Krishna, or how confused reality show judges are to learn that the term “Bollywood” doesn’t refer to just about every Indian dance form.
10. Shawls and monkey caps
Why buy a coat when you can layer yourself in shawls? Why wear a hat when you can rock a vaguely burglary head cocoon? Winter fashion straight outta Delhi.
Men’s fashion is always trying to push boundaries, so let’s dispense with those wretched pants and shorts for a light, comfortable fabric creation that really lets your junk breathe. If Kevin Spacey already did it, then it’s just a matter of time more Americans will follow suit.
In her new book “Dear Durga,” author and life coach Shanita “Shani” Liu takes a different approach to self-help. Liu guides readers by providing a courageous framework. She writes to the Hindu goddess Durga Ma, who is a symbol of courage to Liu. Durga Ma represents power and protection in Hinduism.
Liu ties together the personal. She shares her experiences in witnessing fear-based patterns from her own Guyanese family and culture and noticing them in herself as a mother while proving coping strategies as a life coach. In this candid conversation, Liu explores the journeys of motherhood, writing, overcoming fear and leading future generations by example.
Where did the idea for this book come from?
It came from a diary entry I wrote in 2018 or 2019. I wrote that I was going to write a book called “Dear Durga.” I created a folder on my computer and it said “Dear Durga Book” and it was almost like I was setting the intention. I didn’t know what it was going to be about, but I did know that Durga and writing to her was an important part of my journey. And so I just had this intuitive feeling that I was going to be able to share this story one day.
In 2021, we were going through the pandemic, I just had my third child, and Durga was very much like, ‘okay, now you’re going to go write your book.’ And I was like, ‘Wait, what? I’m sorry. I’m, like, trying to navigate motherhood again and my business and everything else that was going on.’ And she was like, ‘no, you’re going to participate in this writer’s workshop. You’re going to learn how to write a book proposal. You’re going to enter it into this contest. You’re going to win the contest, and you’re going to write a book.’ And I thought she was nuts. And all of my fears started coming up – who am I to do this, I can’t do this, I’m not enough, what am I writing about?
I had to muster up the courage to write this book. And so Durga was a catalyst for me to call on my courage and say, ‘it’s time.’ This moment made me realize what I’ve been doing professionally for the last seven years is walking folks through my framework to help them activate their courage. So even though I was terrified, I realized this book can take the personal and the professional pieces of this puzzle and really put it all in one place.
When you say that Durga was your driving force for action, do you mean spiritually and religiously, or something else?
For everything, yes—emotionally, spiritually. In 2015, when I was falling apart and embarking on these major life changes in my life, she came through. It was the catalyst for me to say, “I have to start breaking myself out of these fear-based mindsets and really start entering these new phases of my life with courage and disrupting old patterns.”
Describe the writing process for this book. How did you find that courage to move past your fears?
Definitely writing to Durga. Knowing that the book was going to be about this journey of me connecting with my courage, I had to accept the challenge. I’m a writer by training. I’ve been writing my whole life. I was an English major, so I knew I could write, but I had to sit down and excavate six years of my life. I had to go into my journals from 2015 up until when I started writing the book at the end of 2021.
It was wild to re-experience myself going through these various obstacles, these discouragements, these discomforts and then find the strength through this courageous energy I had within me, to take these small steps and overcome each obstacle. The excavation of my own life was an interesting part of the process for me to get clear on the themes based on what I remembered.
The writing process was very spiritually and emotionally transformative because I’ve been doing all this work with my own courage that I sort of had to channel it with my own creativity to write and to marry what I had been doing professionally and what I had been going through personally. So, once I formed the book proposal, the blueprint for what I was writing, and submitted it to the Hay House contest, I then learned I won the runner up prize, I was able to write the manuscript pretty quickly. At that point, I was like, ‘okay, I know what I’m writing about now. I know I have the courage to do it.’ Durga was right, after all.
Walk us through the four steps for somebody who is just hearing about this and is interested in your way of approaching courage.
I have a Courage Kit framework, and I’ve had to walk my talk through it, but I’ve used it with hundreds of clients. It’s a four-phase process to support you with activating your courage and keeping it alive. The first phase is activating your courage and calling it in, identifying your courage metaphor, how to access that energy and how to commune with it and build a relationship with it. The second phase is about aligning with your needs because, as mothers and women, we don’t ask ourselves what we need due to this societal expectation and cultural conditioning. That’s an important part of emerging victorious. Victory is important because it means to attain fulfillment. Being victorious means having the courage to honor yourself so that you can be victorious, whatever that is like for you. The third phase is alleviating stressors so you can feel your best. Then the fourth phase is taking action so you can start making baby steps towards your goals.
How was this journey impacted by being Indo Caribbean? What role did your culture play in this?
The role that my culture plays is huge. In the book, I talk about the legacies of sacrifice that I come from because of indentureship. I’m three generations removed from that history of colonizers exploiting indentured laborers. When you come from these legacies of sacrifice, fear-based mindsets and behaviors accompany it. When I was acting from a place of martyrdom and sacrificing my own needs, I realized I learned that from the women who came before me, who learned it from the women before them.
When you zoom out you realize this has happened across cultures. Why are women in our culture asked not to use our voices? Why are people telling us to shut up, play small and don’t cause trouble? Our voices have been collectively suppressed, and over the last few decades, we’ve been liberating ourselves. We’re going to honor all parts of ourselves and express ourselves as we need to, and we need courage to do that.
Why dedicate the book to your younger self?
I had to dedicate this book to my Little Shanny because her voice was suppressed, and due to cultural and societal expectations, she wasn’t allowed to be her fullest self. She’s very lively and creative. In the book, she is writing and we make rap songs and other things to call on our creativity. This book is an honoring. As I was honoring all parts of myself and healing my own emotional wounds, I was liberating her at the same time.
How would you describe your relationship with Durga Ma? How can others who are not Hindu achieve that sort of relationship with their metaphoric courage figure?
Regarding Durga and myself, I don’t say, ‘I got this courage metaphor, now help me.’ You have to build a relationship with it. In the last eight years, I’ve been able to build a solid relationship with her where my courage is almost automatic. If I feel or think about fear, my automatic courage alert starts going off. The stronger connection I build to her, the stronger our relationship becomes, and the more self aware I become about making courageous choices.
But, in the introduction of the book, I clarify that folks can use the Durga archetype or work with Durga whether they are Hindu or not. It doesn’t matter what walk of life you come from because she embodies victory over evil, maternal protection and an unapologetic courage that we need for fulfillment. So I encourage folks to connect with her because people who are meant to resonate with it will resonate with it and if Durga doesn’t resonate with you, you understand you have this courageous wisdom inside you. If telling my story about the way it looks for Durga and I, inspires somebody to ponder a relationship like that, that’s great! In the end, I just want folks to walk away feeling comforted and equipped with tools to be their most courageous selves.
How do you take this idea, this archetype, and apply it to yourself or anybody?
We’re human beings and I think sometimes we just need something visual or tangible to hold on to. Sometimes I need an idea or person to help ground what’s coming up for me, so the metaphor is really helpful because I can visualize and interact with it.
The metaphor offers information because when you’re scared and fear is clouding your judgment, it’s easy to default to doubt. Your courage metaphor offers information, encouragement or directions – targeted guidance. As long as you connect, communicate with and build a relationship with it, it will help you. That’s why I use “Dear Durga,” channeled writing, as a common thread throughout the book, it’s one modality that works. If this modality doesn’t work for you, then try interacting with it differently. But at the end of the day, regardless what modality you find, you can leverage that metaphor’s information to inform your next step.
How did motherhood and becoming a mother play a role in writing this book and also your career as a life coach?
I started life coaching when I became a mother. I was pregnant while I was in my Life Coaching Certification Program, and Durga Ma showed up just a few months before I found out I was pregnant. I think she knew I was going into the next phase of my life, and I couldn’t continue on my own anymore. So motherhood was a huge act of courage for me. I left a toxic job so I could embark on motherhood and begin making professional choices that would support me once I became a mom.
The beautiful thing about motherhood is that you become a different person – you change. Your ability to care, give, create and grow changes. Motherhood informed the work that I did with other women in their mind, body, spirit wellness and it forced me to focus on my own wellness. Also, Durga Ma just happens to be this maternal archetype, so maternal protection and nurturing felt important to my process as I was healing wounds. This is a powerful energy that can support other moms because we need support. We’re caring for little human beings and, as it is, most moms are under-resourced. Courage is a resource that doesn’t cost any money, that can help with life’s challenges.
Did you have to endure little battles with people around you to gain support for the kind of work that you do?
I don’t think anyone around me discouraged me. The battle was within myself and having the courage to say, ‘I’m this life coach who’s going to focus on courage.’ I had to get over my own impostor syndrome, self doubt and fears that were weighing me down about coaching with this mindset among many other coaches. When I started, I was focusing so much on self care, but then I realized it’s so hard for women to self care because we have a fear of doing it. Everything goes back to fear. That’s why I realized the root of all of this is coming back to our courage.
As an Indo Caribbean mother, there can be a lot of expectations. Did the courage framework also help with that?
Absolutely. Most moms are givers, especially those of Indo Caribbean heritage. We saw our moms constantly sacrificing everything so we can have high-quality lives. But this trajectory of motherhood and bringing my courage in through my own framework forced me to ask for help, set boundaries and put my needs first. Obviously we put our children first, we’re always protecting them. But I began to honor myself. To realize I can honor myself and my needs while managing motherhood felt really important. But that doesn’t happen overnight. It takes time to do that because we’re breaking out of old patterns from our family’s example. This is why, in ‘Dear Durga’ I tell a lot of stories about my grandmother, because she was a major influence in what I thought motherhood should look like.
Can this in turn create a healthier experience for the child?
Absolutely. You’re a demonstration to your children. Your children do not do what you say, they do what you do. I have daughters and a son, and I don’t want my daughters growing up thinking that when they get married or have kids and start a family, they have to clean the house all the time and never experience joy. I want them to see that Mommy can experience joy and fun and she can work, and she can do these things. It may not look perfect, but they can see that I can do all of these things without it costing my mental health and sanity.
Do you have a favorite story that you use in this book for reference?
It’s not my favorite, but the story about my grandmother’s death and the shock that my family and I felt stands out the most. She was the matriarch and anchor to our maternal line. So, when she passed away, it created chaos. As a little girl, it wasn’t until she passed away that I questioned: ‘Who was she? What was her life like?’ It allowed me to see what my grandmother was like outside of being a grandmother. When the funeral happened, I heard stories about how she sacrificed, whether it was for her education or her family. It gave me perspective on everything that went into my family coming to the U.S. But it also made me think, now that I have the privilege and the opportunity to change things, am I going to take advantage of that?
Liu champions personal growth and overcoming fear, emboldening us to find our courage, be vocal about our needs and refute the age-old myth that Indo Caribbean women must struggle to be successful. “Dear Durga A Mom’s Guide to Activate Courage and Emerge Victorious” is now available for purchase.
I first started writing it for submission to a competition with the Borough Press. I wasn’t sure what story I wanted to write because I felt obligated to write certain stories or write in a certain style. I pretty much got fed up and started questioning myself. When I put pen to paper and got serious, the story that came out was a story of grief not necessarily specific to my life. I knew I wanted it to be about a family going through grief for decades, and how grief can arrest and impact the family structure.
When you first started writing, which part of the story came out?
It was the very first chapter. The first three chapters of the book came naturally. What you read in the book is untouched from the first draft that I submitted. I knew it was about a family that was going through grief. I knew I wanted it to take place between Trinidad and Toronto because I was born and raised in Trinidad and lived in Toronto. I wanted that sort of cross-generational mixture of family in the book as well – to see how each generation dealt with grief.
Did you always want to be a writer?
I don’t think I knew. It’s just one of those things that you think is impossible, so there’s no point dreaming about it. But when I was a young girl in Trinidad, I imagined myself carrying a leather briefcase and I don’t know why, but I knew I was going somewhere important, and I had something important to do. I always loved writing, but the truth is people get in the way and they dissuade you. It’s all around you – that the arts is not a viable career and if you pursue it, you have a 95% chance of failure. But after working 10 office jobs in three years, I’m like, ‘I’m not happy,’ so this is actually the failure. I knew I needed change.
How do you navigate the space of being told that art is not a viable career, especially in the Indo Caribbean community?
Those challenges were around me all the time. It wasn’t even my family, but it even comes from friends and acquaintances. When you’re young, being an artist is hard, and you’re told there’s no point in doing it. I listened to people who said that, and got office jobs and did what everyone else was doing because apparently, that was the way to be happy. Five years passed by and I realized I wasn’t happy and I should have never listened to those people. I started writing. I started doing something that made me happy and treated it as a serious craft. I did not treat it as a hobby, but as something that was going to pave my path. I really worked in a tunneled vision. So I never told anybody what I was doing – I didn’t want to be dissuaded. I had to be my own champion. I know that doesn’t sound healthy, but back in 2012, I didn’t know about community.
Cassandra, the main character is a writer, like yourself. How much of Cassandra’s story is your story?
My family is very supportive of my writing and it took some time for them to get there. Like many families, they kind of saw it as a hobby. Once they saw that I got published, they took it more seriously. Now, they are supportive of my writing and I think in the book, Cassandra’s family is not that supportive. They just weren’t interested in her writing, which is why she didn’t talk about it. It is a little bit reflective of my own experience.
It wasn’t based on a true story. That is something I get asked often – a lot of people say ‘she’s Trinidad and you’re Trinidadian.’ The places I wrote about are from my memory, but the plot itself is fiction. I wanted to challenge myself to write something truly fictional. I grew up in a household of strong Trinidadian women. I wanted to write about strong Trinidadian women, the roles they play, their histories and their backgrounds. The characters aren’t necessarily based on anyone particular in my life. Overall, it was a joy to imagine and write it because each one of these characters are very different from the other.
The novel has nine major female characters and at most three major male characters. Why did you want to tell a female-driven story?
I grew up in a family of predominantly women, and most of my Caribbean friends also grew up in families of predominantly women. They really are, in my experience, our caretakers. For me, my family and my friends, our mothers are our worlds – we love and admire them. Family is their priority; raising their children is their priority. I wanted to write about Trinidadian women because I wanted to tell each of their stories. I want more Indo Caribbean and Caribbean women in fiction. I think anything that I write will always be about Caribbean women. I want to contribute to that field of literature. I have such enormous respect for them; all the sacrifices that they’ve gone through to bring their kids to new countries – some of them single moms. There’s nothing else I really want to write about, to be honest.
One of the other things I noticed was keen attention to the setting. How many of these precise details came from your own life, if any of them?
For Trinidad, a lot of it is based on my memory of the island and my home there. But I did have to turn to my family for specific details that I thought I may have imagined. Because I grew up mostly in Toronto. I was insecure about writing about Trinidad, so I went back to my mom and my family, who lived there for over 40 years. In terms of the house in Toronto, some of that is from my experience and some from imagination. I’ve written and talked about this book before, “The Poetics of Space” by Gaston Bachelard, which examines the psychology of houses. I tried to construct a house that would accommodate the psychology of the characters. If the house seems very detailed, it’s because I made it so, to accommodate certain secrets and people’s personalities.
Why explore the psychology of a house?
It’s not an original thought, but I think the way space is organized around us, or the way we organize ourselves in a space dictates physical behavior. If you’re in a wide open space and you don’t know anyone, that can seem intimidating. If you’re in a closed space, that can also seem intimidating. I tried to organize the space to give each character privacy from the other, but then once they were in a common room, it really changed the dynamics of their interactions.
What makes a family?
I think people who have been through challenges with you for years make a family. That’s not even a blood thing – I have friends that are like family because we’ve been through things together over decades. It’s people you’ve experienced highs and lows with, but managed to stick with throughout the years. But ‘family’ can also be people who you haven’t talked to for years, who you’ve had a fragmented relationship with. For those sorts of relationships, it can be an unhealthy loyalty or a wondering of what could have been.
The book doesn’t have a happily-ever-after ending. Why?
Not ending the story in a neat little package was very important to me. I think there’s a certain expectation in storytelling by readers that a story needs a conclusion. And, to me, this is not what actually happens in the real world. The reasons people read a book are different – some people are reading for escapism, others are to better understand cultures and other people – so it depends on the reader and what they’re looking for. In literary fiction, readers are more open to an inconclusive ending because literary fiction can take things to a darker, more serious place than other genres. If I wrapped up the story with a nice little bow, it would be untrue to what this family has gone through. I wanted to show how unsolved issues can pan out. I didn’t want to take the story from a sad beginning to a happy ending. Not all stories end happily.
What do you want readers to take away from “Wild Fires?”
I set out to write a story that had a universal theme. I wanted to feature a somewhat normal story with Caribbean characters. It wasn’t centered around race or indentureship because a lot of the Indo Caribbean literature that I’ve read has been – and rightly so. That’s where I learned about our history and our stories. But that was not a story that I wanted to tell first because it was not the story that was closest to my heart. When I started writing, I realized the story was really about grief. I wanted to show Caribbean women and Indo Trinidadian women, in a universal light. We are a result of these histories yet go through normal things like grief, secrets and family dysfunction.
Following the publication of “Wild Fires,” Jai is pursuing her Master’s at Oxford University as a Kellogg’s Scholar. While attending school, she’s looking to write a short story about Caribbean joy to contrast the dark themes of her debut novel and portray Caribbean women in unrepresented ways.
“Wild Fires” is available in Canada and the UK and will be available in the U.S. in Spring 2023.
Wedding season is in full swing as the world resets from the coronavirus pandemic that halted mass events for years. Indo Caribbean weddings have rich diversity due to their varying religious and regional intricacies, but are generally large celebrations that require planning, coordination and preparation. Growing up, I was both excited and stunned at the busyness associated with streamlining a multi-day wedding celebration.
The vibrant diaspora of first-generation young adults and their families may look to vendors who can understand the nuances of Indo Caribbean weddings. Below are five Indo Caribbean vendors you need to know about this wedding season!
A self-taught mehndi artist for more than 16 years, Anil Deonarine was fascinated by the delicate, deeply stained details that adorned the hands of Indian actresses and classical dancers. His passion for art inspired him to watch YouTube tutorials and meticulously freestyle designs on his sister’s hands.
Soon after, he began practicing mehndi on himself and perfected his signature designs that drew inspiration from traditional Rajasthani textiles and Arabic floral patterns. Deonarine is also known for his speed, and can craft a flowing, freestyle design in 3-5 minutes without much pre-planning that is symbolic and personalized to the individual.
As a member of the Indo Caribbean, Latino and LGBTQ communities, mehndi was a therapeutic means of growth for Deonarine at the intersection of his identities. With his mother’s aid, he began introducing mehndi to those that celebrate Quinceneras, Noche Buena (Christmas Eve Dinners) and Three Kings’ Day. Within the greater South Asian community, Deonarine frequently applied mehndi on family and friends for weddings/events and participated in cultural events such as holidays.
He initially faced some negative reactions from members of the South Asian community as a male artist, such as being chastised that mehndi is only for women, called slurs and told to stick to traditionally manly activities. However, Deonarine instead focused on bettering his skills, advocating and supporting other male artists, and soon built a loyal and excited clientele that fully supported and accepted him. It is his dream to design mehndi at a queer wedding to further defy stereotypes and champion mehndi’s inclusivity for all, irrespective of race, sexual orientation, religion or gender.
Offering soy candles and natural soaps, Diana Sookram’s products have been used as bridal shower and wedding favors and gifts in bridesmaid, bachelorette and groomsmen boxes.
Sookram began creating natural products in 2016 after her daughter developed respiratory issues from store-bought candles. She fell in love with the creation process and soon began taking small-batch orders from family, friends and co-workers. Now, she is expanding her business through summer networking socials and prepping for mass orders during wedding season by stocking up on top-selling supplies such as small candle jars, lids and soap packaging.
Sookram’s products can be color and scent customized to match the theme of any occasion. Popular scents during wedding season include beach linen, honeysuckle jasmine, lavender and chamomile and honeysuckle rose. Whether a couple envisions a beachy, garden or opulent wedding, Sookram is able to create complementary colors and scents.
She admits the hard work that goes into promoting a small business and jumps at the opportunity, particularly within the Indo Caribbean community, to network and collaborate.
Fresh flowers are a staple in weddings and plentiful throughout the Caribbean. In some Indo Caribbean weddings, couples exchange garlands of fresh flowers, called malas, to signify their consent and joy in choosing one another as partners. This fundamental ritual dates back to ancient times and is deeply symbolic, as malas also adorn the statues of gods and goddesses in Indo Caribbean temples.
Since the age of seven, Mallika Balgobin sat alongside aunties and uncles in temple and watched them handcraft malas. She was inspired to learn the techniques and in 2018, established her business, Vibrant Garlands, to make and sell malas for special occasions.
Balgobin finds the preservation and teaching of traditional craft vital to her Indo Caribbean heritage, as she is able to make malas for some of the community’s biggest events such as weddings, religious ceremonies, holidays and funerals.
Her recent 2023 trip to South India aided her in learning new techniques and she was encouraged by how the tiniest, simplest flower is arranged to symbolize auspiciousness and beauty. For weddings, Balgobin loves stringing white carnations, red roses, baby’s breath and pink lilies to evoke feelings of unity and love. Balgobin works with couples to customize fresh flowers. She provides fresh flowers or suggests couples buy the flowers of choice prior to customization.
The pulsating and electrifying rhythms of live tassa are a grand component of Indo Caribbean weddings. Since 2017, G Star Tassa Group has brought unique beats and energetic vibes to Indo Caribbean special occasions. While derived from Indian traditional drumming, tassa is a distinct musical experience particular to the Caribbean. It is generally associated with the splendor of wedding festivities due to the excited ambiance it produces. When arriving at a wedding where tassa is performing, the music is loud and center, indicating that a celebration is taking place.
Watching, listening and dancing to tassa is a multisensory experience that heightens the audience.
For the members of G Star, playing tassa is a means of, “expressing culture, rather than representing it. When we play, we like to believe we are invoking emotions from every person who can hear it. Our culture embodies happiness, togetherness and love, all of which can be found in the sweet sound of Tassa.”
Photography and videography offer couples some of the strongest mementos to relive their special day. Nicholas Mangal at DvS Photography brings high energy and professionalism to capture the right angles, looks and moments of a wedding. Located in both New York and Florida, Mangal prides himself as one of the only individuals in the Indo Caribbean community who shoots and edits both photography and videography in specially curated, all-inclusive packages for couples. With an emphasis on portraits, he personally caters to each couple and involves them after the shoot in the editing and final stages of his products.
Mangal understands the complexity that can accompany an Indo Caribbean wedding, but believes that this, “forces me to think outside of the box and create new perspectives, ensuring that I try different styles.”
He loves to document the aesthetics of Indo Caribbean weddings, from the rich embroideries of the outfits to colorful decor.
Ultimately, he aims to highlight the timeline of wedding rituals by capturing people in motion and interacting with the crowd to create lifelong memories that the couple can cherish forever. For Mangal, photography/cinematography is a deeply subjective form of art that can be used to capture the unique beauty and experience of Indo Caribbean weddings.
These vendors bring an important cultural and niche aspect to the Indo Caribbean wedding industry. Their products and brands are tailored to the community. As a 2023 bride, I am excited to see the diversity of vendors available to help guide and support those getting ready to begin their new journey of married life.
To inquire about services, please visit the vendors’ social media pages.