Yes, I know. There will be people scoffing at the title on its own, along with others who disregard this as one of those trivial “millennial problems.” This may come off as being very insignificant and almost pathetic that I have to restrict myself from opening a social media app and then document my findings.
Deemed as just another person’s attempt to not be so reliant on social media or dismissed as just another learning opportunity or whatever the conclusion may be based off the title alone, I know for myself that these 24 hours placed a lot into perspective. The difficulty didn’t lie in the actual act of not utilizing an app but rather in the realization of how prevalent and strong of a presence it held within my life. There is something about that level of connection with the rest of the world that forces this to become a type of addiction that attaches itself to you.
Let me begin by initially mapping out how my day would normally play out, emphasis on the utilization of social media. As soon as I wake up, I naturally grab my phone from my nightstand and immediately check for any messages and then automatically go onto Instagram to scroll through my feed to see what I missed while I was sleeping. The next step would be to check Snapchat and then the occasional scrolling of Facebook just to do a quick catch up of what I was missed out on.
As my day continues, my phone is never kept far from me. It’s always a small reach away so if I ever have a free moment, I can go back on to consecutively check Instagram, Snapchat, and Facebook to see what was happening and keep myself updated. While I would eat, be out, watch television or any day to day activity, numerous times in between I would check my phone and checking those three apps almost seemed like an obligation because I wanted to make sure I wasn’t left behind on anything new.
Of course, as a final culmination to my day, I would lay awake in my bed when the sensible option would’ve been to sleep, and once again be scrolling through the same three apps to constantly be caught up until my phone would fall out of my hand and I would realize it was finally time for me to sleep.
Do you see the pattern? I never wanted to feel left out or as if I was missing out on something or wasn’t updated on anything and everything. It seemed as if constantly refreshing my feed to gain new information on other people was my only way of feeling connected. It was mindless and constant yet no matter how often I checked it, I naturally would be back to doing the same thing again. It became an addition to my routine, one that I seemed to never rid myself of and felt guilty if I couldn’t maintain all of it. It was a necessity at this point.
The decision to go 24 hours sans social media wasn’t a particularly difficult one but one I almost felt I needed to embark on. Unconsciously, I was fed up and exhausted with my reliance on it and the underlying obligation I felt to never be left out. It was this inexplicable tiredness of immersing myself into something that somehow seemed to encompass many parts of my life and what I did.
Of course, much hesitation and resistance accompanied my 24 hours. Documenting exactly what happened within that day would be quite redundant as it’s basically the same as any other person who tried this experiment-accidentally about to open the app and getting major hits of FOMO.
However, what I do want to explain is the wave of realization that struck me and just how scared I became of this dependence I always had but was never aware of.
I will be the first to admit to myself and everyone that yes, I do avidly check social media and I take a lot of the stuff I see on Facebook, Instagram, and Snapchat as face value. More times than not, I am overwhelmed by what I read or see not because it shocks me but because it makes me feel as if I’m not doing enough. I have realized that it is now less about connecting and sharing with others and has become another opportunity to just show off.
The aspect of being social is no longer something many tend to associate with this despite the name being “social media”. While it is true that it keeps many connected, I realized that during my 24 hours off, I wasn’t completely disconnecting myself from and dismissing old friends. By saying that constantly refreshing my feed was my attempt to stay connected with long-distance or old friends was a lie and I knew it. That could easily be done with far fewer scrolls at fewer times during the day. The truth was that I was only constantly doing this to watch this inner contest unfold.
We were on these apps sharing every detail about ourselves without giving any regard to any sort of consequences. The age of people joining social media is only becoming younger and younger. For most of us, before we are even able to establish an identity that we can call our own, social media is forcing us to expedite this process and create the idealistic representation of who we are or want to be. Rather than letting the world know about our individual realities and sharing things about ourselves, we are now automatically manifesting a false reality that we hope to one day achieve. For anyone young who has barely discovered themselves, this idea leads them in the wrong direction that is hard to recover from. It is already bad enough that media on its own presents us with one idea of perfection but here we are, constantly refreshing our feed to view our friend’s ideas of perfection and hoping to attain that too.
Twenty-four hours of abandoning social media allows you to appreciate what you have versus what you don’t have but are constantly viewing. While 24 hours is a very short amount of time to even gain the right amount of perspective, if you actually give this whole experiment some thought and reflection within that time, you begin to learn a lot more than you initially expected. The world around us has so much more to offer than we give it credit for but we are stuck on our phones constantly wishing for this false reality that was designed by someone- just as we are doing ourselves. Instead of taking advantage of this control we have on how others perceive us, it is time to shift that control so that we learn to not be so dependent on winning this metaphorical race.
Next time you go to a concert or are out with friends, it is okay to take a few pictures but don’t let the sole purpose of being at these places revolve around Snapchat and Instagram. Take advantage of how lucky you are to be at that place and have fun. Don’t stress about not getting the perfect picture or not letting everyone know where you went because if you aren’t having fun yourself, what is the point of even letting everyone know?
I am not saying that I will fully stop taking pictures or stay active on social media pages, because I would be completely lying if I did.
What I can say, though, is that I’ve grown more appreciative of being in the moment and of the time spent away from my phone doing other things that I’ve wanted to do but never made time for.
There is no need to quit social media fully because it definitely has its benefits. However, giving yourself time to breathe and not placing so much pressure on yourself is the key. Scroll fewer times a day and realize that that is not real life. Go back to utilizing social media to share things and no longer for competing.
Jill Patel is a high school student living in New Jersey. Besides writing, she has a love for art, coffee (caffeine in general) and exploring new places, whether they be in NJ or in a completely different country. When she is not wandering in search of coffee or new places to visit, Jill is either binge watching TV shows or updating her blog. She hopes that through Brown Girl Magazine, she will be able to reach out and connect with South Asian women from around the world. You can also follow her via Twitter and Instagram.
In an age where algorithms dictate viewership, Nancy Jay uses her love of dance to propel herself onto TikTok’s “for you” pages. Jay is an Indo Guyanese, Bronx native who began dancing at the age of three. As an influencer and content creator, she amassed a social media following of more than 500,000. Versed in many styles of dancing including Caribbean, Bollywood, urban and Latin, Jay can be spotted in soca music videos such as Linky First’s “Rock and Come in” and “Jeune Femme,” Adrian Dutchin’s “Roll” and by soca king Machel Montano’s “Mami Lo Tiene.”
Many content creators are typecast into the niche but Jay has defied this norm and proclaims she is more than just a dancer.
“I dance, travel, post lifestyle and beauty content. I’m an Indo Caribbean woman who enjoys being myself and promoting my culture. I like showing viewers it is okay to be who they are and embrace what they look like, despite what they see on social media. I did not plan on being a TikToker. As I started posting videos, the love and support I received from viewers was amazing. I have never experienced anything like that before on Instagram, where I started my content journey,” Jay said.
In conversation with Jay, the following answers have been condensed for concision and clarity.
Why is it important for you to create content related to your Indo Caribbean roots?
Growing up, I never felt represented as an Indo Caribbean on television, in movies, social media or anywhere else. My goal as a content creator is to promote the Indo Caribbean culture through my content and be the representation the Indo Caribbean community needs.
Are there unspoken rules about being a content creator or an Indo Caribbean woman on the platform?
Being an Indo Caribbean woman on TikTok can be challenging when you are trying to find your identity and do not feel represented.
Jay explains her frustration with the lack of Caribbean representation and acknowledgment from platforms, as well as her goals as a content creator in this video.
Do you ever experience a block, similar to writer’s block, when it comes to creating content? How do you overcome that?
I have yet to experience a block. However, I do have days where I want to take a break and just relax instead of filming. As a content creator, it is important to take breaks and schedule days to just relax because being a full-time content creator is a 24/7 business. It can be draining and you may lose your sense of reality when you have the mindset that everything is content. I enjoy taking a day or half a day to cook, watch TV or go shopping with my partner without the worry of filming any of it.
How has your social media presence changed your daily life?
When I am in public, supporters approach me to express their love for my content and sometimes ask for a selfie. When I find people staring at me in public now, it’s most likely because they recognize me from social media and not because I look funny.
In May of 2021, I used my platform to reach out to brands and ask for their support in a project I named ‘Nancy Jay Gives Back.’ I put together care packages, using products donated by brands, and drove around the Bronx sharing them with people experiencing homelessness or those in need. Seeing the happiness on their faces upon receiving these bags was priceless. Additionally, I spread some extra joy through dance. I remember one lady telling me she’d never been to a club or party so I told her I’ve brought the party to her and we danced to her favorite genre of music right there on the street.
Jay plans on continuing this project as her social media presence has grown.
How has your family reacted to your social presence?
My family has always been supportive of my talents and the path I have chosen. My first public dance performance was at the age of 12. I performed a fusion of Bollywood and chutney music at middle school events. When I got to high school, I participated in our talent show to a fusion of Bollywood, chutney, soca and top 40. I won the talent show three or four times. I also performed for fundraisers organized by mandirs in Queens, the Bronx, weddings, sweet sixteens and other social events.
My family always came out to support me. They love seeing my content and always encourage me to film and create. My mom in particular tells everyone about my TikTok videos.
While enrolled at John Jay College, Jay founded the first West Indian student organization called “West Indies Massive.” She captained the dance team, taught dance classes and won the talent show multiple times while pursuing her Bachelor of Science degree in criminal justice with a minor in law and police studies.
Any advice for creators who may not have the support of family?
Do not let this discourage you. If content creation is something you truly want to do, stay consistent and eventually your family will support you for doing what you love. Social media is still new to some and the idea of it being someone’s career or business is new as well. I say be patient. Also, talk to them about your social media goals, as perhaps they do not understand the full picture.
What is your dream partnership and why?
My dream partnership would involve acting. I’ve always wanted to be an actress, preferably a Bollywood actress because I know I would kill those dance numbers (haha!). Also, I would love to partner with Sandals Resorts and bring that Caribbean flavor they should be promoting.
Jay has collaborated with major brands like Samsung Mobile, Norwegian Cruise Line, AC Hotels, Disney Music Group, and Dunkin which is paramount for the Indo Caribbean community.
“I am the first Indo Caribbean woman to work with Norwegian Cruise Line as a content creator. Cruise travel is a huge part of my content journey. I love cruising and creating unique experiences and content. While cruising, I connected with the crew while most people typically do not. I treat everyone with respect,” Jay said
“I started a fun series called ‘Cruise Dances with the Crew’ back in August of 2021. There’s a playlist on TikTok with all of the fun dances. Prior to my first video, I had not seen anyone dancing on cruise ships with the crew. I guess you could say I started that trend.”
Nancy intertwined this partnership with her content and further put herself on the map.
Another pivotal partnership for Jay occurred in March 2021 when Dunkin chose her as one of 10 from a nationwide competition to feature her signature drink on the local menu.
How has content creation changed in the past two years?
Within the past two years, my content and style has grown tremendously. My gear list has also grown tremendously. I’ve been a content creator full time for a little over a year now. I have had more time to focus on the presentation and editing of my content.
What else do you want your viewers to not know about you or your work?
I stay true to who I am. Supporters who I’ve met in person can attest that I am the same, in-person and online. I like to keep things relatable, fun and authentic. I am working with a lot of big brands. I try to incorporate dance in all my content to capture my passion, diversity and culture.
I started teaching Caribbean Dance Fitness classes and private dance lessons officially in 2016. Since Covid, I moved everything online. Not only have I helped many learn how to dance but I have also helped build their confidence through dance and expression.
Lastly, I love traveling and encouraging others to live their best life.
Jay is more than a dancer; she is unapologetically herself. She maximizes opportunities and is building a brand that highlights her Indo Caribbean roots – a culture often not highlighted in mainstream media.
You can stay updated on Jay and the community she’s created by following her on Instagram,TikTok andYouTube.
Featured Photo Credit Kevita Junior | Left to Right: Tu hiya ka kare he, Tu kaha bate, Tu hamar ke bate
Thundering waves clawed on the body of the vessel as the sea swallowed the voices of terrified passengers. They clung to the shreds of the Eagle Speed as each hour submerged the ship deeper within the kala pani (dark waters). Steamer ships were sent for rescue, finding two children alone, clenching to the remains of the mast. The unscathed captain and crew fled in boats, leaving the lives of coolies (indentured laborers) to the fate of the dark waters. TheEagle Speed set sail on August 19th, 1865 from Calcutta to Demerara. This tragedy took the lives of over 300 hundred indentured laborers. The coolies onboard were not just casualties of the kala pani, but a larger system of British colonialism.
The crossing of these tumultuous seas wasforbidden for Hindus, as it meant the severance of reincarnation and the unraveling of caste. Yet more than 2 million Indians were taken across the kala pani. The forbidden water carried stories along its transatlantic waves, bearing witness to history lost against its tides. The restraints of caste drowned along the voyages as surnames and relations were cast across the seas. They became Singhs (lions) and Maharaj’s (great kings), Brahmins by boatinstead of birth.
These indentured workers were mainly taken from regions of Bihar and Uttar Pradesh to different corners of the globe, with some of the largest to the Caribbean. Guyana experienced around238,909 workers, Trinidad 143,939 and Suriname 34,304. With 399 Indians, the Lalla Rookh docked on June 5, 1873, at Nieuw Amsterdam in Suriname, later becoming known as the coolie depot. As workers poured out of ships and onto plantations, they experienced violence and oppression at alarming rates, especially against women.
Coolie Belle
They were nameless and barefooted with gold jhumkas and bangles adorning their bodies. As tourism increased in the Caribbean’s, photographing indentured women on postcards became part of its selling point. These women became subjects to appease the white colonizer gaze and fetishized exotic ‘Coolie belles.’ A bulk of these postcards were shot in Trinidad and sold in local shops to visiting tourists. Yet these postcards failed to translate the hierarchy of power between the photographed and those behind the camera. The white European men who carried out these photoshoots chose backdrops that masked the real conditions of sugar cane fields and living quarters. Who were these women? What were their names? The women were juxtaposed with the term ‘Coolie,’ a slur for laborer and ‘Belle,’ the French word for beautiful. They were coined as laborers of beauty, yet their eyes tell a story of fear of pain.
Tu hamár ke bate? (Who are you to me?) Tu hiyá ká kare he? (What are you doing here?) Tu kahá báte? (Where are you?) Artist Nazrina Rodjan posits these questions that rummage through the minds of many Indo Caribbean descendants. Who were my ancestors? What did they experience? Rodjan aims to explore the experiences of indentured women through her oil painting series “Kala Pani.” In this series, she reimagines the postcards of indentured women alike the depictions of European nobility. In conversation with Rodjan she mentions,
I’ve thought long and hard about whether it would be ethical to reproduce these staged images of women who might have felt scared and uncomfortable being brought into these studios to be photographed by men. I will never know their true experiences and how they might have felt knowing a stranger in the future will decide to paint them in the same positions they were put in for the original photograph.
Rodjan’s art series started as a way to commemorate 150 years since the first indentured workers arrived in Suriname and expanded to include regions like Guyana, Trinidad and Jamaica.
Wanting to reclaim these images comes from feelings of injustice whenever I see these postcards. They were made from a dehumanizing perspective. Reclaiming these images becomes necessary knowing how the violence Indo-Caribbean women still face today is just a continuation of the violence brought onto indentured Indian women then. To me, creating this piece, symbolized the acceptance of questions remaining unanswered, stories being lost forever, and realizing that after a history full of trauma, there’s a treasure in the women that are still here to tell their stories.
The ratio of men to women arriving on these ships left little to no autonomy for women. Experiences of violence on ships and plantations were common throughout the Caribbean. Despite this, indentured women became trailblazers and pioneers in uprisings against poor working conditions.
Everything about these women seems to be a question we can never answer, but I decided to give them titles in Hindustani that are questions they might have for me as the painter who looks at them and sees both a stranger and a loved one. Tu hamár ke báte? Who are you to me?
Living in the Netherlands, Rodjan talks about her experiences tracing her ancestry and honoring this history:
Unfortunately, in the Netherlands learning about the history of Dutch colonization only meant memorizing all the different spices they brought in and listening to teachers talking proudly about the Dutch East India Company in elementary school. Tracing back my ancestors has so far only led to a picture of my parnani and a few more names in the family tree.
Guyana
OnMay 5, 1838, Anat Ram stepped foot on the rich grounds of Berbice, becoming the first Indian laborer in Guyana. The Whitby and Hesperus departed from Calcutta on January 13 and arrived in Berbice first then West Demerara. Over the course of 79 years, approximately259 ships voyaged from India to Guyana. While the experiences of these ancestors may remain unknown, artists like Suchitra Mattai aims to revitalize the voices of our indentured ancestors.
Suchitra Mattai is an Indo Guyanese multi-disciplinary artist. Through her work, she uses the experience of her family’s migration and the history of indentureship to rewrite and expand our notions of history. In her piece, Life-line, a rope of saris pours out of a tilted boat, mirroring the experiences of her ancestor’s journey across the transatlantic. The saris serve as both water and a connection to two lands, India and Guyana. Mattai further explores indentureship in the piece “Coolie Woman,” depicting a woman seated with a sari, embellished with jewelry and flowers.
I wanted to reimagine the photo to give her agency. I also wanted to address the desire for people of the diaspora to connect to their homelands and ancestral pasts. The painted wallpaper drips and fades to parallel the way my memory of Guyana ebbs and flows, Mattai says.
Trinidad
Anchoring at the Port of Spain on April 22, 1917, the last ship to ever carry indentured Indians made its final stop. A system that bound Indians to an unknown land finally ended after 79 years.
To invoke conversation and pay homage to their memory, artist Gabrielle Francis creatively analyzes indentureship. Gabrielle Francis is an Indo Trinidadian queer interdisciplinary artist, writer and organizer from Queens, New York. In her piece “206:21 Queer Altar Mixed Media Performance,” Francis pays homage to her indentured ancestors with a focus on queer identities. The title 206:21 reflects the ratio of men to women that journeyed on the Fatel Razack, the first ship from India to Trinidad. A mirror is decorated with the colors of Trinidad’s flag along with six candles embodying the pride flag and vibrant red carnations. Written across the mirror is, “I wonder how many of you were queer?” A question that allows for openness and conversation around potential queer ancestors. Written records around indentureship were translated and produced by European men, leaving little to no room for women or queer folks. Francis’s work aims to transform and challenge Eurocentric narratives surrounding indentured history.
As descendants of indentureship, it becomes difficult to sit with questions that may never have answers. Visiting National Archives or exploringdigital databases can help connect descendants to learn about their own history. As we unravel difficult experiences of the past it’s important to ask, how do we carry the legacies of our ancestors? How do we honor their sacrifices?
As they were stripped of their identities and reduced to passenger numbers, they fostered new relations—jahaji bhai and jahaji bhain (ship brother and sister). From shipmates to family, to present-day melodies of chutney music to the stew of pepper pot on Christmas morning, these bonds of community have evolved and are seen across the diaspora today.
“A weight’s been lifted off my shoulder,” said Shania Bhopa, a graduate student at McMaster University, who took control of the narrative and timeline of her life by freezing her eggs at the age of 25. As a P.h.D candidate in the Global Health Program, her goal is to destigmatize egg freezing among as many young women as possible. Although she was nervous to post the first Tiktok about freezing her eggs, Bhopa knew that her goal was to raise awareness about female fertility using her background in health research at McMaster, and her own experiences. That video went viral with 1.6 million views.
“Knowing the likelihood, especially with my career goals, [that] I can have a happy, healthy baby potentially closer to 35, is very refreshing.”
In the South Asian community, reproductive health and family planning can be sensitive topics. Bhopa wanted to utilize her platform to challenge these traditional opinions about reproductive health. And it’s why Bhopa continues to shine a light on the importance of starting these conversations and destigmatizing egg freezing, primarily within the South Asian community.
So what is the purpose of egg freezing? According to Statistics Canada, in 2021, close to one-quarter of Canadians, aged 15 to 49, changed their fertility plans because of the pandemic.
Egg freezing — which helps to preserve fertility for a later stage in life — continues to serve as a way to give individuals leeway to live life intentionally, without conforming to societal pressures. This is an important consideration, as research shows that by age 35 the chances of conception decline to 66% and continue to decrease as individuals age. What egg freezing provides is a feeling of freedom and liberation for people with a uterus, so that their decisions are not influenced by when they should have children.
In this article, we’ll take a deep dive into understanding the stigmas that exist, the importance of having these conversations, and the insight gained as individuals like Bhopa take fertility into their own hands:
The journey through fertility
“My purpose of going through fertility treatments at 25 is to buy myself time, to get closer to my purpose in my professional life, so that hopefully one day I can be super intentional with my time as a mom when I’m ready.”
According to Dr. Togas Tulandi, professor and chair of obstetrics and gynecology at McGill University in Montreal, medication is given to stimulate the ovaries so they produce eggs. The eggs are then removed for freezing and storage. Needless to say, the treatment can be costly. The initial egg freezing procedures typically range from $5,000 to $10,000, while the ongoing storage expenses amount to approximately $300 to $500 per year. Despite the financial commitment, freezing eggs is a valuable investment.
Bhopa documented her 11-day egg freezing journey through a TikTok series on social media. She shared the ups and downs throughout the two-week duration, addressing public queries and comments including those on how this was accepted, given her South Asian background.
Societal expectations, cultural norms, and traditional beliefs often contribute to the apprehension and lack of open dialogue regarding fertility. Breaking through these barriers is essential to empower individuals to make informed decisions about their health care and reproductive journeys.
“My biggest reasons for doing this are both reproductive health and family planning. These are sensitive topics, especially in the South Asian community,” said Bhopa.
They are particularly “sensitive” because in South Asian households, conversations around women’s health, periods, fertility, and related topics, seldom occur openly. Bhopa’s story serves as an example of the power of embracing one’s fertility journey and the liberation it can bring.
Given that Bhopa is a woman in her mid-20s, she sees egg freezing as a way to help her future self. She is calling it a birthday gift for her 25th year. Most of all, she expresses,
“It’s like, you graduate…and then you’re supposed to get married and have kids. But I think it’s important to take control of our own narrative; we don’t need to feel this pressure to have kids when we’re not ready.”
“Why at the young age of 25? What was your parent’s reaction? How was this accepted?” These were just some of the questions that circulated Bhopa’s social media page as she brought awareness to fertility planning.
In order to understand the beneficial impacts that freezing eggs can have on the course of one’s life, we need to first create spaces for people within the South Asian community, and beyond, to feel as though they can prompt these conversations without the resulting stigmas.
All South Asian women should be able to make informed decisions surrounding their fertility journey; whether that is through understanding the options that exist, the associated costs, the procedure, the support that’s available or anything else. To achieve this, we must break down the discomfort within our households surrounding fertility conversations by challenging ourselves to make historically uncomfortable conversations comfortable.
Shania Bhopa is doing her P.h.D in Health Evidence & Impact and Global Health at McMaster University. She is the co-founder and director of the non-profit organization, The Canadian Courage Project. She’s also the author of the children’s book titled “Gurk and Bianca” and hosts The Global Health Collective Podcast.
[Photo via Giphy]
[Photo via Giphy]
[Photo via Giphy]
[Photo via Giphy]
[Photo via Giphy]
Jill Patel is a high school student living in New Jersey. Besides writing, she has a love for art, coffee (caffeine in general) and exploring new places, whether they be in NJ or in a completely different country. When she is not wandering in search of coffee or new places to visit, Jill is either binge watching TV shows or updating her blog. She hopes that through Brown Girl Magazine, she will be able to reach out and connect with South Asian women from around the world. You can also follow her via Twitter and Instagram. 
