“I am aware of the changes that are still necessary for the people of Guyana, because I look at them with the eyes of the people and not with the privileged eyes of the privileged few who have always had things easy and so did not want a change.”
These were the words of Cheddi Berret Jagan, former president of Guyana. Jagan who served from 1992 to 1997, is often referred to as the “Father of the Nation.” Descended from indentured laborers, Jagan would receive an education from an institution known to champion students descended from a similar background — slavery.
Jagan’s interest in politics started at an early age. At the age of just 18 years old, he left Guyana and came to the U.S. in hopes of a better future. Given the period of segregation in the U.S., his access to schools was limited.
Enter Howard University. Howard is a historically black university (HBCU) founded in 1867. Howard’s roots run deep within the murky waters of U.S. history. It has stood witness to the Jim Crow era, the civil rights movement and the inauguration of our first Black and South Asian female vice president, Kamala Harris. It is ranked number two amongst HBCUs and is “the leading producer of African American students entering medical schools.”
Among its list of legacies are music mogul Sean “P. Diddy” Combs, actress Taraji P. Henson and our newly appointed vice president Kamala Harris. Howard’s marching band and dancers proudly performed at the inauguration of Vice President Harris in January 2021.
These two individuals — Harris and Jagan — are the results of different upbringings and generations, yet they both achieved many firsts in their professional lives. One can assume that Howard’s mission as a champion for Black students played a role in their successes.
Jagan spent his undergraduate career as a student of the HBCU. He entered Howard’s pre-medical program and majored in dentistry. To finance his education, he worked as an elevator operator and spent the summers working as a patent medicine salesman in Harlem. It would also serve as some of his most memorable experiences with racism in the U.S. According to the New York Times it “taught him bitter lessons about racism and inequality in capitalist societies.” Jagan went on to graduate from Northwestern University Dental School in Chicago in 1943.
Howard University focuses on social justice and providing a learning environment that promotes diversity. An excerpt from Howard’s mission statement reads:
“We prepare diverse, talented and ambitious students to learn, lead and embody excellence in truth and service.”
Jagan’s attendance was a direct result of segregation. Fast forward, 1954 would initiate the fight for equality with the Civil Rights Movement. While many regard the movement as the key factor in desegregation and addressing human rights violations against African Americans, it also opened doors for the immigration of non-Black people of color.
Young Cheddi Jagan
Here at Brown Girl Magazine, we’ve had multiple discussions on colorism and anti-Blackness within the South Asian community. And the irony of it all? It is the Civil Rights Movement that has allowed South Asians to emigrate to the U.S. South Asians — a group with a history of colonialism that has promoted anti-Blackness has also benefited from a Black-led movement.
In 1965, President Lyndon B. Johnson signed the Immigration and Nationality Act. The act eliminated previous race requirements and prioritized the entrance of skilled labor immigrants to the U.S. While the act in present-day would be criticized as cherry-picking skilled laborers who would be treated as second-class citizens, the chance for opportunity was undeniable and South Asians took it.
The change in immigration laws had an astounding impact on the South Asian population in the U.S. According to Migration Policy, the population of Indian immigrants in the U.S. went from 206,000 in 1980 to 2.07 million in 2019. A host of individuals, families and households have had the chance to emigrate and achieve the “American dream.”
Moreover, introducing an individual to a new culture and allowing them to immerse themselves can expand their horizons exposing them to new knowledge and different ways of thinking. For instance, when non-Black students of color like Jagan attend historically black schools, they receive an education that is conscious of discrimination and the quality of the Black experience in the U.S. It would have forced Jagan to experience the same kind of discrimination and yet learn about the peaceful demonstration and needed policy change from a school that championed Black students.
Minority groups, such as African Americans, have endured atrocities present-day people of different racial identities could never fully understand. It’s important that we empathize with these experiences and acknowledge how far South Asians have come in this country due to African American blood, sweat and tears. 2020 showed us there is still work to be done.
The first step in addressing racial tensions, gender rights and various causes is empathy. As the former president said, changes should be viewed from “the eyes of the people, and not with the privileged eyes of the privileged few.”
February 15, 2023April 3, 2023 6min readBy Usha Sookai
sophie jai
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. — Sophie Jai
“Wild Fires” by Sophie Jai is a story about one Trinidadian family’s journey through grief, identity and memory. Jai’s debut novel takes readers on a journey of a past Trinidad and present-day Canada.
In conversation with Jai, we talk about Caribbean stories, the psychology of a house and what makes a family. The following answers have been abridged and edited for clarity and concision.
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.
September 28, 2023October 1, 2023 5min readBy Priya Deonarine
Sustainable development practices can be utilized as a model for addressing gender inequities worldwide. Empowering women with the resources to gain opportunities, learn skills and collaborate in a safe and welcoming environment is crucial to women’s growth and development as individuals.
After witnessing the first-hand effects of gender-based violence growing up in Guyana, Menakshi Babulall founded the Canadian nonprofit A Different View Project (ADVP) to promote and implement sustainable development methods across Guyanese communities. Vaksana, which means “nourishing/refreshing” in Sanskrit, is a branch of ADVP exclusively aimed at developing Guyana’s first eco-friendly women’s retreat center. The retreat will offer wellness activities, training services, regenerative farming and community outreach programs.
Babulall was inspired by Guyana’s rich rugged beauty as a child. Her dual passion for preserving the environment and aiding underserved communities contributed to her studying International Development at Toronto’s York University before launching a public service career. This eventually led her focus back to Guyana. Babulall talks to BG about her journey as the founder of ADVP, the progress of Vaksana and her perspective on sustainable and ethical charity work.
How and when did you create ADVP?
“ADVP was founded in 2016 with the vision of empowering communities and fostering sustainable development. The idea stemmed from my desire to create an organization that could address pressing social and environmental issues through innovative and collaborative approaches. One thing that fills me with immense pride is ADVP’s unique ability to bring together diverse stakeholders, including those from the diaspora, to create impactful projects that make a tangible difference in people’s lives while also providing them with an opportunity to connect with their homeland.”
ADVP has worked on projects within Guyana’s fertile Pomeroon-Supenaam region, a vast expanse of hills and villages that dot the Essequibo Coast. Past projectsinclude building a centralized outdoor recreation space for families and facilitating peer tutoring groups for children affected by COVID-related school closures. They also engage with the children of Queenstown Village through storytelling and interactive activities to nurture their passion for the environment. Overall, the focus of ADVP’s projects is geared toward education and sustainability while developing meaningful and positive relationships with the local community.
Babulall’s remigration to Guyana during the pandemic to oversee Vaksana was a humbling experience. Living in rural Guyana allowed her to witness the benefits that wellness and eco-tourism can bring to a community, but also highlighted entrenched socio-economic struggles. It heightened her senses of resilience, adaptability and empathy; all key facets she believed essential to an effective leader. She soon realized the importance of cementing Vaksana as a catalyst for positive change in the region, particularly as a safe haven for women and gender non-conforming individuals who may face discrimination.
“The idea of Vaksana was born out of extensive research and a deep-rooted passion for creating a transformative space that combines wellness, eco-tourism and community development. The journey began with a vision to create a place where individuals could experience holistic well-being, connect with nature and promote sustainable living.
Vaksana’s foundation is built on three essential elements: tourism, community outreach and regenerative farming/agriculture. These elements were thoughtfully chosen to ensure a holistic approach to personal growth, community empowerment and environmental stewardship. By integrating these pillars, Vaksana becomes a powerful force for positive impact, both within the retreat center and the wider community.”
Vaksana is an ode to Babulall’s Indian heritage that was originally displaced and irrevocably transformed upon arrival to the Caribbean. Like its namesake, individuals have the opportunity to reclaim and reinvigorate themselves. Future plans for Vaksana include a kitchen/restaurant alongside sustainable farming, a workshop/training facility and a multipurpose room offering wellness classes such as meditation and yoga in consultation with a behavioral psychologist and holistic therapist. Collaborations with local businesses and partnership with the University of Guyana ensures that Guyanese citizens are actively involved in every aspect of the project, providing employment opportunities and allowing them to take on leadership roles.
What is the current progress of Vaksana, and where do you hope to see the project in one year?
“As of now, Vaksana is in an exciting phase of planning and development. We have made significant strides in securing the land and are eagerly awaiting the approval of the lease for our carefully chosen site. Our dedicated team is diligently working on the architectural design and construction plans to bring our vision to life.
In one year, we envision Vaksana having completed its initial construction phase, with the retreat center standing proudly amidst the natural beauty of Guyana. We anticipate being fully prepared to open our doors and welcome our first guests to experience the transformative journey that Vaksana offers.”
Babulall believes in transparency regarding the difficulties faced with running a non-governmental organization. She has overcome several obstacles such as limited resources and bureaucratic hurdles by seeking collaborations, leveraging available resources and engaging in open dialogue with members of the community.
When asked about the misconceptions of running an NGO, she replied, “Many NGOs actually strive for financial independence by implementing income-generating initiatives and fostering partnerships that create long-term sustainability. Another misconception is that NGOs are not as efficient or effective as for-profit organizations. In reality, NGOs often have lower administrative costs and are driven by a strong sense of purpose and commitment.”
She also disagreed with the belief that NGOs only focus on aid/handouts and says, “Many NGOs prioritize community-driven development approaches, working with local stakeholders to identify their needs/strengths and supporting capacity-building initiatives that enable communities to thrive independently.”
By debunking these perceptions, NGOs such as ADVP can continue to attract like-minded individuals to participate in the diverse work they undertake to address social challenges and advance a more equitable future.
How would you suggest those get involved in ethical public sector/charity work?
“I would recommend starting by identifying your passions and areas of interest. Research and connect with organizations that align with your values and goals. Volunteer your time, skills or resources to make a tangible impact. Stay informed about social and environmental issues and advocate for positive change. Collaboration and learning from others in the field are also crucial for personal and professional growth.”
What is your ultimate goal and future plans for ADVP and Vaksana?
“My ultimate goal is to continue building ADVP as a leading organization in sustainable community development, promoting social and environmental justice. With Vaksana, we aim to establish a renowned wellness and eco-retreat center that serves as a model for sustainable tourism, community empowerment and holistic well-being. We envision expanding our impact, fostering collaborations and creating positive change at both local and global levels.”
Guyana’s raw and authentic lifestyle has left a profound impact on Babullal as an individual and a leader. While embarking on the Vaksana project has not been without roadblocks, she is grateful to have gained the strength to confront difficult realities head-on in hopes of creating a safe place for individuals to learn and flourish. She has found contentment in the beauty of Guyana’s lush surroundings and hopes that others find its premise rejuvenating and inspirational.
To learn more about ADVP visit their website here or follow them on Instagram.
To donate to the Vaksana project, visit their GoFundMe page.
Featured Image: Menakshi Babulall | Photo Courtesy of Menakshi Babulall
February 25, 2023April 5, 2023 4min readBy Anita Haridat
Saheli Khan
From singing and acting to drawing immaculate figurines, Saheli Khan, 11, has made her debut in the North American Broadway tour as young Anna in Disney’s musical “Frozen.” As a first-generation Indo Caribbean, with roots in India and Pakistan, she continues to pave the way for young people with similar backgrounds.
Khan has always enjoyed entertaining those around her and she continues to have the motivation to pursue her passions. In school, she always sought to lead her class in songs and she was encouraged by her parents and teachers to enroll in music and acting classes, even at a young age. These ventures fueled her passions even more.
Continue reading to learn more about her journey!
What do you like about acting the most?
I like to portray different characters. Specifically, I like playing characters who have strong personalities and those who portray a sense of bravery, especially during problematic occurrences.
As a first generation Indo Caribbean actress, how do you feel about your journey as a young Disney princess? Do you feel that you are paving the way for other Caribbean and South Asians who want to pursue similar paths?
Diversity has always been important to me, but in today’s society, I feel that most people would like to be accepted and encouraged. As a Disney Princess, I am simply helping to broaden the field for all young people to see that skin color should not matter.
Saheli in Hidden Folk outfit| Photo courtesy of Saheli Khan
What do you like about your character, Anna? Is there anything that you may dislike?
Young Anna is a ball of sunshine! She is happy, funny, and a delight to be around. Despite having a troubled childhood, she grows up to be just as joyous, but she is also courageous as she goes on a journey to find her sister. I love everything about young Anna and she truly embodies who I am as a person.
Who is your inspiration and why?
My parents are my inspiration. My mom is beautiful, loving, and she works hard without ever giving up. No matter the task, she finds a solution and keeps on going with a smile on her face. She always tells me, “Whenever you feel overwhelmed, remember whose daughter you are and straighten your crown.” And my dad is my best friend. He’s insanely funny, caring and knows all the best places to eat! My parents are exactly how I want to be when I grow up.
If you had a magic wand, what show would you do next?
I would love to be Annie on Broadway or play the lead in a series or movie.
What is the one last thing that you do before you step out on stage and the curtain goes up?
There are many things I do before I step on stage. I do fun and silly things quietly with my “Frozen” sister, Mackenzie Mercer, and play with my Anna pigtails for good luck.
What are your other passions?
I love to sing, act, and spend time with my younger cousin, Ayla. I also love to draw and color since it makes me feel relaxed. I was told I have a great ability to draw and make figurines ever since I was a child. And I love exploring new cities and eating at great restaurants with my family.
Saheli dressed in her “Young Anna” costume | Photo courtesy of Saheli Khan
What advice do you have for young people who are just starting their careers, specifically within the field of musical theater?
To have a positive mindset, practice diligently, and enjoy every moment within the journey. I have learned that there may be some occurrences that may not take place the way that you want them to, but there’s always an opportunity to learn from them.
Aside from your career, how do you balance your schoolwork and acting?
I attend school virtually, which is essential when I am on tour. Each day I have scheduled school hours that allow me to focus and complete all school assignments. Once that is done, I have most of the day to work on extracurricular activities, go on outings, and hang out with my friends. Though performing takes a large chunk out of my day, it helps that I enjoy it, so it doesn’t feel like work.
What types of roles do you see yourself playing?
I love to play humorous characters such as young Anna from “Frozen.” I truly enjoyed this role as it captures who I truly am.
Khan’s debut marks the start of a budding career. With her array of talents and future goals, we are bound to see more of the young actress in the future and more representation of Indo Caribbeans in mainstream media. If you would like to purchase tickets for Disney’s “Frozen,” click here.
