You sigh as you watch your teacher struggle over a name. She didn’t even have to utter a sound. It has to be you.
“Rev, Reev — Rayvaaatheee?”
Now it’s time to choose. You can either draw attention to yourself in front of the entire class and repeat the accurate pronunciation of your name as your teacher still gets it wrong; or, you can go with whatever she says and allow the entire school to call you by a name that your parents would not recognize as yours. It seems like an easy choice, but, as many of us know, it’s not.
Because conforming is typically the easier and sometimes safer path to take. Anjali becomes Aanjali, Ramya becomes Rumya, and Revati turns into Revethi, Ravathi, Reveethi, Raven, and the occasional Rachel.
I don’t blame anyone for going this route, as it’s a pain to keep correcting people. Some have even been teased for the actual pronunciations of their names. What I do worry about is what we are losing as a community every time we allow another name to go butchered by our friends, teachers, and bosses.
Speaking from a Hindu Indian perspective, the majority of Indian names are sourced from mythology. Every name comes from a story dated back to at least 2300 years ago. These stories from ancient Indian culture have been sustained by the practice of oral transmission. Epics like the Ramayan and the Mahabharat were only written down much later, once the Devanagariscript was invented. Thus, our names have played a major role in carrying these stories and the lessons they teach forward.
For example, the name Revati comes from the Mahabharat. She was the daughter of a King who believed that she was too kind-hearted and talented for any of the men currently on earth. The king traveled to Brahma’s residence to ask for his advice on a list of potential suitors. However, as he reached, Brahma informed him that, as his abode was on a different plane of existence, time moved at a much faster pace and all the people from earth on the King’s list had passed away. He instead recommended Balarama, brother of Krishna and incarnation of God Vishnu. Revati and her father then returned to earth to propose and finalize the marriage.
In addition, as Revati is a reincarnation of the Goddess Lakshmi, her character promotes knowledge, wealth, and generosity. But when we allow Revati to become Revaatee, somewhere along the way the original name is lost and so is the meaning that goes with it. What’s a name other than a set of particular sounds put together?
Furthermore, some Hindu households continue to follow the rituals of astrology. When a baby is born, an astrologer is called upon to determine which letter will be auspicious for the child’s name. My mother’s the Devanagari letter for the sound Puh (it’s a phonetic script). Her name is Padmini and she often turns into Paadmeenee. But even that sound of Puh was actually specifically picked for her.
So now with all of that in mind, are you still okay with Akshay becoming Aakshay? Ishaan becoming Eeshaan? Chandra becoming Shaandra? It’s okay to struggle with it. I was lucky enough to have friends who, when I kept quiet, spoke up and told my teachers that they were mispronouncing my name. But why was I relying on them? I loved them for speaking up, but I shouldn’t have needed them to.
While it’s an absolute pain sometimes, it’s my job to assert who I am, to not let my identity be erased by someone else. I, and others like me, should have the confidence to look that friend, teacher, or boss in the eye and tell them that there is a correct way to say my name and that it’s not something that I’m going to let slide.
April 25, 2023May 11, 2023 9min readBy Usha Sookai
Dear Durga: A Mom's Guide to Activate Courage and Emerge Victorious by Shanita Liu | Photos Courtesy of Shanita Liu
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.
Bharatanatyam is a traditional Indian dance form and the oldest classical dance tradition in India. Bharatanatyam, originally a dance performed by women in temples of Tamil Nadu, is often used to convey Hindu religious tales and devotions. It is taught by a teacher known as a guru. The dance costume resembles that of a South Indian bride and the dancer wears anklets, called ghungroos, to keep the rhythm while dancing to the music. While Bharatanatyam is still taught all over the world in the traditional way, the styles of teaching have changed over the years. For the last six years, my sister and I have been taught modernized styles of Bharatnatyam in the USA.
An Arangetram lasts approximately three hours and has nine, or in our case 10, dances in total. It begins with an introduction dance called a Mallari or Pushpanjali following the guru’s nattuvangam (rhythm kept using symbols). In the middle of the program is a Varnam — a centerpiece dance that lasts about 30 to 40 minutes. This dance tests the dancer’s endurance as well as their storytelling ability. The performance is concluded with a Thillana which is seen as the last glimpse into the dancer’s full capacity. The Thillana is followed by a Mangalam, the closing dance of the Arangetram.
My sister and I began learning Bharatanatyam in 2016 when we were nine years old. Despite our instant attachment to the art form, we were always daunted by the idea of having an Arangetram of our own. It would be challenging, mainly because we are twins, and our performance would have to be suitable for two people to perform side by side. We began preparing for this event in the summer of 2021. Our guru would make us run for the first half hour of class to build our stamina — much-needed for a three-hour repertoire. We would spend the next two and a half hours learning our repertoire. The first dance we learned together during this time was our Varnam. Learning this dance took a month and we spent a lot of time memorizing it. Our Varnam was dedicated to Lord Krishna, one of the many Hindu gods, known for his charm, wit, and being a master Guru whose philosophies were immortalized through the Gita — the Hindu Holy scripture.
An Arangetram is the on-stage debut of a traditional Bharatanatyam dancer following years of training and discipline under the able guidance of a guru. This is a milestone for young artists as it opens up the opportunity for solo performances, choreographing individual pieces, and instructing other dancers.
By January, we had learned our entire repertoire and were starting to memorize it while adding expressions, poses, and building up our stamina, making them look effortless. Some dances were more difficult to memorize than others, particularly dances that were story-based. Because most Bharatanatyam dance music is in either Sanskrit or Tamil so we couldn’t understand the lyrics right away. Our guru helped us interpret the stories before teaching us the choreography making them easier to commit to memory. We also had help from our mother who listened to all our songs and gave us keywords that corresponded with our dance moves. Listening to dance music on the way to school, dance, or while getting ready for bed, became a part of our daily routine as it helped us internalize the rhythms.
Although a year seems like a long time to prepare for an event, the day of the Arangetram came before we knew it. The morning started off with family and friends coming to our house to help us transport decorations and essentials we would need backstage. We arrived at our venue — the Balaji temple in Bridgewater, New Jersey — and made our way to the green rooms. Our makeup artists assisted us with hair and makeup, which lasted four hours. During this time we were going through the dances in our heads and mentally preparing for the performance to come. Once we were dressed in costume, we headed for the stage pooja, a prayer session on the Arangetram stage with close friends and family, to invoke a successful performance. This was also the time when jitters started kicking in. It had just occurred to us that the performance we’d been preparing for our entire dance careers was about to happen and this was the only chance we had to show the audience our very best.
A person can only have one Arangetram in their lifetime, and this huge milestone comes with pressure given how special the performance is.
As the masters of ceremony were introducing our first number all I could do was stare at my sister standing in the other wing, and I knew we had the same thoughts going through our minds.
As we began dancing I felt almost a sense of relief because of how well we knew the dance. Every single dance was so ingrained in our muscle memory that it felt like second nature even in front of such a large audience. During the repertoire, we had two costume changes, with three costumes in total. Each costume change took 15 minutes while the audience was learning about SAMHAJ or listening to speeches from our friends and family. Backstage, our makeup artists and backstage moms were busy helping us change our costumes and jewelry, adjusting them to make sure nothing would move while dancing. We also had some of our fellow dance girls backstage giving us water and fruit as well as tightening our ghungroos so they wouldn’t fall off on stage.
Our Varnam was a huge success, resulting in a standing ovation from the audience. After the Varnam, we performed a slower dance called Ramabajanam, telling all the stories about Lord Ram, another Hindu god known for his chivalry and virtue. We decided to dedicate this dance to our parents since it was always their favorite to watch and listen to. My mom was heavily involved in helping us memorize this dance by telling us the stories so we wouldn’t forget the choreography. Right before the last dance, we acknowledged all of the people who helped us backstage and were presented with our graduation certificates. In order to give the audience a peek at the effort that went into the performance they were watching, we shared our experience with the audience as well as our guru’s message during this time. Our last dance surprised the audience, as our mother joined us on stage and danced with us. She always dreamt of being a dancer as a child but was never able to learn. Sharing one dance meant a lot to us, and watching it was very entertaining for the audience as well. After all the dances were over, all our guests proceeded to the banquet hall for dinner where we were able to greet all our guests and thank them for coming. When the night ended we were exhausted but still full of adrenaline.
Even though the tension that had built-up in my head over the last few months had now subsided, I was somewhat disappointed that the process had come to an end. I wouldn’t exactly call my Arangetram journey perfect or effortless, but I grew so much this past year as a dancer and as well as a person. The lessons I learned from dance about hard work and resilience will carry on with me for the rest of my life and for that I am forever grateful. The event itself brought so many people together such as my aunt and cousin, who came all the way from India to attend, as well as so many relatives that we hadn’t seen in years. Grandparents, as well as young children all gathered in the audience to watch a display of their culture, or for some audience members, learn a new one. Not only did we spread awareness for this beautiful art form, but we also raised awareness on mental health amongst South Asians — an issue we’re passionate about.
Along with our guru, we decided to leverage this event to create awareness for mental health amongst South Asians in the United States. We decided to advocate for SAMHAJ, a charity that provides education and support for South Asians affected by serious mental illnesses. In order to educate people about mental health, SAMHAJ offers workshops to social service organizations, schools, and mental health professionals as well as provides culturally competent mental health services by creating bilingual support groups. You can donate to SAMHAJ via this link.
Overall, this process has been immensely gratifying and I simply cannot wait to see what the future has in store for me with Bharatanatyam.
To overcome global challenges, collective investments and groundwork are fundamental in advancing an equitable future across diverse communities. Sustainable development — a development that promotes growth through social, economic and environmental progress without compromising natural resources — is essential for human survival. At the young age of 21, Nirmala Ramprasad founded Green Dupatta, a sustainable development charity organization, and advocated for its importance through multiple pageant ambassadorships. As a philanthropic representative for the Indo Caribbean diaspora, her work showcases how individuals of any age have the ability to be changemakers for social advancement in areas such as environmental and agricultural protection and education.
Born and raised in Toronto, Canada, Ramprasad acknowledges her passion for service was inherent since elementary school.
“My exposure to the nonprofit sector during my formative years really helped to shape my understanding of how complex, complicated and time-consuming philanthropy work can be,” Ramprasad said.
Additionally, she credits the values and ideals seen in Indo Caribbean culture as critical to her personal identity and crucial to her work in sustainable development.
In conversation with Ramprasad, the following answers have been edited for clarity and concision.
Growing up, did you resonate with your Indo Caribbean heritage? What ideals do you most connect with and want to pass on in creating positive change?
As a mixed-race person who grew up primarily within the Indo Caribbean community, I have always felt deeply connected to my culture and heritage. As a child I was fully immersed in all things Guyanese (I refused to wear anything but a lehenga to every school picture day). From a young age I was exposed to, and learned about, our music, food, political climate, history of indentureship and the importance of our cultural connection to India.
In regards to my nonprofit work, one of the most important lessons I take from my Indo Caribbean culture is the significance of ancestral knowledge and practices. One of the main tenets of my nonprofit work is sustainability and I have found that the most effective and practical sustainability practices can be found when we look back at the way our ancestors treated the land they lived on.
Although we are all changemakers in some way, I always advocate for community involvement in not only development, but also sustainability practices.
Can you describe what Green Dupatta is?
Green Dupatta is a sustainable development non-profit that I started when I was 21 and have since completed projects in Canada, Guyana, India and Trinidad. I work directly with project participants to co-create community-based spaces and programs that increase environmental awareness, food, water security and access to quality education through sustainable development models.
While most of Green Dupatta’s fundraising efforts take place in Canada, community projects are mainly done in Guyana and India.
In 2020, Ramprasad traveled to Guyana to work with locals in the town of Leonora. Together they replaced leaking zinc roofs, restored plumbing to old drains, re-poured concrete exteriors and repaved and repainted buildings to be used for yoga and meditation classes, affordable daycare and community gardens. To ensure donations are maximized, local contractors are always utilized. Green Dupatta aims to repair and reuse as many materials as possible. It does not dictate what the spaces should be used for, instead assists the community in having the agency select programming that benefits residents.
Across India, Ramprasad detailed Green Dupatta’s completion of seven projects in seven weeks in an eight-part YouTube docuseries. With partnership from JDS Public School in Varanasi, Green Dupatta constructed two sports facilities for student health, engaged in community outreach awareness campaigns on women’s empowerment and environmental conservation, aided in scholarship opportunities for students, helped create a community garden and provided the school with a system to harvest and irrigate water.
After this, they traveled to Devdaspur, a village with no clean water, to install a well with a shower enclosure, a water purification system and reservation tank, and a fenced enclosure food plantation. With their new ability to easily access clean water, people in Devdaspur showed an increase in social, economic and health outcomes. The community now had the resources to lower the percentage of water and hygiene-related illnesses, increase food and water independence, increase school attendance for children and increase productivity for adults, seeking work, without having to take time to filter or find clean water for their families.
Through successful sustainable development projects, resources are conserved and enhanced to empower communities to meet their needs, irrespective of their size or location. Like many sustainable development nonprofits, Green Dupatta’s international service delivery was significantly impacted by COVID-19 due to limitations with travel and in-person fundraising.
As a result, Ramprasad turned to her career as a special education teacher and utilized her knowledge to focus on a project that would directly help Toronto’s families and their schoolchildren.
Created as an emergency response to COVID-19 school shutdowns, Green Dupatta’s ‘Furnishing Minds’ project, “is based on a circular economy model in which slightly-used educational resources are redistributed to families in need.”
Since the program began in 2020, more than 1400 pounds of educational resources and curriculum-based materials have been redistributed within the Greater Toronto Area. Its success led to the project being formalized annually. Green Dupatta currently showcases free online guides to the Ontario curriculum, by grade level, for families looking for strategies to help their children’s academic growth and achievement.
Is Green Dupatta currently looking for more educators? How can people get involved?
I am always looking to expand my team! We are really lucky to have dedicated volunteers from a variety of different sectors and backgrounds. Nonprofit organizations can always use all the help they can get — we have general volunteers, event volunteers and sub-committee program volunteers. Anyone looking to get involved can directly message us on Instagram or our website.
What is your vision for Green Dupatta in the next five years?
In addition to co-creating new community projects and programs, I hope to continuously expand current Green Dupatta projects. With a larger team and additional funding, I would like to strengthen and scale our Furnishing Minds program, as well as increase our international presence, to fill needs and advocate for these communities. In order to build organizational capacity we are always looking to partner with like-minded individuals, businesses and other nonprofit organizations. In the past we were lucky to work with supportive organizations that provided valuable services, resources and expertise.
Outside of Green Dupatta and teaching, Ramprasad has a history of competing in pageants that reflect both her Indo Caribbean heritage and passion for service. She won the Miss West Indian Canadian pageant in 2015 and subsequently became the first Canadian representative at the Divali Nagar Queen Pageant in Trinidad and Tobago where she was awarded second runner-up. In 2020, she was invited to compete as Guyana’s representative in the Miss Face of Humanity Ambassador Search, an international event that showcases female changemakers from around the world. Ramprasad believes that competing in pageants offered, “a platform to educate others about my organization, and the importance of sustainable development as well as an opportunity to showcase myself as an individual capable and dedicated to carrying this torch.”
How was it representing Guyana on a global stage at the 2020 Miss Face of Humanity? What platform did you run on, and what message do you have for the next generation of Indo Caribbeans?
The Miss Face of Humanity competition was a unique experience for me as I was given the opportunity to represent both Guyana and the Green Dupatta Charitable Organization. I explored their intersection and looked at how my homeland and culture has impacted both my core values and philanthropic work.
Being part of a diasporic community is a uniquely beautiful, but also quite complex, place to be. All of our experiences are vastly different — some people feel deeply connected to their communities and some feel very far removed. Although there are many struggles that come from being once, or twice-removed, people are facing much different struggles in the places our ancestors called home.
My advice to the next generation of Indo Caribbeans is to remember that a diasporic community is very different from a local one. Although some of us may feel very connected to our communities and cultures as they are practiced abroad, we should make space to amplify the voices of our motherlands and remember to give back to places that have given us so much.
Ramprasad says juggling work and leading a nonprofit can be deeply taxing; often fielding criticism and making personal sacrifices. Nonetheless, she loves what she does and is eager to implement sustainable development practices around the world. Through these projects, communities are equipped with the techniques, tools and knowledge to uplift themselves. Ramprasad is forever grateful that she was drawn to a life of service and believes that it is of utmost importance to actively collaborate with communities in order to preserve the environment and improve the access to quality education.
To learn more about Green Dupatta, visit their website. You can follow Nirmala’s journey on Instagram @nrampsy.
