Empower

The Road to CARIFESTA 2017: Canada Sends its First Caribbean Diaspora Contingent

Published

7 years ago

July 25, 2017

BY: KABRENA ROBINSON

“I am still pinching myself because at one point in time I had given up hope that It would ever happen,” confessed Rhoma Spencer, Artistic Director of The Canadian-Caribbean Arts Network (C-CAN) as she sat down for an interview at the Black Artists’ Networks Dialogue art gallery following a special meeting.

The meeting was to inform the public of the new grand jubilation, that after eleven years of relentless advocacy by Spencer and colleagues at C-CAN, the goal had finally come to fruition. Canada is now able to send a contingent to the Caribbean Festival of Arts (CARIFESTA XIII) to be held in Barbados from August 17-27, 2017. A historic moment for the community as this will be the first time in history that a contingent from the diaspora will be participating.

The group of over 66 artists, spearheaded by C-CAN, is comprised of a wide variety of Canadian talents, from a dynamic array of dancers to musicians and performances in storytelling and spoken word. Two artists will also be presenting academic papers at the CARIFESTA Symposia. Financing for the initiative is expected to come from public and private agencies, as well as from the fundraising efforts of the participating artists and organizations.

The first CARIFESTA, began in Guyana in 1972 attracting the participation of over 1,000 artists from thirty Caribbean and South American countries. The international multicultural event aims to gather artists, musicians, and authors to exhibit, celebrate, maximize artistic participation and to deepen the awareness and knowledge of the diverse aspirations within the Caribbean and Latin American Community.

While the artists prepare for the fulfilling experience of indulging in the grand celebration of rich Caribbean arts and culture, the journey towards this much-anticipated moment was not a smooth task.

According to Spencer, the CARIFESTA committee over the past years has not been receptive to proposals about participation from the diaspora. Spencer explains that this possibly derives from the idea that artists of the Caribbean community in Canada are offered more opportunities than artists in smaller Caribbean countries.

“I feel it was that kind of a fear of the unknown, but really and truly when we go down we are learning as much and taking from them to bring back with us as artists than they would be led to believe,” Spencer said.

“I as an artist, I need to always touch base with home to recharge, to be able to come back here and do the work that I want to do by allowing myself to go back to the source and see what is happening in real time.”

Dwayne Morgan, a Canadian spoken word artist, renowned author and founder of Up From The Roots Entertainment is one of the many artists apart of the Canadian-Caribbean delegation of talents to be showcased in Barbados at this year’s CARIFESTA XIII. As a Canadian of Jamaican descent, Morgan regards his inherited culture as being very influential to his successful career. Despite his international success, Morgan sees the experience of being able to attend CARIFESTA representing the Caribbean diaspora as a learning experience and a great platform to showcase the diversity of Caribbean artists working in Canada.

“There are so many people who are rooted in the Caribbean who leave and go elsewhere and kind of have one foot in the Caribbean and one foot in this new place and being stretched in that way forces you to create something new so we have something that is very new that is not necessarily Canadian not necessarily Caribbean but its this diasporic thing,” he said in an interview.

“We are going to bring down there what we do here but hopefully there are things down there that we will bring back as well that will enhance what it is that we do here in Toronto.”

As the many talented artists and members of C-CAN prepare to embark on this new venture, the hope is that the opportunity will provide a platform to “reconnect, recharge and merge two constantly evolving artistic realities”, a start towards fostering a closer relationship between the Canadian diaspora and the Caribbean community at “home”.

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Junior Contributors

The cost of convenience: how much does delivery really cost?

Published

2 days ago

April 25, 2024

TOCaribNews

BY AMARI SUKHDEO

Have you ever been excited to camp-in and order your favourite meal for delivery, only to be taken aback by that bill? That $18 ramen suddenly balloons to $32. Why the hefty price tag? Here’s what’s happening:

Markup mayhem:

When opposed to ordering straight from the restaurant, ordering through delivery apps frequently entails a surreptitious price increase. The menu items found on these platforms are typically more expensive than those found inside. Remarkably, a recent survey found that the cost of things ordered through delivery apps may be up to 26% more than that of items ordered straight from the restaurant. A lot of customers are caught by surprise by this markup, which turns what could have been a relatively inexpensive dinner into a costly affair.

Fee fiasco:

Not only is there a markup, but there are also significant service costs added to the bill. For instance, Uber Eats determines prices based on the quantity of your order, while DoorDash charges a $3 minimum service fee in addition to a 15% service charge. These extra fees have the potential to significantly raise the overall cost of your meal, giving customers the impression that they have been taken advantage of.

Restaurant shares:

It’s not just diners who are experiencing financial hardship. Restaurants face a big competition from delivery apps, which can take up to 30% of their earnings. This is especially true for smaller businesses that depend significantly on delivery services. Restaurants may find it extremely challenging to generate a profit due to the weight of high commissions, given their already extremely narrow profit margins.

A troubling tendency is shown through data: the cost of using delivery apps is progressively going up. Fees have increased to previously unheard-of heights in recent years, leaving many customers unable to pay more for their favourite dishes. For a few, the price hike has caused them to reconsider their dining options.

At home diners, keep in mind that you have to account for the hidden expenses the next time the convenience of a takeaway menu entices you. It’s a story about: delivery workers’ financial struggles, increased rates, and outrageous surcharges. Bon appétit, with caution.

https://www.vox.com/money/24118201/food-delivery-cost-expensive-doordash-ubereats-grubhub

https://www.foodandwine.com/news/delivery-app-prices-higher-fees-2021-pandemic

Junior Contributors

Beneath the waves: Unveiling the legacy of the transatlantic slave trade in the Bahamas

Published

2 days ago

April 25, 2024

TOCaribNews

BY KAHA G. – 15 YEARS OLD

What is archaeology? Archaeology is the study of human history and prehistory through the excavation: of artifacts, structures, and other physical remains. It helps us understand past cultures, societies, and lifestyles by analyzing material culture left behind by ancient civilizations. In this case, archaeologists in the Bahamas have found underwater wrecks of 14 sailing ships involved in the Trans-Atlantic slave trade between Africa and the Americans.

The Bahamas Lost Ships Project, led by Allen Exploration and the Bahamas Maritime Museum, aims to catalog shipwrecks in the Bahamas. They’ve found 596 wrecks so far, dating back to 1657. Also, these findings were published around Black History Month, emphasizing the importance of preserving the experiences of marginalized communities.

The Bahamas’ history is deeply connected to the transatlantic slave trade, with events like the arrival of the first slaving vessels shaping the islands’ population. The wrecks of ships like the Nancy and the General Oglethorpe remind us of the individuals who suffered and resisted enslavement. This research also highlights the Bahamas’ role in the transatlantic slave trade, connecting: Africa, the American Southeast, Cuba, and the Gulf of Mexico. Making it an important trade route for these places.

According to Livescience, the wrecks included the “Peter Mowell which is an American schooner (sailing vessel) that sank off Lynyard Cay near Great Abaco Island in 1860 with about 400 enslaved Africans on board; as well as smaller vessels that carried slaves to plantations for sugar, coffee, cotton and tobacco in North America and around the Caribbean.”

Alongside that, the team of archaeologists, and Allen Exploration have found three wrecks, but their locations are currently undisclosed. The CEO, emphasized the historical significance of these wrecks, noting their importance in understanding the conditions aboard slave ships and the broader history of the slave trade.

Additionally, the type of living conditions of enslaved Black people were atrocious. They lived in miserable huts, which were said to be “Unfit for the habitation of wild beasts.” They wore iron slave collars and worked seven days a week, with just four hours a day of rest in cane-cutting season. Unfortunately, about 10% of enslaved Africans died on the plantations in Cuba each year during the slave trade, and some were even flogged to death.

In conclusion, the discovery of these shipwrecks in the Bahamas sheds light on a significant, yet often overlooked aspect of human history: the transatlantic slave trade. These findings provide valuable insights into the conditions endured by enslaved individuals and the intricate networks that facilitated this cruel trade. As we continue to explore and preserve these historical sites, we honor the resilience and bravery of those who resisted oppression and strive to ensure that their stories are remembered for generations to come.