the cyoa experiment

The CYOA series is a 2-4 channel video work. It is based on 5 independent video works which have been used in different contexts, collaborations and site-specific installations. The intent is to explore shifting the meaning and impact of these video works within different artistic constructions, cultures and contexts. 

To-date, it has been exhibited in a gallery exhibition, a film festival, musical/ cultural event, commissioned for a public installation for a sporting event and included in a research cell as a conceptual piece. 


mom’s eulogy

Related to a body of work I have been researching/ developing as I try to trace my family history from Canada to the Caribbean to South Asia.  


CECILIA RAMLOCHAN / 03.03.194012.13.2015

Thank you friends, family and colleagues of Cecilia Ramlochan for making it here today to celebrate her life. For those of you who do not know me, my name is Janine and I am her daughter… the youngest of her three children.

When I was little, my mom was an Avon lady… something she did part time… it started when she took time-off from teaching to raise me and my brothers. She’d sometimes take me with her… brochures in hand… cases of product testers… she wasn’t very aggressive at selling… it was more a social occasion for her, I think. I recall how comfortable she was doing this and in hindsight how it ties together aspects of her personality. Firstly, she liked colour— matching colour, playing with colour— co-ordinating lipstick, eyeshadow, clothing, drapes, furniture. Personally, I think her skill didn’t extend so well into interior design… but we agree to disagree on this point. Secondly, she liked to go out and meet new people; going into to their home was interesting to her— moreso than inviting people into her own home… which at that point was a chaotic place with 3 little kids.

But colour matching aside… this comfort level points to some of the contextual realities she grew up in. My mother and her older sister, my Auntie Mary, were raised by Canadian missionaries in Trinidad in the 1940s; mostly in communal housing situations with other kids, and then high school dormitories… altho eventually she was reunited with extended family in her late teens. By that point, she’d developed a comfort level with being put into different contexts, where she never truly had a space of her own. 

She had an opportunity to go to high school, and then went on to teacher’s college. For someone who didn’t carve out much space for herself until much later in life, I feel like teaching became the space that was grounding for her… that became her home. It was something that she shared with my father, cause’ I think teaching had become that grounding space for him as well.

She met my father while teaching at Kanhai Road Presbyterian School, in Barrackpore. My parents married in 1964 and immigrated to Canada in 1967. The timing of this was notable. It coincided with the wave of decolonization movements sweeping across the former British-Caribbean colonies, that led to Trinidad gaining independence in 1962. I imagine my parents marriage, in the early years, as riding this wave of optimism and change— their ambitions and relationship being fuelled by that historical time. 

My parents transition to Canada was relatively positive… as far as historical immigrant experiences go. Due to a shortage, Canada had opened its doors to teachers. Within this new influx, Trinidad became known for producing surprisingly high-calibre teachers, so-much-so, that Canadian administrators were sometimes sent to Trinidad to see what they were doing differently. For my mother, this was an on-going source of frustration. We grew up hearing her views (and sometimes my father’s as well) about the sub-par standards in Canadian teaching versus the Cambridge standards my mother was raised with. I remember, at her most extreme points of frustration, I usually had to do my homework twice. As an 8-year old, it totally sucked… But eventually I learned to envision standards she expected and soon I’d only have to produce my homework once. Throughout all of this, none of my marks in school ever changed… but that’s a different story. I learned to see the some of the differences she was seeing. In hindsight, this has translated into a skill— reinventing standards for myself, which continues to serve me well in my career to this day. 

My mother’s ability to move through different contexts and communities became the basis of her teaching career in Canada for the next 40+ years. As a supply teacher, she worked across a long list of elementary schools, first under the North York Board of Education and later, the TDSB. Supply teaching satisfied, what seems to have become my mom’s need for contextual variety in her teaching career. And her teaching never seemed to suffer. She worked well past the traditional retirement age… simply because schools would specifically request her, instead of other teachers, even into her 70’s, before she retired a few years ago.


I don’t think I’m terribly unique… in that, as a daughter, I’ve always had this irrational fear of turning into my mother. But, I have to admit, I too have an ability to navigate different communities, contexts and cultures with a similar ease. I apply rigorous and unrealistic standards to myself, that others can’t see or expect. And, as a media artist, I am actually pretty good with co-ordinating colours. 

There’s no doubt, these skills have served me well and will likely continue to in the future. But I do have to ask myself if this is because I live in an global era that, for the most part, recognizes and values these skills… in the particular way that I choose to use them. I wonder if her eccentricities were because these skills were out of step with what was usual for her time. If she were here today, and I asked her this, it’s highly unlikely that she’d even engage me in this conversation. Instead, I think she’d find some way of saying something like this… 

SMILE” - Nat King Cole

View full gallery - “A life in pictures…” here




ttff 2014

The video installation, CYOA Rhythms, was  included in the New Media Program of the 2014 Trinidad & Tobago Film Festival. It was exhibited at the Medulla Art Gallery, Port of Spain from Sep 16-30, 2014. 

ABOUT TTFF

TTFF is currently the largest film Festival in the English Caribbean. It is 2 weeks in length, international in scope and showcases feature, narrative, documentary, short and experimental films from the English, French, Spanish, Dutch Caribbean, and the region’s diaspora. The festival helps facilitate the growth of the Caribbean film industry through workshops, panel discussions, conferences and networking events. In 2013, TTFF co-hosted a 3-day UNESCO conference to foster and promote the intangible benefits of the Caribbean Film industry - cultural diversity, dialogue, gender equality, economic development and it’s role in fostering peace across the region. 



the carnival project

The CYOA Rhythms video installation was included in the Carnival Project hosted by Batala NYC on May 5, 2014. BATALA NYC promotes the music and culture of Northeastern Brazil and its interplay with other regional dance, music and art forms.

The Carnival Project was the organization’s inaugural annual event, reinterpreting regional Caribbean and New World ‘carnival’ themes through a contemporary fusion of 50 batala drummers, bagpipers, New Orleans brass and my video installation, CYOA Rhythms. The video installation was designed to punctuate the rhythms of different genres of music. 

The event was held at Littlefield, an eco-bar / performance space located in the still-emerging Gowanus neighbourhood of Brooklyn. Housed in an old warehouse from the 1920s, the space merges Gowanus’ industrial past with an eco-friendly future, serving as a beacon of sustainability for further neighbourhood rejuvenation.

ABOUT BATALA NYC

BATALA NYC is a community organization of batala drummers. They provide participants with drums, instruction and an on-going community performance platform. Their mission is to teach any woman, regardless of musical experience to play the powerful rhythms of samba-reggae. Part of a larger global arts movement, Batala NYC began in 2012 in response to a lack of opportunities for women to drum in NYC. 

Read more about the Batala music movement here.

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