分类： entertainment

The University of the West Indies (UWI) witnessed a remarkable cultural celebration as Los Parranderos de UWI marked its 45th anniversary with a special concert at the Learning Resource Centre in St. Augustine on November 30. The event brought together past members, former leaders, and distinguished guests from the parang community to honor the group’s enduring legacy in Trinidad and Tobago’s musical landscape.

Founded in 1980 by members of UWI’s Spanish Society, the ensemble has evolved from a student initiative into a nationally recognized parang institution. Their journey into competitive parang began in 1993 through the National Parang Association of TT (NPATT), where they achieved an extraordinary record of seven consecutive second-place finishes (1999-2005) before clinching the national championship title in 2006.

The anniversary concert featured nostalgic recollections from founding member Farzan Ali and former leaders Sharon Beharry (1985-86), Keith Dalip (1987-90), and Miguel Browne (1999-2024). They shared anecdotes about the group’s adventures traveling to the Paramin festival, the challenges of convoy transportation, and their commitment to ensuring all members returned safely after late-night performances.

Musical highlights included performances of the group’s greatest hits from their four albums: ‘Mi Parranda’ (2003), ‘Vamos A Celebrar’ (2005), ‘Parranda Ta Nos’ (2010), and ‘Nuestra Canción’ (2025). The setlist blended original compositions like ‘Canta’ and ‘Recordemos’ with tributes to parang legends Gloria Alcazar, Henry Periera, and the Lara Brothers.

The ceremony included the induction of five members into the group’s honor roll: Keisha Mark, Camivel Cova, Jerry Ramdass, Brandon Akai, and Khadine Bovell. Special recognition awards were presented to Tony Narine for 29 years of sound system support and retired principal’s assistant Elizabeth McComie for her instrumental role in securing the group’s presence at major campus events. Longest-serving members Miguel Browne (41 years) and Desdra Bascombe (40 years) received distinctive honors for their enduring dedication.

Despite achieving near-total obscurity in his native Trinidad and Tobago, Kenneth Renwick (1907-1993), professionally known as Ken Renard, forged one of the most remarkable and prolonged acting careers among Caribbean-born performers. His journey from tire retreading laborer in Harlem to celebrated Broadway and Hollywood actor represents an extraordinary narrative of artistic perseverance amid racial barriers.

Renard’s immigration records confirm his 1923 arrival in the United States from Port of Spain, where he initially worked in industrial jobs before discovering theater. His breakthrough came during the twilight of the Harlem Renaissance, performing with the Lafayette Theatre’s productions of ‘Sailor Beware’ and ‘The Front Page’ in 1935. This led to his involvement with the historically significant Federal Theatre Project, where he performed under Orson Welles’ direction in the legendary ‘Voodoo Macbeth’ (1936) and was cast as Emperor Haile Selassie in the controversially canceled ‘Ethiopia’ production.

His career trajectory defied racial conventions of the era, transitioning from Harlem stages to Broadway productions throughout the 1940s-50s, including Jean-Paul Sartre’s ‘The Reluctant Prostitute.’ Renard simultaneously established himself in radio dramas for major networks like CBS and NBC before breaking into cinema with black-cast musicals like ‘Murder with Music’ (1948).

Renard’s cinematic significance culminated in his dignified portrayal of Haitian revolutionary leader Toussaint Louverture in ‘Lydia Bailey’ (1952), marking his transition to substantial Hollywood roles. Throughout the 1960s-80s, he appeared alongside icons including Sidney Poitier (as his father in ‘Something of Value’), Jane Fonda, and Marlon Brando while accumulating over twenty film credits and dozens of television appearances. His versatility shone through westerns (‘Bonanza’, ‘The Virginian’), legal dramas (‘Perry Mason’), espionage thrillers (‘Mission: Impossible’), and science fiction (‘The Outer Limits’).

Despite confronting limited opportunities for Black actors—noted in his 1960 interview with The New Pittsburgh Courier—Renard mastered diverse ethnic roles including Latin, Native American, and African characters. His legacy remains preserved at the California African American Museum in Los Angeles, housing photographs, theater programs, and personal memorabilia from his groundbreaking six-decade career. The single word engraved on his Los Angeles gravesite—’ACTOR’—encapsulates the identity he forged through relentless artistic dedication.

In an extraordinary fusion of technology and tradition, Toronto-based software engineering manager Allisha Ali has emerged as an unexpected force in the art world through her innovative paper-quilling techniques. Born in Trinidad and migrating to Canada at age ten, Ali has developed a distinctive artistic practice that transforms colored paper strips into vibrant visual narratives of Caribbean heritage and personal memory.

Without formal art training, Ali discovered paper artistry as therapeutic expression during intervals between managing tech teams and raising her two daughters. Her unconventional medium involves meticulously layering and blending paper strips to create textured compositions that mimic brushstrokes—all without using any paint. “Just glue and paper,” Ali explains. “I have stacks of different colors and I blend them. It’s very tactile, very therapeutic.”

Her engineering background profoundly influences her creative process. She describes her approach as “modular,” constructing artworks from individual components much like software systems are designed. This methodological crossover demonstrates how her technical expertise informs her artistic vision.

At the heart of Ali’s work lies her Trinidadian roots and family history. Her breakthrough piece, “Oropouche,” depicts cocoa pods connected to her father’s lineage and the agricultural legacy of northeastern Trinidad. The artwork emerged from a deeply personal journey—returning to Trinidad seven years after her father’s death. “There was a lot of emotion in that trip—grief, nostalgia, joy,” she recalls. “I always think of Trinidad as paradise, but it’s layered.”

Another significant work, “Bazodee,” captures the overwhelming experience of returning to bury her father, transitioning visually from anxiety to intense emotional release. Her portfolio has expanded to include socially conscious works like “The Water Protector,” honoring Indigenous water activists in Canada, and “Soul Rebel,” a portrait of Bob Marley that pays homage to the music that filled her childhood home.

Despite recent recognition—including her first sale after someone discovered her work on Instagram and her inaugural exhibition in the Greater Toronto Area—Ali maintains her full-time tech career. She now aims to participate in juried exhibitions and eventually stage a solo show, all while continuing to develop more complex, message-driven works that create space for Caribbean stories in Canadian cultural spaces.

The humble trifle, a dessert with origins tracing back to 18th century England, has found a vibrant second home in the Caribbean culinary tradition. What began as a simple “Fool”—a pureed fruit and sweetened cream concoction—evolved through centuries into the layered masterpiece we recognize today: wine-soaked biscuits harmoniously stacked with custard and crowned with whipped cream.

This colonial import arrived on Caribbean shores with British plantation owners during the colonization era, yet its popularity has not merely endured but flourished with distinctive tropical adaptations. Food writer Wendy Rahamut celebrates the trifle as her preferred Christmas dessert, noting its creamy, fruity, and subtly alcoholic characteristics make it an ideal make-ahead celebration dish.

Rahamut recounts her early trifle-making experiences featuring sponge cake saturated with cherry brandy beneath thick, sliceable custard. Today, she elevates the dessert using store-bought ladyfingers or jam rolls, complemented by quality spirits, fresh fruit, whipped cream, and toasted almonds.

The article presents three innovative trifle variations that blend traditional techniques with Caribbean influences:

1. Wendy’s Fabulous Cheesecake Trifle: A rum-infused creation combining cream cheese, peaches, and ladyfingers, garnished with toasted almonds and cherries

2. Fruited Trifle Roll: A jelly-roll style presentation with brandy-brushed sponge, custard, fruit cocktail, and whipped cream

3. Christmas Trifle: A classic layered assembly featuring jam roll, dark rum, mixed fruits, and vanilla custard

Each recipe emphasizes make-ahead convenience and generous servings, perfect for holiday gatherings. The transformations demonstrate how colonial culinary traditions have been creatively adapted and embraced within Caribbean food culture, particularly during Christmas celebrations.

NAOMI ANDERSON of Unicakery, a renowned Trinidad & Tobago baking studio, has unveiled the artistry behind her celebrated Mixed Berry Chantilly Cake—a dessert masterpiece harmonizing delicate textures and sophisticated flavors. This creation exemplifies how meticulously crafted components can elevate pastry work into an experience of refined indulgence.

The cake’s architecture begins with an airy Orange Chiffon Sponge, achieving its ethereal texture through precise technical execution. Egg whites are whipped to soft peaks and carefully folded into a citrus-infused batter containing fresh orange juice and zest. Baked in an ungreased pan and cooled inverted, this sponge forms the foundational layer that perfectly absorbs the berry compote’s juices without becoming soggy.

The Mascarpone Chantilly Cream introduces luxurious richness without heaviness, blending cold heavy cream with mascarpone cheese, powdered sugar, and vanilla. Anderson emphasizes temperature control throughout the whipping process to maintain the cream’s soft structure, noting that overwhipping would compromise the desired delicate mouthfeel.

The vibrant Mixed Berry Compote provides the cake’s flavor centerpiece, combining fresh or frozen berries with sugar, lemon juice, cinnamon, and an innovative dash of aromatic bitters. Thickened with a cornstarch slurry, this compote delivers a sophisticated balance of tartness and warmth that cuts through the cream’s richness.

Assembly involves horizontal layering of the cooled sponge with alternating strata of cream and compote, finished with a simple yet elegant topping of fresh cream and berries. Anderson recommends refrigerating the assembled cake for up to two days, allowing the flavors to meld while maintaining structural integrity.

With twelve years of professional pastry expertise, Anderson has transformed Unicakery into both a specialty bakery and educational hub, offering workshops that demystify such technically nuanced desserts. Her approach demonstrates how disciplined technique and quality ingredients can create desserts that are visually impressive yet fundamentally comforting—proof that elegance need not equate to complexity.