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Christopher Collens by Luigi Creese 2021

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from City Gait Part 1. via Amir Denzel Hall on instagram

Creative direction: @suelynchoo @agirvan @amirdenzelhall Photography: @agirvan Photo edits: @suelynchoo Styling and Makeup: @suelynchoo Production assistant: @alatashe Model & Reflections: @amirdenzelhall

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from City Gait Part 1. via Amir Denzel Hall on instagram

Creative direction: @suelynchoo @agirvan @amirdenzelhall Photography: @agirvan Photo edits: @suelynchoo Styling and Makeup: @suelynchoo Production assistant: @alatashe Model & Reflections: @amirdenzelhall

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from City Gait Part 1. via Amir Denzel Hall on instagram

Creative direction: @suelynchoo @agirvan @amirdenzelhall Photography: @agirvan Photo edits: @suelynchoo Styling and Makeup: @suelynchoo Production assistant: @alatashe Model & Reflections: @amirdenzelhall

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Ole Time Carnival 1959

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tropical night grid 1

Tropical Night grid--first attempt at a sequence (with Nicholas Laughlin)

via CHRISTOPHER COZIER ON FLICKR

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CHRISTOPHER COZIER

castaway

The sense of being afloat and of being between locations ...I have been trying to figure if conventional notions of history are limited by by a fixation on place and ownership ( like a fixation on fact and text as distinct from oral and visual)....space versus place....space is both mental and physical ...is carried with one...the space to do things to be....etc..the prospects of movement. I like the idea of being submerged but also of being mobile

via Christopher Cozier on Flickr

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Nikolai Noel

Marker 01 - A/The great serpent/A beginning and an end as an end and a beginning, (2018). Looping animated drawing (Dimensions variable)

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Mishael (Macqueripe), 2019 - Kearra Amaya Gopee

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A brief history of how the steel drums were invented, and their system of notes created on the surface of the steel pan in 1956, trinidad. (1950s)

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The Question of Multiculturalism in the Arts in the Postcolonial Nation-State of Trinidad and Tobago

Figure 1.

Masquerade revelers on Carnival Tuesday, 1996. Photograph by JOCELYNE GUILBAULT.

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The Question of Multiculturalism in the Arts in the Postcolonial Nation-State of Trinidad and Tobago

Figure 2.

Another Masquerade band on Carnival Tuesday, 1996. Photograph by JOCELYNE GUILBAULT.

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The Question of Multiculturalism in the Arts in the Postcolonial Nation-State of Trinidad and Tobago

Figure 3.

At the celebration of the 150th Anniversary of Indian Arrival in 1995, a float represented the boat Fath-al-razak (also known as “Fatel Rozack”) that brought the first group of Indians to Trinidad. Photograph by JOCELYNE GUILBAULT.

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The Question of Multiculturalism in the Arts in the Postcolonial Nation-State of Trinidad and Tobago

Figure 4.

At the celebration of the 150th Anniversary of Indian Arrival, a group of women and men in traditional Indian attire. Photograph by JOCELYNE GUILBAULT.

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Schoolchildren Playing In Trinidad

View of children playing in the yard of the Caroni Hindu School, Caroni County, Trinidad, Trinidad and Tobago, August 1956. Photo taken during the National Film Board of Canada's production of the 'New Nation in the West Indies' television series, a four-part introduction to the then recently formed Federation of the West Indies. (Photo by Joseph Champagne/NFB/Getty Images)

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Schoolchildren Playing In Trinidad

View of children playing in the yard of the Caroni Hindu School, Caroni County, Trinidad, Trinidad and Tobago, August 1956. Photo taken during the National Film Board of Canada's production of the 'New Nation in the West Indies' television series, a four-part introduction to the then recently formed Federation of the West Indies. (Photo by Joseph Champagne/NFB/Getty Images)

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Trinidad & Tobago

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