What are some traditional characters in Trinidad's Carnival?

Traditional characters include the Baby Doll, Moko Jombie, Blue Devil, and the Burra (derived from 'Burroquito'). These characters often involve theatrical performance and ritual, sometimes serving to shock or parody existing customs.

What is the current situation for Venezuelan migrants and refugees in Trinidad and Tobago?

Venezuelans began migrating in large numbers from 2017 due to the crisis in Venezuela. Trinidad and Tobago hosts over 35 nationalities but lacks specific refugee protection legislation. Venezuelans face obstacles like language barriers, limited recognition of qualifications, xenophobia, and exclusion from social programs.

What is cultural diplomacy?

Cultural diplomacy is the exchange of ideas, information, art, and other aspects of culture between nations and their peoples to foster mutual understanding. It's a tool of soft power, using culture to persuade and build bridges.

How can immigrants and diaspora communities act as cultural diplomats?

Immigrants and diaspora members living abroad share their traditions in their host countries, serving as ambassadors of their cross-cultural experiences. This act humanizes situations, shows cultural similarities, and can foster integration.

What is the 'Burra' character in Carnival, and what is its origin?

The 'Burra' is a traditional Trinidad Carnival character, brought by Venezuelan immigrants and merged with East Indian culture. It's derived from the Spanish word 'burroquito' (little donkey) and has roots in the Hindu Durga Festival.

How did Maria Nuiter use 'La Burra' for cultural diplomacy?

Maria Nuiter, as a Venezuelan artist and performer, uses the 'Burra' character in Carnival and other public events. Her performances act as political art, a tool for integration, social cohesion, and humanizing interactions, defying xenophobia and promoting unity.

What challenges do migrants in Trinidad and Tobago face?

Venezuelans and other migrants face challenges such as language barriers, lack of formal recognition for professional qualifications, xenophobia, stigma, exclusion from education and healthcare, and risks of exploitation and deportation.

Can art and culture help integrate migrants into a new society?

Yes, art and cultural practices like Carnival and figures like the 'Burra dancer' can foster integration by humanizing interactions, showing shared cultural elements, building understanding, and creating a sense of belonging, as seen in the experience of Venezuelan migrants in Trinidad.

What advice is given for using art and culture in conflict mediation?

Advice includes embracing culture as a tool for unity, defiance against xenophobia, and creating equal spaces for all. It's about recognizing art's power to transcend boundaries and unite people, inspiring newcomers and hosts alike.

Bailando la Burra: Cultural Diplomacy as a strategy for Migrant and Refugee Integration - MS 2023

MIT OpenCourseWare

Education4 min read75 min video

May 26, 2023|75 views

migration displacement livelihoods refugees education workforce development MIT ReACT storytelling migration summit cultural exchange culture venezuela

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Key Moments

TL;DR

Venezuelan artist uses traditional Burriquita dance to foster integration and cultural understanding in Trinidad.

Key Insights

Carnival in Trinidad and Tobago has deep historical roots, originating from celebrations during slavery and evolving into an inclusive cultural and economic event.

The Burriquita, a traditional Carnival character, merges Venezuelan and East Indian cultural influences, serving as a relevant example of cultural fusion.

Trinidad and Tobago faces challenges in integrating Venezuelan migrants and refugees due to a lack of specific protection legislation and societal barriers.

Cultural diplomacy, exemplified by Maria Nuitter's 'Burriquita' performance, acts as a powerful 'soft power' tool for integration, peacebuilding, and combating xenophobia.

Art and cultural practices can humanize communities, bridge divides, and foster mutual understanding, succeeding where policies may falter.

Migrants and diaspora members play a crucial role as cultural ambassadors, sharing their traditions and contributing to the host country's cultural landscape.

THE HERITAGE AND EVOLUTION OF TRINIDADIAN CARNIVAL

Trinidad and Tobago's Carnival, renowned as the 'mother of all carnivals,' traces its origins to the 18th century during slavery. Initially, slaves created their own celebrations due to exclusion from their masters' events. Practices like 'J'ouvert,' derived from French Patois meaning 'day open,' symbolize freedom and resistance. Post-emancipation, former slaves established their own Carnival, which has since grown into an inclusive, multi-billion dollar industry, a testament to Trinidadian culture and identity, celebrated through elaborate parades, competitions, and music.

THE BURRIQUITA: A SYMBOL OF CULTURAL FUSION

The Burriquita is a significant traditional character in Trinidad's Carnival, originating from Venezuelan immigrants in the 19th century. Its name is derived from the Spanish word 'borriquita,' meaning 'little donkey.' This character merged with similar traditions from East Indian culture, particularly the 'Lila' of the Hindu goddess Durga, involving horse and rider imagery. The costume, built around a bamboo frame, is worn by a dancer who performs to the rhythm of tassa drumming and Hindi folk songs, embodying a rich blend of cultural influences.

MIGRATION CHALLENGES IN TRINIDAD AND TOBAGO

Trinidad and Tobago hosts a significant number of migrants and refugees, primarily from Venezuela, due to regional instability. However, the country, like most in the Caribbean, lacks refugee protection legislation. While temporary work permits have been extended, many Venezuelan migrants face obstacles such as language barriers, limited recognition of professional documents, xenophobia, and exclusion from social programs. Access to education, healthcare, and basic necessities remains a challenge, increasing vulnerability to exploitation and unsafe migration routes.

CULTURAL DIPLOMACY AS A TOOL FOR INTEGRATION

Cultural diplomacy is presented as a crucial strategy for migrant and refugee integration. It leverages 'soft power' through the exchange of culture, ideas, and art to foster mutual understanding. The presence of diaspora communities acting as cultural ambassadors is vital. By showcasing similarities and shared traditions, like the Burriquita, it helps humanize migrants, build peace, reconcile communities, and combat xenophobia. This approach can be particularly effective in creating inclusive spaces where politics may polarize.

MARIA NUITTER'S BURRIQUITA: DEFIANCE AND COMPLIANCE

Venezuelan artist Maria Nuitter embodies cultural diplomacy through her performance of the Burriquita. Her participation in political and public spaces, dancing with government officials and UN representatives, demonstrates defiance against xenophobia and rigid national boundaries. Simultaneously, her performance complies with Trinidad's national ethos of equality and inclusivity, as expressed in its anthem. Nuitter's work humanizes migrants, encourages engagement, and succeeds in integrating cultures and people through dance, illustrating the power of art in fostering social cohesion.

PERSONAL EXPERIENCES OF INTEGRATION AND SHARED CULTURE

Personal anecdotes highlight the profound impact of cultural integration. One Venezuelan migrant shared her experience of feeling included and fulfilled when her daughter, a Trinidadian by birth, participated in the Burriquita dance. This experience allowed her daughter to connect with her Venezuelan roots while growing up in Trinidad, embodying the ideal of receiving the benefits of both cultures. Such instances underscore how embracing shared cultural practices creates a sense of belonging and breaks down barriers, proving that culture speaks a universal language.

THE ROLE OF ART IN BRIDGING CULTURES AND POLICY GAPS

The discussion emphasizes that art and cultural practices can transcend legal and policy limitations in achieving integration. Maria Nuitter's performances, which engage viewers and encourage participation, serve as a powerful example. Her ability to connect with diverse audiences, including migrants, refugees, and local communities, demonstrates how artistic expression can unite people. This approach offers valuable insights for other communities looking to leverage art and culture to mediate conflict and foster togetherness, inspiring both the young and old, newcomers and hosts alike.

Mentioned in This Episode

●Organizations

●Concepts

●People Referenced

Cultural Diplomacy for Integration: Key Takeaways

Practical takeaways from this episode

Do This

Embrace culture and art as tools for peace-building, conflict resolution, and reconciliation.

Recognize immigrants and diaspora communities as ambassadors of cross-cultural experience.

Use cultural performances to humanize situations where politics may polarize.

Leverage art and culture to make statements against xenophobia and rigid perceptions of national boundaries.

Defy expectations by engaging audiences and creating spaces for inclusion.

Comply with anthems that promote equality and welcome diversity.

Allow culture to transcend and unite, succeeding where laws and policies may fail.

Avoid This

Do not view cultural diplomacy solely as a tool for the elite or well-known public figures; embrace its personal and private dimensions.

Do not let political polarization overshadow the humanizing power of art and culture.

Do not reinforce exclusionary national boundaries; challenge them through cultural expression.

Do not be a passive bystander; engage with and participate in cultural exchanges.

Do not allow fear and xenophobia to dictate interactions with newcomers.

Common Questions

Carnival is known as the 'mother of all carnivals' and is a major cultural and economic event in Trinidad and Tobago, celebrated before the Lenten season. It originated during slavery as a symbol of freedom and has evolved into an inclusive, elaborate festival.

Topics

Carnival Trinidad And Tobago Cultural Diplomacy Xenophobia Caribbean Culture Venezuelan Diaspora

Mentioned in this video

personIlechi Todd

Videographer who supported projects involving Trinidad's traditional Carnival cultures, including a documentary on Maria.

personAlexandra Brisinho

Early childhood development officer at Living Water Community who discusses the migrant and refugee situation.

mediaLa Burra Reborn

A documentary teaser about Maria Nuiter and her cultural performance.

organizationNormal

An organization co-chairing the Migration Summit.

conceptCarnival

A major cultural festival in Trinidad and Tobago, originating during slavery and evolving into a significant cultural and economic event.

conceptPanorama

An international steel band competition, a significant part of Trinidad and Tobago's Carnival.

conceptLa Lila of the Hindu goddess Durga

A Hindu festival from which the 'Summary' character in Carnival has roots.

locationTrinidad and Tobago

The country where Carnival is celebrated and where Venezuelan migrants and refugees have settled.

conceptBurroquito

The Spanish word meaning 'little donkey' from which the Carnival character 'Burra' is derived.

organizationCanadian High Commissioner

Hosted an event where Maria Nuiter danced with the Minister of Planning and Development.

organizationQuran Foundation

An organization co-organizing the Migration Summit.

personMarian Nuiter

Venezuelan artist, performer, and cultural activist, referred to as a cultural ambassador.

conceptMoko Jumbie

One of the traditional Carnival characters depicted in the video, known for stilt dancing.

personMaria Nuiter

Performer of 'La Burra', explaining its origins, significance, and her role in cultural diplomacy.

personMinister of Foreign Affairs

Was present at a UN event where Maria Nuiter also attended.

personJesus Adrian a Rioja Correa

A participant who made a comment or asked a question.

organizationLiving Water Community

An NGO that has worked with refugees in the Caribbean for over 30 years.

conceptKalinda

A form of stick fighting incorporated into early Carnival celebrations.

conceptBlue Devil

A traditional Trinidad Carnival character.

personSimon Aguilera

Education manager at Living Water Community and moderator of the session.

organizationMIT Refugee Action Hub

An organization Lana is affiliated with, interested in sharing practices for conflict mediation through art.

cityRio de Janeiro

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