Dinshuru 

By Ali Pretty

A conversation with Tony Hall and Jit Samaroo

The duo at work is an amazing experience to witness, there is a Conversation happening between the two of them, but the striking thing is that Tony is expounding in words and Jit is responding with notes

'D in Shuru, (day breaks) is the beginning of a long conversation, embarking on a new journey that carries us through time, bringing the past into the future, carrying us mentally and physically across continents.'

So began my first meeting with Tony Hall at home in Tobago less than a year ago. We've been deep in conversation ever since as Tony has grappled with an immense task of turning a large carnival project into an intimate script of one woman's journey spanning three continents over 160 years.

Tony has himself travelled through many continents beginning at school in Trinidad, where he, as a pupil of African heritage, was in a class of 90% Indian children, this was followed by a university education in theatre in Canada in the 70's. After a while working with groups there, Tony felt the need to turn his back on mainstream European style theatre and return home to Trinidad in 1984, where he has been able to work since creating his own model of performance with LordStreet Theatre which he now terms The Jouvay Popular Theatre Process. Jouvay, means an awakening and grows out of the masquerade characters of carnival. Tony is employing his techniques and theories in the writing of Din Shuru, which demands to be a different kind of performance than any of the team has ever been involved in creating before.

For us the conversation is about multiple identities, about provoking a dialogue between communities and generations and finding parallels in our respective situations in 2005 and in those of the script which take us to contemporary Kolkata, 1857 Bihar, 1948 Port of Spain and a post 7/7 London. Tony hasn't spent much time in London recently until he became engaged in Din Shuru. This month his conversation was with Young British performers of all backgrounds. One of the things he discovered was the cultural interpretation of the word 'backpack'. In London in 2005, a backpack is an object of fear and threat and can get you into a lot of trouble. In Trinidad to wear a backpack means adorning a carnival costume that gives you the freedom to be whoever you want to be. At the heart of Tony's work is the emancipation of the imagination and this is certainly what he is unlocking in Din Shuru.

Tony talks to many people all of the time about many things. Jit on the other hand is a man of few words. Jit listens to the conversations around him and translates them into music. Jit Samaroo is the composer of the piece which is currently running at nearly 30 tunes! At home, in Trinidad, Jit is a national icon, as the arranger for top and reputable steelband Renegades. Jit's story makes him a living legend. A tiny Indian man from a large family, Jit's career began at 13 when his mother passed away. With a family to look after, his youngest sister only 3 months old, Jit began a family band The Samaroo Jets to earn a living for the family. He was later trained by classical western musician George Maliphant which gave him the freedom to compose and arrange his own work. He was also asked to arrange for Renegades and the band have been winning awards ever since. Jit is the Indian man in pan, in the heart of a black arena.

Din Shuru is the first time he has worked on a musical and the first time collaborating with Tony. The duo at work is an amazing experience to witness, there is a conversation happening between the two of them, but the striking thing is that Tony is expounding in words and Jit is responding with notes.

Din Shuru, meaning day breaks meaning Jouvay meaning awakening is a journey that has only just begun, for all those who are getting on board there is a lot more dialogue to come.

Sinuous Scent Of A New Musical

On a warm October day in Hackney, the sun from the glass-windowed dome lightens the wooden floor of the former Baptist Tabernacle; where the sinuous flow of dancers bodies excite the air already filled with music from conga and dhol drums. The music by Jit Samaroo, renowned Trinidadian composer and musician, warms and almost scents the space, as seemingly out of nowhere dancers conjure up a story, led by Indian choreographer Tanusree Shankar.
Of course, it is not out of nowhere, the script is by established Trinidadian writer, Tony Hall, and the project started with Kinetika, an organisation with a background in international carnival events. Ali Pretty, the director, who is leading the workshops, said, "this is a contemporary British story. About a young woman who goes to India and traces her family's roots, from India to Trinidad, and then to Britain, from where she has originally set out on her journey of discovery."

Din Shuru is evolving into a performance event that will push the boundaries of carnival and theatre, and explore the meeting point of Indian, African and European cultures. The week-long workshop has moved the project forward. Ali Pretty said, "this week is a significant stage in development, clarifying the script, working with performers, it's coming together, bringing it alive."

Surrounded by images of Asian street and festival scenes, and a glass-fronted case containing an image of the ten-armed goddess Durga, the dances are slowly building up to a crescendo that will erupt onto an East London theatre in the near future.