Birth draws on fieldwork he conducted in one of Trinidad’s ethnically diverse rural villages to explore the relationship between music and social and political consciousness on the island. He describes how Trinidadians use the affective power of music and the physiological experience of performance to express and work through issues related to identity, ethnicity, and politics. He looks at how the performers and audience members relate to different musical traditions. Turning explicitly to politics, Birth recounts how Trinidadians used music as a means of making sense of the attempted coup d’état in 1990 and the 1995 parliamentary election, which resulted in a tie between the two major political parties. Bacchanalian Sentiments is an innovative ethnographic analysis of the significance of music, and particular musical forms, in the everyday lives of rural Trinidadians.

Khan combines ethnographic research she conducted in Trinidad over the course of a decade with extensive archival research to explore how Hindu and Muslim Indo-Trinidadians interpret authority, generational tensions, and the transformations of Indian culture in the Caribbean through metaphors of mixing. She demonstrates how ambivalence about the desirability of a callaloo nation—a multicultural society—is manifest around practices and issues, including rituals, labor, intermarriage, and class mobility. Khan maintains that metaphors of mixing are pervasive and worth paying attention to: the assumptions and concerns they communicate are key to unraveling who Indo-Trinidadians imagine themselves to be and how identities such as race and religion shape and are shaped by the politics of multiculturalism.

Niranjana draws on nineteenth-century travel narratives, anthropological and historical studies of Trinidad, Hindi film music, and the lyrics, performance, and reception of chutney-soca and calypso songs to argue that perceptions of Indian female sexuality in Trinidad have long been central to the formation and disruption of dominant narratives of nationhood, modernity, and normative sexuality in India. She illuminates debates in India about “the woman question” as they played out in the early-twentieth-century campaign against indentured servitude in the tropics. In so doing, she reveals India’s disavowal of the indentured woman—viewed as morally depraved by her forced labor in Trinidad—as central to its own anticolonial struggle. Turning to the present, Niranjana looks to Trinidad’s most dynamic site of cultural negotiation: popular music. She describes how contested ideas of Indian femininity are staged by contemporary Trinidadian musicians—male and female, of both Indian and African descent—in genres ranging from new hybrids like chutney-soca to the older but still vibrant music of Afro-Caribbean calypso.

James Houk's field work in Trinidad and subsequent involvement in the Orisha religion allows him a uniquely intimate perspective on a complex and eclectic religion. Originating in Nigeria, Orisha combines elements of African religions (notably Yoruba), Catholicism, Hinduism, Protestantism Spiritual Baptist, and Kabbalah. A religion of spirits and spirit possession, ceremonies and feasts, churches and shrines, sacrifices and sacred objects, Orisha is constantly shifting and unstable, its practice widely varied. As a belief system, it is a powerful presence in the social structure, culture, and, more recently, the political realm of Trinidad.

Houk carefully examines the historical forces that have transformed Orisha from a relatively simple religion in colonial Trinidad to an abstruse mix of belief, ritual, and symbolism. The voices of worshippers and Orisha leaders spring to life the intensity and power of the religion. Houk's own recounting of participation in many of the mystical ceremonies, including taking on the important role of drummer in several feasts, his initiation into Orisha, and his exceptional field research provide fascinating details essential in understanding the development of this Caribbean religion.

When an IMF-backed program of liberalization opened Trinidad’s borders to foreign ready-made apparel, global competition damaged the local industry and unraveled worker entitlements and expectations but also presented new economic opportunities for engaging the “global” market. This fascinating ethnography explores contemporary life in the Signature Fashions garment factory, where the workers attempt to exploit gaps in these new labor configurations through illicit and informal uses of the factory, a practice they colloquially refer to as “thiefing a chance.”

Drawing on fifteen months of fieldwork, author Rebecca Prentice combines a vivid picture of factory life, first-person accounts, and anthropological analysis to explore how economic restructuring has been negotiated, lived, and recounted by women working in the garment industry during Trinidad’s transition to a neoliberal economy. Through careful social coordination, the workers “thief” by copying patterns, taking portions of fabric, teaching themselves how to operate machines, and wearing their work outside the factory. Even so, the workers describe their “thiefing” as a personal, individualistic enterprise rather than a form of collective resistance to workplace authority. By making and taking furtive opportunities, they embrace a vision of themselves as enterprising subjects while actively complying with the competitive demands of a neoliberal economic order.

Prentice presents the factory not as a stable institution but instead as a material and social space in which the projects, plans, and desires of workers and their employers become aligned and misaligned, at some moments in deep harmony and at others in rancorous conflict. Arguing for the productive power of the informal and illicit, Thiefing a Chance contributes to anthropological debates about the very nature of neoliberal capitalism and will be of great interest to undergraduate students, graduate students, and faculty in anthropology, labor studies, Caribbean studies, and development studies.