Hosay Trinidad Muharram Performances in an Indo-Caribbean Diaspora Frank J. Korom "Hosay Trinidad should be considered a great publishing achievement. It is a livre de chevet, a must for scholars of Caribbean studies, anthropology, and the performing arts."--History of Religions "Hosay Trinidad contributes substantially to the anthropology of contemporary identity politics as well as to the study of 'boundaries' which has come to play a key role in important new lines of scholarship across the social sciences."--Anthropos "The book is free of jargon and recommended for anyone with an interest in contemporary interreligious issues, the possibilities within local Islamic cultures . . . , and questions of identity formation in a multicultural and multireligious society."--Religious Studies Review The multivocalic rite known as Hosay in the Caribbean developed out of earlier practices originating in Iraq and Iran which diffused to Trinidad by way of South Asian indentured laborers brought to the Caribbean by the British from the mid-1800s to the early decades of the twentieth century. The rituals are important as a Shi'i religious observance, but they also are emblems of ethnic and national identity for Indo-Trinidadians. Frank Korom investigates the essential role of Hosay in the performance of multiple identities by historically and ethnographically situating the event in Middle Eastern, South Asian, and Caribbean contexts. Hosay Trinidad: Muharram Performances in an Indo-Caribbean Diaspora is the first detailed historical and ethnographic study of Islamic muharram rituals performed on the island of Trinidad. Korom's central argument is that the annual rite is a polyphonic discourse that is best understood by employing multiple levels of interpretation. On the symbolic level the observance provides esoteric meaning to a small community of Indo-Trinidadian Muslims. On another level, it is perceived to be representat