Andil Gosine’s Cane Portraiture and the aesthetics of indenture

Andil Gosine’s participant-driven performance Cane Portraiture aestheticizes the social history of indentured labourers in Caribbean. The work expands field relations surrounding discourse ‘coolitude’ – dissemination Indian labour during 19th century by redressing ‘coolie odyssey’. By doing so, Gosine suggests that pathos displacement produced odyssey’ moves through generations Caribbean diaspora. In an attempt to define and reconcile this tension, attempts locate a renewed sense place ‘home’. For Gosine, then, conceptualization ‘home’ is approached as embodiment person or site shared with others.