Styles of Indo-Caribbean jewelry created during indentureship have been continually reproduced up to the present. Exploring the demand and desire for these styles, this essay suggests that there is a communal aesthetic underlying the production of the jewelry, influenced by the perception of the jewelry as a commentary on sociohistorical realities and gendered labor practices. Artists working in the diaspora, including British-Guyanese jeweler Vannetta Seecharran, have created experimental pieces that still retain the minimalist and communal aesthetics traditionally associated with Indo-Caribbean jewelry.
Joy Mahabir; Communal Style: Indo-Caribbean Women's Jewelry. Small Axe 1 July 2017; 21 (2 (53)): 112–122. doi: https://doi.org/10.1215/07990537-4156822
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