Trinity College Trinity College Digital Repository Faculty Scholarship Spring 2010 Performing in the Lap and at the Feet of God: Ramleela in Trinidad, 2006–2008 Milla C. Riggio Trinity College,
[email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/facpub Part of the Theatre and Performance Studies Commons Performing in the Lap and at the Feet of God Ramleela in Trinidad, 2006–2008 Milla Cozart Riggio The performance was like a dialect, a branch of its original language, an abridgement of it, but not a distortion or even a reduction of its epic scale. Here in Trinidad I had discovered that one of the greatest epics of the world was seasonally performed, not with that desperate resignation of preserving a culture, but with an openness of belief that was as steady as the wind bending the cane lances of the Caroni plain. —Derek Walcott, Nobel Prize Lecture (1992) As a child living in Wagoner, Oklahoma, I was enlisted by my Baptist evangelist father both to play the piano for his monthly hymn singing fests and to “teach” Wednesday night Bible classes. “What,” I asked my father, “shall I tell these people? I don’t know anything about the Bible.” “Oh,” he responded, “neither do they. Just make it up, but always assure them that—as our good hymn says—they are all ‘sitting in the lap of God.’ That’s what they want to know.” So week after week, while I unwittingly practiced for my future vocation, some dozen or so Baptist parishioners were asked by a nine-year-old girl to sit together “in the lap of God.” Having no idea what that meant, I conjured up an image of a gray-bearded, department store Santa/God with all of us piling at once into his opulent lap.