Migration and Fusion: Tracing the Roots of Chutney Music, A Journey from Bihar to Trinidad
Historians try to discern the reason for large scale population movement and the effects of those changes. In general, we can divide all the forces into two, pushing and pulling forces, that affect people’s migration. Political turmoil, a lack of employment opportunities or congestion could work as pushing factors. Pulling factors include better life style, job opportunities or having relatives who have already moved. Different ethenic groups encounter one another and the hosting land works as a melting pot in which process of cultural amalgamation happens to create a new form. Chutney Music is the resultant of this very process in which Bhojpuri and Indian folk music are amalgamated with Caribbean calypso and Soca music. This is a fusion of Dhantal and Dholak from Indian continent, Soca beats and Tasha drums from Caribbean island. In this paper we map out the journey of Chutney music from north India to Caribbean island and how it evolved.
Malhotra, Nishi. “Chutney Soca Nana and Nani.” HARD NEWS, HardNews Media Pvt. Ltd, 3 Feb. 2014, web1.hardnewsmedia.com/2013/09/6048.
Murthy, D. “Representing South Asian alterity? East London's Asian electronic music scene and the articulation of globally mediated identities”, European Journal of Cultural Studies, 2009, 12 (3), 329– 348.
Rice, T. Reflections on music and identity in ethnomusicology, Muzikologija/Musicology, 2007, 7, 17-37.
Slobin, Mark. “Micromusics of the West: A Comparative Approach”, Ethnomusicology, vol. 36, no. 1, 1992, pp. 187. JSTOR, www.jstor.org/stable/852085.
“The Biblical Recorder from Raleigh, North Carolina on September 19, 1846 · Page 2.” Newspapers.com, The Biblical Recorder, 20 Oct. 2020, www.newspapers.com/newspage/90188442/.
How to Cite
Copyright (c) 2022 Anshul Rani
This work is licensed under a Creative Commons Attribution 4.0 International License.