In the initial days of listening to Chutney Music and reading web-based articles, I had this great urge to write a scholarly article on this…all kinds of ideas were hopping around in my head…making connections…trying to give it an attractive title and sub-title and a good opening paragraph…and after listening to the D’Bhuyaa Saaj concert, I was enthused and pepped up and made several tentative openings…I wanted to situate Chutney Music in the midst of various India Diaspora musics, the most famous example being the Asian Underground Music scene in England with its mixture of Bhangra, Indian classical, and electronica…and as I was also listening to loads of Asian Underground bands and individual artistes, this was a natural kind of inclination…
But the one issue that caught my attention was the question of identity… and this was triggered off by Ajeet Praimsingh’s comments…we were discussing Chutney Music and then Ajeet Praimsingh related an incident… “yesterday I went to ma hotel room and switched on my TV, maan, and was watching songs…and I see this maan singing on TV…Lotay La… maan…he has taken our song, maan, he was singing our song, maan…” Initially, I did not understand what he said…then it dawned after a couple of seconds… those days, a bhojpuri style song and music video was a rage on TV music channels for a brief while…called ‘Lootela,’ it was a lavish music video in the remix style, done quite well actually with Urmila Matondkar as the focus of attention, and the actors too did their job well and the singer himself, called D' Raja, appeared on the video singing the bhojpuri style song (see it here: http://www.youtube.com/watch?v=PVOo_JgvBng) … I tried to figure out Ajeet Praimsingh’s statement and realised that he was talking about a Chutney song that became a mammoth hit in the 1960s-70s in Trinidad and catapulted the singer Sonny Mann into instant fame…the song was called ‘Lotayla’… (catch the song here, http://www.youtube.com/watch?v=rOcH3NbzupM; though it appears in youtube, there is no video here, only the song sung by Sonny Mann, but this is a later version, sung along with Denis Belfon and General Grant, which is actually a Soca; but you can see the similarities and differences)… and this was what Ajeet Praimsingh was referring to when he said, ‘he has taken our song, maan…’ it sounded amusing then, and then I thought about it and felt that this posed an interesting question… the question of the song’s identity … Whose song is it anyway? Where did the song originate from? Where did it go? Who took it there? Whose song is it now? Who does it belong to?
I am still searching for answers…
Showing posts with label Chutney music. Show all posts
Showing posts with label Chutney music. Show all posts
Tuesday, October 14, 2008
Sunday, October 12, 2008
Chutney Music...my experiences-III
Princess Priya Kelly in the foreground, on the right sitting on the floor is Rasika Dindial
You can see Rakesh Yankaran on the Harmonium to Rasika's right on the floor, and Surender Ramoutar on the Steel Pan standing between Rakesh and Rasika
My best experience with Chutney Music came in February 2005 (14th Feb 2005 to be exact). I heard from Shruti that a series of Indian Diaspora music concerts were being held at University of Hyderabad and that a group from Trinidad has come…I couldn’t hide my excitement…Shruti and I reached the venue almost an hour before the scheduled start…and on the steps of the auditorium I saw a man in a distinctly colourful shirt chatting with a group of students…I too sat down to listen and discovered that this man was part of the music group called D’Bhuya Saaj [a bhojpuri term meaning ‘sitting on the ground (bhuyaan) and singing/entertaining (saaj)’] from Trinidad which would be performing that day…
I still remember…we were talking and I told this man that I had visited a site called www.ajeetpraimsingh.com and learned a lot about Trinidad and Indo-Caribbean music...about Dhantal…about Doubles...about this person called Ajeet Praim Singh, an industrious merchant and music producer who is working hard to keep Indo-Trinidadian traditions alive in Trinidad...the music of Kabir Das…and he said ‘it is myself’...I was stunned and surprised and delighted and clasped his hand …it was totally unexpected and it turned out that he was the manager of the group and also was on stage with the shak shak…I spoke to him for quite some time about chutney music and it was a delight to hear the sing song West Indian English…he urged me to write a book… ‘you write a book, maan’…
After we talked, I entered the auditorium and to my surprise, saw that Dr Helen Myers was also there...I had read her book and here she was in person and I couldn’t believe my luck that day...the entire Diaspora music concert series was organised as lec-dems with one expert talking about the music before the actual performance and Helen Myers was the expert for Chutney Music…she was one of the earliest to write about chutney music and according to the person who introduced her, Dr Myers has followed the Bhojpuri Diaspora around the world and has researched, written about and recorded their music in such distant lands as Fiji, Mauritius, and of course Trinidad and Guyana…I could speak to her briefly and told her about my interest…she was happy to know that I had read her book and gave me her e-mail and asked me to keep in touch…
And then the music began ...it was mind-blowing...a live chutney music performance at my doorsteps literally!! I heard and saw famous names like ‘D’ Rani Rasika Dindial, ‘D’ Raja Rakesh Yankaran, Lily Ramcharan and just like any Bhojpuri song performance in India, the group also had a dancer, ‘Princess’ Priya Kelly… who came in on some songs and danced in typical thumka style (for quick reference…‘beedi’ and ‘namak ishq’ songs in Omkara!!!) which had the audience roaring in approval… I had heard Rasika's song on tape and it was so nice to hear her live on Lazy Man, her mega hit of the late 90s…Rakesh Yankaran sang a devotional song ‘ganga jamuna saraswati’ at the beginning and also his most famous Mousie … and also Dholak Baje… Lily Ramcharan sang The New Dawn, a song written to mark the arrival of the first Indians in Trinidad…and talks about the trials and tribulations and progress made by them… and the group also sang some typical crossover chutney soca songs like Lover Boy, Lazy Man and we also heard typical Tan singing by Rakesh Yankaran who sang Savari Surat, a devotional Trinidad style thumri…
The live sounds of Dhantaal, Dholak, Steel Pan Drum…and the other members of the group Molly Ramcharan, Devarnand Nagessar, Rishi Ragbir and Jagdeo Deebaram (on Dhantaal and Dholak…in fact all singers took their turns with the Dhantaal…) Surender Ramoutar (steel pan)…and of course, Ajeet Praim Singh on the shak shak… and all of them were moving and dancing on the stage and it was infectious…they urged the audience to come on and dance on stage…I had half a mind to go, but didn’t see anybody else volunteering and so suppressed my urge to dance with a live chutney band….maybe sometime in future when I go to Trinidad, I will muster enough courage to go on stage and dance to chutney tunes…
And the icing on the cake… ever the entrepreneur, Ajeet Praim Singh had brought some chutney music CDs produced by him and I hadn’t forethought this…Shruti and I fished around in our wallets and pockets and pooled together enough to buy 3 CDs ... of my favourite singers that day...Rasika's and Rakesh's and the special CD on India Arrival Day...
It was truly a memorable evening for a chutney fan… I didn’t have a digital camera or any camera at that time, but I wanted my readers to have a feel of the performance and so I searched the net and found some photos in online editions of newspapers of their tour in India and I have pasted a couple of photos of the D’ Bhuyaa Saaj performances in India (they performed in 7 cities in India)…these are 2 photos of ‘Princess’ Priya Kelly dancing with other members of the group in the background…
More to come…ha ha ha…
Jayasrinivasa Rao
Saturday, October 11, 2008
Chutney Music...my experiences - II
I was getting more and more interested in chutney music and located a lot of samples on the Internet, some of which I could download and listen… I enjoyed listening to the swinging rhythms and the West Indian accented Hindi lyrics sometimes interspersed with English lyrics… I wanted to know more about this wonderful music from India which had taken root in alien soil and had grown into a totally fascinating flowering tree… happy to incorporate influences and yet retaining its basic core… my friends helped me in acquiring books on Chutney Music…and so I read Helen Myers’ Music of Hindu Trinidad: Songs from the Indian Diaspora (The University of Chicago Press)…but unfortunately, I was not able to get the CD of songs which accompanied this book…
The next book that I read was Peter Manuel’s East Indian Music in the West Indies: Tan Singing, Chutney, and the Making of the Indo-Caribbean Culture … as is my usual practice, I had harangued my friend Vijay in the US to send me this book, as I didn’t want to miss the CD that accompanied this book… the book was riveting and I read it in two instalments…Peter Manuel has given a detailed historical and musical account of chutney music and his writing style is very engaging…but the most enthralling part was in the music in the CD…Manuel has written about and included songs that are part of what Indian-West Indians call Tan singing…this is a repertoire of songs, basically religious, that the Indians have nurtured and developed into a kind of ‘classical’ music, as opposed to the more ‘popular’ chutney music…
The next book that I read was Peter Manuel’s East Indian Music in the West Indies: Tan Singing, Chutney, and the Making of the Indo-Caribbean Culture … as is my usual practice, I had harangued my friend Vijay in the US to send me this book, as I didn’t want to miss the CD that accompanied this book… the book was riveting and I read it in two instalments…Peter Manuel has given a detailed historical and musical account of chutney music and his writing style is very engaging…but the most enthralling part was in the music in the CD…Manuel has written about and included songs that are part of what Indian-West Indians call Tan singing…this is a repertoire of songs, basically religious, that the Indians have nurtured and developed into a kind of ‘classical’ music, as opposed to the more ‘popular’ chutney music…
So, you have Trinidadian/Guyanese/Surinamese thumris, bhajans, tillanas, holis, dhrupads, and ghazals as part of this Tan singing…for people familiar with Hindustani classical music, these genres mean something specific, but when you listen to Tan singing, you realise that these genres have taken a life of their own with little or no connection at all to the genres of the same name in Hindustani classical music…they have built a separate repertoire of ‘classical’ music with remembered music and developed these genres as years went by…Manuel quotes Trinidadian sitarist, composer, and music authority Mangal Patasar, who once remarked about tan-singing, “You take a capsule from India, leave it here for a hundred years, and this is what you get.”
More to come...
Friday, October 10, 2008
Chutney Music...my experiences - I
It must be sometime in 2004 or so…that I heard about chutney music as the music of Indians living in Trinidad…and then began my deep interest in this music…I scoured the internet in search of information and samples…I got a considerable amount of information and some articles and details about books…and for the first time, I heard the music…it was Bhojpuri songs with a twist…a tangy twist…what they called ‘chutney music’…as tangy as chutney…I then discovered that this music is prevalent in Guyana and Suriname too…that is, wherever Indians were taken in the Caribbean as indentured labourers in the 19th century by the British (pl read Sea of Poppies by Amitav Ghosh)…so, what is chutney music? A lot has been written on this subject by many experts and researchers…so let us say that chutney music is the music of the Indians in Trinidad, Guyana, and Suriname…basically songs of the area around Uttar Pradesh and Bihar known as Bhojpur, now famous all over India as Bhojpuri songs… so what is so special about this?
When the people from this area were taken to these Caribbean islands as indentured labourers, the only imperishable items that they could take with them were their songs…and in an alien land with alien people in the sugarcane fields, singing their songs was the only solace at the end of the day…these songs were the only links to their motherland that they had left behind…these sings sustained them and their families and when slowly and surely their financial situations improved and the second generation of Indians began to flourish in these distant lands, these same songs became songs of celebration and of identity… and over a period of time local musical elements also started influencing chutney music… even the religious and ritual songs began to sung with an upbeat tempo…apart from the dholak and harmonium, instruments which they had brought along with them, chutney music began to use the Steel Pan drum and ‘dhantaal,’ a musical instrument believed to have been invented by Indians in Trinidad, and Tassa drums…Tassa drums are used in the Muslim Hosay festival in Trinidad…so chutney music is now a mix of Indian, Latin American, and Islamic influences…and now a new strand has evolved called Chutney Soca…which incorporates elements of calypso rhythms…and English lyrics…
More in future posts…
When the people from this area were taken to these Caribbean islands as indentured labourers, the only imperishable items that they could take with them were their songs…and in an alien land with alien people in the sugarcane fields, singing their songs was the only solace at the end of the day…these songs were the only links to their motherland that they had left behind…these sings sustained them and their families and when slowly and surely their financial situations improved and the second generation of Indians began to flourish in these distant lands, these same songs became songs of celebration and of identity… and over a period of time local musical elements also started influencing chutney music… even the religious and ritual songs began to sung with an upbeat tempo…apart from the dholak and harmonium, instruments which they had brought along with them, chutney music began to use the Steel Pan drum and ‘dhantaal,’ a musical instrument believed to have been invented by Indians in Trinidad, and Tassa drums…Tassa drums are used in the Muslim Hosay festival in Trinidad…so chutney music is now a mix of Indian, Latin American, and Islamic influences…and now a new strand has evolved called Chutney Soca…which incorporates elements of calypso rhythms…and English lyrics…
More in future posts…
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