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Chutney music

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Chutney
Stylistic originsBhojpuri, folk and later fused with calypso, soca and filmi
Cultural originsMid-20th century, Indo-Caribbeans with indentured servant or immigrant ancestry
Subgenres
Chutney soca, Chutney parang
Music of Trinidad and Tobago
General topics
Related articles
Genres
Specific forms
Religious music
Ethnic music
Media and performance
Music media

Music television

Nationalistic and patriotic songs
National anthem
Forged from the Love of Liberty
Regional music

Chutney music (Caribbean Hindustani: चटनी संगीत, 𑂒𑂗𑂢𑂲 𑂮𑂑𑂹𑂏𑂲𑂞, چٹنی موسیقی) is a genre that blends Indian folk music, specifically Bhojpuri folk traditions, with Caribbean calypso and soca rhythms.[1] Originating in Trinidad and Tobago in the mid-20th century, chutney music has reflected the history and experiences of Indian indentured laborers and their descendants.[1]

This genre is characterized by fast-paced rhythms and percussive beats, often accompanied by instruments such as the dholak (hand drum), harmonium, and dhantal (metal rod percussion).[2] Over time, chutney music has incorporated influences from Bollywood music, reggae, and electronic beats.[3]

History

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Origins

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Chutney music traces its roots to the Indo-Caribbean community, particularly in Trinidad and Tobago, Guyana, and Suriname. The genre emerged from the cultural practices of Indian indentured laborers who were brought to the Caribbean after the abolition of slavery in 1834.[4] These labourers, primarily from the Hindi Belt (Uttar Pradesh and Bihar), carried with them their folk traditions, religious practices, and music, which eventually blended with Caribbean rhythms. [4]

Early Recordings and Growth

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The first notable recordings of chutney music appeared in the late 1960s. Ramdew Chaitoe, a Surinamese artist, released the album King of Suriname in 1968, featuring religious songs with a danceable rhythm.[5] In 1969, Sundar Popo, often referred to as the "King of Chutney," revolutionized the genre by incorporating Western instruments such as guitars, keyboards, and early electronic elements, making chutney music more appealing to younger audiences.[5] His hit song, "Nana and Nani," was a landmark track, blending traditional Bhojpuri lyrics with Caribbean rhythms, setting the foundation for modern chutney music.[6]

Rise to Popularity and the Evolution of Chutney Soca

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The 1980s and 1990s saw an increase in chutney music’s popularity, largely due to artists who fused traditional chutney with soca and calypso influences. One of the most significant figures of this period was Drupatee Ramgoonai, who became known as the "Queen of Chutney."[7] She introduced the subgenre chutney soca, which became a staple in Trinidad’s Carnival celebrations.[7] This fusion of styles helped chutney music gain mainstream acceptance, expanding beyond Indo-Caribbean communities to wider Caribbean audiences. She has performed throughout the Caribbean, North America, Europe and India alongside many internationally renowned stars.[7]

By the late 1990s, chutney music had gained international recognition, with record labels in the United States and Canada signing chutney artists.[8] This period saw the rise of independent recording companies, such as Jamaican Me Crazy (JMC) Records, Spice Island Records, Mohabir Records, and JTS Productions, all of which aimed to capitalize on chutney music’s growing appeal.[7] The establishment of nightclubs like Soca Paradise and Calypso City in New York, and Connections and Calypso Hut in Toronto, also played an important role in promoting Indo-Caribbean music internationally, helping chutney music reach new audiences. [9]

Impact and Legacy

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Today, chutney music remains one of the most significant Indo-Caribbean musical genres, celebrated across the Caribbean and Indo-Caribbean diaspora.[4] Its evolution has included influences from Bollywood music, reggae, and hip-hop, demonstrating its adaptability and global reach.[10] The genre has expanded into major music festivals, global streaming platforms, and international collaborations.[11]

Musical Style and Instrumentation

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Rhythms and Beats

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Chutney music has uptempo rhythms, which combine traditional Indian instruments like the dholak (a double-headed drum) and dhantal (a metal rod) with Caribbean beats such as soca and calypso.[12] The dholak provides the rhythmic foundation while the dhantal adds a metallic percussive element, creating a distinctive sound.[13]

Instruments

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  • Traditional instruments: dholak, harmonium, and dhantal.[13] The dholak is a hand-played drum that is central to chutney music, providing the rhythm that helps to define the genre.[12]
    Trinidad and Tobago Tassa
  • Modern additions: bass guitar, electric guitar, and tassa drums (used in Hindu and Muslim celebrations). The tassa drums, traditionally used in Trinidadian Muslim weddings, add a dynamic and energetic layer to chutney music.[14]

Lyrics and Themes

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Early chutney songs were mainly religious or focused on folk themes, often sung by women during weddings and festivals.[15] These songs were performed in private settings, such as pre-wedding ceremonies known as mathkor, where women would sing and dance to celebrate the upcoming marriage.[16] Over time, the lyrics evolved to explore broader themes of love, life, and social issues.[15]

Languages in Chutney Music

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Caribbean Hindustani

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Chutney music is predominantly sung in Caribbean Hindustani, a linguistic blend of Bhojpuri, Awadhi, and Caribbean English.[17] This language reflects the unique identity of the Indo-Caribbean community, linking their Indian heritage with their Caribbean upbringing.[17] Caribbean Hindustani is a creolized form of Hindi that incorporates elements of English, French, and African languages, reflecting the multicultural environment of the Caribbean.[17]

English and Hindi

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Modern chutney songs often include English lyrics, making the genre more accessible to a broader audience. However, Hindi and Bhojpuri phrases are still used to maintain cultural ties to Indian heritage.[18] The use of multiple languages in chutney music reflects the bilingual and multicultural nature of the Indo-Caribbean community.[18]

Cultural Significance

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A Symbol of Indo-Caribbean Identity

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Chutney music represents the resilience and creativity of the Indo-Caribbean community. It preserves Indian cultural elements while adapting to Caribbean influences, serving as a platform for expressing Indo-Caribbean experiences and struggles.[19] The genre has become a powerful symbol of Indo-Caribbean identity, reflecting the community’s ability to maintain its cultural heritage.[19]

Gender Dynamics

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Early chutney music was dominated by female artists, who used the genre to express their experiences and challenges.[20] Women played a central role in the development of chutney music, performing at weddings and other private gatherings.[21] Today, the genre is more gender-mixed, but female artists continue to play a key role.[22]

Carnival and Festivals

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Chutney music plays a central role in Caribbean festivals, particularly Trinidad’s Carnival, where chutney soca competitions attract large audiences.[23] Chutney music has also become a part of other Caribbean festivals, such as Guyana’s Phagwah and Suriname’s Holi celebrations.[24]

Notable Artists in Chutney Music

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Sundar Popo

Known as the "father of Chutney music," Sundar Popo (born November 4, 1943) played a key role in shaping Indo-Caribbean music.[25] He gained fame with his 1969 hit "Nana and Nani" and went on to release over 15 albums, including tracks like “Scorpion Gyul” and “Pholourie Bina Chutney.”[25] Popo was awarded the National Hummingbird Medal and performed internationally alongside stars such as Amitabh Bachchan.[25] His legacy endures through tributes with people wanting to rename his hometown in his honour. He passed away on May 2, 2000.[25]

Drupatee Ramgoonai

Drupatee Ramgoonai, born March 2, 1958, is a prominent chutney and soca artist from Trinidad.[26] She revolutionized the music scene with her 1987 hit "Chutney Soca," a fusion of traditional chutney and soca.[26] Known for breaking cultural barriers, Ramgoonai became the first woman of Indian descent in Trinidad to sing soca and calypso.[26] She gained international recognition with songs like "Pepper" and "Motilal" and continues to collaborate with global artists, including Machel Montano and Alison Hinds.[26]

Ravi B

Ravi Bissambhar, better known as Ravi B, is a leading chutney soca artist from Trinidad, born on October 27, 1982.[27] He is the frontman of the band Karma, blending chutney soca with Bollywood, reggae, and classical Indian music.[27] Ravi's hits, such as “Drinka” and "Prescription," have gained international fame, with “Drinka” becoming the first chutney soca song to surpass one million YouTube views.[27] He has earned numerous awards and continues to influence the genre with his energetic performances and diverse musical style.[27]

Raymond Ramnarine

Raymond Ramnarine is the lead vocalist of the chutney soca band Dil-E-Nadan.[28] He gained fame after winning a singing competition in 2013, and has since become known for his dynamic performances and hit songs like “Good Vibez” and “Tujhe Suraj.”[28] Ramnarine is dedicated to promoting the positive aspects of Trinidad and Tobago through music, and has used his platform to challenge global perceptions of the region.[28]

Adesh Samaroo

Adesh Samaroo is a Trinidadian chutney soca artist who made his debut with the 2002 hit "Rum Till I Die."[29] Known for his clever lyrics, such as in "Caroni Close Down," Samaroo became a prominent figure in the chutney soca scene.[29] He won the National Chutney Monarch in 2004, and overcame a serious car accident in 2005 to continue performing.[29]

Rakesh Yankaran

Rakesh Yankaran, born December 3, 1959, in Trinidad, is a well-respected figure in chutney music.[30] The son of classical musician Isaac Yankarran, Rakesh was self-taught and rose to fame with his hit song "Dadiyya Moday Lay Lay" in 1991.[30] He has won the National Chutney Monarch multiple times and is celebrated for his traditional Indian instruments.[30] His contributed to chutney music, with tracks like "Mousie" and "Naroro Ray".[30]

References

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  1. ^ a b Ramnarine, T. K. (1996). “Indian” music in the diaspora: Case studies of “chutney” in Trinidad and in London. British Journal of Ethnomusicology, 5(1), 133–153. https://doi.org/10.1080/09681229608567251
  2. ^ "INSTRUMENTS – ttmusiclibrary.com" (in German). Retrieved 18 March 2025.
  3. ^ Servan-Schreiber, C. (2011). Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney. South Asia Multidisciplinary Academic Journal. https://doi.org/10.4000/samaj.3111
  4. ^ a b c Servan-Schreiber, C. (2011). Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney. South Asia Multidisciplinary Academic Journal. https://doi.org/10.4000/samaj.3111
  5. ^ a b Mishra, Y. (2022, January 18). How Bhojpuri Founded Chutney Music In The Caribbean. PeepulTree. https://www.peepultree.world/livehistoryindia/story/living-culture/how-bhojpuri-founded-chutney-music-in-the-caribbean?srsltid=AfmBOoqFl3lkEP6imgcMe2z2ALwZFpDC8qwPMFp0Xei7ahKhRnY_JnaS
  6. ^ Malhotra, N. (2016, July 5). Listen to Some Chutney Music Today - A Vibrant Mix of Bhojpuri Beats and Caribbean Calypso. The Better India. https://thebetterindia.com/60362/chutney-soca-indo-caribbean-music-fusion-bhojpuri/
  7. ^ a b c d Drupatee Ramgoonai Biography: Chutney Music. (2019, February 6). Chutney Music. https://chutneymusic.com/drupatee-ramgoonai/#google_vignette
  8. ^ Chutney Music – featuring Guyana’s Terry Gajraj – autoplay 10 videos. (2013, March 21). Guyanese Online. https://guyaneseonline.wordpress.com/2013/03/21/chutney-music-featuring-guyanas-terry-gajraj-autoplay-10-videos/
  9. ^ Malhotra, N. (2016c, July 5). Listen to Some Chutney Music Today - A Vibrant Mix of Bhojpuri Beats and Caribbean Calypso. The Better India. https://thebetterindia.com/60362/chutney-soca-indo-caribbean-music-fusion-bhojpuri/
  10. ^ Ramnarine, T. K. (1996). “Indian” Music in the Diaspora: Case Studies of “Chutney” in Trinidad and in London. British Journal of Ethnomusicology, 5, 133–153. http://www.jstor.org/stable/3060870
  11. ^ Baksh, D. G. (2014). Jep Sting Radica with Rum and Roti: Trinidadian Social Dynamics in Chutney Music. Popular Music and Society, 37(2), 152–168. https://doi.org/10.1080/03007766.2012.737593
  12. ^ a b "Chutney Music".
  13. ^ a b Ramnarine, Tina Karina (January 1996). ""Indian" music in the diaspora: Case studies of "chutney" in Trinidad and in London". British Journal of Ethnomusicology. 5 (1): 133–153. doi:10.1080/09681229608567251. ISSN 0968-1221.
  14. ^ williamtantam. (2018b, January 22). Tassa Drumming as an Icon of Indianness in Trinidad and Tobago. CICR. https://cicr.blogs.sas.ac.uk/2018/01/22/tassa-drumming-as-an-icon-of-indianness-in-trinidad-and-tobago/
  15. ^ a b Baksh, D. G. (2014). Jep Sting Radica with Rum and Roti: Trinidadian Social Dynamics in Chutney Music. Popular Music and Society, 37(2), 152–168. https://doi.org/10.1080/03007766.2012.737593
  16. ^ Servan-Schreiber, C. (2011). Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney. South Asia Multidisciplinary Academic Journal. https://doi.org/10.4000/samaj.3111
  17. ^ a b c "Language".
  18. ^ a b What is Chutney Music? (n.d.). Aingram.web.wesleyan.edu. https://aingram.web.wesleyan.edu/chutney.html
  19. ^ a b Baksh, D. G. (2014). Jep Sting Radica with Rum and Roti: Trinidadian Social Dynamics in Chutney Music. Popular Music and Society, 37(2), 152–168. https://doi.org/10.1080/03007766.2012.737593
  20. ^ Ramnarine, T. K. (1996). “Indian” Music in the Diaspora: Case Studies of “Chutney” in Trinidad and in London. British Journal of Ethnomusicology, 5, 133–153. http://www.jstor.org/stable/3060870
  21. ^ Servan-Schreiber, C. (2011). Indian Folk Music and “Tropical Body Language”: The Case of Mauritian Chutney. South Asia Multidisciplinary Academic Journal. https://doi.org/10.4000/samaj.3111
  22. ^ Servan-Schreiber, C. (2011). Indian Folk Music and “Tropical Body Language”: The Case of Mauritian Chutney. South Asia Multidisciplinary Academic Journal. https://doi.org/10.4000/samaj.3111
  23. ^ Dudley, S. (2003). Creativity and Control in Trinidad Carnival Competitions. The World of Music, 45(1), 11–33. JSTOR. https://doi.org/10.2307/41700086
  24. ^ Afropop Worldwide | Peter Manuel on Indo-Caribbean Music. (2025). Afropop Worldwide. https://afropop.org/articles/peter-manuel-on-indo-caribbean-music
  25. ^ a b c d "Sundar Popo", Wikipedia, 27 December 2024, retrieved 9 April 2025
  26. ^ a b c d "Drupatee Ramgoonai", Wikipedia, 8 March 2025, retrieved 9 April 2025
  27. ^ a b c d "Ravi Bissambhar", Wikipedia, 21 September 2024, retrieved 9 April 2025
  28. ^ a b c "Raymond Ramnarine", Wikipedia, 26 February 2024, retrieved 9 April 2025
  29. ^ a b c "Adesh Samaroo", Wikipedia, 23 August 2024, retrieved 9 April 2025
  30. ^ a b c d "Rakesh Yankaran", Wikipedia, 5 December 2024, retrieved 9 April 2025

General references

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  • Broughton, Simon, and Mark Ellingham. "Trinidad: Chutney." World music: the Rough guide : [an A-Z of the music, musicians and discs.. London: The Rough Guides, 2000. 527-530. Print.
  • Ingram, Amelia. "What is Chutney Music?." An Exploration of Music and Culture in Trinidad. N.p., n.d. Web. 3 May 2011. Wesleyan University
  • Manuel, Peter, Kenneth M. Bilby, and Michael D. Largey. Caribbean currents: Caribbean music from rumba to reggae. Philadelphia: Temple University Press, 1995. Print.
  • Manuel, Peter. "Chutney and Indo-Trinidadian cultural identity." Popular Music 17 (1998): 21-43. Print.
  • Ramnarine, Tina Karina. ""Indian" Music in the Diaspora: Case Studies of "Chutney" in Trinidad and in London." British Journal of Ethnomusicology 5 (1996): 133-153. Print. subscription-only link from JSTOR
  • Poppelwell, Georgia. "The Chutney Phenomenon." Caribbean Beat Magazine. (1996)
  • Sriskandarajah, Ike. Indian Folk Music Brought To Trinidad Looks For Fans Outside The Caribbean. NPR. (2015).
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