BY MEGHA SHARMA
This video is an analysis of the Trinidadian Chutney music by Dr. Kumar Mahabir. He has a YouTube channel with his name, where he focuses on the Indo-Caribbean relations. He is an eminent anthropologist and a professor at the University of Trinidad and Tobago. It was uploaded on 6th of July in 2012. It is interesting to note how this music with its origins in a Hindu wedding ceremony of cooking night. The dance was triggered by the labour class women of the place. Chutney is an Indian delicacy, used-as a side dish in most of the Indian households. it is a mixture of various spices, also known as a pickle. The Music is native to Trinidad and is a hypnotic, explosive, fast-tempo one with simple refrain verse (repeating the signature line) with Hindi lyrics.
It was performed by women mainly, though now it is a male dominant space. The women, who used to perform it, gave it a private space and involved in erotic dances. While the ceremony was going on, no man was allowed to enter the space. Today, the genre has been reinvented and one has different variations in it with Chutney soca (a Trinidadian style music), Chutney parang (Trinidadian folk music performed at Christmas), Chutney gospel (ethics), etc.
The researcher has done a study of some chutney songs which here I would discuss. Down the ages, one has seen how women have been looked as a property by women. They are possessions and an entity of the private sphere. Thus a release from the longish submission is always impossible. However, this genre of Music, a dominant working of Trinidadian females, comes across as a crucial step towards self- development.
The Dance and Music performed in it, as Dr Kumar observes, gives them liberty to perform. This liberty is inclusive of a celebration of their body, which is unthinkable within the public space they are devoid of. Today, the performances have increased and found a great excursion of women in the public domain. In 1960’s, when the feminist movement was at its peak, this traditional genre broke out and opened up ways for these women artists. These artists were disdained in the initial years (Alice Jan and Champa Devi being the first of them), and were regarded as immoral.
In the later years, the dancing and singing was made much available to the women of Trinidad. The performances brought profitable amount for them. The lines between the private and the public sphere are now blurred and it is seen how the exposure is given to the women who stand aside with men. They perform, dance, sing and even register their own subjection before the audience. The songs are their verbal accounting of denial of submission and being restricted to a private space.
The research further moves giving details of the outreach of this genre. Not only literature, but media, social media and even renowned music accounts include celebrate their existence. Therefore, one sees how a minor feminine genre has achieved greater names in and about the world.
(Megha is a student at the University of Delhi. She is pursuing her masters and has done her studies in german language.) GMAIL- [email protected]