Indo-Trinidadian singer Rakesh Yankarran’s “Mousie” is a famous chutney composition. Featured on the album “Geh Tem Raja” (2000) by Praimsingh Productions, most do not know that it is a sohar or genre of music played for the birth of Hindu children. The lyrics narrate the order of events that take place at the chathi or six day rites for babies. The mousie (maternal aunt) makes halwa (sweets) in the rasoi (kitchen). The chamine (midwife) arrives to give the mother a “bush bath” before she changes her clothes. While the lalana (baby) cries for milk, the Aji (paternal grandmother) rocks the jhulana (cradle). The parjaa (family) arrive with food and the babu (priest) performs the rituals.

Translated by Vinay Harrichan as part of the Caribbean Hindustani team:

Mausi rasoiye halwa, ab mausi rasoiye halwa
Mousie is making sweets in the kitchen now

Arey batarwa, oh batarwa, ai batarwa khoje
She is searching and looking for the butter

Chau din ke, barhi manawe, barhi manawe
After six days, observe the twelve day rites

Chathi ke, na bhar de, chahti ke, na bhar de
Do not stop the celebrations after the chathi

Chamine aaye, maiya nahaiye, maiya nahaiye
The midwife comes and the mother bathes

Pehene ab sundar kapra, pehene ab sundar kapra
Now she puts on some beautiful clothes

Lalana roye, dudhe mange, dudhe mange
The baby cries and wants milk

Aji-bahu, jhulana jhulawe, jhulana jhulawe
The paternal grandmother and daughter-in-law rock the cradle

Parjaa aaye, khana laaye, khana laaye
The relatives come and bring food

Babu bidhi dikha lalana, babu bidhi dikha lalana
The pandit does the birth rites and shows the baby

The Hindustani phrase “kuch gadbad hai” refers to something that is wrong or amiss. Indian duo Babla and Kanchan implemented the saying for their chutney classic of the same name, featured on the album “Kuch Gadbad Hai” (1984) pictured here. It is an Indianized remake of the soca “Hot Hot Hot” (1982) by Montserratian artist Arrow. The lyrics describe situations around a Hindu wedding that are strange. The baraat (procession) arrives with the dulaha (groom) but the dulahin (bride) is missing as she may be drunk. Her bhabhi (sister-in-law) is chewing imli (tamarind), something her mamu (maternal uncle) would traditionally do. In the interest of ancestral language preservation, you can start using “kuch gadbad hai” in your speech.

Translated by Vinay Harrichan as part of the Caribbean Hindustani team:

Dulha hai, baraati hai
The groom is here, the procession is here

Kanya kyu na aati hai?
Why is the bride not coming?

Kuch gadbad hai
Something is wrong

Haan-ji, haan gadbad hai
Yes, yes something is wrong

Sundar hai, ghane baal bhi hai
She is beautiful, she even has full hair

Terhi-merhi kyu chaal hai?
Why does she walk funny?

Degree na vo paas hai
He does not have a degree

Par naukari uski khaas hai
But he has a special job

Khirki hai, larki hai
There is a window, a girl is there

Mummy uski kyu bharti hai?
Why is her mummy worried?

Aankhon mein aina hai
She wears glasses

Naam uska Sunaina hai
But her name means “beautiful eyes”

Dheere dheere aati hai
She comes slowly

Bhabhi imli kyu khaati hai?
Why is sister-in-law eating tamarind?

Boodram Holass premiered his classic song “Thar Gori Jamuna Hilore” at the 2005 Chutney Soca Monarch competition in Trinidad and Tobago. The song belongs to a genre of Hindustani music referred to as “gari,” known for featuring jokes and harmless insults directed at family members and bizarre situations. In this case, a young woman loses her jewelry to a thieving fish at the Jamuna (Yamuna) River in India. This prompts her in-laws to start searching for it. Boodram’s track is the perfect song to play at the kangan or kakkan ceremony following a Hindu marriage ceremony.

Translated by Vinay Harrichan as part of the Caribbean Hindustani team:

Thar gori Jamuna hilore
The beautiful girl went by the waves of the Jamuna

Jhulaniya lege machaliya
A fish came by and took her earring

Saas more khoje, sasur khojawawe
Her mother-in-law searches, her father-in-law searches

Saiyan lagaawe mahajaal
Her beloved casts a giant fishing net

Jhulaniya lege machaliya
A fish came by and took her earring

Jeth more khoje, jethani khojawawe
Her elder brother-in-law searches, her elder sister-in-law searches

Saiyan lagaawe mahajaal
Her beloved casts a giant fishing net

Jhulaniya lege machaliya
A fish came by and took her earring

Dewar more khoje, devrani khojawawe
Her younger brother-in-law searches, her younger sister-in-law searches

Saiyan lagaawe mahajaal
Her beloved casts a giant fishing net

Jhulaniya lege machaliya
A fish came by and took her earring

“Raate Sapna” is a popular baithak gana and chutney song. Previously recorded by the likes of Trinidad’s Sundar Popo (1980) and Suriname’s Ramdew Chaitoe (1977), this version is from Indian duo Babla and Kanchan. Featured on their album “Kaise Bani” (1982), the lyrics follow a woman asking her love to show her a night’s dream. In the dream, her home is without a neem tree in the courtyard to provide shade. She also does not have a “bhaiya” (brother) or “bhatija” (nephew) residing at her “naihar” (parent’s house) to keep her company. When she arrives at her “sasural” (in-laws) upon marriage, there is no brother-in-law. Several folk songs allude to a relationship between a “dulahin” (bride) and her “devarwa” (younger brother-in-law). He may serve as a refuge from her potentially loveless marriage or may simply be a friend when the in-laws are busy and her husband is away at work for extended periods of time. Without a brother, nephew, and brother-in-law; there is no companionship, protection, or comfort.

Translated by Vinay Harrichan as part of the Caribbean Hindustani team:

Raate sapna dikhaaye piya hamko
Show me the night’s dream my love

Na more angane mein nimbiya ka perwa
In my courtyard there is no neem tree

Ke kar chaaya baithaiye piya hamko?
Whose shade should I sit under my love?

Na more naihar mein bhaiya bhatija
At my parent’s home there is no brother or nephew

Ke kar aasa karaiye piya hamko?
Whom should I confide in my love?

Na more sasure mein lahura devarwa
At my in-law’s home there is no younger brother-in-law

Ke kar bahiya pakaraiye piya hamko?
Who’s hand should I hold my love?

“Kahe Sharmai” is a popular chutney song by Indian duo Babla and Kanchan. Featured on their album “Ab Na Jaibe” (1985), this remake of the Sundar Popo classic “Kahe Man Maar” is thematically appropriate to play for the “bidaai” or “vidaai” ceremony at the end of a Hindu wedding. This is where the “dulahin” (bride) says farewell to her family and embarks on a new life with her “dulaha” (groom) and “sasural” (in-laws). The lyrics follow a typical question and answer format found in this genre of music. They center on a young woman nervously standing in her courtyard, adorned in full marriage attire and wondering what the future holds.

Translation by Vinay Harrichan as part of the Caribbean Hindustani team:

Kahe sharmai, kahe sharmai?
Why are you feeling so shy?

Khari gori angana, kahe sharmai?
The beautiful girl is standing in the courtyard, why are you feeling shy?

Mang mein sindoor, mathe pe bindiya
Sindoor in your hair part, bindi on your forehead

Naino mein kajal, nak mein nathiya
Eyeliner on your eyes, nose-ring in your nose

Hathon mein mehendi, kalai pe kangana
Henna on your hands, bracelets on your wrists

Kaun hai tera, kiske liye tu?
Who is yours, for whom are you?

Jo bhi hai tera, uske liye tu
Whoever is yours, you are for him

Naam toh bata de toh chup nahi rehana
Just say his name so you do not have to stay silent

Duniya ke mele mein, sab se akele mein
In this world of illusion, in the greatest loneliness

Kiske khayalo mein, sapano ke jhule mein
In who’s thoughts, in who’s swing of dreams

Dar dar kitni sakega yun rehana?
How much can you remain fearful of?

Devanand Gattoo’s “Payaliya” (1999) is the ultimate chutney. Without any religious themes or social commentary, everyone is free to dance to it without second guessing the meaning. Featured on the soundtrack from the 1999 Chutney Soca Monarch, Gattoo debuted the hit on stage at the competition. The lyrics are about the costume items traditionally worn by an Indian dancer. The dancer is referred to as “nanadiya,” which translates to ‘your husband’s sister’. Based on this, the song could be from the perspective of a “dulahin” or bride talking about her sister-in-law performing at her wedding. Or, as with several Hindustani kinship terms, “nanadiya” may be used as a synonym for a beautiful young woman. The pieces specified in the composition are the “gajra” or flower band adorning the hair and “payaliya” or anklets. A “chunari” is an embellished veil and “kangana” is a type of bracelet.

Translated by Vinay Harrichan as part of the Caribbean Hindustani team:

Payaliya payaliya payaliya re
The anklets, oh the anklets

Payaliya payaliya baje
The anklets are making noise

Chuma chuma chuma re
Jingling and making kissing sounds

Payaliya, ai payaliya, oh payaliya
The anklets, oh the anklets

Chuma chuma chuma re
Jingling and making kissing noises

Bindiya pehenke aaye nanadiya
Sister-in-law came wearing a bindi

Lage nanadiya nache re
And began to dance

Gajra pehenke aaye nanadiya
Sister-in-law came wearing a floral band

Lage nanadiya nache re
And began to dance

Kangana pehenke aaye nanadiya
Sister-in-law came wearing a bracelet

Lage nanadiya nache re
And began to dance

Chunari pehenke aaye nanadiya
Sister-in-law came wearing a veil

Lage nanadiya nache re
And began to dance