Lyrics & Translation for Jamaica Pardesi Chale by Beverly Pancham Rampersad

Jamaica Pardesi Chale by Beverly Pancham Rampersad, translated and lyrics provided by Karan Menon

https://www.youtube.com/watch?v=iXlG2qOcx-g

राम ला ज़माने वाले
The people from the world of Lord Ram (this refers to the Gangetic regions of UP and Bihar where the indentured laborers hail from)
राम ला ज़माने वाले
The people from the world of Lord Ram

माता पिता कथा सुनाई
Listen to the story of your mother and father
आप बैकुंठ चली
You came to heaven

ताज मुलुक तक तुम परिवार, जमैका परदेस चली
Your family came from the motherland (India) to the foreign country of Jamaica
से जमुना तक तुम परिवार, जमैका परदेस चली
Your family came from the Yamuna River to the foreign country of Jamaica

रायबरेली कोई चर्च सुनाई
In Raebaraeli (city in Uttar Pradesh), someone heard a rumor
पैसा फरत पे ऑर्डर, जमैका परदेस चली
Joy and money was (apparently) abound, and so they came to Jamaica

ताज मुलुक तक तुम परिवार, जमैका परदेस चली
Your family came from the motherland (India) to the foreign country of Jamaica
से जमुना तक तुम परिवार, जमैका परदेस चली
Your family came from the Yamuna River to the foreign country of Jamaica
से जमुना तक तुम परिवार, जमैका परदेस चली
Your family came from the Yamuna River to the foreign country of Jamaica

भाल पलवार सब साज राहोमि
Your family stayed together well
भाल पलवार सब साज राहोमि
Your family stayed together well
कोई कोई बदले है ना, देखन परदेस चली
Whether some people have changed or not, see that we have come to a foreign land

ताज मुलुक तक तुम परिवार, जमैका परदेस चली
Your family came from the motherland (India) to the foreign country of Jamaica
ताज मुलुक तक तुम परिवार, जमैका परदेस चली
Your family came from the motherland (India) to the foreign country of Jamaica

आज फरस लौटे की बैरी
Today we are happy, but the sadness of the past returns
आज फरस लौटे की बैरी
Today we are happy, but the sadness of the past returns
रात खोजात फसाई बहुत नाहाकारी बसे
For nights they would search for happiness/success, but were stripped away from their heritage

ताज मुलुक तक तुम परिवार, जमैका परदेस चली
Your family came from the motherland (India) to the foreign country of Jamaica
ताज मुलुक तक तुम परिवार, जमैका परदेस चली
Your family came from the motherland (India) to the foreign country of Jamaica

Lyrics and Translation of Hathakay Kangana by Winston Tolan

Hathakay Kangana by Winston Tolan of Jamaica translated and transliterated by Karan Menon

https://youtu.be/RQe-yeSQekM

हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer
हाथ के कंगना, नचनिया के दे
Give me the bangles (hand bracelets) of the dancer

हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer
हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer

जो दुलहिन तोरे मैया जा होवे
O bride, see your mother making it happen
जो दुलहिन तोरे मैया जा होवे
O bride, see your mother making it happen

बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved

हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer
हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer

जो दुलहिन तोरे मौसी जा होवे
O bride, see your mother’s sister making it happen
जो दुलहिन तोरे मौसी जा होवे
O bride, see your mother’s sister making it happen

बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved

हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer
हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer

जो दुलहिन तोरे मामी जा होवे
O bride, see your mother’s brother’s wife making it happen
जो दुलहिन तोरे मामी जा होवे
O bride, see your mother’s brother’s wife making it happen

बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved
बितरा से निकलो दुवरिया पर तार हो
Leave the past, and call your beloved

हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer
हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer

निहर बारे, तासल बारे, बारे पलवारे
?, strike the tassa, create a new family
निहर बारे, तासल बारे, बारे पलवारे
?, strike the tassa, create a new family
मांग के सिंदूर बड़े लम्बी लम्बी बारे
Ask for the sindoor (vermillion) to be applied with long, big strikes
मांग के सिंदूर बड़े लम्बी लम्बी बारे
Ask for the sindoor (vermillion) to be applied with long, big strikes
मांग के सिंदूर बड़े लम्बी लम्बी बारे
Ask for the sindoor (vermillion) to be applied with long, big strikes
मांग के सिंदूर बड़े लम्बी लम्बी बारे
Ask for the sindoor (vermillion) to be applied with long, big strikes

हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer
हाथ के कंगना, नचनिया के दे दो
Give me the bangles (hand bracelets) of the dancer

Caribbean Hindustani collaborates with Rasika Dindial

Caribbean Hindustani has been collaborating with many Chutney and Chutney-Soca artistes over the years. Many have sung lyrics for songs composed by Caribbean Hindustani on radio and in well-known competitions like the Chutney Soca Monarch. Rasika Dindial is the next top artiste that is in collaboration with us doing a popular number entitled “The Godna Song”.

The Hindustani word “Godna”, in English, means a tattoo. However, it’s not just any tattoo. It is a special type of tattoo that was tattooed on the hands of the women who were Indian indentured laborers and their female descendants, mostly Hindus. These tattoos bore motifs of Lord Rama’s garden and Mother Sita’s Kitchen, two epic figures in the Hindu holy scripture of the Ramayan also brought to the Caribbean by Indian indentured immigrants.
During the ritual of tattooing these motifs, folk songs were sung. Unfortunately, this tradition is now dead as these practices are no longer observed in modern times. We hope that with this collaboration with a vibrant and energetic singer like Rasika Dindial, a Chutney song will be created that will not only rock the dance floors, but teach the world of this dying tradition.

Successful Outreach Clinic done by Caribbean Hindustani

The Beepaths Ranch at Caparo is professionally owned by the famous Trinidadian folk singer, Rukminee Holas-Beepath. Here, she organizes classes for vocational skills for the community that is oriented in culture and heritage.

This is the second year she has organized an outreach clinic at the Ranch in collaboration with Caribbean Hindustani. This clinic saw the coming together of doctors, dentists, lawyers, and counselors to offer free services to the community of Caparo. The Clinic, done at the Ranch, was organized by Caribbean Hindustani involving the Trinidad & Tobago Medical Association, The Dental Guru of Penal, Riad Hosein attorney at law, drug companies like Denk and Merk, and Professor Vijay Naraynsingh of Medical Associates.

As the clinic took place during the pandemic, strict protocols were observed and about fifty participants were accessed in the clinic. Many who attended said that the clinic made them aware of health, dental, mental, social, and legal issues that they were hesitant to bring forward or not cognoscente about. Each individual was dealt with confidentially and appropriately referred.

Caribbean Hindustani takes this opportunity to thank all those involved and looks forward to conducting another clinic outreach at the Ranch next year.

T&T makes clean sweep in first international Chutney Soca competition

An idea three years ago, 2018, and revisited two years following – during the most intense period of the pandemic last year – would eventually materialize and start to bear fruit in December, giving rise to the first-ever tri-part Chutney Soca (CS) competition, and on an international front.

This unique competition comprised the customary chutney soca component, the first chutney soca Rani (Queen) and Raja (King) competition, and the first female component in the history of any CS competition.

Also, it etches its name in the cultural history book for being the first competition to crown a (rani) queen and raja (king) during the same competition.

Chutney Soca competitions began 25 years ago, from the springboard in that of the national soca competition that maintains supremacy in the soca world today, but the soca playing field is wide open having embraced the likes of ragga, reggae, gospel, groovy, afro, parang, among others, thus, it welcomes chutney of all types to chunkay the soca pot.

With finals completed on February 6, the ten competitors spanned South Africa (SA), America (USA), Canada (Cda), United Kingdom (UK), and Trinidad and Tobago (T&T), respectively, with T&T making a clean sweep at first place.

Copping the Raja and first male CRC title was Daddy Chinee with the rendition, Mera Naam, and Rani, Navita Mahato with Chode Balaam.

Mahato would reign during the year basking in the glory of bragging rights, having created cultural history for becoming the first-ever Queen of Chutney Soca, first CRC Queen, and the first queen to be crowned together with the King at the same show.

Says CRC, Daddy Chinee showed tremendous improvement from preliminaries, cleaning up his act delivering his story of the importance of living in unity. He reflected on his own experiences being of Indian, African and Chinese lineage.

As CRC took note from the preliminary round of UK competitor, Sirf Kiran, performing with the use of a mandolin, they also report that the judges liked how competitor Connector, included African drums in his performance.

The winners were determined, solely, by the panel of judges, reports CRC, that comprised: T&T’s Dr Visham Bhimull of Caribbean Hindustani is a Culture Advocate, Lyricist and Senior Medical Doctor; Dr Sharda Patasar: PHD in Cultural Studies, Performer and Columnist; and India’s Sneka Khanwalkar: Accredited Bollywood Music Director and Chutney Music Advocate in India,

CRC further states that judge Khanwalkar, “expressed in her native language, Hindi, her love for chutney music and T&T: ‘If I had known about chutney music earlier, I would have become a singer’.”

With dates pending, CRC advises that the judges will be hosting several workshops geared towards improving song, composition, performance and Hindi usage, and that, CRC 2022 is carded to begin in November 2021.

Hosted out of Canada via website, Chutneymusic.com, founder and host, Jason Sookram, wishes to thank all the competitors and other contributors who made the first installment of CRC a great success.

 

 

Results

 

Rani:                                                                                                        Raja:

1: Navita Mahato – T&T                                                                        1: Daddy Chinee (Ricardo Melville) – T&T

2: Princess Ashanie (Ashanie Lahel) – USA                                     2: Connector (Joel Davis) – Cda

3: Sirf Kiran (Joanna Kiran Phillips) – UK                                       3: Edward Ramdass – T&T

4: Tanty Sandra (Sandra Singh) – T&T                                              4: Rickson Mc Donald – T&T

5: Asha Rambaran Saywerth – SA                                                       5: Sugar Daddy (Khayam Deo) – T&T

10 Finalists of the CRC 2021 Competition

Chutneymusic.com is pleased to announce the 10 finalists of the CRC 2021 Competition (Chutneymusic.com Rani & Raja Competition):

 CRC 2021 Rani Finalists:

        • Joanna Kiran Phillips “Sirf Kiran” (UK)
        • Asha Rambaran Saywerth (South Africa)
        • Ashanie Lahel “Princess Ashanie “ (US)
        • Sandra Singh “Tanty Sandra” (TT)
        • Navita Mahato (TT)

CRC 2021 Raja Finalists:

        • Ricardo Melville “Daddy Chinee” (TT)
        • Joel “Connector” Davis (CA)
        • Edward Ramdass (TT)
        • Rickson McDonald (TT) – Wildcard via People’s Choice
        • Khayam Deo “Sugar Daddy” – Wildcard via Popular Vote

The CRC 2021 Finals will be premiered Live on Chutneymusic.com YouTube & Facebook Channels (username “chutneymusic”) on Saturday 6th February 2021 at 7pm Eastern Time.

The winners will be determined solely by Judges Decision and announced at the end of our show. The expert panel of judges are:

          1. Dr Visham Bhimull of Caribbean Hindustani – Culture Advocate, Linguist, Lyricist and Senior Medical Doctor
          2. Dr Sharda Patasar – PHD in Cultural Studies, Performer, Columnist
          3. Sneha Khanwalkar – Accredited Bollywood Music Director and Chutney Music Advocate in

The hostess for the final is the Desi Girl Ivana Gobin and the event Co-Ordinator is Jason “DJ Floops” Sookram.

 Please accept this information and reflect in your esteemed periodical as soon as possible.

If you require further information, please do not hesitate to contact us. 

Yours truly,

 Jayson Sookram

Why do Hindus Light an Oil Lamp?

If we add up all the lights from all the stars that exist in the universe, it would be a promethean flame compared to the abyss of darkness that is our universe. The existence of living beings on this earth was possible because of the energy emitted from the sun and the timing of that light by divisions into day and night due the earth’s rotation on its axis. This was responsible for establishing the Holocene that made life possible on earth.

Since the beginning of the Anthropocene, the Holocene’s regularity through day and night cycles and seasons sustained the human species and is responsible for man’s advancement. Humans’ pondering about the Holocene and the role of celestial orbs of light in the sky in it led to understanding of the existence of a higher power that was a personification of the dynamisms and reason for why things were the way they were. This personification continued to the extent of understanding of natural phenomena as manifestations of this higher power, be it the moon, the sun, the rain, storms, the ocean, the land, the day and night, and ultimately the sky and the radiance of the celestials that shone in the day and night. The latter was quite important as these celestials were important to man’s existence in a universe enveloped in darkness. So much so that it became a metaphor in systematized religion for knowledge being the light and responsible for human progress against the darkness of ignorance. In major religions, these celestials were ultimately personified to gods like the sun god, Jupiter, Venus and so on.

The invention of fire was a big leap in human existence as it provided light and warmth in the darkness and cold of night and also influenced humans’ diet as available food could now be cooked for easier digestion. Thus, it makes sense for example in the Hindu tradition to equate fire to the mouth of the Divine or Higher Power, the element that is active in our stomach for digestions and the messenger that carries human oblations to that Divine as in a sacrificial fire or havan. The ease with which the light of a flame was carried especially in the night was increased with the oil lamp. This is the diya in the Hindu tradition. Anything from which light emanated, even the flame, was seen to be a manifest of the Divine or derived from it. Thus, in Hindu tradition, the traditional deya became the center of worship to that Divine know as goddess Lakshmi to ever keep its radiance shining to light the path for man to continue to advance. This tradition is not unique to Hinduism as we see it in all other civilizations, more influential in today’s world from the Zoroastrian fire temples that was adopted by the Abrahamic religions in their Temple of Zion. We see this in modern-day Christianity, a religion that dominates our present-day world.

Within the Indo-Caribbean tradition, those who practice Hinduism ensure that at the Sandhya or twilight hour they say their prayers while lighting of a deya daily. In an age of electricity, where an older tradition of lighting an oil lamp is virtually obsolete, it is quite interesting to see how Indo-Caribbean Hindus hold on to this tradition. Not necessarily for its original pragmatic usage for having a source of light to protect us and make us functional at the night, but more so by revering it as a manifest of the Divine that continues to light our way to progress as a human species. This belief is so strong that, the religious narrative of having the place cleaned before we welcome the goddess in the from of light is the reality for the Caribbean Hindi. This despite the fact that, in a time without electricity, it was necessary to clean before 6pm when there was light and before lighting the lamp or else you could put yourself in danger of being bitten by snakes, scorpions, centipedes and other insects or vermin that may hide in dark corners of the old mud hut Hindus used to live in. This respect for the light is still so great that, many Hindus bow before the electric light when put on in the evening while reciting this famous Sanskrit mantra in praise of the light:

शुभं कुरुत्वम कल्याणमारोग्यं धनसंपदः।
Shubham Karoti Kalyaannam-Aarogyam Dhana-Sampadaa |
(Salutations to the light that brings auspiciousness, health and prosperity)
शत्रुबुद्धिविनाशाय दीपज्योतिर्नमोऽस्तुते॥
Shatru-Buddhi-Vinaashaaya Diipa-Jyotir-Namostute ||
(Which destroys inimical feelings, salutations to the light of the lamp)
दीपज्योतिः परब्रह्म दीपज्योतिर्जनार्दनः।
Diipa-Jyotih Para-Brahma Diipa-Jyotir-Janaardanah |
(The light of the lamp is supreme being, the light of the lamp represents the protector of the devotee or Lord Vishnu)
दीपो हरतु मे पापं संध्यादीपनमोस्तुते॥
Diipo Haratu Me Paapam Diipa-Jyotir-Namostute ||
(Let the light of the lamp wipe away my sins, salutations to the light of the lamp)

Festivities of Spring: A Key Aspect of our Identity

After the winter solstice on December 21st, from the northern hemisphere, the sun is viewed at the Tropic of Capricorn. This is its furthest declination south during its ecliptic. During this period, it is the height of winter in the temperate zone north of the equator and the days are very short. This is usually around the Yuletide season. Yule is a Germanic winter solstice festival, akin to the Roman festival Saturnalia. This now been adopted as Christmas in the Gregorian calendar. The premise of celebration, however, the same in all other winter solstice traditions. It is a tradition centered around the sun as a form of the Divine with wishes of longer warmer days at the end of winter.

After the winter solstice, the sun’s declination starts moving to the north pole and the days being noticeably longer again. Around January 14th, the sun. as a celestial body, transits through the zodiac sign of Capricorn on its northward trek. In Sanskrit “Makar”, literally meaning crocodile, is the zodiac term for Capricorn and “Sankranti” means transit. This is a significant point for many civilizations as it also signals the end of winter and the beginning of spring.

In T&T the current period marks the harvest season. This would be familiar to many of us who remember the days of the sugarcane fields. The recent drop in our temperature, to below 25 degrees Celsius, is a tell-tale sign of this. For Hindu Indo-Trinidadians, this change in atmosphere was a classic sign that Makar Sankranti. Hindus worship the sun thanking his influence on the harvest bounty. For Roman Catholics, in T&T this date closely coincides with the Epiphanytide or the Epiphany season that begins on January 6th, the day after the 12 days of Yuletide or Christmastide has ended. Epiphany day Western Christianity is a feast that celebrates the visit to the Christ child by the Three Wise Men or Three Kings. Our French and Spanish traditions celebrate this as Three Kings Day. This day precedes Ash Wednesday or the start of the Lent (Spring) fast, 40 days before Easter or the height of spring.

India and its diaspora are one of the only civilizations that continue to practice this ancient tradition. It is an observation based on the solar cycles while most religious festivals are based on the lunar cycle. Thus, this festival is carded on the same date on the Gregorian calendar every year, January 14th/15th.

Today in the Indo-Caribbean world this festival is still celebrated by the various sects of Hinduism that came with the Indian indentured laborers. The major sect of Santana Dharma celebrates its as Makar Sankranti. However, we go to the French Antilles, we see the South Indian or Tamil festival of Pongal, known as Thai Pongal in India. It is observed at the start of the month of Thai according to the Tamil Hindu solar calendar. Again, this is also a harvest festival thanking the sun for his blessings on the bounty of the harvest.

In Bollywood films, we see this festival as Lohri in the Sikh and Hindu Punjabi tradition. Many local Hindus often take a pilgrimage to the Kumbh Mela in India at the time of Makar Sankranti. These may be the few festivities of Makar Sankranti that we are exposed to here in T&T based on the media. However, Makar Sankranti is celebrated in a myriad of ways over the subcontinent of India as social festivities such as colorful decorations, rural children going house to house, singing and asking for treats in some areas, melas (fairs), dances, kite flying, bonfires, and feasts.

The more we look into the roots of the celebrations of spring, the more and more we realize how these geographic and climate-specific traditions have added to our unique identity here in T&T.

By Dr. Visham Bhimull
Founder of Caribbean Hindustani

Guyana Update

Dear Partners,

I wanted to wish you all a blessed Christmas and give you an update as to what is happening during my stay in Guyana. I left in early November with the attention to move to Suriname to continue my translation and cultural work. However, due to Covid 19 the borders between Guyana and Suriname are closed.

I thought to make the best of the current situation and try to see what I can do in Guyana. I met with Mr. Persaud who

 took me on television twice to discuss culture, language, music, and history. I spoke on the radio briefly and made sure during that 

time to mention the need to research Madrasi-Tamil culture.

I was later invited by the minister of culture to share my project

 and research. He was touched by the work and offered to provide some funding for m

y work in February of next year. I was also invited by one of 

the ministers of agriculture to see where they were doing experiments on coconuts at Hope village. I was well treated to coconut water and flesh.

I was invited recently to go on a tour at Linden to see what the current government is doing there for farmers. I am pleased to see the development and growth in Guyana; as well as the opportunities that will be available.

I find that I can continue my work in Guyana for the time being as I am receiving recognition and help. I pray that you all will help continue to provide whatever help that is possible. A school has informed me they will hire me for a few months and one of the ministers said in January he might find some work for me within the ministry. I have decided to accept these opportunities until I am funded enough to only do my cultural work.

Some highlights pertaining to my work are as follows:

  1. I was able to meet an old Guyanese woman in her 90’s that spoke Bhojpuri near Enterprise
  2. I was able to translate the first 5 chapters of John into Shudh Hindi
  3. I was able to translate the Geeta Saar into Bhojpuri
  4. I am Almost finished Bhojpuri translation of 1 John
  5. I was able to form a Taan musical program
  6. I was able to find a dholak teacher who will assist me in developing a syllabus.
  7. I was able to find a drum maker who is also a nagara player.
  8. I was able to start the research on the Taj drum that was once played by Muslims

Once again, I thank you all for your love and support.

 

Thanks,

Raj

Encouraging Chutney Music

Jason Sookram, also known as DJ Floops, founder of ChutneyMusic.com is an open-minded entrepreneur with the desire to bring all genres of Indo Caribbean music to the world, from classical taan to soca spiked chutney. Mr. Sookram was born on February 2nd of 1984 to a simple working-class family of San Fernando who motivated him to do well academically. His love for music started in early years listening to the melodic voice of Mohammad Rafi from older Bollywood films which is father well-loved. He was also surrounded by Trinidad’s own unique style of classical Indian music known as ‘Taan Singing’ for which he developed a place of honor, as well as the other styles of local music specifically chutney.

During his school days, Jason attended a school where many of his peers were of Afro-Trinidadian or partly Afro-Trinidadian heritage, and by building friendships with them, his love for music broaden as he was exposed to various genres of Afro-Caribbean Music which he began to explore and enjoy. Jason’s passion was not only in music but also in academia.

In academics being an accountant and later a charter internal auditor (2015),  he embraced business and finance, utilizing these skills as well as the creative nature that he began thinking outside of the box. Later, having achieved his MBA in Finance (2018) his hard work was not without notice as he was awarded the Sever Award. Mr. Sookram’s dream now was to run his own business; however, destiny chose to rekindle Jason’s passion for music.

In August of 2010, he was asked by some friends if he could DJ to which he reluctantly agreed. Thinking his work was mediocre, he was stunned to see the praise that followed earning him the name Dj Floops. He was greatly encouraged for his Dj skill and the concept of DJ and Business working together was formed. He pursued DJ education to refine his abilities. He also began to write, compose, and sing. In 2013 he won 2nd place in Petrokaiso Chutney Competition for his song, ‘Damini’, a Chutney Soca song that he composed utilizing some Caribbean Hindustani words. His song was well-received, having double entendre and innuendoes. One would need to have an understanding of the Caribbean Hindustan words to fully understand.

In 2015 he achieved another hit with his song, ‘World’s Greatest Show’ though, this number did not play on words as ‘Damini’, it did very well. In 2016 he started to venture into instrumental music. Jason Sookram’s fame was growing and many people as of 2017 recognized him as the ‘Chutney Man’. He realized during those seven years the status of Chutney Music was looked down upon when compared to other forms of music in Trinidad. Mr. Sookram decided the face of Chutney must change and in response, he launched ‘https://chutneymusic.com/’ to encourage not only chutney music but the other forms of Indian music found in the Caribbean. An example of this is the translation in the song ‘Gunga Gana’ that he collaborated with Caribbean Hindustani to be more appealing and gain a wider audience.

Dj Floops’ desire is to promote Indian music, culture, and unity. It is then the goal of Caribbean Hindustani and Chutney Music to work together to promote the unique Indo-Caribbean culture that many proudly identify as West Indian.

©Caribbean Hindustani- RajSingh Ramanjulu