Chali Gai Ho by Sundar Popo // Transliterated and Translated by Karan Menon (@_karanmenon_ on Instagram)

Chali Gai Ho (1981) is a Chutney classic by Indo-Trinidadian musician Sundar Popo, although its cover by Indian duo Babla & Kanchan (1983) is perhaps more famous. The lyrics focus on a family where everything has gone awry. The family described does everything opposite of cultural conventions at the time, giving an insight into the etiquette traditionally observed by Indo-Trinidadian families.

 

चलि गए, चलि गए, चलि गए हो 

Oh it has went away!

ऐसे उलटी हवा जब मैं चलि गए हो 

In this upside down air, it has gone away

पुत्र पिता के बारन कटावे माता गोडाइन बदलावे 

The son cuts the father’s hair, the mother changes the curtains

सारी बातों बिगड़ गए हो 

All (talk/conversations) has been messed up

ऐसे उलटी हवा जब मैं चलि गए हो

In this upside down air, it has gone away

बहु वे सासु के देबे गारी बातों के उम्र गवाली 

The bahu (daughter-in-law) insults the sasu (mother-in-law), the old ways (traditions) have gone away

लाजशर्म सब बहार गए हो 

Modesty has been thrown out of the window

ऐसे उलटी हवा जब मैं चलि गए हो 

In this upside down air, it has gone away

पिता वोह पुत्री के दान झीणावे, निर्दय के शर्म न आवे 

the father gives the daughter his wealth, the cruel has no shame

रस्म गाँव मणि पर गए हो 

The gem-like traditions have gone to town (have gone away)

ऐसे उड़ती हवा जब मैं चलि गए हो 

In this upside down air, it has gone away.

बलहीनो को नहीं सका सुहावे, चेतुवा तब प्रभ पावे

The babies cannot fall asleep, only God can be cautious

लाभ भवर सब फस गए हो

All their profits have become stuck (they are not earning anything)

ऐसे उड़ती हवा जब मैं चलि गए हो 

In this upside down air, it has gone away

 

Hindustani Words/Phrases and Definition

Chali gaye ho / chal gaye – It has gone went away

ulti – upside down

hawa – air

putra – son, putri – daughter

baar – hair

kataawe – to cut

gaali dewe – to curse or insult

laaj-sharm – modesty/shyness

balhino – babies

labh – profit

daan – wealth

rasma – traditions/customs

 

Balamwa Re by Heeralal Rampartap // Transliterated and Translated by Karan Menon (@_karanmenon_ on Instagram)

https://www.youtube.com/watch?v=iqga6Hei7VQ&list=LL&index=4

Balamwa Re is a chutney classic by Trinidadian singer Heeralal Rampartap. The song is from a perspective of a man whose beloved comes to his village to visit. The song has been covered on many occasions by artists including Ashni Matadin and Surinamese band The Eagles, and was notably remixed by Rampartap and Dr. Tunes in 2019.

बलमवा रे मोरा गऊँवा में अइले 

O my beloved, you came to my town

गऊँवा में अइले, गऊँवा में अइले  

Came to my town, came to my town

कनकियन से मार के हमके बोलइले

She called me by hitting me with kites

अरे मीठीमीठी बतिया सुरतिया गवइले 

And her sweet words and beautiful appearance came and went

बलमवा रे मोरा गऊँवा में अइले 

O my beloved, you came to my town

गऊँवा में अइले, गऊँवा में अइले  

Came to my town, came to my town

झूलना में बलमा हमके झुलावे 

My beloved will swing me in a swing

और प्यारवाली गितवा हमके सुनावे 

and she will have me listen to love songs

बलमवा रे मोरा गऊँवा में अइले 

O my beloved, you came to my town

गऊँवा में अइले, गऊँवा में अइले  

Came to my town, came to my town

बघिया में बलमा हमके घुमावे 

My beloved will take me around in the garden

अपने हाथो से हमके मिठाइया खिआवे  

and she will feed me sweets with her hands

बलमवा रे मोरा गऊँवा में अइले 

O my beloved, you came to my town

गऊँवा में अइले, गऊँवा में अइले  

Came to my town, came to my town

Hindustani Words and Definitions

balam (balamwa) – beloved, sweetheart

gaon (gaonwa) – town

kanakiya – kite

bolaawe – to call someone

meethi – sweet

baat (batiya) – words/talk

surat (suratiya) – appearance

jhulna – swing

jhulaawe – to swing

bagh – garden

mithai (mithaiya) – sweets

khiaawe – to feed

Bahuwa Chaleli (1985) by Sundar Popo Translated & Transliterated

Bahuwa Chaleli (1985) by Sundar Popo Translated & Transliterated Thanks to Karan Menon

https://www.youtube.com/watch?v=qAbPK96u3Lg

बहुवा चलेली नहीं घरवा बलम सुसुकि देखि रोवे।  (2x)

The daughter-in-law did not go home. My beloved was seen suskaying (to inhale when crying or sobbing) while crying

महलो में रोवे तू महलो में रोवे (2x)

You’re crying in the big building/house.

देहरी में सिर देखे मारे बालम सुसुकि देखि रोवे

My beloved was seen suskaying (sobbing) while crying with her head on the earthen pot

बहुवा चलेली नहीं घरवा बलम सुसुकि देखि रोवे।

The daughter-in-law did not go home. My beloved was seen suskaying (to inhale when crying or sobbing) while crying

कोटे में रोवे कोठारिया में रोवे।(2x)

You’re crying in the coat, you’re crying in the closet/chamber

सहजे के सिर देखे मारे बालम सुसुकि देखि रोवे।

My beloved was seen suskaying(sobbing) while crying with her head on the bed

बहुवा चलेली नहीं घरवा बलम सुसुकि देखि रोवे।

The daughter-in-law did not go home. My beloved was seen suskaying (to inhale when crying or sobbing) while crying

बाघों में रोवे बगीचों में रोवे।(2x)

You’re crying in the parks, you’re crying in the gardens

निंबुला में सिर देखे मारे बालम सुसुकि देखि रोवे।

My beloved was seeing suskaying (sobbing) while crying with her head on the lemon tree

बहुवा चलेली नहीं घरवा बलम सुसुकि देखि रोवे।

The daughter-in-law did not go home. My beloved was seen suskaying (to inhale when crying or sobbing) while crying

सेजिया में रोवे सजरिया में रोवे (2x)

You’re crying on the bed, you’re crying on the marital bed

तकिया में सिर देखे मारे बालम सुसुकि देखि रोवे।

My beloved was seeing suskaying (sobbing) while crying with her head on the pillow

बहुवा चलेली नहीं घरवा बलम सुसुकि देखि रोवे।

The daughter-in-law did not go home. My beloved was seen suskaying (to inhale when crying or sobbing) while crying

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 for Dotishboy sung by Sundar Popo

Lyrics for Dotishboy sung by Sundar Popo. Thanks to Karan Menon

https://www.youtube.com/watch?v=Lm27nlZGWOA

[Chorus]
चलबो की नाही, तु ना चलबो की नाही
Coming or not, are you coming or not?
हमार संघे तु ना चलबो की नाही (4x)
Are you coming with me or not?

चलबो की नाही, तु ना चलबो की नाही
Coming or not, are you coming or not?
हमार संघे तु ना चलबो की नाही (2x)
Are you coming with me or not?

[Verse 1]
हमने विलिज में कोहरा बहुत है (4x)
In my village there are a lot of pumpkins

[Bridge]
हम तू अब तु ना व्याजबे की नाही
Will we fan each other or not?

[Chorus]
हमार संघे तु ना चलबो की नाही (4x)
Are you coming with me or not?

चलबो की नाही, तु ना चलबो की नाही
Coming or not, are you coming or not?
हमार संघे तु ना चलबो की नाही (2x)
Are you coming with me or not?

[Verse 2]
हमने विलिज ओकरो बहुत है (4x)
In my village there is a lot of okra (lady’s finger)

[Bridge]
हम तू अब तु ना व्याजबे की नाही
Will we fan each other or not?

[Chorus]
हमार संघे तु ना चलबो की नाही (4x)
Are you coming with me or not?

चलबो की नाही, तु ना चलबो की नाही
Coming or not, are you coming or not?
हमार संघे तु ना चलबो की नाही (2x)
Are you coming with me or not?

[Verse 3]
हमने विलिज बोडी बहुत है (4x)
In my village there is a lot of bodi (string bean)

[Bridge]
हम तू अब तु ना व्याजबे की नाही
Will we fan each other or not?

[Chorus]
हमार संघे तु ना चलबो की नाही (4x)
Are you coming with me or not?

चलबो की नाही, तु ना चलबो की नाही
Coming or not, are you coming or not?
हमार संघे तु ना चलबो की नाही (2x)
Are you coming with me or not?

[Verse 4]
हमने विलिज में बैगन बहुत है (4x)
In my village there are a lot of eggplants(aubergines)

[Bridge]
हम तू अब तु ना व्याजबे की नाही
Will we fan each other or not?

[Chorus]
हमार संघे तु ना चलबो की नाही (4x)
Are you coming with me or not?

चलबो की नाही, तु ना चलबो की नाही
Coming or not, are you coming or not?
हमार संघे तु ना चलबो की नाही (2x)
Are you coming with me or not?

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

The Relationship Between Mental Health, Migration and Music

The Relationship Between Mental Health, Migration and Music

Hello, Hindustani in the Caribbean, I, Shazia Khan, am a Doctoral Candidate from India and I am currently writing an academic thesis from the perspective of Indian Diasporic studies based on how Indian music developed over time with an emphasis on the commercialization and the commodification of Chutney and other Indo-Caribbean music forms. 

My colleague, Utkarsha Ghai, who’s also a Doctoral Candidate studying “the role of the neurotransmitter, Serotonin, in depression and anxiety during different developmental epochs”. We are trying to do an interdisciplinary study to understand how music and music therapy plays a role in the emotional health of migrants. 

We welcome you to watch and interact with us regarding this. It would immensely help us to get a deeper understanding of our research question and give us a chance to interact with Hindustani people all the way across the Caribbean. We hope you get as excited as we are for this interaction.

As a part of our primary research, We have formulated a basic questionnaire for analyzing the relationship between mental health, migration, and music. We are aiming to gain 200 respondents for this survey within the next three weeks.

The questions are based on the emotional relationship and social connection. This survey is an attempt to understand the connection between the mental health of the Indian diaspora and music, most importantly it’ll help in understanding how music helps in coping with mental health issues. We would appreciate as many responses to this as possible. 

If respondents could please read the questions and instructions carefully before answering and rechecking before submitting that would be great because the reattempted survey will not be taken into consideration. 

Dear Respondents,

We welcome you to participate in a research survey to study the mental health of Indian Diaspora and the significance of music in their life to cope with mental health problems. At the end of this letter, you will find a link that will directly take you to the survey questionnaire that asks a variety of questions (single, multiple choices, few statements, and comment based) about your migration history, mental health, and various connections to music. It won’t take you longer than 15 minutes to complete the entire form. We urge you to carefully read the form and kindly help us with your valuable responses. 

The results of this survey will be analyzed to compile statistics dependent on the preferences and emotional responses. Through your cooperation, We would like to comprehend the current situation of mental health issues among Indian Diaspora. We trust the results of this survey will be useful for assembling the data and seeking a better understanding of the role of music and its impact on the mental health of Indian Diasporas. 

We do understand the privacy concern of each and every respondent, therefore, their participation and answering to this survey will be kept confidential and will not be used for any other purposes or share with others and will only be used for academic research purposes. 

We understand that you will take the time to complete this questionnaire and return it. Your participation is completely voluntary.

If you have any questions or concerns about completing the questionnaire or about being in this study, you may contact us via email—-

khanshazia2089@gmail.com or

utkarshaghai13@gmail.com.

If you agree to participate, you may click on the link listed below to complete the survey. If you wish, you may stop at any time.

*Should you wish to fill this questionnaire place click on the following link —

https://form.jotform.com/201533914135044 

Sincerely,

Shazia Khan

Doctoral Candidate

Centre for the study of Indian Diaspora

University of Hyderabad, 

Hyderabad, India

Utkarsha Ghai

Doctoral Candidate

Department of Biological Sciences

Tata Institute of Fundamental Research,

Mumbai, India

Dr. R.M. Mahré’s Article

147th Ápravási Divas
(Hindustan Immigration Day)

Marhe is a key resource person from the Netherlands’ Dutch Surinamese Hindustani diaspora. His book “Sarnámí Byákaran” (Sarnami Grammar) is a key reference text for Caribbean Hindustani’s language initiative on the heritage and ancestral speech of the descendents of Indian indentured labourers in the Caribbean. Here is his message on Suriname’s Indian Arrival day to be celebrated on June 5th, 2020:
Sarnami, legacy of Baba and Mai, ham log ose ká karila
By: Drs. R.M. Marhé

On June 5, 2020, we commemorate the 147th Ápravási Divas (Hindustan Immigration Day) in both the Netherlands and Suriname. In this article I want to talk about the Sarnami as an inheritance from Baba and Mai and how young intellectuals in the Netherlands and later in Suriname from 1971 onwards cherish it and want to protect it from a fameless destruction. For this, it is important to highlight the origins and development of the Sarnami Emancipation Movement in the Netherlands and the role of key players in it and some of their successes and setbacks.
Aur ab Sarnami men: Sarnami Ándolan ke suruvát, vikás aur phal.

Background Suriname From 1960 to 1969 I took Hindi lessons at Babu Mahatamsingh in Paramaribo. He was the cultural attaché of India. I made good progress and from 1962 onwards I taught Hindi lessons at private schools (pathshalas) in the form of seva, selfless service. I want to get rid of a persistent misunderstanding: The Sarnami Emancipation Movement did not originate in Suriname, but in the Netherlands. The name Sarnami was coined by Dr. Jan Hansraj Adhin who wrote his Romanized Spelling of Sarnami in 1963. Adhin has found the rough diamond Sarnami, but we have cut it in the Netherlands into a sparkling jewel. On the other hand, Adhin as a loner fervently fought another important battle. against the emerging Creole nationalist dominance led by Mr. Eddy Bruma and his Wi Eygi Sani. A dominance that still exists in Suriname.

I was a student of Adhin at the nursery school. Philosophically and spiritually he strongly influenced me. In public life he was a Hindiman par excellence. He promoted Hindi, not his native Sarnami, and refused to speak from Sarnami venues. At the time, this attitude was self-evident among intellectuals, for there was no proud Sarnami consciousness at the time. Only later when the Sarnami successes from the Netherlands spread to Suriname did he start writing articles in Bhasa.

I remember e.g. how I tested his resistance later in the 90s when, on my initiative for OHM TV, I had to make a film portrait of him with the producer Sunil Ramjanam in Suriname: He wanted to be interviewed in Dutch and Hindi. But I insisted: Mr. Adhin, I want to interview you in the language you speak to your mother. I knew that his mother was not educated and therefore only had to master Sarnami-Hindustani. He had nowhere to go and the documentary was a success. Adhin’s merit is also that he convinced the Surinamese government to get a standard Roman spelling of the Sarnami recognized in 1986.

In Suriname I was sweetly disappointed in the little success of Hindi education and I did not understand the relationship between Hindi and Sarnami at that time. By the year 1967, we students from the nursery school and the AMS often came together and founded the student association Nauyuga. In particular, it was my person, Ramon Sahtoe, Chander Mathura, Gerold Jiawan, Jit Narain, Bris Mahabir, Naushad Buddha, and Suresh Chotoe who wanted to focus on cultural preservation and the development of our society. We did not yet have any explicit ideals. Because of my knowledge of Hindi, I was asked to come up with a name for our association. I then chose the name Nauyuga, which means The New Age, because we were bursting with energy and sensed that something new was about to happen. Nauyuga has been around in Suriname for more than 50 years and has proven to be an important breeding ground for young intellectuals.

Scientific basis in the Netherlands In 1969 I came to Leiden to study Dutch language and literature at the university. Most Surinamese boys and girls studied medicine, law, political science or something else. I was the only one who studied Dutch, with Hindi as a secondary subject with Dr. Shocker. In 1970, while studying, I came across an interesting article by the American linguist Ferguson, called Diglossia, which was an eye opener for me. It was then that it became clear to me what the real relationship was between Hindi and Sarnami. Diglossie means that in one community two or more variant forms of a language occur with a large difference in appreciation. In our case, Hindi has the highest appreciation, while it is not the native language of Hindostanen. On the other hand, Sarnami exists as a living and functional mother tongue, but enjoys little or no (prestige) among its speakers. It is seen as aili-gaili, tutal bhásá (broken language) and the speakers don’t think it is worth passing it on to the next generation.

At the same time, I learned in psycho-linguistics that all 6,000 languages in the world are equal; no language is higher than the other; all languages are beautiful and have a unique grammatical structure; all languages are the product of the intelligent and creative human mind. I also learned that language is an important identity element for a person who connects him to his group. Native language loss leads to cultural loss, lack of understanding, false shame, a negative self-concept, uprooting, feelings of inferiority and linguistic insecurity. Moreover, in your native language you are most confident and spontaneous when expressing your (emotional) feelings. This knowledge was a revolutionary revelation to me!

I decided to spread these thoughts for the rest of my life to make Hindostanen aware and proud of their beautiful native language. A people’s mother tongue is a wonderful way to be creative through the making of songs, Baithak Gana, poems, drama, short stories, and novels. June 13, 1971, the birth of the Sarnami Emancipation Movement I started talking about this discovery in my circle of friends, first with Suresh Chotoe, then with Jit Narain, Naushad Buddha, Bris Mahabir, and some others. On June 13, 1973, I gave a lecture about the Surname in the living room of Jit Narain at the Muiderkring in Leiden. The ideas caught on and people became enthusiastic. We can consider that date as the birthday of the Sarnami Emancipation Movement. Jit Narain started writing poems in Sarnami, Gharietje Choenni and Chitra Gayadin followed and we often performed on occasions in The Hague and other cities. In the then media we published poems and contemplative articles.

The group gradually expanded and new members came: Dew Baboeram, Krishna Autar, Ruben Gowricharn, Krish Bajnath, Alma Mahawatkhan, Sonny Badal, Raj Ramdas, Lal Goerdayal, Sitla Bonoo, Kumar Gayadin and many others. We met at the meeting center Mathura in The Hague. We were bothered e.g. to note that in Suriname during the history lessons little attention was paid to Hindustani Immigration History. The Hague Foundation for Surinamese instructed Sonny Badal, Benny Mitrasingh, and me to start looking for Hindustan heroes in the Colonial Reports, because until then Baron, Boni, and Joli Coeur were seen as the only Surinamese resistance heroes. We did indeed find those heroes in Mathura, Jumpa Rajguru, Ramjanee and Tetary. We decided to give the name Sarnami Collective Jumpa Rajguru to our action group. Mitrasingh and I wrote a brochure under that name in 1978 and I dedicated it to Baba and Mai. I came up with this name when I personally experienced discrimination at the A.T.Calorschool in 1956 against a number of our Creole classmates who called Hindu fellow students derogatory Babun and Mai. I made nicknames from these derogatory names! So this monument is not, as is often assumed, a memorial monument, but a resistance monument against discrimination, disadvantage and exploitation.

On the basis of this brochure, three monuments were erected in Suriname in 1994 and after: Van Baba and Mai in Paramaribo, van de Gevallen Helden in Mariënburg and van Tetary in Paramaribo. Now there is also a replica of Baba and Mai in Kolkata on the Hoogly River in India, which has been realized by the Indian government. Rabin Baldewsingh realized a native language monument in 2019 in the Zuiderpark on the occasion of February 21, International Mother Language Day in collaboration with Bangla Desh.

Internal Struggles Initially, in 1976, we called our group the Sarnami Collective Jumpa Rajguru and focused our attention on Sarnami language, literature and culture, history, women’s empowerment, Baithak Gana and other social issues. Later when the group’s emphasis on left-wing politics came to prevail, the name Sarnami was deleted. Pressure was put on group members to embrace socialism and renounce religion and spirituality. I was the only one who had a very principled position. After Adhin’s wise lessons in Suriname, in the Netherlands in 1977 I was very impressed by the British esotericist Benjamin Creme, who talked about the upcoming world teacher Maitreya and his Masters of Wisdom and how we destroy our planet. Esotericism and Theosophy became my second nature to which I have remained true until now. I said to the group members, “I am very much in favor of social justice, but I do not give up my spiritual spirit, because I do not believe in revolutionary violence, but in evolution, karma, reincarnation and ahimsa. I don’t feel like calling myself a communist, trotskyist, anarchist, socialist or Marxist and waging class struggles. ”

I was not thanked for that position and I decided to leave the group and continue on my own. Other group members did the same. In the late 80’s I wrote the Hindustani First Name Book, with 3000 first names with meanings, because I found that a first name for babies from their own culture strengthens their identity, instead of foreign names like Anushka, Precious, Alicia, Carla, Robby , Ivan or Carlo. We have beautiful and meaningful Sanskrit, Arabic and Bhojpuri names; why should we deny it?

People who took their inspiration from their time in Jumpa Rajguru have made important contributions to the Surinamese community. Dew Baboeram (Sandew Hira) delved into Hindustani Immigration history and together with Maurits Hassankhan he created the extensive Immigration database that provides Hindustani people with information about their roots and ancestors in India. Prof. Ruben Gowricharn proved in a scientific article that the Creole dominance does indeed proliferate in Suriname and that all Surinamese must remain vigilant so as not to be overruled. The socialist influences in Collective Jumpa Rajguru later died silently with the fall of communism worldwide.

The period Aisa Samachar In 1978 I became an information officer at the Surinamese Foundation in The Hague, publishing the monthly welfare magazine Aisa Samachar in my duties. I then had ample opportunity to propagate Sarnami and also offered my former friends an opportunity to express themselves in their controversy about revolution and social upheavals. At the time, many of my Jumpa Rajguru members published articles, poems and other submissions about the Sarnami.

I published the manifesto of the Sarnami Emancipation Movement under the name of: Why the Sarnami Emancipation? (Can be found on the internet). This article is still used in Suriname at the Institute for Teacher Training (IOL). I also had the opportunity to include hundreds of Surinamese addresses in our database, so that our homeland could also learn about the emancipatory achievements around Sarnami in the Netherlands. And that also caught on there. Jan Soebhag, Effendi Ketwaroe, Nabibaks, Uday Jarbandhan, and others gathered around Bhasa magazine. Jan Adhin, my esteemed teacher, also took part in writing articles about Sarnami.

Interest in the Sarnami was gaining ground. Jit Narain, Chitra Gayadin, Gharietje, Choenni published collections of poems in Sarnami. I traveled to India in 1976 to do scientific language research in the Bhojpuri and Avadhi area on the origins of Sarnami in Uttar Pradesh and later wrote the first grammar of Sarnami in 1985.

Further scientific interest The scientific interest in Sarnami also increased. Jit Narain convinced Dr. Theo Damsteegt to teach Sarnami in addition to Hindi at the University of Utrecht and together they wrote Ká Hál, a textbook Sarnami. Dr. Geert Koefoed has translated many of Jit’s poems into Dutch. Also important for the study of the Sarnami contributions of Prof. dr. Dr. Michiel van Kempen, Dr. Tim van den Avoird, Dr. Jha from Norway (Hindi) and Dr. Kofi Japko from the University of Hong Kong for his international research into the spread and adaptations of the Bhojpuri / Avadhi in many diaspora countries.

More media attention for the Sarnami An important breakthrough came when OHM TV was allowed to bring Hindustani programs on the Dutch television in the 90s. Rabin Baldewsingh and I were Sarnami conscious program makers and we made sure Sarnami got a place in the programs. I did my interviews with Hindostanen preferably in Sarnami and I was allowed to do the subtitles. To date, I have been affiliated with many Dutch media as subtitles. Radio and television brought us many international contacts and during my travels through many diaspora countries, I often gave lectures and presentations about our mother tongue. Almost silently, many radio and television program makers in Suriname and the Netherlands have started to use Sarnami in their programs with pride, spontaneously and with ease, in addition to Hindi. Today, Sarnami has become a universal concept and contacts have been established with other diaspora countries such as Trinidad, Mauritius, South Africa (Durban), Fiji, Guyana and the Bhojpuri region of origin in UP in India. My Sarnami grammar was recently translated into English by Dr. Visham Bhimull and Mr. Rajsingh Ramanjulu from Trinidad and will be spread across all diaspora countries.

The current state of affairs The Sarnami torch is currently mainly in the hands of the highly deserving Rabin Baldewsingh who propagates the Sarnami in the Netherlands and Suriname with unremitting enthusiasm through seminars, congresses, courses, publications, books, presentations, film material, songs, poems and more. He knows how to inspire many to participate, but we are not there yet. Sarnami is still in great danger. Hindustani youth in the Netherlands hardly speak Sarnami anymore and in Suriname this trend has already started in and around Paramaribo. I am convinced that in Suriname only politics and government can bring salvation, such as in Mauritius and Fiji. Baba and Mai do not deserve on June 5 that we only wear them with mala, but that we protect, cherish, keep alive and continue their legacy. The Surinamese constitution guarantees that there should not be discrimination based on language in that country. Let us go for that!

Jai Sarnami!
Moti Marhé (May 29, 2020)

Commercialization & Commodification of Chutney & Other Indo-Caribbean Music Forms

Commercialization & Commodification of Chutney & Other Indo-Caribbean Music Forms

Caribbean Hindustani is supporting and encouraging research in the Caribbean, one person we are collaborating with is Doctoral Candidate Shazia Khan, from India. She is currently writing an academic thesis from the perspective of Indian Diasporic studies based on how Indian music developed over time with emphasis on the commercialization and the commodification of Chutney and other Indo-Caribbean music forms.

 

As a part of her primary research, she has formulated a basic questionnaire for analyzing the relationship between the two. She is hoping to gain 50 respondents for this survey within the next three weeks.

 

The questions are based on the emotional relationship and social connection. This survey is an attempt to understand the connection between Indian diaspora and music and most importantly the consumption of Chutney music. Furthermore, it will help in understanding how they appreciate the current evolution in the field of the chutney music industry. We would appreciate as many responses to this as possible.

 

If respondents could please read the question and instructions carefully before answering and rechecking before submitting that would be great. Alternatively, if you miss out on any question or need to re-write, you can either just take up the whole survey again or  e-mail your vary response to Ms. Khan via email- khanshazia2089@gmail.com

 

Please see Shazia Khan’s petition and link below.

Dear Respondents,

 

I am welcoming you to participate in a research survey to study the significance of music for the Indian diasporas and how it goes about as an important marker of their ethnic identity that links the diaspora with the homeland or country of origin.  At the end of this letter, you will find a link which will take you to the survey directly questionnaire that asks a variety of questions (single, multiple choices, few statement and comment based) about your various connections (social and personal) to music.  It won’t take you longer than 15 mins to complete the entire form. Kindly help me with your valuable response.

 

The results of this survey will be analyzed to compile statistics dependent on the preferences and emotional responses. Through your cooperation, I would like to comprehend the current essence of Chutney music industry and how globalization and commercial market impacted the musical choices of people. I trust that the results of this survey will be useful for assembling the data and seeking a better understanding of this interplay between the two.

 

I do understand the privacy concern of each and every respondent, therefore, their participation and answering to this survey will be kept confidential and will not be used for any other purposes or share with others and will only be used for writing the Ph.D. thesis.

 

I understand that you will take the time to complete this questionnaire and return it. Your participation is completely voluntary.

 

If you have any questions or concerns about completing the questionnaire or about being in this study, you may contact me via email- khanshazia2089@gmail.com. This questionnaire has been approved by my Ph.D. Supervisor Dr. Ajaya Kumar Sahoo (Associate Professor at Centre for the study of Indian Diaspora, University of Hyderabad).

 

If you agree to participate, you may click on the link listed below to complete the survey. If you wish, you may stop at any time.

 

*Should you wish to fill this questionnaire please click on the following link —

https://form.jotform.com/201162578079459

 

Sincerely,

Shazia Khan

Doctoral candidate

Centre for the study of Indian Diaspora

University of Hyderabad.