Pump Me Up - Krosfyah De Controller - Alison Hinds Workey Workey - Burning Flames Aye Aye Aye - Alison Hinds Hot And Groovy - Militant Wet - Bomani Bachelor - Scrunter Sweetest Wine - Alison Hinds Iron Bazodee - Alison Hinds I Dare You - Destra Focus - Faye Ann Lyons Top Class Bubbler - Alison Hinds Kim - TC And Anslem Turn It Around - Square One Cold Sweat - Crazy Ride Me Riddim - Square One Splash - Jany The evolution of chutney from ritual privacy to wild publicity Chutney is rooted in Hindu wedding ceremonies and is performed by women in the gender- segregated dark privacy in the form of sexualized dance, music and songs.
The evolution of chutney extended a tradition from ritual privacy to wild publicity, sacred ground to licentious halls, and rural community to urban society. The emergence of chutney music in the last few years has created a revolution within itself and its tradition. Chutney is evolving into a vehicle for Indian cultural aurality and visibility in Trinidad with Indian artistes refusing to be subjected to silence and invisibility on mainstream radio, television and stage.
With this new elevated place and space, chutney music contains the potential overtones of political, social and cultural resistance. Overtly, the songs do not express discontent and anger against an unjust system. As a form of cultural resistance, it is grounded in the persistence to preserve its traditional voice but still innovate and paradoxically appropriate selected elements of a culture which struggles to conquer it. As a tool, chutney has been able to explore, question, challenge, tease and sometimes seduce the hegemonic forces that perpetually attempt to marginalize and even suppress it.
Chutney in Carnival Indians engage in a negotiation with Carnival which embodies the symbols of national identity. Carnival becomes the site for mediation between two diverse traditions with chutney music being used as bargaining chip by Indians. Chutney also empowers Indians to legitimately demand a fair share of culture funds, media space and stage presence. It incorporates and discards, imitates and creates lyrics and formats that some Indian elites deem to be a vulgar hybrid intended to satisfy the tastes of the low-class community.
What these cultural incursions mean is that chutney has allowed Indians to actively participate in Carnival without losing their sense of ethnic identity. Not only that, but the phenomenon serves to expose others to Indian culture in an atmosphere of celebration.
Mason writes: … as a whole the Indian community has not been a mainstay of carnival and many Indians have in fact deliberately avoided it. Now that looks as if it might change. Certainly the perception of carnival as largely Afro- Trinidadian festival is on the wane … Carnival now has the chance to serve the cause of national unity. Chutney is strongly influenced by calypso and soca rhythms and their dance styles, but the genre is also used as an alternative to the Afro Creole music formats.
Cnutney music in Carnival has definitely taken a new turn. Though few in number, the songs are accepted, and indeed relished, in an arena that would have jeered at them two decades ago. To these concerns, Legerton stated that calypsos with foreign dialects were nothing new.
The competition for the Chutney Monarch segment was open to all Trinidadian nationals, but songs were to be in the chutney genre. Glasgow contended that Chutney Mardi Gras was not a fete, but instead a sit- down show formulated in the same manner as the traditional Dimanche Gras except with an Indian flavor. Traditionally, Dimanche Gras served as a prelude to Carnival Monday. During the event, performers compete for the coveted title of Calypso Monarch, and the finalists for Carnival King and Queen are announced.
The festivities culminate at the break of Jouvert morning. Some critics argued that scheduling Chutney Mardi Gras and Dimanche Gras on the same day was forcing the fetes to compete with each other and, therefore, deepen the racial divide in Trinidad and Tobago.
However, Glasgow maintained that there was no competition between the two shows for the half million patrons in the country. From his observation, Indians never really participated in Dimanche Gras because of the tendency of calypsonians to belittle and ridicule them in their songs.
He said he noticed that around Carnival time, many Indians would pack up and take a vacation because they felt alienated by Carnival. Indians needed something of their own cultural space. Chutney Mardi Gras gave Indians space to participate in a Carnival event, atmosphere and season. With around. Despite the bad weather, the show was a huge success. The impressive turnout proved once again that Chutney in Carnival - come rain or shine - is here to stay.
After an absence of thirteen years, Ramnarine returned to the competition and won, by dethroning KI, who had to settle for third place. Rikki Jai, who has won the competition multiple times, placed second. Chutney Brass Festival draws an excess of 30, patrons during the Carnival weekend The fourth annual Chutney Brass festival in Guaracara Park, Point a Pierre south Trinidad in boasted an even larger turnout than the Chutney Glow, and the performances were equally as stunning.
While bad weather threatened to ruin the fete, patrons trekked into the big field eager to see and hear their favorite chutney artistes.
The crowd in attendance was multi-ethnic and multi-aged as old and young came out to party. Frontline singer Sexy Trisha was decked in a golden barely-there outfit that drove the men wild and had the women amazed.
The show, which went into the wee hours of Sunday morning, ended sometime after four a. First, there were two major chutney events taking place on the same weekend. The fact that both Chutney Brass and the Chutney Soca Monarch finals were held on the same Saturday night was an indication that Indians were eager to participate in chutney during Carnival.
It was estimated that a crowd in excess of 10, individuals packed Guaracara Park for the Chutney Brass. He was followed by Chutney Soca Monarch Raymond Ramnarine in a show promoted for Carnival by Randy Glasgow, on the largest and most elaborate stage erected in south Trinidad.
Since its inception eleven years ago, the Chutney Brass Festival has grown into the biggest event of its kind attracting in excess of 30, patrons at its peak. Chutney Glow promoted as a highly-anticipated Carnival event in south Trinidad At one point, many promoters involved in Carnival were apprehensive to invest in chutney.
However, successful chutney songs and fetes launched by brave pioneers during Carnival have proven that a lucrative market interested and ready to embrace Indian culture is there to be captured. One such Carnival party was the televised Chutney Glow fete in south Trinidad. All the artistes gave stunning performances of popular chutney pieces, and they covered popular soca songs as well. Alison Hinds. Lord Kitchener. Shurwayne Winchester. Mighty Sparrow. Soca Gold Various Artists 9, listeners.
Various Artists 6, listeners. Javascript is required to view shouts on this page. Go directly to shout page. Loading player…. Scrobble from Spotify? Connect to Spotify Dismiss. Search Search. Tags Related to: calypso caribbean reggae dancehall barbados trinidad and tobago Soca or soul calypso is a form of dance music which originated in the Islands of Trinidad and Tobago from calypso music. It originally combined the melodic lilting sound of calypso with insistent percussion which is often electronic in recent music and local chutney music.
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