The last section endeavors to conclude this study by positing that Indian-ness itself, its tropes and culturalisms, becomes a type of Chutney by virtue of its syncretic nature. It attempts to illustrate an ethos thriving in Sunder Popo’s generation of cultural syncretism and linguistic identity. The third section is a close reading, a deeper look into meaning conveyed by these earlier dismissed lyrics. The second section introduces my own approach to the study of oral traditions as literature and my engagement with my subjective postcolonial positioning as an individual of Indo-Caribbean origin. The first section provides a historical stage for the emergence of Chutney music, concentrating on an introduction to the trends of its study by contemporary ethnomusicologists. Chutney Translation and Analysis: Bends Towards Meaning and 4. This paper is written in four sections: 1. I engage chutney music, a form of popular music, as poetry to illustrate the construction of Indo-Caribbean identity through the linguistic and poetic features of its lyrics as a cultural production that are created by the syncretisms of the Caribbean. Since the archive of Caribbean literature includes predominantly English, Spanish, French, and various nation languages, I posit the inclusion of Caribbean Hindi as a neglected archive is worth exploring given its rich significations as literature. It is my intent for these new readings of Sundar Popo’s song lyrics to not only challenge modern epistemic violence perpetrated against the deemed frivolity of Chutney (as a genre’s) lyrics, but also to utilize the original texts to understand these songs as an essential postcolonial Indo-Caribbean literature.
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