Critical essay on Calypso and Chutney music genres in Guyana

BY: Compton Batson and Sophia Ramjit

Introduction

Chutney is an Indian-Caribbean music genre, influenced by a multitude of locations. Calypso, which is an Afro-Caribbean music genre, was initially been classified as ritual music. These are not merely entertainment genres, but instead, audio vessels for histories of migration, colonialism, and identity negotiation. Although different in origin, Chutney and Calypso are indivisible by virtue of their hybridity and their common postcolonial conditions. Chutney brings together Bhojpuri folk traditions and Bollywood melodies with Caribbean soca rhythms, while Calypso brings together West African oral traditions particularly "Kaiso" and "Canboulay". As postcolonial cultural forms, Chutney and Calypso have evolved to negotiate identity through shifting histories, expressive lyrical strategies and their accommodation of commercial forces.

Historical and Cultural Context

To appreciate the significance of calypso and chutney music in Guyanese society, one must consider the rich historical heritage of Guyana. Situated on the north-eastern coast of South America, Guyana is a melting pot of cultures that was shaped by Indigenous people, African slaves, East Indian indentured servants, and European colonists. This cultural mix has formed a sophisticated cultural identity not only in music but also in language and social manners.

Calypso music, has its origin is in Trinidad and Tobago, emerging in the early 20th century as a form of communication for enslaved Africans. It is founded on percussion and rhythmic singing and was used as a tool for social as well as political commentary. By the mid-20th century, especially after independence, calypso became extremely popular in Guyana and became an integral part of the country's national culture. The genre is marked by its upbeat melodies, lively instrumentation, and clever, often satirical lyrics discussing the affairs of society and everyday life.

On the other hand, chutney music, which came into being among the East Indians of Guyana in the late 1970s, brings together Indian folk and classical songs and West Indian rhythms. Modelled after the practices of Indian indentured individuals, chutney songs typically talk about love, tragedy, and cultural pride, and celebrate the rich Indo-Guyanese heritage. Both musical styles have evolved within the context of Guyana's socio-political climate, and they feature themes of migration and cultural fusion. An awareness of this evolution provides a vital key to their current relevance in Guyanese society.

Breakdown of Calypso and Chutney music genres

Chutney music evolved from Indian indentured laborers' religious and folk tradition, who migrated to the Caribbean. (Ramnarine, 2004). It blends Bhojpuri rhythm and melody with calypso and soca to symbolize the hybridized identity of the Indo-Caribbean diaspora. (Puri, 2023). There is even a dance move one performs while dancing to chutney music, where one hand is placed behind one's back and the other hand is upturned over one's head, which has been passed on from the Bhojpuri-region people's folk dance. (Manuel, 1998).

One of the key features of this hybrid culture is the use of instruments from both genres. Chutney blends Indian percussion instruments like the dholak and tabla with Caribbean soca rhythms, showcasing the Indo-Caribbean fusion. Calypso is rooted in the steelpan tradition. Both genres use synthesizers and electric guitars, appealing to contemporary society while preserving their cultural ties.

The choice of instruments highlights their diverse histories and reflects a shared postcolonial struggle with identity and survival. The combination of traditional and modern sounds creates a unique musical experience.

Calypso evolved from the West African griot tradition and became a form of resistance in Trinidad's Carnival, using satire and call-and-response methods to bypass colonial censorship and convey social critique.

In summary, both genres exemplify cultural survival through fusion, contestation, and creativity. 

Multilingualism characterizes Chutney’s lyrical landscape, frequently shifting between Caribbean Hindustani, English, and Creole to reflect Indo-Caribbean linguistic realities. (Ramnarine, 2004). For instance, Drupatee Ramgoonai’s ‘Pepper’ uses these languages to address both diasporic and local audiences. But Calypso uses a range of lyrical devices like metaphor, irony, and twofold meaning to explore topics such as political corruption, diaspora identity, and social injustice. Calypso's ability to conceal neo-colonial critique behind catchy songs is best seen in songs like Lord Invader's “Rum and Coca-Cola” although global popularization occasionally watered down these messages. (Mika, n.d.).

Artists like Drupatee Ramgoonai challenged this direction by asserting women's sexual agency and public presence in songs like “Roll Up the Tassa”. Similarly, Calypso celebrations traditionally preferred male voices but were challenged by pioneering performances by women artists like Calypso Rose, whose lyrics confronted sexism and violence while exploring new themes. Both genres serve as feminist critiques of patriarchal societies.

Competitions like the Chutney Soca Monarch and the international popularity of Calypso raise questions about cultural commodification and authenticity. 

The rum-and-romance formula in Chutney songs risks simplifying complex diasporic stories into stereotypes. The decline of Calypso's mainstream popularity in favor of faster genres like soca threatens its rich lyrics and political messages. However, both genres adapt by incorporating styles like bhangra, EDM, hip hop, and jazz to meet market demands. Archiving and diaspora festivals highlight their cultural importance and lasting appeal. 

Chutney and Calypso are sound archives that encode histories of indentureship, enslavement, migration, and resilience. They facilitate diasporic communities' encounters with ancestral memory in dynamic, embodied ways. Chutney has been described by early researchers as a "diasporic soundscape," and Calypso "the people's newspaper," emphasizing their roles as depositories of collective experience and cultural negotiation.

Critical Discussion

The chutney-calypso link stays a contentious issue within Guyanese cultural identity, reflecting the new-age climate of the country. The critics of Calypso believe that commercialization and popularity for sale diminish the socio-political depth of the genre. With the genre's expansion, the authenticity of music becomes an issue under debate, especially when upcoming artists aim to push the international market. Commercialization at times robs the genre of the virulence of what originally defined calypso.

Chutney music is also subject to the same criticism, with traditionalists opining that contemporary chutney deviates too much from its classical heritage. It is argued by critics that new-age chutney is more focused on entertainment than on storytelling and cultural criticism. Still, proponents encourage evolution as essential to remain relevant, allowing chutney to appeal to younger generations while appealing to a diverse audience.

Both types of music are symptomatic of the evolution of art following social change. Globalization has promoted increased cross-cultural encounters, which affect the production and reception of calypso and chutney. Modern artists borrow international inputs and mesh them with their cultural heritage, negotiating issues of identity in a globalized world.

The popularity of these music genres as reflections on culture cannot be overstated. They capture the woes and triumphs of the Guyanese people, offering insight into what society wants. Calypso and chutney evolutions initiate wider discussions around identity, heritage, and social justice, with music being an instrument of advocacy and change.

The artists of Guyana today employ the internet and social media to transcend geography, violating the traditional ways of interacting with audiences. This facilitates various interpretations and combinations of both chutney and calypso, enriching the identity discussion.

Apart from this, there is an increasing cross-pollination between the two genres. Calypso chutney fusion testifies to Guyana's multicultural and multi-ethnic setting. Most modern artists borrow from each genre and create something new, something that tests the boundaries of definition over the classical calypso and chutney. This fusion invigorates Guyana's music industry and complicates the discussion of genre.

Competition and celebration also very strongly encourage and guarantee the perpetuation of calypso and chutney music. The Mashramani celebrations, Republic Day in Guyana, are excellent exhibitions of the two forms. They unite artists, fostering a sense of belonging and cultural nationalism, as well as engaging listeners in the enjoyment of their dynamic musical heritage.

Conclusion

Chutney and Calypso embody Guyana's postcolonial identity and cultural diversity. Rooted in the legacies of indentureship, slavery, and migration, these music genres serve as spaces for remembering and reimagining the past. Chutney, with its Bhojpuri and Caribbean influences, and Calypso, drawing from West African narratives and colonial protest, explore identity through hybridity and performance. Their presence in modern festivals and online platforms reflects Guyana's diversity and highlights music's role in expression, protest, and social integration, offering insights into evolving cultural identities.