THE CONTEXT
The United Nations International Migration Report for 2020 notes that with about 18 million people scattered across the surface of the globe, Indians are the largest diasporic community in the world today. Though stated in a neutral tone that reports are typically written in, this is, nonetheless, a startling fact. Particularly, when we consider that except for one fascinating exception, there is no historical record of any large communities of people from the Indian subcontinent living outside this geographical region before the late-1830s. How did, in just a hundred and eighty-odd years, which is but a jot on the arc of history, did this massive dispersal of people who trace their ancestral and historical origins to the Indian subcontinent--and to the country of India, in particular--happen? What forces caused, and are still causing, such large number of people from the subcontinent, in different waves and patterns, to leave their native grounds to not just travel far and then return, but to move to far-flung 'foreign' lands for long durations, often permanently? And, what happens to the identity and cultural practices of these people who become diasporic Indians?
Thus, if in the previous week we 'flowed' into India with different streams of migrants who made it their home, this week we will leave its shores to the far reaches of the inhabited world. We will peek into the lives of the people from different parts of the Indian subcontinent who ended up making their homes 'elsewhere', and nursed, in the process, different kinds of relationships with the homeland that they had left behind, giving birth to uniquely 'hybrid' cultural practices and social formations.
preparing for the week
Our approach to the theme this week will be quite similar to how we went about preparing for the previous week. Here, too, we have a survey element covering a vast geography of migration out of India, even if the historical depth does not go as far back (except, as indicated above, for a singular instance). For this survey, again, we will take the documentary route and watch a bunch of video essays on Indian-origin peoples in different parts of the world. And then, like last week, we will focus on two migration histories: (i) indenture migration and its variants, by which an estimated 7.5 million people left the mainland of British India for different parts of the world; and (ii) the Roma Migration, by which people from north-western parts of the Indian subcontinent began moving westwards, about a thousand years ago, and continued to move over the subsequent centuries, intermixing with the peoples they encountered on their way, until they reached as far as western Europe.
This week, then, will take us on a high velocity crisscrossing of time and the world--from the migration westward of bands of people from the northwest of the subcontinent between the 6th and 11th centuries to the Fiji Islands in the southern Pacific Ocean at the turn of the 20th century; from Guyana in South America to the 'Gulf' in the1980s; from Caribbean Islands to the western coast of the US and Canada, while also touching down in Malaysia, Myanmar, and Sri Lanka--hectic travels await! So, let us get started.
VIEWINGS:
The centerpiece of our viewings this week will be the BBC-produced documentary, Coolies: How Britain Reinvented Slavery. About an hour long, the film foregrounds two academics, both descendants of Indian indentured migrants from two opposite corners of the earth: Prof. David Dabadeen, whose ancestors left India for Guyana in South America, and Prof. Brij Lal, who is of Fijian-Indian descent. Through them, their stories and historical research, the documentary gives us a sense of how life under indentured servitude was like. It makes the argument that though Britain formally abolished slavery in1833, the labor shortage this created in British-owned sugarcane and rubber plantations in different parts of the world came to be filled by Indian indentured laborers, who migrated to these plantation colonies for work. However, given the conditions of work they faced, which was brutally exploitative and often violent, the situation was little or no better than slavery. In other words, the film argues that with indentured labor, the institution of slavery was kept alive through the backdoor. What do you think about this? Was indentured servitude just slavery in another guise, or was it different in nature?
One great way to get a feel of the historical experience of indentured migration is to follow the music that Indian communities carried to and developed in the places they made their home. Indeed, music is one of the most fertile expression of the hybrid cultures that emerged in the Indian diaspora, in interaction with other migrant groups in the host society. You can hear some of these distinct styles in the videos posted below. There are many more yo ucan explore on Youtube, especially the more contemporary forms and expressions of this music. As per usual, watch these videos mindfully. What catches your attention the most with respect to the lived experiences of the migrants, of their music and culture, as they are represented in the videos? In class, we will discuss our observations.
readings:
There are two assigned readings for this week: one is an extract from historian Judith Brown's book, Global South Asians, which provides a broad overview movements of out of India during the colonial rule, focusing on indentured migration. The other is a pamphlet produced by the Council of Europe, titled, "From India to Europe" which presents in an accessible fashion the origin and migration history of the Roma people, charting how the people who later came to be called Roma in Europe moved out of India more than a thousand years ago and travelled westwards, over time, spreading into the farthest corners of Europe.
key concepts:
As should be obvious, the three key concepts from the previous week--migration, diaspora, and deterritorialization--are key this week as well. These apart, what is central here is the concept of indentured servitude itself.
Chutney music is a style of music that took root and evolved among the Indian diaspora in the Caribbean islands, especially Trinidad and Tobago. As such, it emerged through a fusion of the melodic structure and instruments of folk music from the Bhojpur region of present-day Bihar with the beats, tempo, and instrumental arrangement of the music of the Afro-Caribbean diaspora and modern Rock. Sundar Popo, was the first breakout star in the regional music industry for this genre of music in the 1970s. He was hailed as the King of Chutney. Here is one of his hit songs, Kaise Bani. Can you figure out the lyrics? What do you think of the music? Kaise Bani was featured in a Hindi film in the 1980s. Can you find which one?
D'Rani, as Rasika Dindial is better known, is a star of Chutney music in her own right. D'Chamine, a song celebrating the birth of a child in the family, is one of her greatest hits. It is recommended regularly in Indo-Caribbean websites as one of the best songs for the occasion. While watching the video, pay attention to the instrumental arrangement shown in it, as well at the set where the video is shot. What kind of space/place and 'flavor' does the music and the imagery invoke?