Mobilizing India

Descendants of indentured laborers brought from India to the Caribbean between 1845 and 1917 comprise more than forty percent of Trinidads population today. While many Indo-Trinidadians identify themselves as Indian, what Indian signifiesabout nationalism, gender, culture, caste, race, and religionin the Caribbean is different from what it means on the subcontinent. Yet the ways that Indianness is conceived of and performed in India and in Trinidad have historically been, and remain, intimately related. Offering an innovative analysis of how ideas of Indian identity negotiated within the Indian diaspora in Trinidad affect cultural identities back home, Tejaswini Niranjana models a necessary project: comparative research across the global South, scholarship that decenters the first world West as the referent against which postcolonial subjects understand themselves and are understood by others.Niranjana draws on nineteenth-century travel narratives, anthropological and historical studies of Trinidad, Hindi film music, and the lyrics, performance, and reception of chutney-soca and calypso songs to argue that perceptions of Indian female sexuality in Trinidad have long been central to the formation and disruption of dominant narratives of nationhood, modernity, and normative sexuality in India. She illuminates debates in India about the woman question as they played out in the early-twentieth-century campaign against indentured servitude in the tropics. In so doing, she reveals Indias disavowal of the indentured womanviewed as morally depraved by her forced labor in Trinidadas central to its own anticolonial struggle. Turning to the present, Niranjana looks to Trinidads most dynamic site of cultural negotiation: popular music. She describes how contested ideas of Indian femininity are staged by contemporary Trinidadian musiciansmale and female, of both Indian and African descentin genres ranging from new hybrids like chutney-soca to the older but still vibrant music of Afro-Caribbean calypso.