So much of what we listen to is a direct descendant of another culture’s popular music. Of course, there are classy ways to piggyback off a culture’s music. For example, Jay-Z & Panjabi MC’s “Mundian To Bach Ke” is a totally bomb collaboration between artists from opposite ends of the world. Even the “burrraahh!” in “Panda” is a pretty cool snippet of bhangra influence.
And then…there’s the music that makes you cringe because the melody or music video tries to be “unique” by reappropriating another culture’s norms. I mean, I don’t even need to mention Selena Gomez’s “Come and Get It” for like…trying to be Indian? Katy Perry’s music video to “E.T.” is like, trying to be Egyptian…or at least a skewed version of it. Don’t get me wrong–I love Katy Perry, and I love Selena Gomez. The songs I mentioned, however, are a result of the overall culture in American music, where it’s okay to glorify other cultures’ music without naming the source or history behind it.
As a songwriter for American music myself, I don’t like the idea of our industry looking like a cesspool of stolen musical influence, as opposed to a learned, worldly showcasing of other cultures.
So, in this video, I attempted to reclaim the Indianness in popular American music, by putting a little Indian classical twist on songs that we know and love. Now, mind you, these songs themselves do not have inherent Indian influence, but I just think they sound good in an Indian accent.
I used to entertain friends with these covers back in college, and now I’m sharing them with you. Please feel special, because I look like an idiot in half (more than half) of these numbers. And at some point in future, maybe I’ll take requests. We get to turn American music into Indian music now! And yes, #tinyblacktop missed you too.
Shefali Deshay is a Los Angeles-based singer-songwriter and actress. She graduated from the University of Southern California with a degree in Political Science and a minor in Musical Theatre. She co-starred as “Sita” in the comedy web series, “The Fob and I,” which gained traction in the media as a relatable series highlighting two strong South Asian women. Shefali creates weekly videos on struggles related to work, love, family, and being Indian on her YouTube channel. You can also follow her on Instagram and Facebook.
Featured Photo Credit Kevita Junior | Left to Right: Tu hiya ka kare he, Tu kaha bate, Tu hamar ke bate
Thundering waves clawed on the body of the vessel as the sea swallowed the voices of terrified passengers. They clung to the shreds of the Eagle Speed as each hour submerged the ship deeper within the kala pani (dark waters). Steamer ships were sent for rescue, finding two children alone, clenching to the remains of the mast. The unscathed captain and crew fled in boats, leaving the lives of coolies (indentured laborers) to the fate of the dark waters. TheEagle Speed set sail on August 19th, 1865 from Calcutta to Demerara. This tragedy took the lives of over 300 hundred indentured laborers. The coolies onboard were not just casualties of the kala pani, but a larger system of British colonialism.
The crossing of these tumultuous seas wasforbidden for Hindus, as it meant the severance of reincarnation and the unraveling of caste. Yet more than 2 million Indians were taken across the kala pani. The forbidden water carried stories along its transatlantic waves, bearing witness to history lost against its tides. The restraints of caste drowned along the voyages as surnames and relations were cast across the seas. They became Singhs (lions) and Maharaj’s (great kings), Brahmins by boatinstead of birth.
These indentured workers were mainly taken from regions of Bihar and Uttar Pradesh to different corners of the globe, with some of the largest to the Caribbean. Guyana experienced around238,909 workers, Trinidad 143,939 and Suriname 34,304. With 399 Indians, the Lalla Rookh docked on June 5, 1873, at Nieuw Amsterdam in Suriname, later becoming known as the coolie depot. As workers poured out of ships and onto plantations, they experienced violence and oppression at alarming rates, especially against women.
They were nameless and barefooted with gold jhumkas and bangles adorning their bodies. As tourism increased in the Caribbean’s, photographing indentured women on postcards became part of its selling point. These women became subjects to appease the white colonizer gaze and fetishized exotic ‘Coolie belles.’ A bulk of these postcards were shot in Trinidad and sold in local shops to visiting tourists. Yet these postcards failed to translate the hierarchy of power between the photographed and those behind the camera. The white European men who carried out these photoshoots chose backdrops that masked the real conditions of sugar cane fields and living quarters. Who were these women? What were their names? The women were juxtaposed with the term ‘Coolie,’ a slur for laborer and ‘Belle,’ the French word for beautiful. They were coined as laborers of beauty, yet their eyes tell a story of fear of pain.
Tu hamár ke bate? (Who are you to me?) Tu hiyá ká kare he? (What are you doing here?) Tu kahá báte? (Where are you?) Artist Nazrina Rodjan posits these questions that rummage through the minds of many Indo Caribbean descendants. Who were my ancestors? What did they experience? Rodjan aims to explore the experiences of indentured women through her oil painting series “Kala Pani.” In this series, she reimagines the postcards of indentured women alike the depictions of European nobility. In conversation with Rodjan she mentions,
I’ve thought long and hard about whether it would be ethical to reproduce these staged images of women who might have felt scared and uncomfortable being brought into these studios to be photographed by men. I will never know their true experiences and how they might have felt knowing a stranger in the future will decide to paint them in the same positions they were put in for the original photograph.
Rodjan’s art series started as a way to commemorate 150 years since the first indentured workers arrived in Suriname and expanded to include regions like Guyana, Trinidad and Jamaica.
Wanting to reclaim these images comes from feelings of injustice whenever I see these postcards. They were made from a dehumanizing perspective. Reclaiming these images becomes necessary knowing how the violence Indo-Caribbean women still face today is just a continuation of the violence brought onto indentured Indian women then. To me, creating this piece, symbolized the acceptance of questions remaining unanswered, stories being lost forever, and realizing that after a history full of trauma, there’s a treasure in the women that are still here to tell their stories.
The ratio of men to women arriving on these ships left little to no autonomy for women. Experiences of violence on ships and plantations were common throughout the Caribbean. Despite this, indentured women became trailblazers and pioneers in uprisings against poor working conditions.
Everything about these women seems to be a question we can never answer, but I decided to give them titles in Hindustani that are questions they might have for me as the painter who looks at them and sees both a stranger and a loved one. Tu hamár ke báte? Who are you to me?
Living in the Netherlands, Rodjan talks about her experiences tracing her ancestry and honoring this history:
Unfortunately, in the Netherlands learning about the history of Dutch colonization only meant memorizing all the different spices they brought in and listening to teachers talking proudly about the Dutch East India Company in elementary school. Tracing back my ancestors has so far only led to a picture of my parnani and a few more names in the family tree.
OnMay 5, 1838, Anat Ram stepped foot on the rich grounds of Berbice, becoming the first Indian laborer in Guyana. The Whitby and Hesperus departed from Calcutta on January 13 and arrived in Berbice first then West Demerara. Over the course of 79 years, approximately259 ships voyaged from India to Guyana. While the experiences of these ancestors may remain unknown, artists like Suchitra Mattai aims to revitalize the voices of our indentured ancestors.
Suchitra Mattai is an Indo Guyanese multi-disciplinary artist. Through her work, she uses the experience of her family’s migration and the history of indentureship to rewrite and expand our notions of history. In her piece, Life-line, a rope of saris pours out of a tilted boat, mirroring the experiences of her ancestor’s journey across the transatlantic. The saris serve as both water and a connection to two lands, India and Guyana. Mattai further explores indentureship in the piece “Coolie Woman,” depicting a woman seated with a sari, embellished with jewelry and flowers.
I wanted to reimagine the photo to give her agency. I also wanted to address the desire for people of the diaspora to connect to their homelands and ancestral pasts. The painted wallpaper drips and fades to parallel the way my memory of Guyana ebbs and flows, Mattai says.
Anchoring at the Port of Spain on April 22, 1917, the last ship to ever carry indentured Indians made its final stop. A system that bound Indians to an unknown land finally ended after 79 years.
To invoke conversation and pay homage to their memory, artist Gabrielle Francis creatively analyzes indentureship. Gabrielle Francis is an Indo Trinidadian queer interdisciplinary artist, writer and organizer from Queens, New York. In her piece “206:21 Queer Altar Mixed Media Performance,” Francis pays homage to her indentured ancestors with a focus on queer identities. The title 206:21 reflects the ratio of men to women that journeyed on the Fatel Razack, the first ship from India to Trinidad. A mirror is decorated with the colors of Trinidad’s flag along with six candles embodying the pride flag and vibrant red carnations. Written across the mirror is, “I wonder how many of you were queer?” A question that allows for openness and conversation around potential queer ancestors. Written records around indentureship were translated and produced by European men, leaving little to no room for women or queer folks. Francis’s work aims to transform and challenge Eurocentric narratives surrounding indentured history.
As descendants of indentureship, it becomes difficult to sit with questions that may never have answers. Visiting National Archives or exploringdigital databases can help connect descendants to learn about their own history. As we unravel difficult experiences of the past it’s important to ask, how do we carry the legacies of our ancestors? How do we honor their sacrifices?
As they were stripped of their identities and reduced to passenger numbers, they fostered new relations—jahaji bhai and jahaji bhain (ship brother and sister). From shipmates to family, to present-day melodies of chutney music to the stew of pepper pot on Christmas morning, these bonds of community have evolved and are seen across the diaspora today.
To overcome global challenges, collective investments and groundwork are fundamental in advancing an equitable future across diverse communities. Sustainable development — a development that promotes growth through social, economic and environmental progress without compromising natural resources — is essential for human survival. At the young age of 21, Nirmala Ramprasad founded Green Dupatta, a sustainable development charity organization, and advocated for its importance through multiple pageant ambassadorships. As a philanthropic representative for the Indo Caribbean diaspora, her work showcases how individuals of any age have the ability to be changemakers for social advancement in areas such as environmental and agricultural protection and education.
In conversation with Ramprasad, the following answers have been edited for clarity and concision.
Growing up, did you resonate with your Indo Caribbean heritage? What ideals do you most connect with and want to pass on in creating positive change?
As a mixed-race person who grew up primarily within the Indo Caribbean community, I have always felt deeply connected to my culture and heritage. As a child I was fully immersed in all things Guyanese (I refused to wear anything but a lehenga to every school picture day). From a young age I was exposed to, and learned about, our music, food, political climate, history of indentureship and the importance of our cultural connection to India.
In regards to my nonprofit work, one of the most important lessons I take from my Indo Caribbean culture is the significance of ancestral knowledge and practices. One of the main tenets of my nonprofit work is sustainability and I have found that the most effective and practical sustainability practices can be found when we look back at the way our ancestors treated the land they lived on.
Although we are all changemakers in some way, I always advocate for community involvement in not only development, but also sustainability practices.
Can you describe what Green Dupatta is?
Green Dupatta is a sustainable development non-profit that I started when I was 21 and have since completed projects in Canada, Guyana, India and Trinidad. I work directly with project participants to co-create community-based spaces and programs that increase environmental awareness, food, water security and access to quality education through sustainable development models.
While most of Green Dupatta’s fundraising efforts take place in Canada, community projects are mainly done in Guyana and India.
In 2020, Ramprasad traveled to Guyana to work with locals in the town of Leonora. Together they replaced leaking zinc roofs, restored plumbing to old drains, re-poured concrete exteriors and repaved and repainted buildings to be used for yoga and meditation classes, affordable daycare and community gardens. To ensure donations are maximized, local contractors are always utilized. Green Dupatta aims to repair and reuse as many materials as possible. It does not dictate what the spaces should be used for, instead assists the community in having the agency select programming that benefits residents.
Across India, Ramprasad detailed Green Dupatta’s completion of seven projects in seven weeks in an eight-part YouTube docuseries. With partnership from JDS Public School in Varanasi, Green Dupatta constructed two sports facilities for student health, engaged in community outreach awareness campaigns on women’s empowerment and environmental conservation, aided in scholarship opportunities for students, helped create a community garden and provided the school with a system to harvest and irrigate water.
After this, they traveled to Devdaspur, a village with no clean water, to install a well with a shower enclosure, a water purification system and reservation tank, and a fenced enclosure food plantation. With their new ability to easily access clean water, people in Devdaspur showed an increase in social, economic and health outcomes. The community now had the resources to lower the percentage of water and hygiene-related illnesses, increase food and water independence, increase school attendance for children and increase productivity for adults, seeking work, without having to take time to filter or find clean water for their families.
Through successful sustainable development projects, resources are conserved and enhanced to empower communities to meet their needs, irrespective of their size or location. Like many sustainable development nonprofits, Green Dupatta’s international service delivery was significantly impacted by COVID-19 due to limitations with travel and in-person fundraising.
As a result, Ramprasad turned to her career as a special education teacher and utilized her knowledge to focus on a project that would directly help Toronto’s families and their schoolchildren.
Created as an emergency response to COVID-19 school shutdowns, Green Dupatta’s ‘Furnishing Minds’ project, “is based on a circular economy model in which slightly-used educational resources are redistributed to families in need.”
Since the program began in 2020, more than 1400 pounds of educational resources and curriculum-based materials have been redistributed within the Greater Toronto Area. Its success led to the project being formalized annually. Green Dupatta currently showcases free online guides to the Ontario curriculum, by grade level, for families looking for strategies to help their children’s academic growth and achievement.
Is Green Dupatta currently looking for more educators? How can people get involved?
I am always looking to expand my team! We are really lucky to have dedicated volunteers from a variety of different sectors and backgrounds. Nonprofit organizations can always use all the help they can get — we have general volunteers, event volunteers and sub-committee program volunteers. Anyone looking to get involved can directly message us on Instagram or our website.
What is your vision for Green Dupatta in the next five years?
In addition to co-creating new community projects and programs, I hope to continuously expand current Green Dupatta projects. With a larger team and additional funding, I would like to strengthen and scale our Furnishing Minds program, as well as increase our international presence, to fill needs and advocate for these communities. In order to build organizational capacity we are always looking to partner with like-minded individuals, businesses and other nonprofit organizations. In the past we were lucky to work with supportive organizations that provided valuable services, resources and expertise.
Outside of Green Dupatta and teaching, Ramprasad has a history of competing in pageants that reflect both her Indo Caribbean heritage and passion for service. She won the Miss West Indian Canadian pageant in 2015 and subsequently became the first Canadian representative at the Divali Nagar Queen Pageant in Trinidad and Tobago where she was awarded second runner-up. In 2020, she was invited to compete as Guyana’s representative in the Miss Face of Humanity Ambassador Search, an international event that showcases female changemakers from around the world. Ramprasad believes that competing in pageants offered, “a platform to educate others about my organization, and the importance of sustainable development as well as an opportunity to showcase myself as an individual capable and dedicated to carrying this torch.”
How was it representing Guyana on a global stage at the 2020 Miss Face of Humanity? What platform did you run on, and what message do you have for the next generation of Indo Caribbeans?
The Miss Face of Humanity competition was a unique experience for me as I was given the opportunity to represent both Guyana and the Green Dupatta Charitable Organization. I explored their intersection and looked at how my homeland and culture has impacted both my core values and philanthropic work.
Being part of a diasporic community is a uniquely beautiful, but also quite complex, place to be. All of our experiences are vastly different — some people feel deeply connected to their communities and some feel very far removed. Although there are many struggles that come from being once, or twice-removed, people are facing much different struggles in the places our ancestors called home.
My advice to the next generation of Indo Caribbeans is to remember that a diasporic community is very different from a local one. Although some of us may feel very connected to our communities and cultures as they are practiced abroad, we should make space to amplify the voices of our motherlands and remember to give back to places that have given us so much.
Ramprasad says juggling work and leading a nonprofit can be deeply taxing; often fielding criticism and making personal sacrifices. Nonetheless, she loves what she does and is eager to implement sustainable development practices around the world. Through these projects, communities are equipped with the techniques, tools and knowledge to uplift themselves. Ramprasad is forever grateful that she was drawn to a life of service and believes that it is of utmost importance to actively collaborate with communities in order to preserve the environment and improve the access to quality education.
To learn more about Green Dupatta, visit their website. You can follow Nirmala’s journey on Instagram @nrampsy.
January 1, 2023January 1, 2023 7min readBy Brown boy
Wyatt Feegrado is a comedian and content creator from Walnut Creek, San Francisco, California. Feegrado moved to New York City to attend the Tisch School of the Arts at NYU. Feegrado always wanted to be a comedian and grew up watching “The Last Comic Standing” with his mom — his favorites being Alingon Mitra and Sammy Obeid. In 2020, Feegrado starred in the TV show “Bettor Days,” on Hulu and ESPN+, as the character Vinnie bets on the baseball team The Astros and wins big. Feegrado also has a podcast called “First World Problematic,” along with Vishal Kal and Surbhi, where they talk about a range of topics such as racism, sexism, and homophobia, and will be dropping an “Indian Matchmaking” Reunion show. Currently, in Bangalore, Feegrado is performing his first show in India, at the Courtyard in Bangalore. He was previously on tour in the United States. He recently dropped the Amazon comedy special “Wyatt Feegrado: De-Assimilate.” Continue reading to learn more about Wyatt Feegrado.
Do you feel that your upbringing in Walnut Creek and your personal experiences are what molded your comedic style?
Walnut Creek, for people who have never been there, is frankly a very white place. I must’ve been one of four or five Indian kids in my high school of 2000. I think growing up like that, you begin to believe that it’s a bit ‘odd’ that you’re brown. Part of finding my comedic voice was changing that perspective to say; it’s not weird that I’m brown, it’s weird that you’re not. That’s the paradigm shift — I don’t move through the world trying to impress people, why should I? Who are they? They should be trying to impress me.
What was it like attending the Tisch School Of The Arts and what classes helped shape you as a person?
I hope I don’t get too much flack for this…but I don’t really think that NYU helped my career very much. Being in New York helped me immensely, it raised the ceiling on what I could achieve. I really appreciate NYU’s approach, they teach art as a fundamentally collaborative discipline, which I do believe it is. However, that’s just not how I learn. I’m a competitive person, I want to be pitted against my fellow students and prove I’m the best. That motivates me. I would say, if you want to use NYU or any art school to your advantage, understand that classes are only half of what you’re supposed to be doing. That was a pet peeve of mine, I used to see my fellow students finish class and simply go home. That’s not the way to do it in this industry. Every day, after school, I used to go to two or three open mics, send in self-taped auditions, and make opportunities of my own. You’re betting on yourself — so go all in.
What was the process of creating the comedy special “Wyatt Feegrado: De-Assimilate?”
In terms of writing the jokes, it’s the culmination of studying joke writing for 10 years. But I was approached with the opportunity in March or so, and I had my reservations to even tape a special — I’m a perfectionist so I wanted all my jokes to be some of the best ever written. But that’s just a bad strategy in terms of trying to make it in life. When an opportunity falls in your lap, you have to take it no matter what. Worry about whether you’re ready later. One time I was cast in a commercial for Facebook that required me to do skateboard tricks. I lied and said I knew how to do skateboard tricks at the casting call. I landed the commercial and then started practicing how to skateboard. I think the most important lesson in comedy you can learn is how to believe in yourself when nobody else does. I always have the confidence that I will rise to the occasion.
What was it like getting your special on Amazon Prime?
So Four by Three, the amazing production company that produced my special, has a very good relationship with Amazon, as they’ve produced a lot of content for their platform. They handled distribution for me, and together we made the strategic decision to also release De-Assimilate on YouTube. I think because of the over-saturation of streaming services you have to pay for, combined with the renaissance YouTube is having, where a lot of the content will have TV-level production value, more and more young people are turning to YouTube as their primary source of content. People are always asking who is going to win the “streaming wars.” My dark horse candidate is YouTube.
As a comedian how do you deal with hecklers?
So many comedians are mean to hecklers. I hate that. There’s no reason for that. They’re a person too and it’s not right to berate them unless they truly insulted you first. In my opinion, there are three types of hecklers — the heckler who is just too drunk, the heckler who thinks they’re helping the show, and the heckler who actually hates you or thinks you’re unfunny. I think only the latter deserves to be berated. The rest of them I try to work around, and tell them they’re interrupting the show in a way that doesn’t interrupt the show in itself.
What was the first joke you ever wrote and your favorite joke you have ever written?
Oh god this is going to be horrible. The first joke I every wrote was:
“Shawn White is a professional snowboarder, but a lot of people don’t know he is also very skilled in Curling, his hair”
That is so bad. I’m embarrassed. At least it disproves the BS some people say that “funny isn’t learnable.” That is NOT TRUE. What they mean is the infrastructure for funny scant exists. There’s no Standup Comedy Major in Art Schools or Textbooks that teach joke writing. There will be one day, but for now there isn’t.
My favorite jokes I write are jokes that I really think encapsulates the zeitgeist. My favorites on the special are the joke about how Jesus’ Disciples are Brown, and how the Vaccine is the first time anyone in the US has gotten healthcare for free.
Are there any jokes that you regret telling in front of an audience?
Of course. Referring back to my answer to the first question, any joke that has the underlying presumption that it is ‘odd’ to be brown — which is a genre of jokes that many Indian-American comedians in history have been pigeonholed into — I regret saying those type of jokes when I first started. Now I do the opposite. Sometimes I’ll do a joke about how Jesus was brown in Texas just to piss them off.
What has been your favorite project to work on?
Flying to Nashville to shoot Bettor Days for ESPN+ was great. I was just out of school at the time so it felt amazing to make money, travel, and work. Also the sets were fun and I’m still friends with the cast. And then getting to see myself on TV for the first time — thrilling.
Can you tell us more about your podcast First World Problematic?
Yes! First World Problematic is the comedy podcast I host with Vishal Kal — yes the same one that broke Nadia’s heart on Indian Matchmaking — and Surbhi, another close comedian friend of mine. We’re all Indian-Americans, and we discuss a wide variety of topics, such as dating, pop culture, and just in general make a lot of jokes. ALSO! We just released an Indian Matchmaking Season 2 reunion special — we brought back all the cast members of season 2 for a tell all! In Jan we plan to do a Season 1 reunion.
Who do you look up to in the world of comedy?
Man. I’m a student of a looooooooot of comedians. So so so many people I look up to. Steven Wright and Dave Chappelle are my first loves. When I was a kid, I used to think standup was just time pass, until one day I stumbled upon Dave Chappelle: Killin Em’ Softly on YouTube. That is what made me realize that standup can be high art. That is when I knew I wanted to be a comedian. Steven Wright is the comedian who first inspired me to write jokes, many of my first jokes emulated him. I have learned so much about modern Joke Structure from Dave Attell, Emo Phillips, Dan Mintz, and Anthony Jeselnik. Bit structure I take directly from Louie CK and Bill Burr. As for my comedic voice, I learned so much from Paul Mooney. Listening to him is what I feel really unlocked my approach to comedy, the way how he is so mean, so aggressive. He talks about white people the way the media talks about black people. I always thought us Asian people needed that, an Asian comedian that talks about Asian-American issues, but not with the friendliness you typically see Asian comedians portray. He taught me to be in your face. And Chappelle taught me how to be nice about it.
Do you feel that South Asian comedians can be easily pigeonholed?
Historically — unequivocally yes. In the modern times, much less so. I very much think South Asian comedians in some sense pigeonhole themselves, by trying to emulate past South Asian comedians, who were pigeonholed by the market. I do think now, and it is completely because of social media, there is a market for every kind of comedy. Like I said in my previous answer, I’d like to be a South Asian comedian with the confrontationality that we have historically only seen from Black comedians.
But you know who is really pigeonholed nowadays? Female comedians. This may be a tangent, but if there was a Female comedian that talked about Female issues, with the hostility towards men that Bill Burr will occasionally have towards women, in my opinion she would likely be the GOAT.
How do you feel social media such as Instagram, Twitter, TikTok, Facebook, and Snapchat have changed comedy?
Social media has been a truly beautiful thing for comedy. It has completely decentralized the power structure of our business. Back in the day, if you wanted to get famous, you had to do comedy that appealed to the white men who held the power at the networks, at the talk shows, in the writers rooms. They still do control all those things, but now because of social media the people watching our stuff are representative of the population, and we can grow our followings because the market is wider. Now if you have a social media following, you have all the leverage, and therefore you see a multitude more styles of standup comedy out there. Also social media in my opinion is the third great comedy boom. Seinfeld made standup a household art form, Netflix made it possible for people to binge watch standup, and now Tiktok and Instagram have proliferated standup to the point where it is EVERYWHERE. There are more comedians than ever and there’s a bigger market for standup than ever.
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
Us Indian-Americans are at a very interesting financial and cultural intersection. Indians are the richest ethnicity in America, and culturally Indian parents will generally pay for their children’s college, unlike other ethnicities. If Indian parents were to hypothetically support their child to go into the arts, just like they may support them in getting their Masters degree, I believe Indians would have an astronomically higher chance of making it in the arts than anyone else. The greatest gift you can give your artist child is financial support in the early stages, since we all know the early stages of the arts make next to nothing. We just have to get rid of the Doctor, Lawyer, Engineer only BS that I would argue is a remnant of the Caste System in India.
Also, remember to call white people Euro-Americans. It helps the movement!