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Abstract
A complex scenario connecting Indian labour history, British imperial history and nineteenth century musical histories provides a context for understanding contemporary Indian diasporic musical practice in the Caribbean. This is a scenario that led to the formation of the ‘old Indian Diaspora’, as it is now known, which links the modern Indian nation-state to diverse geographic locations through both primary and secondary migrations. Contemporary creative practices circulate globally through diasporic networks. This article considers sonic politics in two modern Indian films to gain further insights into modern cultural landscapes resulting from imperial processes in the formation of diasporas. This is a reading of musical moments rather than of complete soundtracks. The title track song in the film Om Shanti Om is explored in relation to Ras Shorty I's soca song of the same title, converging diasporic histories and postcolonial social visions. Sonic politics in the film Dulha Mil Gaya are examined in questioning what Bollywood in a Caribbean location tells us about geographies of belonging, new economic relationships and citizenship. Wilson Harris's reflections on tradition and living arts provide a theoretical framework informing this interpretation of sonic politics in these two films.