ABSTRACT
The term baithakgana is generally used for a traditional form of music, ‘developed’ by East Indian immigrants in the Caribbean during the first half of the twentieth century. In comparison to all the musical genres brought to Suriname and the region, baithakgana may undoubtedly be regarded as the best known and most developed Indo-Caribbean musical form. This chapter explores the semantics of baithakgana and its regional synonyms such as ‘Classical singing’, ondro tenti, ‘Tent singing’ and Tan singing’. It shows that the general explanation given both by laymen as well as experienced musicians, is erroneously based on popular etymology. It is conceivable that in daily communication in the Caribbean, baithakgana as a standardised form of East-Indian music, came to be labelled as ‘high’ and ‘traditional’, leading to the notion of ‘listening music’ and eventually as ‘classical’ music.
