The organiser of the biggest annual celebration of Indian culture in the Caribbean has called on Bollywood and prime minister Narendra Modi to help the regions popular genre chutney. George Singh, who organises the annual Chutney Soca Monarch competition, which sees top singers compete for a huge cash prize, wants those working in Hindi cinema and top ranking politicians to draw attention to a music genre rooted in Indian culture.
“We want to reach out to all cultures around the world, especially the South Asian community because the roots of our music are in India. It was great to see Indian prime minister Narendra Modi draw attention to the Caribbean Indian culture with his recent visit to Guyana. We want build on that,” he said.
Narendra Modi's visit to Guyana in NovemberGetty Images
The 30th edition of BMobile Chutney Soca Monarch will be held on March 1 in Trinidad and Tobago. It had a star-studded launch event at the Queen’s Park Savannah, in the countries capital Port of Spain recently. This year’s competition commences with a semi-final on February 8 ahead of the main event at Skinner Park, San Fernando.
The biggest event in the calendar for popular music genre chutney, which combines strong South Asian influences with soca, African and reggae beats will take place in the Trinidad and Tobago city, in front of tens of thousands of people. Founder George Singh has promised to deliver the biggest show in the event’s 30 year history and said: “This is an important annual event that has not only entertained millions, but brings together diverse cultures every year and gives a platform to chutney music, which is rooted in Caribbean history and a genre that is on the verge of blowing up globally. This year marks 30 years, so it will be a spectacular show with incredible artists and be made available to music lovers around the world.”
This year’s event has received global interest ahead of the show on March 1 and plans are underway to broadcast it globally across various television networks. There will be ten music acts in the finals competing against one another for a huge cash prize, with 2024 Rick Ramoutar defending his title. Ramoutar said: “Chutney Soca Monarch is the home of our music. It's the only competition that displays our culture on such a grand scale and keeps our music alive. It is the biggest chutney soca stage in the world. It encourages us to strive to be better and produce quality music on a world stage.”
The annual show organised by Southex Events has showcased the best chutney soca talent, along with giving new talent a chance to shine.
The event has received government support and is now looking to be a springboard for Caribbean Indian culture globally. Chairman of the National Carnival Commission Winston “Gypsy” Peters praised organiser George Singh for his 30 year commitment and is looking forward to it growing even bigger.
Chutney music genre was created in the 1940s by the Indian immigrants, who had come to work in the Caribbean. They had fused Indian folk music, with Caribbean calypso and soca music, with Bollywood influences being added in later years. The first known recording of the genre was in 1968. Chutney spread across Caribbean countries like Jamaica, Guyana and Trinidad and Tobago, along with internationally in places like Fiji, South Africa and Mauritius.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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