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This article examines 'Asian electronic music', a generally progressive diasporic South Asian scene which fuses electronic dance music beats with instruments/sounds traditionally associated with the subcontinent, and how it became embedded into 'majoritarian' Indian nationalism. In India, the music's perceived 'fusion' aesthetic became emblematic of an emergent India which was economically prosperous while 'respecting' its cultural heritage. Using the case of an album which remixed India's national song, Vande Mataram, this article explores the convergences and divergences between Asian electronic musicians in Delhi and Hindu nationalists. The article concludes that the musicians in Delhi did not lend to Hindu nationalism. However, they perhaps gave secular Indian nationalism a 'cool' gloss. Ultimately, the production and consumption of Asian electronic music in Delhi raises significant questions regarding the scene's relationship to Indian nationalisms. [ABSTRACT FROM AUTHOR]

This introduction provides a historical background to Hindu nationalism and examines several theoretical and empirical themes that are important for its analysis both in India and the diaspora. It is argued that there has been a relative neglect within the research field of diaspora nationalist movements and the impact they can have on constituting antisecular and absolutist orientations to minorities and majorities both within the diaspora and in the “homeland”. The introduction examines the rise of the Hindutva movement in the 1920s and considers the debates about its relation to ethnic, nationalist, religious, racist and fascist ideologies. We consider how an examination of Hindu nationalism can modify many recent debates on “race” and ethnicity, multiculturalism and “diaspora”. Several themes relating to caste, gender and “Aryanism” are examined. The contents of this Special Issue are contextualized within these debates and a summary of the key themes of the contributions is provided. [ABSTRACT FROM AUTHOR]