Within Guyanese racial and religious discourses, Madrasis are a minority of the South Asian population who embarked for the New World, or British Guiana, between 1838 and 1917 via the southern port of the Madras Presidency of the British Empire as sugar plantation laborers. Particular sonic practices have become emblematic of Madrasi religious and racial identity. Guyanese devotees of the Hindu deity Mother Kali and/or Mariamman take pride in asserting the “ancient Tamil” origins of relatively unrestrained sonic practices, including spirit mediumship and animal sacrifice. Yet, many are ambivalent about their ambiguous origins and similarities between Madrasi sonic practices and Afro-Caribbean religious traditions due to anxieties about Afro-Indo racial mixing fueled by racial tensions within Guyanese political history. CLACLS funding allowed me to travel to Guyana to document how people assert their Madrasi racial and religious identities through particular sonic practices to conduct a wedding “performed according to Tamil rites.” This funding enabled me to contribute to a wider body of knowledge about the performative politics and transmission of Madrasi wedding music—a genre that is relatively understudied. My preliminary findings included data about the repertoire, style, and aesthetics of Madrasi sonic practices of wedding ceremonies, and reasons why people chose to perform them for this occasion as opposed to other types of music, Hindu or otherwise (i.e., class implications, social prestige). This research advanced my broader research about the significant role of sound and spirit mediumship for Madrasi weddings in Guyana to (re)produce Tamil Indian diasporic identity, kinship, and citizenship within a transnational context through musical performance.