dense jungles of the area, and formed communities like the Aluku, Saramaka, Ndjuka, Matawai, Kwinti and Bakabusi Nengre. Their traditional sung stories are called mato, and there are also popular Maroon musics called aleke and seketi. Traditional dances include awasa, a women's social dance. Hindi-Surinamese music/Baithak Gana Indian music arrived with immigrants from South Asia. This originally included folk music played with dhantal, tabla, sitar, harmonium and dholak, later including tassa drums. Music was mostly Hindu songs called bhajans, as well as filmi. The tan singing style is unique to the Indian community in Suriname and Guyana. Alioko is also a very popular form of religious music that developed through different cultures and made its way to Suriname. Using drums and forms of guitars they communicate with the spirits and gods through this ( al- ee- ock - oh ) music. Recorded Indian music in Suriname began with the release of King of Suriname/The Star Melodies Of Ramdew Chaitoe by Ramdew Chaitoe, in 1958. Chaitoe became very popular, and his music, which was religious in nature, left a lasting influence on future performers. However, no one very successful arose following Chaitoe, until 1968, when Dropati released Let's Sing and Dance, an album of folk and religious songs that remains extremely popular. In 1958, East Indian music finally made its debut on the recording industry with the release of an album of devotional songs, by Ramdew Chaitoe of Suriname. His album titled, King of Suriname and The Star Melodies of Ramdew Chaitoe was quite appropriately named, as it made him a household name with East Indians not just in Suriname, but throughout the Caribbean. Although his songs were religious in nature, the use of the strong beats of the dhantal and dholak, coupled with his own creolised version of Hindi often had many listeners dancing as if it were a pop song. In fact, one song, "Raat Ke Sapna," would go on to become a huge dance hit in the decades to follow. Although the release of King of Suriname presented a breakthrough for East Indian music, it was quite short lived, as few artists managed to succeed Ramdew Chaitoe in the years to follow. It was not until the 1960s that another Surinamese would catapult East Indian music onto the scene once again. In 1968, a woman by the name of Dropati debuted with an album of traditional wedding songs,