The bonding between black and brown immigrants in Britain has resulted in the emergence of a new musical genre called Bhangra, which hybridises Punjabi dhol rhythms with those of reggae, rap and hip hop. Bhangra's appropriation of Black sounds that are considered ‘Kool’ in the West has not only given Asian youth a new, distinctive voice in the form of ‘Asian dance music’ but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain. This essay examines various aspects of sonic hybridisation in ‘the diaspora space’ by British Asian music producers through tracing the history of Bhangra's ‘douglarisation’, beginning in the 1990s with Apache Indian's experiments with reggae. It covers all forms of mixings that came in between, including active collaborations, rappings, remixings, samplings and so on that made Punjabi and Jamaican patois dialogue in the global popular cultural space. The essay explores the possibilities of a ‘douglas poetics’ for Bhangra by juxtaposing the celebration of sonic douglarisation in postmodern narratives of migrancy and hybridity against the stigmatisation of biological douglarisation in miscegenation theories and ancient Indian pollution taboos.