GAJENDRA PURI GOSWAMI
The Sound Of Dissent:
Contemporary Protest Music In India
T
he world today is dissected into various factions by
partisan schism. Political opportunism masquerading
under the mask of traditions and religion is crushing
every attempt of dissent with brute force. In times of
extreme polarisation such as these music has historically
been the medium of a protest around the globe. This branch
of music that is intended for the purpose of vociferation is
broadly categorised as protest music.
Accomplished musicians like Neil Young and Bob Dylan
have used their songs for pejoratively expressing their
opinion on America’s menacing war against Vietnam. Sex
Pistol’s punk-rock anthem - God Save The Queen was an
iconic exemplar of protest music in England. In recent years
artists like Kendrick Lamar and J.Cole have used their
songs to address racial, sexual, and political divide
in America.
During the years of left mobilisation in the country protest
music was efficaciously used by a left parties for active mass
mobilisation and highlighting the class divide in the Indian
society. But, with its collapse these songs gradually ebbed
away from the collective consciousness of people.
Today, the tradition of protest music in India is still being
kept alive by individual artistes like TM Krishna. In 2014,
Krishna inspired criticism from fans and spearheads of
Carnatic music for experimenting with the traditional
format of classical concert- Kutcherri Paddhati. Through
op-eds and public spaces he has often voiced his opinion
against the dominance of caste-hierarchy and lack of social
inclusiveness in Carnatic music.
But in India, looking for the slightest hint of protest or
political critique in popular music can be an exercise in
frustration. Even though our society is plagued by political
bigotry and divisions of class, caste, economics and politics
far more than the west, a study in the work of homegrown
musicians only reflect that they are untouched by these
issues. Even musicians who are affiliated to political parties
eschew from commenting on political matters or even
subtly alluding to them in their music. But, what else can
one expect in a country where even the most innocuous
form of art, be it music, movie or literature, can cause mass
hysteria and violence. Another torchbearer of contemporary protest music in
India is Daniel Langthasa from Haflong, Assam. Langthasa’s
alt-rock/rap songs are inspired by the widespread ethnic
bigotry, racism, and militant insurgency in North-East
India. Other protest musicians in the country include Dalit-
Marxist leader Sambhaji Bhagat who is trying to transform
protest music from a medium of on-site activism into a
digital phenomena through his YouTube channel, The War
Beat. He is joined in his efforts by Ambedkarite artists from
Maharashtra’s Kabir Kala Manch. Equating Sambhaji’s
efforts is comedy-music collective Aisi Taisi Democracy.
Led by Indian Ocean’s lead singer Rahul Ram the group
provides an active critique of the government’s failing
public policies in their music online as well as in
live performances.
But, Indian music hasn’t always been so politically
disoriented. Music was a powerful medium of political
expression in the royal courts of Maharajas and Mughals
in India. In the pre-independence era, it became an arson
for cultural expression and effective tool for evoking
nationalisation fervour in the country. The Indian People
Theatre Association, formed in 1943, used popular music
effectively to vitalise the masses and populist ideology. As protest music in the country evolves, another breed of
young musicians who are inspired by American hip-hop are
joining the likes of Rahul Ram in voicing dissent through
their music. By painting a vivid image of their milieu in
their lyrics these rappers are slowly leading the tradition
of protest music in the country. Their popularity is the
testament of not just to the evolution of protest music in
India but also its fusion with popular music.
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