CHAPTER 2

AMBEDKARITE DESI HIP-HOP SONGS AND THE CONCEPT OF ANTI-CASTE

MOVEMENTS

Madhura Ghane Aka Mahi Ghane, a 25-year-old Adivasi female rapper from Kalyan,

Maharashtra, and the daughter of a bus operator, raps on the environment, economy, and

caste hierarchies. The music video of her has a folk-dance ensemble dancing to tune. In 2021,

her Marathi-Hindi music bring in attention with the release of her debut single "Jungle cha

Raja," noted for its impactful lyrics addressing social issues. She has conveyed stories

through her song about the Adivasi culture, and the adverse effects of development. Maahi

Ghane is a Dalit hip-hop artist from Maharashtra. Her most recent song, "Baapmanus," pays

honor to DR Bhim Rao Ambedkar, a social reformer, lawyer, and anti-caste activist. Mahi is

among the many Dalit rappers using hip-hop music to convey their anger about the existing

caste structure in Indian society. Over time, Dalit artist has used hip-hop as a tool to articulate

their dissatisfaction, confront caste-based injustice, and promote change. Hip-hop music and

culture utilize its lyrics and performance to increase awareness, encourage togetherness, and

cultivate empowerment within the Dalit community. As a forceful tool, it has the potential to

be used in the process of eliminating the repressive institutions that are firmly embedded in

the culture of the Indian people. One example of such a weapon is hip-hop that calls into

question the preexisting hierarchy of caste. Through the use of songs that encourage thinking

and imagery that is outstanding, musicians are publicly criticizing injustices that are based on

caste. It is because they are compelled to face these truths that they have come to this

conclusion. It is because of this that audiences are obliged to confront challenging realities

and to reflect on the ways in which they have contributed to the continuation of systemic

injustices. The hip-hop movement and the anti-caste movement are two examples that

demonstrate the power of art and culture to effectively combat social injustice. These two
motions are instances of the same thing. The anti-caste movement and hip-hop are beginning

to merge in more and more ways. Via the music and performances that they create, people of

the Dalit community who are interested in hip-hop may provide a space in which voices from

underrepresented groups can be heard. This is one of the ways that they can do this.

Naman: What inspired you to bring into being rapping. Has being a rapper always been your

aspiration.

Mahi Ghane: I began rapping in 2019, after completing college. However, I used to be a poet.

While not a rap music enthusiast, I found it captivating to observe rappers in a few words

condense stories to communicate their message to the audience. Initially, I thought I could

only convey stories via poetry and believed I was incapable of anything otherwise. Upon the

commencement of the farmers' protests in Delhi, I felt compelled to address the topic. To

attract a younger and broader audience, I needed to present stories in a manner that would

resonate with the younger demographic, who were not engaging with the demonstrations.

Subsequently, I chose to venture into rapping rather than poetry. I shared my inaugural song

on social media in 2019. At that time, I had a little following and the piece only had a few

lyrics. Conversely, my employment was well regarded by my family and friends. I began my

hip-hop career in 2021 with the release of another song titled "Jungle cha Raja”.

Naman: How was the songwriting process for your debut album.

Mahi Ghane: Sought like-minded persons to collaborate on producing socially aware rap

music. I emailed and messaged individuals on Facebook and Instagram. Rapboss is a Marathi

rapper and song producer in the music industry. After I emailed him, he quickly replied and

invited me to his studio to listen to my music. He provided musical accompaniment to my rap

lyrics and expressed genuine admiration for them. He aimed to both produce and shoot the

song video. I was surprised by the great response I received. Due to the lockout, it took us
one year to release the song. He patiently instructed me in the fundamentals of music, despite

my lack of knowledge. I recorded the music video with my family at my village and a nearby

place in the Ahmednagar district. We approached other artists specializing in the Adivasi

dance form to participate in our music video, as the song focuses on the Adivasi community,

their culture, and lifestyle, and they agreed without hesitation. Teamwork was necessary for

all of it.

Naman: Tell about your family's reaction when you expressed your intention to pursue a

career in rapping.

Mahi Ghane: There was not a substantial amount of interest among the members of my

family in the kind of music that is often referred to as rap music. Honey Singh and Badshah

were not aware that the songs they performed on television were considered to be rap music

when they initially came across them. They were under the impression that they were

something else entirely. They were unaware of this particular situation. Unquestionably, they

were on my side. There is no room for debate. The insertion of social messages into my songs

had a more substantial effect on the amount of satisfaction that people derived from listening

to them than any other factor.

Naman: Who has been the most influential or appreciated figure in your musical journey.

Mahi Ghane: I didn't listen to much rap music when I was younger. I came here because I

appreciate poetry. The musical ensemble "Swadeshi" derived their name from the Swadeshi

movement. I am currently listening to them and Rapboss, who has introduced me to the

intricacies of music. I sincerely admire and hold in high regard these individuals for their

accomplishments.

Naman: I saw your song "Mulinchi toli" with wild Women. Please provide more details about

your experience with them and your perspective on them as a group of women.

Mahi Ghane: The Wild Wild Women are courageous and outspoken in a world where
women's views are often silenced. Watching these really talented women rhyme and enhance

our Desi hip-hop scene brings me great satisfaction. Their collaboration provides optimism

for a future when all women may openly and confidently express themselves, whether on

stage or in their personal lives. The song ‘Mulinchi Toli’(Gang of Girls) features three

exceptional rappers: Mahi Ghane, D.Raashi, and Saniya MQ. We aim to pave the way for a

new generation of musicians that are fearless of constraints and believe in music's power to

change the world.

Naman: What societal issue do you plan to target with your songs next.

Mahi Ghane: This will persist in my next tracks. I have written about the individuals who

vend books, flowers, and other goods while stationed by the roadside. It is a study on poverty.

Naman: why people from underprivileged and subaltern backgrounds are attracted to hip-hop

genres as a way to assert their universality independently from the state.

Mahi Ghane: The discourse moves forward in spite of the fact that it seems to go on for an

infinite amount of time. As a result of the nation's unwavering commitment to the principles

proposed by Brahmanical philosophy, they have been unable to reach universality. Through

the act of identifying themselves with people who are poor all over the globe and going

through the process of doing so, they have the ability to transcend national borders and

acquire a sense of universality. Due to the fact that they have already gone through the

process of doing so. When it comes to addressing these difficulties, the songs that I have

composed are fantastic interventions that may be used. Within the context of the wider

question of who is entitled to cultural resources, the ability of the Dalit community to

articulate their stance is of such significance that is difficult to overestimate its significance.

When it comes to the ability of the Dalit community to communicate their perspective, this

competence is really necessary.

Naman: you participated in a performance on the occasion of Baba Saheb Ambedkar's

anniversary at prestigious institutions such as JNU in New Delhi and IIT in Gandhi Nagar.

Following these concerts, you published a song titled "Baapmanus." Could you please share

your experience.

Mahi Ghane: This was the very first time that I had the chance to engage in conversation with

members of the general public at a particular institution such as Jawharlal Nehru university.

This incredible gathering of supporters was something that I was lucky enough to have the

opportunity to see on my own. On the day of his birthday, April 14, 2022, Baba Saheb had

reached the 131st year of his birth. This was the day that he celebrated his birthday. The final

performance of my first rap song, "Jungle Cha Raja" (king of the Forest), took place at the

end of the festival. It was the Adivasi people and the manner they live their lives that served

as the inspiration for the song. When it comes to the process of constructing and destroying

forests in Mumbai, which is where we now reside, this song emphasizes the communal

component of the process. In addition to combating cultural stereotypes and promoting

equality and respect, it also honors those individuals who have battled against the practice of

caste. In addition to being an excellent homage to Bharatratna Dr. Babasaheb Ambedkar, the

Baapmanus song is also a tribute to those individuals who have been unwavering in their

support of Ambedkar throughout his whole life. In honor of their 131st birthday

commemoration. It was also noted at the beginning of the text that this music was being

played. There is a discussion in the songs about the challenges that the Mahad family faced

while they were trying to improve their educational opportunities.

Naman: How do you credit for growing Dalit consciousness, which encouraged the

community's political ambition.

Mahi Ghane: The most significant accomplishment that Babasaheb accomplished was to
rekindle the fight for the emancipation of Dalits during his lifetime. This was the most

important accomplishment that he was able to accomplish. There is a consensus among most

people that he was the one who was responsible for increasing awareness of Dalits, which

eventually led to the community's aspiration to achieve political power. The Mahad

Satyagraha, which took place in 1927, was the first instance of an organized resistance by the

"untouchables"1 under Ambedkar's leadership. This event took place in India. This event was

held in the country of India. By enrolling at Elphinstone College, which is situated in

Bombay, this particular person made history by being the first student of Dalit origin to do so.

In the years that followed, he finished his studies by enrolling in courses at the London

School of Economics and Columbia University, where he was awarded a scholarship by the

state of Baroda. Immediately after the nation attained its independence, he was appointed to

the role of the nation's first law minister and was entrusted with the job of managing the

committee that was responsible for drafting the Indian Constitution. In addition to being a

Renaissance man, he was the author of a great number of books and delivered a number of

speeches, all of which serve as a source of motivation for other individuals, including myself.

Also, he was a public speaker.

Naman: Complimented the visual attractiveness of your music video "Haq se Hizra." Where

was the film shot, and what inspired the concept.

Mahi Ghane: It came to my attention that individuals who identified as “hijra2” were being

treated in a discriminatory manner when I was riding the local train. During the time that they

were receiving their education at the university, this took place. These individuals did not
1
Various dictionaries described this word with different connotation such as those who belong to low
castes or those who are prohibited from the caste system are considered to be untouchables, which is a
characteristic or status that is attributed to them in the Vedic tradition.
2
A person who was assigned male at birth but whose gender expression is feminine is believed to be a
person whose gender identity is neither male nor female. This is particularly true in situations when
the gender expression is feminine.
contain a single student in their midst. It has come to our attention that a sizeable number of

individuals have been mistaken in their use of the word. The individuals in question are the

ones who do not accept them in social contexts, who isolate them from other people, and who

hinder them from taking advantage of any opportunities that may be available to them. On the

other side, after the light was turned out, the same persons would gather around them in order

to fulfill their sexual needs when they were in the dark. On the other hand, there is a potential

that people would use them to satisfy their sexual cravings without giving any thought to the

ramifications that will result from their actions. In addition to that, they are used for the

purpose of celebrating occasions such as births, which is yet another reason why they are

utilized.

Naman: Hip-hop emerged as a form of resistance art created by African Americans to protest

against injustice. When it gained popularity in India, it was associated with loud and boastful

discussions on the objectification of women and other subjects. How do you see the irony.

Mahi Ghane: Believes that art is a reflection of society. Hip-hop originated among enslaved

Africans. This form of instrumental rap has been simplified to basic hand clapping, reflecting

themes of sadness and oppression. No instruments or years of training are needed to stage it.

Indeed, it is a type of reaction. They lacked appropriately fitted clothing and therefore

embraced the fashion sense of a rapper. Currently, leading manufacturers are trying to take

advantage of the trend for loose-fitting apparel. Although it should have taken place in India,

the utilization of cultural expressions like music to address caste-related inequality has not

happened yet.

Naman: Your opinion on non-Dalit rappers incorporating Dalit experiences into their rhymes.

What are your thoughts on artists discussing Dalit experiences in general.

Mahi Ghane: However, the rapper known as Raja Kumari3 is an example of an upper-caste

rapper who incorporates the life of slum dwellers in their lyrics, despite the fact that they

have not really faced such situations in their own lives. This is because they have not been

exposed to people living in slums. I would want to make it quite clear that I do not support, in

any way, this particular kind of rapper. She is able to give help and promotion to hip-hop

artists who are growing from regions that are economically challenged using her caste capital

and the networks that she has created. She is able to do this because she has developed these

networks. The upper-caste perspective on history is something that she supports, in addition

to the conceptions of caste that are prevalent in today's culture. She embraces both of these

perspectives. It would be inappropriate for her to be a part of our lives, and she does not have

the authority to provide commentary on the political decisions that we make. She need to

refrain from allowing herself to get engaged in our lives.

Naman: Do you think music should be political.

Mahi GHane: It is possible to utilize hip-hop as a powerful weapon to promote free speech

while simultaneously calling into question the dominant perspective held by the higher castes

in our society. The answer to this inquiry is yes, and this is especially true for communities

who are experiencing a loss of their voting rights. The upper socioeconomic class is able to

exert influence on the perspectives held by oppressed groups in order to maintain the

conditions that are currently in existence. This is accomplished via the use of music as a

vehicle for the spread of its ideology. As a direct result of this, we are obligated to transmit

3
She is born in Claremont, California, under the name Svetha Yallapragada Rao to parents who are of
Telugu origin and come from Andhra Pradesh, India. Raja Kumari is the daughter of Yallapragada
Rao. At the same time that Kumari is a member of the Brahmin family, she also has a Bachelor of
Arts degree in religious studies, with a specialty on religions that are prevalent in South Asian
countries. She was honored as a donor by the Foundation for Indic Philosophy and Culture (Indic
Foundation), and the Governor of Tamil Nadu awarded her with the Kohinoor Award in appreciation
of her exceptional accomplishments in the area of classical arts. Both of these honors were bestowed
upon her in celebration of her contributions.
our ideas via the same medium, which is the same platform. A conversation on slums is now

going place between one or two people; these folks are of the belief that poverty does not

have an impact on our lives whatsoever.

Naman: explains that the elites in India have always dominated popular culture by owning the

means of production and regulating people's consumption. How do you view a social media

initiative that has established a new platform for representation.

Mahi Ghane: A novel field of representation, yet individuals are still subjected to bullying

and insults based on their caste status. As anti-caste poetry and films gain popularity, Dalit

assertiveness has increased, leading to lower castes reclaiming different areas and declaring

their presence. Popular culture includes the collective actions, ideas, objects, and traditions of

a society. It is a compilation of widely accepted interpretations that most people in a certain

culture regard as information, art, or entertainment. Popular culture is widely present in our

daily lives and is typically associated with the general public, although it is heavily

influenced by capitalist politics and often controlled by people in authority. Caste is a

significant issue in Indian society. Despite increased participation of lower caste individuals

in popular culture, stigma and prejudice continue to exist.

Naman: Give some tips for aspiring rappers lacking funding or help to promote their songs.

Mahi Ghane: I propose that in the absence of financial support or other types of aid, the most

efficient method would be to promote our work on social media, since this is likely to attract

attention from a variety of social platforms. Furthermore, I believe that this would be the

most effective way. With that being said, I am of the opinion that this would be the most

effective choice. The result of around one and a half years of sharing my work on social

media, beginning in a style that is comparable to the method that was used in the past, is a
video that I have painstakingly recorded and prepared. There is no question in my view that

this makes it easier to connect with groups and to create relationships with other people. I

have full confidence in this assertion.

This artist continue the legacy of early innovators who used music and poetry to fight against

caste discrimination, such Jyotirao Phule, Savitribai Phule, Poykayil Appachan, Bhimrao

Kardak, Gaddar, and Vilas Ghogre. The song of Mahi Ghane, which was once a means of

self-expression, has developed into a kind of cultural labor among communities of Dalits with

the purpose of engaging in political activism, increasing public awareness, and developing

identities for Dalits. Both of these goals may be accomplished via the use of cultural capital

as the tools to achieve achievement. There is a strong connection that has emerged between

cultural identity, caste dynamics, and creative expression as a result of the growing hip-hop

culture in the state of Maharashtra. It's possible that this connection might have severe

repercussions. Women who belong to the Dalit caste and are female are subjected to a wide

variety of various types of discrimination. This is because of the fact that they meet both of

these criteria. This, in turn, results in socioeconomic marginalization, as well as limited

access to resources and reduced opportunities for educational pursuits. At the same time as

hip-hop from the Marathi middle class is gaining popularity, it is also providing as a vehicle

for various groups of individuals to show their cultural identity within the framework of the

hip-hop genre. This is happening simultaneously. This leads one to the supposition that the

genre is growing popularity at an increasing pace, which is a deduction that can be drawn

from this. On the other hand, this style of thinking often helps to the reinforcement of the

cultural norms and values that are associated with groups that belong to higher castes. It is

possible that this will result in the marginalization of the interests and points of view of those

who belong to lower castes. It is possible to view the other side of the coin here. It is of the

utmost importance to strengthen the participation and inclusion of voices from groups who
belong to lower castes inside the hip-hop industry in order to remediate this issue in an

appropriate manner. This is a difficulty that has to be addressed as soon as possible. In order

to demonstrate compliance with this condition, immediate action is necessary to be taken.

There is a critical need that must be satisfied at this moment. The mainstream feminist

movement is condemned by the Dalit feminist movement for neglecting to address the unique

challenges that Dalit women face and for giving precedence to subjects that are more

pertinent to upper-caste women. It focuses an emphasis on the need of engaging the

perspectives and experiences of Dalit women in debates about gender equality and social

justice, while also appreciating their autonomy and the role they play in overcoming

prejudice based on caste and gender. Moreover, it acknowledges the fact that Dalit women

are the ones who are having these conversations. For the whole of its history, the musical

genre that is often referred to as hip hop has functioned as a platform through which people

have communicated their displeasure, disagreement, and unique ideas. Hip hop has been

around for a long time. It is important to note that hip hop music has made a big contribution

to this field. Hip hop may be seen as a form of cultural expression that originated from groups

of people that were underrepresented in the music industry for the whole of its existence. In

this sense, hip hop might be classified as a possible category. The individuals in question

were not only responsible for the creation of a broad variety of diverse means of expression,

but they were also responsible for the cultural expression that is now generally known as hip

hop. Hip hop is a method of expression that was developed by these individuals. The method

in which performance cultures that are associated with lower castes interact has had a

significant impact on the formation of hip-hop. This has been the case because of the way in

which hip-hop has been constructed. The development of the genre has been significantly

impacted by the contributions made by these civilizations, which in turn has had a great

impact on the expansion of the genre. These civilizations have each given their own unique
abilities, songs, and feelings to the genre, which has resulted in the genre as a whole being

modified by these individual civilizations. It is possible to trace the beginnings of hip-hop

back to certain people who were responsible for the contributions that contributed to the

creation of hip-hop. Hip-hop may be shown to have originated from these persons. Voices

that are thought to belong to a higher caste within the business are seldom ignored or hijacked

without giving them the respect that they deserve. This lack of attention is a rare occurrence.

This is an extremely unusual incident to take place. In spite of the fact that their efforts are

sometimes overlooked, this is also the situation that is present. This objective may be

accomplished through a variety of means, including the establishment of venues that present

the perspectives of underrepresented groups, the provision of financial support to grassroots

hip-hop initiatives, and the launch of campaigns that call into question the widespread

prejudices and stereotypes that are prevalent within the industry. In the context of hip-hop

music, there should be greater emphasis placed on educating and disseminating information

on privilege and caste links. Especially with regard to the objective of developing a cultural

environment that is more egalitarian and inclusive, this is of utmost significance. Because of

this, it will be feasible to establish an environment that is more welcoming and equal to

people who come from a wide variety of various sorts of backgrounds. As a consequence of

this, something will occur.

Hip-hop culture has the potential to provide women in India who are socioeconomically

disadvantaged with the ability to influence and empower themselves. The change and

empowerment that is being discussed is possible. By engaging in artistic expression, joining

in resistance, and establishing communities, individuals are able to fight against authoritarian

institutions, recover their identities, and strive toward achieving equality. Because hip-hop is

continuing to expand over the world, it is becoming more vital to include the opinions of

women who come from as many various socioeconomic situations as is feasible under the
circumstances. The propagation of ideas that lay a focus on the battle against oppression and

the empowerment of women all over the globe is the means by which this is accomplished.

As a result of this disruption, hip-hop culture gives women the confidence to challenge

notions that are hindering their freedom of expression. The disruption of established gender

norms and stereotypes by hip-hop culture provides women with the courage to challenge

these ideas, which in turn serves to empower them. In the framework of hip-hop, women who

come from a wide range of socioeconomic backgrounds are expressing themselves as vital

catalysts for change, so challenging the customary expectations that have been put on them

up until this point. These occurrences are taking place within the context of hip-hop culture.

They fight the patriarchal conventions that are dominant in their communities via the

performances that they offer, and as a result, they push other women to break free from the

constraints that society places on them. Since the beginning of the Desi hip-hop industry, the

upper caste has maintained a significant amount of control and influence over the industry.

This has been the case ever since the industry was first founded. As a consequence of this, a

significant number of the practices, belief systems, goods, and rituals that are associated with

our society have been modified. This comprises a variety of rites and ceremonies. This is the

consequence of the fact that something has occurred, which is the reason why this is the case.

It is the most important location for this research because it is the primary arena for analyzing

the effect of upper-caste culture on the creation of an identity that is related with the middle

class in the state of Maharashtra. This makes it the most important venue for this study. It is

important to note that lower-caste performance genres had a significant influence on the

development of new forms of Marathi hip-hop that were popular among the middle class.

One example of this is rapping. This happened as a direct result of the significant influence

that these genres had on the persons in question. The concerns of lower-caste performing
groups have been ignored inside the hip-hop cultural arena from the very beginning of its

existence, despite the fact that this is the case.

Compliance and Hip-Hop Concepts

One might say that there is a complex and multi-faceted link between hip-hop and

compliance. This connection is fraught with a lot of difficulties that need to be addressed

within performative genre of hip-hop. The performative genre, on the other hand, is

accountable for replicating and preserving certain social norms and prejudices, despite the

fact that it has traditionally acted as a place for resistance, empowerment, and cultural

expression over its history. Given the ambiguities and complexities of hip-hop, it is of the

utmost importance to recognize both the potential for liberation that hip-hop has as well as its

devotion to the maintenance of repressive institutions. This is because hip-hop is a hybrid

genre that combines elements of both. The kind of music that Mahi develops, which is known

as rap, has the potential to become an effective instrument for the expression of cultural

values and the change of society. It is possible to encourage honesty and accountability, as

well as elevate voices that are not taken into consideration, examine narratives that are widely

accepted, and challenge narratives that are considered to be dominant. A number of

individuals are of the opinion that hip-hop is to blame for the preservation of notions that

encourage conformity and subordination, especially with regard to the roles that are assigned

to women and the concept of materialism. Despite the fact that hip-hop has the capacity to

empower people and incite resistance, this is the scenario that has come about as a result of

its existence. Women are portrayed as hypersexualized objects in hip-hop music and films,

which contributes to the reinforcement of patriarchal ideas and results in the marginalization

of female viewpoints within the genre. It is conceivable that lyrics in hip-hop that praise

riches, status symbols, and violence might foster the concept that monetary gain is the most

essential aim. However, it is also possible that the same songs could assist the adoption of
consumerist attitudes. That is something that is plausible.

In addition to concerns that are obviously political, the criticism that is associated with Desi

hip-hop contains a considerable amount of other material. It is possible that the history of hip-

hop might be seen as a kind of defiance against the traditional standards and expectations that

have been prevalent throughout history. Hip-hop is distinguished from other types of music

by the fact that it encourages the development of urban culture, the introduction of new

language concepts, and the adoption of an entrepreneurial attitude. This artist have been able

to establish their identities and challenge conventional ideas via the use of their own musical

styles and online platforms. As a consequence of this, they have contributed to the

empowerment of not just themselves but also the communities in which they now reside.

Hip-hop is characterized by a specific pattern of linguistic innovation, which includes the

creation of new terminology, as well as wordplay and metaphor. It is exactly this

inventiveness that is what makes hip-hop what it is. It is possible for Desi hip-hop artists to

create a compelling story via the use of language. This not only helps to challenge the

prevalent ideas, but it also helps to authenticate their own identities. The lyrics of songs are

often used by musicians as a means of challenging the norms of society, putting into doubt

the authority of those who are in positions of power, and undermining the customary

interpretations of language and communication systems. The customary modes of

communication that are now being used are called into question as a result of this linguistic

revolt, which also conveys a variety of information and the development of meaning. When it

comes to hip-hop, resistance encompasses not just issues that are overtly political, but also a

more general reluctance to conform to and give in to the cultural norms that are prevalent at

the moment within the context of hip-hop. The musical genre that is often referred to as hip

hop is distinguished by the fact that it is defined by a mentality that is based on commercial

activity, linguistic innovation, and the celebration of urban culture. Hip hop is a subgenre of
music that is distinguished by its refusal to conform to the conventions and standards that

have been established in the music industry. Hip-hop not only recognizes the presence of a

wide range of cultural expressions, but it also challenges the inclination of mainstream

society to standardize and adhere to certain norms and expectations. Amplification of the

voices and experiences of excluded groups is the means by which this objective is achieved.

Not only does it drive social development and progress, but it also serves as a tool for

empowering people and communities all over the world. This is because it acts as a driving

force behind both of these things. People who originate from disadvantaged homes are able to

explain their experiences, difficulties, and goals via the medium of hip-hop, which is praised

for its celebration of urban culture and serves as a vehicle for people to express themselves.

Hip-hop is a genre that has gained many rave review in recent years. Through its music,

movement, fashion, and visual art, hip-hop challenges conventional notions of what

constitutes acceptable cultural representation. Hip-hop does this by showcasing the vitality

and diversity of city life. In the United States of America, the social movement known as hip-

hop was first established. Hip-hop is able to legitimate the value and respect of disadvantaged

populations because it does so by bringing attention to urban perspectives and ideas that are

often ignored by mainstream culture. Hip-hop contributes to helping to validate the worth of

individuals who are oppressed.

Exploring Caste and the Anti-caste Movements

An organizational hierarchy is formed within the framework of the caste system, which

results in the formation of a hierarchical structure in which people may be seen as being

below others in the hierarchy. Among the dalits in the state of Maharashtra, there is a social

hierarchy that exists, mainly between the mahars and the mangs. This hierarchy is

particularly marked by the mahars. This hierarchical structure is very clear and concise. The

term "Homo hierarchicus" was used by the French anthropologist Louis Dumont to describe
the advancement of human beings over the course of history. Equal rights are guaranteed to

every individual in India by the Constitution, regardless of their caste, social status, or

gender. This is a fundamental principle of Indian society. It makes no difference whether they

are male or female; this is the case. Despite the fact that it is a picture of a flawless society

that is in stark contrast to the reality that really exists, it continues to be a goal that is difficult

to achieve. When people in positions of control are confronted with the idea of giving up

their advantages, they often react with hostility. To attain the equality that was promised by

the Constitution, it was essential to engage in violent combat in order to prevail over decades

of imagined domination. This was required with the goal of achieving equality. As a means

of accomplishing the objective of establishing equality, this was an essential step. The

underlying brutality that is inherent to the caste system is directly responsible for the fact that

caste and gender continue to hold major positions in the several areas of society, including

the economic, political, and social spheres. The Constitution made it illegal to engage in the

practice of untouchability; yet, the legislation was powerless to overturn this decision of the

Constitution. In general, the Constitution prohibited the practice from being carried out.

Dalits have used a broad variety of different methods of resistance in an effort to protect the

fundamental rights to which they are legally entitled. It is something that they want to get rid

of, and that is the authority that is held by people in higher castes without being questioned.

According to what Mahi has said, we do not would like to have a little place in Brahman

Alley. In light of the statement, this viewpoint is justified. The ultimate goal that we have set

for ourselves is to have full influence over the whole country. A liberal education, despite the

fact that it will bring about a change in viewpoint, will not be able to erase the existence of

the current state of exploitation that we are experiencing. As a consequence of bringing

together a revolutionary mass and supplying the people with inspiration, it will result in a

significant wave of revolution that is the outcome of their combined efforts. It is the
combined efforts of the people that will bring about this wave of change. An organization that

will be of assistance to workers, dalits, landless people, and poor peasants who are involved

in urban industries as well as rural areas will be in the process of being developed by us.

These particular people will find themselves in a position to benefit from the organization.

We would take action in the event that dalits were exposed to any kind of discrimination,

regardless of who they were. Liberation for the Dalits would be achieved by the elimination

of the caste and varna system, which lives on the suffering of people and exploits them. This

would be the mechanism by which the Dalits would be freed. Each and every one of our

goals has been rendered useless as a direct consequence of the current administration and the

legal framework that is now in place. For the purpose of putting a stop to the injustices that

are committed against Dalits, it is essential for them to assume positions of responsibility.

In contemporary literature, there is a consensus about caste, which means that both

mainstream and alternative points of view are in agreement that caste is a distinct social

structure that is connected to class. The social structure known as caste is distinct from the

social structure known as class. There is a hierarchical structure of hereditary groups that are

denoted by the term jatis. This structure was created for the aim of building the caste system.

Within the framework of the ceremonial system, these jatis are arranged in a manner that is

congruent with their respective positions. Evaluative and value-oriented criteria that

constitute the basis of the caste system in India are responsible for classifying castes as either

high or low in terms of their social position. This classification is based on the caste system's

foundation. It is on these principles that the caste system is constructed, and they serve as its

foundation. The pieces of literature that are believed to be of a religious and legal character,

are the source of the ideas that are being discussed in this particular contextual setting. As the

system evolved, the high and low regions became diametrically opposite to one another. This
was due to the fact that they were connected with conceptions that were either pure or

impure. Consequently, the high and low areas were diametrically opposed to one another.

The concepts of "pure high" and "impure low" originated from the criteria that determined

which castes were permitted to participate in religious events such as worship and sacrifices.

These castes were allowed to participate in this kind of ceremony. The assumption that

certain castes were more virtuous than others served as the ideological foundation for these

criteria. As a result of the fact that there was a discernible difference between low and high

values, the work was categorised as either pure or impure. Due to the fact that the job was

categorized in a way that was unique from the other classifications, this was an essential step.

This comprehension is very necessary in order to have an awareness of the gender relations

that are associated with caste and class, as well as patriarchal institutions, and to be conscious

of the enormous disparities and divides that exist among women. The oppression of women

and the gendered power dynamics that exist within them are all created by a multitude of

causes, including caste and class hierarchies, inequality, and social stratification. These

factors all contribute to the inequality that exists within women. Establishing a politics of

diversity is one of the most important things that can be done in order to recognize the many

different kinds of oppression that are out there. It is crucial to have a critical awareness of the

social interactions that result in structural differences and similarities in order to cope with a

social environment that is multidimensional and is experiencing rapid change. On the other

hand, in order to deal with such an environment, it is necessary to have this knowledge, a

feeling of the body as a cohesive structure consisting of numerous organs and surfaces is

produced. This sense of the body is generated as a consequence of the relation with society.

The fact that the body is the source of this perception is what causes it to surface. The

interconnection of the organism has an effect on its disposition, which is impacted by the

interconnectedness themselves. There is the possibility of coordinating things inside an

abstract sense of distance and space after the body has been coordinated and arranged in the

way that has been explained before to this. Due to the manner in which the body has been

built, this is a possibility. The psychological and intellectual significance of each and every

interaction that takes place inside our bildungsroman is abundantly visible in each and every

detail. This is the case all throughout the novel. It is possible for a person to have emotions of

separation and helplessness as a result of the experience of being separated from their mother

and being aware of the fact that their own body is different from that of their mother. The

ability to manage the distance that separates oneself from other things is one of the basic

abilities that a newborn learns for the first time. This is something that may be accomplished

by producing sounds with a high pitch and perhaps moving about in order to bring something

that is placed at a considerable distance inside the visual and sensory range of the neonate.

This indicates the relevance of the sense of hearing in the process of establishing our spatial

awareness, which eventually leads to the intimacy that is connected with love, food, and lips.

As a result of this, this demonstrates the significance of the sense of hearing. There is a

relationship between the concepts of distance and intimacy, as well as the notions of pain and

pleasure, which describes the experiences that people experience. Because being in close

proximity to someone is often followed by a great deal of pleasure, this is the reason why this

is the case. It is vital that each jati be duplicated as a separate group in order to guarantee that

each jati will continue to be acknowledged as a distinct social unit. Due to the fact that it is

essential for the actualization of the notion of purity and impurity, it is impossible to realize

the principle without this. It is feasible to develop linkages that are mutually advantageous

within the framework of the caste system, and it also makes it possible to integrate groups

who are underrepresented, all while preserving the cultural characteristics that distinguish

these groups from others. The formation of fruitful alliances and the inclusion of pre-caste

civilizations into the caste system while taking care to preserve their cultural uniqueness are
endeavors that are not only concerned with social fairness but also with the achievement of

economic and cultural success. It is necessary to proceed in this manner in order to

accomplish the objective of creating social justice. It is possible for India to come up with a

future that is more inclusive and prosperous for all of its citizens if it makes use of the skills

and creativity that are present in every sector of society.

Social And Sociable Aspects Of Desi Hip-Hop

Sociality in Desi hip-hop pertains to the way individuals within the community engage with

one other, form associations, and build connections. Desi hip-hop has fostered a sense of

camaraderie and togetherness among artists, producers, and fans who have a common love

for music and culture. Desi hip-hop enthusiasts engage via social media, live shows, and joint

projects to celebrate shared interests, share ideas, and back each other's artistic pursuits. This

sense of social connection surpasses geographical boundaries, uniting individuals from many

backgrounds and locations who share a passion for Desi hip hop. Sociability in Desi hip-hop

culture pertains to its relationships with society and its capacity to engage and connect with

listeners outside its immediate neighborhood. Desi hip-hop artists often utilize their music to

address social issues, express personal stories, and advocate for change, leading to

discussions and heightened awareness of significant societal problems. Desi hip-hop artists

use their music, live shows, and public image to create cultural stories and question common

beliefs, thus increasing the genre's societal significance and impact. The communal nature

and amicability of Desi hip-hop are closely connected to its cultural roots and traditions.

Several musicians incorporate elements of their South Asian ancestry, such as traditional

music, language, and iconography, into their work. Desi hip-hop artists engage with

audiences that share their cultural heritage by showcasing and celebrating South Asian

culture via their music. They incorporate South Asian cultural components into hip-hop

music, broadening its cultural diversity on a worldwide scale.

In Mahi's Desi hip-hop, the phrase "samaj" in Marathi may also denote a caste, clan, or

group, in addition to its meaning of society. There are several social groups. This is not a

happy multitude; instead, it is divided into segments. It is tempting to label it as

segregationist. The quest to discover links between race, caste, and segregation has spanned a

century. There is a little incision. We engage with the other group but do not establish a

meaningful connection. The samaj members are not part of our community. The sociable and

amiable characteristics of Desi hip-hop are closely connected to its cultural identity. Desi hip-

hop fosters a lively and inclusive atmosphere that encourages individuals to enjoy their

shared heritage, express themselves artistically, and address important societal concerns via

cooperation and cultural expression. As Desi hip-hop evolves and thrives, social interactions

and social connections will remain crucial in shaping its significance and reach both locally

and globally. The social dimension of society is evident when we assess the number of

individuals we truly know. An approximate range is 10 to 100. Upper caste women have

greater opportunities for education and work compared to lower caste males due to their

economic stability and cultural wealth. The rise of the middle class provides opportunities for

lower castes, yet these opportunities may not be accessible to the most impoverished

individuals. Globalization is creating possibilities for certain individuals while worsening

inequalities among different social classes. The Dalit movement in South Africa, particularly

the militant Black Panther movement, significantly influenced their political standing in the

1970s. The Dalit Panther movement in western India prioritizes cultural oppression over

caste, compelling the liberal intelligentsia and academic community, particularly in

Maharashtra, to address the raised issues. Dalit men and women have expressed their

experiences with caste oppression fervently. During public discussions facilitated by the

upper caste middle classes, the issue of caste is often simplified to a debate about

reservations. However, there is a growing recognition among people's and women's

movements of caste-based oppression, and attempts are being made to incorporate caste into

the concept of oppression.

This aids us in clarifying the common perception that caste is immutable. The prevailing

perceptual metaphor was spatial and internal, enabling caste to be seen as consistent across

time. In Hindu philosophy, temporal comparisons to societal advancement were considered

worthless. We analyze commodities concerns in relation to box segmentation. Our memory

capacity is restricted, which may result in difficulty remembering both personal and

impersonal encounters with others. Our comprehension of society is limited due to the

unidentified surviving people. Differentiating between society and sociability involves how

we interact with unfamiliar individuals. Phule and Ambedkar altered the caste order by

categorizing it into four separate groups using their own methods. Phule believed that Hindu

society was divided into two groups: Brahmins and shudra-ati-shudras, leading to a conflict

similar to Foucault's concept of Society Must Be Defended. Phule's argument seems to focus

mostly on the current situation. Ambedkar, being a formulator of laws and constitutions,

seems to have a long-term perspective. The long-term future is seen as universal and

everlasting, unlike the transient, dependent, and ever-changing nature of law. The metaphor

of a readily accessible hierarchy, which seemed to clarify the existing social structure,

concealed the unavoidable transformations. This mental framework is almost indispensable

for the existence of caste. Phule and Ambedkar's work represents the initial expression of a

spatial metaphor. Ambedkar, not Phule, reinterpreted it as a historical symbol of

underdevelopment. Superficially, it appears that there have been few changes.

The collaborative and inclusive nature of Desi hip-hop mirrors its sociability and amicability.

Artists frequently collaborate, overcoming linguistic, geographical, and cultural barriers to

produce distinctive and varied music that resonates with audiences worldwide. Desi hip-hop

artists often collaborate with international counterparts and participate in global hip-hop
events and initiatives, reflecting a collaborative spirit within the hip-hop community.

Sociality and friendliness are closely connected to its cultural origins and past. Several

musicians draw inspiration from their South Asian heritage, including traditional music,

language, and imagery into their work. Desi hip-hop artists resonate with listeners that have

similar backgrounds by celebrating and showcasing South Asian culture in their songs. They

provide elements of South Asian culture to wider global audiences, enriching the cultural

diversity of hip-hop music.

Complexity Of Caste And Women In Desi Genre

The caste system, which is an essential component of Indian civilization, is definitely going

to have an impact on Desi hip hop. This is something that cannot be avoided. It is quite

uncommon for artists to struggle with issues pertaining to their own identities and

representations. This is due to the fact that artists are obliged to navigate the complexities of

their caste backgrounds while working in a setting that is mostly urban and has a modern

style. Certain artists have taken the choice to openly confront caste issues via their music and

to use it as a platform to spread awareness in order to battle injustice and inequality that are

based on caste. This decision was made in order to combat caste-related conflicts. It is

possible that some people might make an attempt to diminish or hide their caste identities in

order to achieve their goal of transcending these conventional divisions via their creative

expression. This is something that is possible. The fact that women in Desi hip-hop have

contributed to the music in a number of ways, including their identities, experiences, and

contributions, makes the music more tough to listen to. In the course of attempting to convey

their impact, challenge preconceived notions, and bring about empowerment not just for

themselves but also for others via the medium of their music, they encounter a variety of

challenges. The city of Mumbai, which is the second most populated megacity in the whole
world, has accomplished one of the most significant things in the area of underground rap.

This accomplishment is an example of the city's contribution to the field. From the beginning

of the twenty-first century, the United States of America was the place where hip-hop

imitation was first created. Since then, hip-hop imitation has evolved into a separate art form

that has resulted in the development of a wide variety of styles and subgenres. In order to

generate creative ideas, it is necessary to first build a solid foundation. This is a requirement.

Street poets in India are well-known for their style, which is characterized by that it is both

emotionally attractive and politically oriented. It is because of this style that they have gained

prominence in the present day. However, the subject matter of the lyrics is continuously

oriented on topics that are relevant to the people of the globe, despite the fact that the quality

of the production may vary from superb to substandard. For the purpose of reflecting local

communities from a sociopolitical perspective in a manner that is coherent with their reality,

a subgenre of hip-hop known as "gully rap" has been developed. The genre of rap known as

gully draws its influence from actual life events. When employed in the Hindi language, the

word "Gully" may be used to refer to either a street or a neighborhood. Both of these

meanings are perfectly acceptable. It is common for vocalists to perform rap music in their

original language, which may be any of a number of languages including Hindi, Punjabi, or

Tamil. There are over twenty different languages spoken in India, and each of these

languages has its own rhythms and patterns that are unique to itself. India is home to a large

number of diverse dialects.

The myth of the model minority contributes to the development of a connection between

diversity and achievement. As a consequence of the impact of the mainstream, this

relationship has been formed. Caste structures and gendered components that are exploitative

and repressive have been present in supremacist communities for an exceptionally lengthy

period of time. This has been the defining characteristic of these societies. There is a
connection between the unique ways in which social institutions impact the experiences of

women in compared to those of males, and prejudices that are based on race and gender. The

existence of this link may be attributed to the fact that there is a correlation occurring

between the two. A substantial amount of attention is still placed, according to the colonial

mentality and the caste worldview, on having light and long hair that is straight as

distinguishing characteristics of beauty and appeal. On the internet, there is still a general

propensity to assume that women with darker complexion tones are more likely to be

disagreeable, angry, and dishonest. This belief is pervasive across the internet. People with

dark skin tones are often connected with attributes that are believed to be associated with

masculinity, according to attitudes that are racist, sexist, or colonial. The presence of dark

characteristics is associated with an increase in a man's power, while the presence of dark

features is associated with a woman's lessened femininity. This link exists because dark

characteristics are associated with strength. According to Prashad, there is a sizeable

population of South Asians out there who are eager to accept the concept of the model

minority without giving any consideration to the political and racial ramifications that are

associated with it. In an effort to find a means to reconcile the American ideal with the harsh

reality of racial discrimination, families of Indian heritage have been conducting in-depth

evaluations of their lives within the framework of racial dynamics. This is being done in

preparation for the possibility of finding a solution. To put it another way, the tale is more

complicated than it would be normally perceived to be if it were not for the presence of

gender themes in Desi hip hop. Throughout the history of its existence, the genre has been

dominated by male opinions, which has led to the continuation of stereotypes and the limiting

of portrayals of women. This has resulted in the limitation of depictions of women.

Throughout the course of cinema history, women have often been relegated to supporting

parts or characters that are excessively sexualized. Female artists, particularly those who
originate from oppressed castes, confront the combined challenges of gender bias and caste-

based marginalization in their area of work. This is especially true for those artists who hail

from marginalized castes. In particular, this is the case for women who come from castes that

are considered to be on the margins of society. The fact that this strategy has been used

makes it difficult for a significant number of people to choose between enrolling in

unorthodox programs that they are excited about and following in the route that has been set

for them. This is because of the fact that this method has been employed. Rap music's

iconography draws its inspiration from a diversified culture that integrates elements from a

wide range of various civilizations from all over the world. This culture serves as the source

of inspiration for the iconography of rap music. To be more specific, what Albert Memmi

refers to as the "mark of the many" is what differentiates this civilization from others. The

significance does not lie in the exact characteristics of these societies; rather, it is about the

emotions that they provoke in the people who are a part of these communities, which include

pleasure, desire, mystery, adventure, danger, and repulsion. In this presentation, Ella Shohat

provides examples of silent films that contain erotic dances that merge Spanish and Indian

styles, as well as elements of belly dancing. These artworks are a source of inspiration for

these kind of films. Many different civilizations are shown in these works of art as they come

together in the Orient. Similarly Desi hip hop is a reflection of the larger socioeconomic

problems that are prevalent in India, and the significant link that exists between caste and

women in the genre is a reflection of this. People living in India continue to be subjected to

several forms of oppression, many of which overlap with one another. This continues to have

a long-lasting impact on their lives and the opportunities available to them. It is feasible that

Desi hip hop has the capacity to become a powerful force for social change in India if these

overlapping causes are acknowledged and handled. This would be only achievable if the

potential exists. Within the context of contemporary India, it has the potential to bring about a
transformation in the narratives of identity and empowerment, as well as to elevate voices

that are often ignored, to confront deeply embedded injustices, and to redress deeply

ingrained imbalances. Some of the subjects that are discussed in the poems include living in

slums, the brutality of the police, and the rights of women, corruption, and tyranny that is led

by the state. However, despite the fact that all of these problems are quite prevalent in India,

they are not often shown in popular entertainment. Women are subjected to a larger number

of challenges as a result of this environment than men are. There is more to it than simply

rap; it takes a great lot of bravery for women in India to have even the slightest desire to

dream about anything at all. An individual named Mahi has said that I am fortunate to have

been brought up in an urban environment. It has been brought to my attention that I am lucky

to have. She said that she would not have been able to find hip hop or pursue a career as an

artist if her parents had not moved from rural Maharashtra. She also would not have been

able to pursue a career in the arts. In addition, she emphasized that she would not do so. She

said that even if she had been given the option to pursue them, she would not have been able

to do so under any circumstances. The fact that our country does not have the infrastructure

that is necessary to offer support for the arts is something that she puts up. She also brings up

the reality that even men have difficulties when they are trying to pursue unorthodox types of

labor. There were three mechanisms that were used in the administration of women's rights.

These mechanisms were ideology, the right of their families to discipline them, and the

ability of the monarch to punish them for transgression.

The execution of these operations took place on three different levels, each of which was

unique from the others. Women were able to exert control over themselves as a result of

gaining instruction in either stridharma or pativratadharma. This led to them integrating

wifely traditions and working toward meeting the social standards of pativrata. Stridharma

was the more traditional of the two. The brahmanas are the ones who were responsible for the
establishment of the patriarchal class-caste structure that exists in high caste Hindu culture.

This system has been in place from the very inception of the system. Pativrata is a phrase that

represents the particular obligation that a Hindu woman is needed to execute. As time went

on, the concept of pativrata eventually developed into the attitude that women need to accept

and strive for chastity and loyalty as the ultimate embodiment of their uniqueness. This was

the perspective that emerged from the adoption of the concept of pativrata. Throughout the

course of this discussion, the connections that exist between aesthetics, Dalit identity, and

identity practice are broken down and discussed in more detail. A non-traditional point of

view is taken into consideration when the study of Dalit aesthetics examines cultural

conceptions of what constitutes beauty and what constitutes pleasure. Within the world of

music, this method places an emphasis on the study of works, performances, and analytical

techniques within the context of a cultural framework. Specifically, this approach is centered

on musicians. The creative process, the performance of music, and the pleasure of music are

all impacted by identities under this framework where identities are a factor. A great number

of concerns that are connected to one another are revealed when one makes an effort to

comprehend the identity of Dalits via music. In addition to the part that music plays in the

process of forming and evaluating physical structures, it also encompasses the physical

expression of music, the many interpretations and performances of music by individuals, as

well as those interpretations and performances. "Identity praxis" is a phrase that is used in the

realm of music to describe the process of evaluating musical material from the point of view

of practical methods while simultaneously making sure that it offers accessibility. Lennard

Davis's inquiry into aesthetics, identity, and praxis is the subject of this debate, which digs

into an explanation of the latter that is based on music. When it comes to promoting

consistency, what particular methods may music be employed, and to what extent can it be

used to accomplish. In addition, what are some of the ways that music may potentially fight
back against the impact that it has on society. Both the fact that music may encourage

conformity and the fact that it can resist the effect of current influences are examples of the

complexity and variety of the characteristics that music has. When music has the potential to

inspire resistance via subcultures, experimentation, and messages of empowerment, it also

has the ability to foster unity and conformity through the sharing of experiences, cultural

identities, and current trends. This is because music has the strength to inspire both of these

things. Specifically, this is due to the fact that music has the capacity to concurrently inspire

both of these things. Because it is a medium that strikes a balance between conformity and

resistance, music has the capacity to both affect and reflect the diverse fabric of human

experience. This is because music is a medium that achieves this equilibrium. As a result of

the fact that music is a language that is spoken all over the globe, it has a significant amount

of ability to influence human behavior, the traditions of society, and the identities of many

civilizations. It is possible that the power that it has will result in a feeling of connection

across a variety of diverse groups, despite the fact that it has the potential to motivate people

to rebel against the norms that are already in place. By performing an examination of the

ways in which music supports conformity and the strategies that it utilizes to fight this

impact, it is possible to gather important knowledge regarding the enormous influence that

music has on society. This information may be obtained by conducting an analytical study.

This influence should not be understated since music has a tremendous impact on the

formation of cultural identities, and this impact should not be ignored. There are several

forms of music and styles of music that act as cultural identifiers. Additionally, these types of

music and genres play a role in the process of reinforcing social norms and values in certain

groups. Folk music that is considered to be traditional, on the other hand, may be a reflection

of the values that are held by a rural community. This stands in contrast to urban hip-hop,

which often represents the lives and aspirations of young people who are living in the inner
city. The power of music to connect individuals to their cultural identities and traditions via

the use of cultural resonance has the potential to establish a feeling of community among

persons that are not connected to one another.