Anushri Wankhade
The importance of presenting socio-political and cultural issues through art in the form of poetry & music has evolved as a crucial tool to empower communities and to spread awareness about societal inequalities. Art in the form of poetry and music has evolved as a crucial tool in social movements over centuries, starting from Ravidas (15th to 16th century), Shahir Bhimrao Kardak, Waman Dada Kardak, Shahir Anna Bhau Sathe to many singers/poets, there are many Dalit artists who have tremendously spreading awareness about caste, class and patriarchal issues faced by the marginalized communities since decades in the form of music. Within the sociopolitical movement of the Bahujan, led by Kanshi Ram, musical practices and performances have played a significant role in raising anti-caste consciousness (K. Kalyani, Satnam Singh, 2023). The issues of Dalit women have always been highlighted by these artists. If we look at the 20th-21st century artists, Namdeo Dhasal, Sheetal Sathe, Kadubai Kharat are some of the famous artists from Dalit community who have challenged upper caste dominant cultural space through their art. It is one of the best ways to make people aware about the hardship experienced by marginalized communities, the discriminatory nature of it, and the necessity of social justice and equality. People from disadvantaged groups get a platform to express their own tales and experience via art. It helps to fight stereotypes and eradicate prejudice by humanizing their hardships, aspirations, and resilience.
Source – Youtube
The rich cultural legacy and diversity of marginalized communities are also preserved and celebrated as a result of anti-caste resistance through the arts. On occasions like Dr. BR Ambedkar’s Jayanti, we get the opportunity to see a number of local singers and social crusaders who used to sing, Rashtriya Kirtankar (revolutionary musical performance), and other artistic mediums which tell stories of historical discrimination and the struggles of our leaders and people. Music is being part of the anti-caste resistance as the lyrics, songs dialect and a realities of the society depicted has shown its own context and history (K. Kalyani, Satnam Singh, 2023). Through artistic manifestations that highlight disparities and call for equality, people may be motivated to question the status quo and strive for a more inclusive society.
“माझं आईपण, माझा बाईपण पिंजऱ्यात कोंडल ग बाई, पिढ्या पिढ्यांनी तेच गाढंल, जगा पुढे माडंलं ग बाई.” (My motherhood & womanhood, locked in a cage, and that’s what the world has put forward generation to generation) This single sentence from the song Maaza Baipan sums up how society views women and womanhood in its entirety. This uplifting and very profound song by Sheetal Sathe and Vipin Rekha Tatad is produced by Aatpat. Rapper Vipin Tatad is from the small village of Amravati and uses an Ambedkarite perspective to create songs about popular socio-political issues. Sheetal Sathe is a singer, Marathi folk performer, and an Ambedkarite activist. She is one of the primary performers for the Maharashtra troupe Kabir Kala Manch. This Marathi song “Maaza Baipan,” which was recently performed by Vipin Tatad and Sheetal Sathe, is going viral for a reason. It clearly outlines the injustice that women experience in our culture and sends a powerful message to dismantle the patriarchal norms that have been imposed on them for many years. Women frequently play a variety of roles in their daily lives, such as mother, sister, wife, and so on. As a result, our society has already determined what they should do; whether they are a mother-in-law, sister, or wife, they are always viewed as secondary. From conception to death, every woman’s challenges are highlighted in this song, and each one of them shares her narrative, struggles, and various forms of prejudice. After listening to this song, I would really like to take down the meaning of each sentence and translate it exactly as it is, but that might not support the precise point the vocalist is making. However, this song initially inspired me to write about it.
If you look at the song’s opening scene, you will see a woman crying, but this time she is not afraid and is standing up for herself to fight against oppression and oppressors. “बाई बाई मला माणूस पुकारा”, which translates to “to call themselves a human,” means that they are standing against the group of men in irritation and with the hope that they would cease this system’s rules that have been denying their freedom of choice by keeping their necks stiff.
Source – Youtube
One part of this song depicts the various forms of historical oppression that women have endured over the years. Due to intersectional exploitation and a lack of decision-making authority, women have historically been viewed as inferior in society. As a result, they have experienced various forms of violence since they were young. On the other hand, it is inspiring many women to understand the harms caused by patriarchal norms and gives a powerful message to disobey the rules in order to end the oppression. “रूढी परंपरा सोडूनी टाक, मनू ची ही गाथा जाळून टाक, वर्षानूवर्षा ची गुलामी ही सारी चीर फाड अशी हानुनी पाड.” (Abandon the tradition, Burn the Manusmriti Book, tear the slavery which has been implemented years after years). This song’s reference to burning the Manusmriti book is undoubtedly justified because it contains laws that are discriminatory against women and encourages adherence to the patriarchal system. Manusmriti defends the exploitation and oppression of the great mass of people by the savarna castes. Despite being outlawed, the rules of Manu are nonetheless widely followed in India since they are ingrained in our culture. The female segment of society has suffered greatly as a result of this. Her calloused hands, her unkempt hair, her cracked heels, her wrinkled hair, tells the tales of living through fears and a millennia of violence and deaths (Gogulamanda, 2017). The following line from Aruna Gogulamanda’s poem A Dalit Woman in the Land of Goddesses strangely relates to this song.
A woman who is a mother of a female child asks, “Does the person behind the cage/prison need expensive things?” in the middle of the song. Prior to it, her husband and in-laws violently kill the female child and take her daughter away. On one side, a woman does not have decision-making authority, and on the other, the girl child is killed because she is viewed as a social burden; on both sides, women are being exploited. “नवऱ्याचा भुक्कीचा मार भी सहन, माय बाई पूजा देवीची करण” is another really significant line. Some of the phrases in the song’s final section describe the multiple axes of oppression that women in India face. Indeed, the terrible truth is that in Indian society, women are only respected or worshipped when they are viewed as idols or statues of goddesses.
The song’s final section repeats the opening scene, in which women are running towards the group of men who have taken advantage of them or exploited them while brandishing a “Shastra” (weapon) and a book featuring an image of Savitribai Phule, a trailblazing educationist, to show that women can be independent, powerful, and can defy social norms by not only obtaining knowledge but also by wielding a weapon. In essence, this song relates your tale of being suppressed to assertiveness and speaks to many facts concerning prejudice and inequality.
We are all aware of the instances of intersectional discrimination that women have traditionally experienced. Since many women now have the same rights as men, it has been claimed that the lens through which we view equality has changed. However, are we neglecting the invisible discrimination that has numerous ways of controlling women? When we talk about feminism in today’s context we always get to see how the Dalit women’s issues has been excluded from so called feminist issues because the mainstream feminist think that associating a woman with sub-identities weakens the feminist struggle (Arya, Rathore, 2020). To put it bluntly, women’s marginalization and vulnerability always occur indirectly as a result of intersectional discrimination from upper caste members (both men and women) as well as within the home and community. Women who are marginalized are constantly subjected to discrimination from the different sides, which strengthens patriarchal ideas and contributes to the expansion of societal control over women. That my motherhood and womanhood have been imprisoned is precisely what the song’s mentioned line intended to convey.
Source – Youtube
References:
K. Kalyani, Satnam Singh, 2023: Music as an Anti-Caste Counterpublic: Notes From North India
Aruna Gogulamanda, 2017: A Dalit Woman in the Land of Goddesses
Sunaina Arya and Aakash Singh Rathore 2023: Dalit Feminist Theory
Siddhant Dawkare, 2022: Women’s portrayal in Namdev Dhasal’s selected poems
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Anushri Wankhade is working in an organization as Associate Manager in Bhubaneswar. She has done her Masters in development studies from Azim Premji University.
