Hip-Hop in the Dalit Ghettoes: Emergence of a New Counterculture

Sanket Shinde

This Article explores how Dalit hip-hop in India functions as a counterpublic and counterculture, drawing from Ambedkarite thought and global Black traditions of resistance.

On the cold night of April 13th, the night before the birth anniversary of B.R. Ambedkar, I performed my rap on Anti-Caste culture and the cultivation of the mind. As my last verse ended, the crowd—Dalit, Adivasi, Muslim, and upper-caste students alike—rose and cheered. At that moment, I saw what B. R. Ambedkar meant by “cultivation of the mind.” My appeal had impacted them positively, and Rap had become our language of awakening. That night, I experienced the power of Hip-Hop to create a counterculture that speaks from margins to margins. The marginalized discourse I witnessed after my performance was a space where the oppressed discussed their experiences and created a discourse that challenged the dominant culture. It was a counterpublic, in Nancy Fraser’s sense, in which India’s marginalized anti-caste discourse was the point of discussion. I saw that rap has the power to create a counterculture to the dominant culture imposed by the dominant castes in India. In this essay, I will argue that the emergence of hip-hop marks the rise of this counterculture, creating a space where the marginalized speak their lived experience to guide future generations and carry forward the Anti-Caste legacy.

From the Bronx to the Bastis: Hip-Hop as Counterpublic and Counterculture

Five decades ago, on the streets of the Bronx, a new culture emerged from Black America. Hip-Hop began as a form of resistance, a voice for those denied the right to speak, and a revolution to counter the mainstream, white-dominated culture (Columbia School of Social Work, 2023). While the word “hip-hop” originates from the movement of the hip in dance, black scholars have pointed out that it signifies a movement against Mainstream Oppressive Culture, oppression, and police brutality. Its elements—Rapping, Djing, Graffiti, Breaking, and Knowledge of Self—are art forms that express the thoughts of black youth facing social exclusion and racism (Siliezar, 2020). This culture, from its elements to its fashion, now dominates global trends.

Indian Dalit Hip-Hop as Resistance

As Hip-Hop went global, it found its way to India. Initially, it was seen as music for partying and slurs, as depicted by mainstream rappers like Badshah and Yo Yo Honey Singh. However, rappers from the margins like Arivu, Sumeet Samos, and The Casteless Collective showed the true aspect of Hip-Hop: rapping about socio-political issues and the everyday resistance of the masses. Their raps about the struggle against casteism constitute a counterpublic, in Nancy Fraser’s sense, challenging the caste-biased mainstream culture of India (Fraser, 1990).

Dalit rappers borrowed rhythm from American rap but transformed it into a tool to confront caste. They became the voice of the streets, bringing ground realities to an audience that mainstream media ignores. They challenge listeners to step outside their caste comfort zones to recognize the social reality of caste. The Casteless Collective, from Chennai, raised a voice in favor of reservation when mainstream media remained silent. Vijay DK from Mumbai criticizes police brutality against marginalized communities in the slums. Alongside male rappers, female artists like Ginni Mahi speak about the legacy of social justice envisioned by Anti-Caste leaders.

Cultivating Minds through Rhythm: Hip-Hop and Youth Mobilisation

Anti-Caste music has catalysed mass mobilisation in the Dalit Ambedkarite movement (K. Kalyani & Singh, 2023). While Dalit oppression was rigid and evident during colonial rule, it has now become invisible behind a democratic top layer, laws, and reservations. The informal sector, which is highly caste-biased, goes unnoticed as attention is focused on formal sector representation (Thorat & Attewell, 2007).

Hip hop explicitly talks about the atrocities done to marginalized castes. Therefore, the voice of Dalit rappers is necessary when mainstream media fails to cover caste-based violence, as it creates Anti-Caste consciousness in the youth. Rappers like Goku from Maharashtra, with songs like Dukh and Jai Bheem, are trying to spur youth participation in the movement.

Arivu, a Dalit rapper, collaborated with the upper-caste-dominated Sony Music to release the Anti-Caste song Thodaga, where he boldly opposed caste-based oppression and questioned upper-caste privilege. This shows Hip-Hop’s power to appeal to the whole society, cultivating the youth. The effect of rap is immense at Ambedkarite youth festivals, demonstrating Hip-Hop’s potential to cultivate Anti-Caste citizens and democratise society.

Potential Threats of Commercialisation and Cultural Co-Option

However, as a revolutionary art, it faces the danger of commodification. In the USA, Hip-Hop evolved from a tool of protest to a commercialized subculture for the gain of the dominant white mainstream (Blair, 1993). Since the early 90s, the glorification of drugs and violence became evident.

Though this has not yet intruded into Anti-Caste rap, the culture in India has the potential to turn towards promoting drugs and abusive language if upper-caste players in the music industry commercialize Dalit Hip-Hop. This could normalize such behaviors among Dalit youth, threatening the grassroots movement. Rappers like Sambata and Vijay DK already talk about drugs and violence as a mirror of society. But as B.R. Ambedkar emphasized, cultivation of the mind is necessary to evolve. Rappers must therefore practice reflexivity, cultivating minds while narrating experiences.

Hip-Hop and the Future of the Anti-Caste Movement

As in Black America, India’s marginalized communities—Dalits, Adivasis, OBCs, and Lower Caste Muslims—can find in Hip-Hop a tool of resistance. Just as anti-caste singers like Gaddar and Vaman Dada Kardak enlightened masses through music, today’s youth must integrate Hip-Hop into Dalit culture to continue the movement.

Rap songs can become the slogans for marginalized communities’ political and social movements, as seen in the “Warli Revolt” song. Rap provokes socio-political thought and influences youth towards egalitarianism.

Books provide essential knowledge, but the sad reality is that most Dalit youth are far from them (Varma, 2016). Many lack the resources or time for education beyond their immediate struggles. In the slums of Aurangabad, I saw Dalit youth in the informal sector not reading books, but discussing daily life and listening to music—often unhelpful Bollywood and pop songs. If Hip-Hop with an anticaste vision emerges from our bastis, it can exemplify knowledge sharing, inspiring and educating youth about social justice.

Conclusion: The Beat of Resistance Beyond Borders

In conclusion, any movement can decline without cultural expression and consistent dialogue, as seen with Buddhism before Ambedkar revived it. The necessity of everyday expression and resistance prevails. For the Anti-Caste movement, the integration of Hip-Hop is this new form.

Anti-Caste music has educated and mobilised the masses, and rap can take this legacy forward. On social media, youth from every section of Indian society are discussing hip hop, making it a tool of larger appeal. Just as rap mobilized white masses in America for anti-racist movements like Black Lives Matter, we can hope for a similar effect in India’s Anti-Caste movement.

B.R. Ambedkar once said that one song by Vaman Dada Kardak was worth ten of his speeches. Hip hop in Dalit Basti may become the epitome of this statement, working as a platform to share knowledge and cultivate minds. Integrating hip hop will open a gateway for youth to participate in social change.

Hip-hop now echoes the names of Ambedkar and other Dalit leaders in the bastis—a reminder that the language of resistance knows no border. Its power once gave Black youth a weapon against racist hate. Today, Dalit youth carry that beat forward, continuing the song of resistance beyond borders.

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