Can rap that claims to speak truth to power truly be revolutionary if it perpetuates the same patriarchal attitudes it seeks to dismantle, celebs weigh in
In the sweltering streets of Delhi and Mumbai, a cultural phenomenon is unfolding. Indian rap music has emerged as a powerful force, giving voice to the frustrations, aspirations, and stories of a generation. However, beneath the surface of this vibrant movement lies a disturbing reality — one of entrenched misogyny, casual sexism, and blatant objectification.
Recently, Neha Bhasin called out Indian hip hop scene for this underlying misogyny in rap lyrics. “(I) Am so fed up of below average male rappers and ‘wanna-be’ singers calling women weird stuff in their songs. And all Indian men and women folks are okay with it. Is there a limit to the hypocrisy in India? Ladka kare to bhai, dude. Ladki kare toh character dheela (If men do it, they are called a dude, but if the women do the same, she is called loose character),” posted the Dhunki hitmaker on social media.
As we delve into the world of Indian rap, we confront a troubling question: Can a genre that claims to speak truth to power truly be revolutionary if it perpetuates the same patriarchal attitudes it seeks to dismantle? At the same time many celebrities comment on Indian music in general and how rap is no different.
Examples of misogynist lyrics in Indian rap songs are alarming. Songs like Buzz with lyrics ‘Jahan se hona chahiye wahi se hai tu thick’ or Pagal with lyrics, Shakal hai Indian body Latina and many more like them, contribute to a culture that demeans and dehumanises women. Rappers like Yo Yo Honey Singh, Badshah, Raga, Harjas, Bali, Fotty Seven contribute to this and the bigger problem is that budding rap artistes also look up to them for inspiration.
Singer Shibani Kashyap weighs in on the issue, saying, “Misogyny in rap songs is a significant problem that reflects a deeper cultural problem. As an artiste, I believe music should inspire and empower, not degrade or demean. Songs with offensive lyrics that perpetuate stereotypes and disrespect women have no place in the public domain. Such content not only distorts the essence of music but also impacts young, impressionable minds.”
The issue of misogyny in Indian music is not limited to rap. Bollywood songs like Munni Badnaam Hui from Dabangg and Fevicol Se from Dabangg 2 have also faced criticism for their lyrics and presentation. Actress Shivangi Verma shared, “Songs like Fevicol Se reflect a certain style of entertainment that caters to mass appeal. While such tracks often ignite debates about their lyrics or presentation, it’s essential to view them in the context of the storyline and target audience.”
Verma adds, “As an artiste, I believe creative expression should aim to entertain while being mindful of its broader societal impact.” She praises Kareena Kapoor’s performance in Fevicol Se, saying, “The way Kareena Kapoor carried herself was exemplary.” This raises questions about the role of women in Indian music and the impact of their representation on societal attitudes.
Actress Rinku Ghosh, known for her work in Bhojpuri cinema, shared her perspective on the issue. “Songs like Munni Badnaam Hui have become iconic, but I do feel that they sometimes reduce women to mere objects of desire. While they’re meant to be entertaining, it’s important to reflect on how such representations influence society and the values we uphold,” she expressed.
However, not everyone agrees that these songs are a cause for concern. Actress Namita Lal offers a more nuanced view, “In my view, songs are the reflection of the society or the norms that we are living with. So if there are songs with misogyny and yet these are popular, people dance to them in a party, night club or functions, then I guess we shouldn’t be bothered about it. It’s a personal choice to listen or not listen to a song, but if a song with objectionable misogynist lyrics is popular, then there’s a market for it. The way the shelf life of music is these days, if we raise an issue, it becomes a big thing; the right thing would be to let it go into oblivion.”
According to actress Subuhii Joshi some songs do end up being sleazy in Bollywood. Aesthetic and vulgarity sometimes have thin line. She adds, “Sheila Ki Jawani might have some odd lyrics, but it was nicely shot, and Katrina Kaif did full justice to it and even Fevikol Se on Kareena Kapoor looked good. Women attributes are highlighted in certain songs and that is a reality. How it is shot and how it is presented matters, and we shouldn’t be judgemental about rap songs.”
While exploring the complexities of misogyny in Indian rap, we must consider the broader cultural context in which these attitudes thrive. Can Indian rap music truly be a force for change if it perpetuates the same patriarchal values that underpin Indian society? The answer remains uncertain, but one thing is clear — the conversation has only just begun.
