Stories of Oppression and Cries for Freedom Told Via Music
By: Medha Gupta
Tags: Sociology, Music, Music Business, Bollywood, Justice

Stories of Oppression and Cries for Freedom Told Via Music

“Azadi! Azadi!” (Freedom! Freedom!)1 Kashmiris line the streets of Jammu and Kashmir screaming into the apathetic abyss of the privileged. They call for freedom. Freedom from oppression. Freedom from silence. Freedom from the Citizenship Amendment Act instituted by India (Wani). A long disputed union territory between India and Pakistan, Jammu and Kashmir has been the site of constant war, instigating constant poverty and disenfranchisement amongst Kashmiris. The Citizenship Amendment Act (“CAA”) passed by the Parliament of India in December 2019, dubbed the “anti-Muslim law,” grants illegal immigrants in India fast tracked citizenship if they are of the Hindu, Sikh, Parsi, Buddhist and Christian religions (“What Is CAA”). Since the CAA noticeably discriminates against Muslims, the largest minority religion in India, it triggered national violence within the already ongoing protests, particularly in Jammu and Kashmir where refugee Muslims are in the majority (Maizland) (“Factsheet”) (“Jammu and Kashmir”). From the Kashmiris’ many protests, the word “azadi” meaning “freedom” in Hindi, Urdu, and Kashmiri has become a uniting slogan between protestors worldwide. With the emerging significance of the protests throughout not only the country of India but also globally, inspired by the movement, Indian rapper DIVINE released the song, Azadi (IANS).

Empowering movements and inspiring justice, Mamie Smith’s 1920 recording of Crazy Blues not only revolutionized the charts by becoming a hit record, encapsulating the unique and expressive genre of Blues, but also sent a powerful message about the reality of the United States of America to enamored listeners. In Crazy Blues, Smith vocalizes her dismay towards the way she and her fellow African Americans are treated and she clarifies that she is willing to take action against her “man” because she will “get myself a gun, and shoot myself a cop” (Smith). Similarly, in Azadi, DIVINE explains that he demands, “Azadi! Bhukhmari se azadi. Haan bhed bhaav se azadi. Haan pachhwaad se azadi.” (Freedom! Freedom from starvation. Freedom from discrimination. Freedom from everything). He concludes his verse by asserting, “Hum leke rahenge azadi. Tum kuchh bhi kar lo. Azadi!” (No matter what you do, we won’t back down until we reclaim our freedom. Freedom!) In both pieces, lyricially, both artists are endorsing and exemplifying the rage that is electrifying protestors to remain motivated (DIVINE and Sharma).

Beyond the lyrics of the rap song, both the composition and the cultural context play an instrumental role in its interpretation. When listening to Azadi, it begins with a very slow tempo and opens with recordings of groups of protestors repeatedly yelling the term “azadi.” As the song progresses, the percussion accelerates, the vocals crescendo, and DIVINE begins to deliver his verses with fervor and anger. DIVINE’s verses are especially emphasized throughout the song by a percussion instrument echoing the melody, beautifully manipulating the song so that his indignation is nigh impossible to miss. Perhaps the most inherently personal and telling part of the song is the ending where a young slum boy can be heard speaking, “give me freedom” at the beginning and coda of the piece (“It Questions”).

Azadi encapsulates the idea of protest and truth telling for me on a personal and global level because it not only dictates the exact issues weighing down on South Asians in the region but also uses elements such as children, protestors, and instrumentals to engulf the listener in an experience that reflects the dissatisfied nature of impoverished, disenfranchised, and underprivileged Indians. The support of protestors through music that emphasizes truth telling is imperative on a global scale because it gives protestors an anthem, allows people worldwide to communicate through a shared language, and raises awareness regarding international issues, allowing protests to learn from each other. As a Hindu Indian, I am fortunate to not be affected by the anti secular movements by India but Azadi, like Crazy Blues, although not intended for myself as an audience, feels extremely personal. Both pieces feel applicable to my own reactions after feeling targeted due to my race and gender from being stereotyped in the United States to being targeted by sexual predators. Moreover, both songs encourage me to continue to be sociopolitically active and attend protests such as the Women’s March and the March for Science in my hometown of Washington DC. Ultimately, Azadi by DIVINE incites a hopeful but incandescent energy due to its wordplay, relevance, and composition amongst both protestors and myself.

Bibliography

DIVINE and Dub Sharma. “Azadi.” Gully Boy, Zee Music Company, 2019.

“Factsheet on The Citizenship (Amendment) Act in India.” USCIRF, 3 Feb. 2021, www.uscirf.gov/resources/factsheet-citizenship-amendment-act-india.

Hajdu, David. “A Song That Changed Music Forever.” The New York Times, The New York Times, 8 Aug. 2020, www.nytimes.com/2020/08/08/opinion/sunday/crazy-blues-mamie-smith.html.

IANS. “‘Azadi’ Chanting in ‘Gully Boy’ Song Open to Interpretation, Says Composer.” The New Indian Express, The New Indian Express, 6 Feb. 2019, www.newindianexpress.com/entertainment/hindi/2019/feb/06/azadi-chanting-in-gully-boy-song-open-to-interpretation-says-composer-1935143.html.

“It Questions Every Corrupt & Intolerant System: Rapper Divine on ‘Azadi’ Song from ‘Gully Boy’.” News18, News18, 6 Feb. 2019, www.news18.com/news/movies/gully-boy-rapper-divine-on-azadi-this-song-questions-every-corrupt-and-intolerant-system-2026437.html.

Jammu and Kashmir: Official Portal, Digital India, jk.gov.in/jammukashmir/?q=demographics.

Maizland, Lindsay. “India’s Muslims: An Increasingly Marginalized Population.” Council on Foreign Relations, Council on Foreign Relations, 20 Aug. 2020, www.cfr.org/backgrounder/india-muslims-marginalized-population-bjp-modi.

Mamie Smith. “Crazy Blues.” Okeh Records, 1920.

Online, ET. “What Is CAA, Citizenship Amendment Act? What Is It and Why Is It Seen as a Problem? Everything You Need to Know.” The Economic Times, Economic Times, 31 Dec. 2019, economictimes.indiatimes.com/news/et-explains/citizenship-amendment-bill-what-does-it-do-and-why-is-it-seen-as-a-problem/articleshow/72436995.cms?from=mdr.

Wani, Riyaz. “With an Eerie Calm, Kashmir Watches the ‘Kashmirisation’ of India.” Quartz India, Quartz, 10 Jan. 2020, qz.com/india/1782781/silenced-kashmir-watches-india-erupt-in-anti-caa-protests/.