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In a caste-based society, the defiant performance of songs about forbidden love challenges the dominant status of a Brahmin artform. In India, Youth Festivals provide a forum in which young adults can compete in a cultural event that allows them to demonstrate their artistic talents in categories ranging from singing and theatre to debates and dancing. All these activities require a great deal of preparation and cooperation among team members. At one such festival, near Nanded, I heard a cultural demonstration of a different sort.
More specifically, I overheard someone singing at the top of his voice while in the bathroom. It had a style of romantic poetry. The owner of the voice emerged from the toilet, and I asked him for the source of this new melody. He paused and mentioned that he was singing Bhimrao Panchale, assuming I would know what that meant.
That was In addition to Buddha-Bhim-Geete, a Dalit Buddhist musical form invented during the second half of the twentieth century, I have been a lover of ghazal music from India and Pakistan for a while.
Originating from Arabic forms, ghazals are a short, emotional exposition of punchy matters of the heart — often conditioned by betrayal or longing. The generally male protagonist invites the audience to follow their journey of pain, allowing audiences to escape the quotidian mindset and enter the scandalous world of trampled taboos.