IHarpreet Kaur, 19, was found dead under mysterious circumstances in 2000. His mother, the then head of the committee, which manages Sikh places of worship across India, blamed the food poisoning. The truth was far more serious. Kaur was killed after her secret marriage to 21-year-old Kamaljit Singh – a lower caste – against her mother’s wishes.
Although India’s caste system is a centuries-old form of social classification, such incidents are an ugly reality in modern-day South Asia, with caste-based “honor” killings, discrimination and violence all present. Are Another notable example is the brutal beating of Bint Singh, a laborer and worker, in 2006: the ambush was a punishment for seeking justice against some upper caste men for gang-raping their daughter. The Sangh lost both arms and one leg in the attack.
Both Kaur and Singh’s stories are reflected in the music of Scottish Indian artist Kapil Seshasai. “There have been horrific atrocities and they continue to demonstrate,” he said. “To me, it’s a big deal not to call him.”
Shishashi describes himself as a protest musician, and speaks of zooming in a measured but passionate tone about caste and other forms of discrimination. We are talking at a time when India is facing another wave of corona virus epidemics, which is seen as a result of the weak leadership of Prime Minister Narendra Modi and the collective failure of the government. The daily death toll is devastating, but as Shishasai points out, caste victims are the most affected, receiving little support and even siding with Modi’s party to spread the virus. Has been openly accused. “Caste is one of those things that is clearly a factor in who is saved and who is not safe,” he says.
Like many others with family in India, Shishasai is influenced by what is happening in the country. This sense of frustration and sadness is natural in his music, which combines pop, L-Rock and other contemporary genres with Indian classical voices. As a child in Glasgow, she remembers casting a spell on her Indian relatives with a stringed instrument. My uncles and aunts bought me toys I was not interested in. I just wanted to make a mistake with this tool.
Because of this fascination, he played as a teenager with other instruments and bands, but when he graduated from university and moved back to Glasgow to be his parents’ guardian, he found music a safe haven and creative. Discovered as a store, including a Jag Promoter. And going “I don’t think I’d make the kind of music I do now if it weren’t for Glasgow’s DIY scene,” he says.
He gradually gained strength as a solo artist. A Sacred Bore (2018) is one of the most intelligent albums to come out of Scotland in recent years. Shisha Sai explained that after reflecting on identity and privilege, it blends the experimental caste system, the industrial environment and the guitar lines of Karnataka (South India) while surveying the oppression of the caste system. “Actually, under the laws of Hinduism.” “These ancient laws reiterated the careers of some castes: the upper castes would be priests or landlords, and the lower castes would be manual laborers. But, over time, this social mobility, or its More about the shortcomings. I’ve always grown up with caste in the background. It’s such a big thing and I’ve been waiting a long time to deal with it. There’s a form on the farm that I don’t think has happened that often.
The album also examines why white supremacy as a concept of caste is so appealing to the upper right. The last single from the album, The AgitProp (a thing to propagandize with a political message), was written after Shishasai saw a T-shirt with Hindu slogans that Vanguard chanted during the 2017 Charlottesville riots. Sold by a right-wing organization called America. “I thought, ‘Why would a white supremacist, largely non-white religion?’ But what you realize is that there is an obsession with the idea of caste: the lighter your skin, the purer you are and the more you are entitled to it. It’s a very difficult thing to talk about, but it’s very easy to see.
The cast and crew have been buzzing since the church’s release. One of the most likely scenarios is that Shishasai is a good American rapper. Last year, he tweeted to his 1.2 million followers asking for an explanation of the caste system, to which Shisha Sai responded. This was followed by a long private exchange on Twitter, which resulted in mutual cooperation. “I was expecting it to stay that way for 10 years, ‘Remember when I collaborated with Lil B?’ But my producer sent him to the trunks for a new track, and he responded in 45 minutes.
Hill Station Reprise cites the conflicting experiences of “Brahmins” (higher castes) and “untouchables” (considered the lowest class) in its lyrics. Lil B tells me, “Really, I love this song and the artist.” The track is heartfelt and I appreciate supporting it which is good and what a love. Let’s talk about the caste system. Because it is important to support all human beings and make sure that no one is being pushed back.
Snooky and thematically, Hill Station Reprise previews Shishasai’s upcoming second album, Lal, in which he describes it as “Cycladic R&B – Meet – Indian Classic Crossover”, focusing on that. While how Bollywood can be a lens in which topics like caste can be explored. , Nationalism and corruption. “This new album is about engaging in big and complex things by building around certain songs to attract people.”
To explore LGBTQ + voice censorship, The Pink Mirror is a film of the same name used by Coro filmmaker Sreedhar Rangin: Has seen. “
In another track, Shishahasi questions nationalism, citing a scene from the 2020 Hindi language film Tanhaji, which features a cartoonish image of a Muslim character barbeque and a crocodile for greens. Is. “Such images in blockbusters on a large scale are not mere coincidences. They are there to take advantage of the current tensions between Muslims and Hindus and their condition deteriorates over time,” he said. In modern India, Hindu nationalism has become more and more violent in recent years, and it is dangerous and provocative to normalize the bizarre image of Muslims in mainstream Bollywood.
While the trademark of Indian classical, the talismanic patterns, microtonality and ornaments are often mentioned in contemporary releases – such as Four Tate Morning / Evening, Bonobo’s Migration or Newarkston / Thorne / Khan’s music – for artists such as Shishasai, classics. And this dialogue between this dialogue. Contemporary is more than just the identity of music. It serves as a means of challenging and educating on important issues that affect South Asian countries.
“Now is the time for some serious changes in the way decisions are made and we need to hold those decisions accountable.” “People are at the crossroads of their nationalism and will make any minority group independent instead of voting for a government that has broken many promises,” he said. It is important to understand how this uncertain brand of nationalism came to normal, and there is no need to look for anyone other than our media outlets. In India’s current dangerous moment, Modi is seasonally portraying the potentially deadly epidemic of mismanagement.
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