New Delhi – A groundbreaking research paper titled “Bhim Geet and the Ambedkarite Movement: The Genesis of a Cultural Field of Protest” has been published by Dr. Joël Cabalion, head of the ‘Questioning Development: Models, Dynamics, Impact’ research area at CSH Delhi, and Julien Jugand, an associate researcher at CREM-LESC.

This article, featured in the 31st issue of the South Asia Multidisciplinary Academic Journal (SAMAJ), sheds light on the cultural and artistic music category known as Bhim Geet, a genre dedicated to Dr Bhimrao Ambedkar, the principal architect of the Indian Constitution and a revered figure among the Dalits.

The research traces the origins of Bhim Geet, also known as Bheem Geet, to its roots in Maharashtra, where it emerged as a musical genre celebrating the legacy of Bhimrao Ambedkar.

These songs, as detailed in the article, serve not only as artistic expressions but as profound socio-political statements embedded in the struggle against caste oppression.

It provides a comprehensive analysis of the cultural tensions and stakes faced by the Dalits, particularly in Maharashtra, from a cultural perspective.

Bhim Geet, songs dedicated to Baba Sahab, resonate as expressions of protest and cultural assertion among Dalit communities.

The researchers delve into the significance of singing about caste struggles in contemporary India and explore what emancipation means for Dalits, both culturally and aesthetically.

The article begins with a serendipitous encounter over 15 years ago in Vidarbha, Eastern Maharashtra, where the two researchers, one studying Hindustani music patronage in North India and the other focusing on land-related issues due to a large dam, met Parmeshwar C., a Buddhist farmer and former Tamasha singer.

Over the years, Parmeshwar, now a 65-year-old, has shared his cultural repertoire of Bhim Geet and Buddha Geet—songs dedicated to Bhimrao Ambedkar and Lord Buddha, reflecting anti-caste sentiments and narratives of self-respect and dignity.

This journey of exploration led the authors into a deeper study of Bhim Geet, Buddha Geet, Jalsa, and Prabodhan, revealing a rich cultural tapestry influenced by both Dalit traditions and broader South Asian musical forms like Qawwali.

Ambedkar’s Influence and the 1956 Caste Conversion

Ambedkar’s conversion to Buddhism in 1956 in Nagpur, a well-known episode in India’s postcolonial history, serves as a pivotal moment in the narrative. However, the article goes beyond this event to explore how the ex-Mahar caste, also known as Buddhists, neo-Buddhists, or Ambedkarites, have reconstructed their identity from an inseparable aesthetic and social perspective.

The researchers aim to address the lack of understanding in this area and demonstrate how circulating cultural practices have facilitated the construction of a subaltern form of nationalism.

The roots of Bhim Geet lie in diverse musical traditions such as Tamasha, Warkari devotional singing, and Qawwali, where Ambedkar's name often replaces traditional deities.

This substitution serves as a symbolic shift towards social emancipation and a reinterpretation of historical events like the Poona Pact, where Ambedkar's role is reimagined as pivotal in preserving Gandhi's life.

The study highlights how musical narratives within Bhim Geet have enabled legalist dissent. These narratives are influenced by various musical forms, including Muslim poetry and Qawwali, alongside Hindu devotional styles such as bhajan and kirtan. The research illustrates the significant variation and pool of influences within Bhim Geet, showcasing its diverse cultural heritage.

Researchers highlight Bhim Geet's dual nature—participating in both commercialized cultural production and grassroots protest movements. Critics within the Dalit community challenge these songs for perceived deification of Ambedkar and overlooking his political ideologies. They also critique patriarchal elements in the lyrics, often focusing on figures like Ambedkar's first wife, Ramabai.

From a political standpoint, Bhim Geet emerges not only as a cultural artifact but as a form of resistance against dominant narratives perpetuated by Hindu nationalism.

The songs, which often invoke Ambedkar as a symbol of national pride and social justice, challenge mainstream discourses and assert Dalit identity in public spaces traditionally dominated by upper castes.

The performers of Bhim Geet range from struggling street singers to more affluent artists involved in the film industry. This disparity underscores the dual nature of Bhim Geet as both a political tool and a cultural product. Despite these differences, the genre fosters a sense of unity and shared history among Dalits.

Bhim Geet are also a peace of hope, a shine of light in the dark. This phrase beautifully encapsulates the essence of "Jari Sankatachi Kal Rat Hoti" by Vijay Sartape, a quintessential Bhim Geet dedicated to the ideals and struggles of Ambedkar. The song vividly illustrates a moment of crisis, symbolizing a night of adversity faced by marginalized communities. It underscores Ambedkar's crucial role as a beacon of hope and leadership during such challenging times.

Through its poignant lyrics, the song not only acknowledges the hardships endured by Dalits and other marginalized groups but also celebrates Ambedkar's transformative impact. It advocates for leadership that prioritizes their rights and aspirations, making it a powerful anthem of resilience and hope within the Bhim Geet genre.

In conclusion, the research by Dr. Joël Cabalion and Julien Jugand illuminates Bhim Geet as a vibrant cultural heritage that continues to evolve amidst contemporary socio-political challenges. It serves as a testament to the resilience of Dalit cultural identity and its enduring struggle for equality and recognition in India's diverse societal landscape.