MUSIC AND MOVEMENTS: FROM FOLKLORE TO RAP

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ABSTRACT

This article talks about how music, from its initial form of folklore has evolved to music as we know today and then to modern rap, all while simultaneously holding the power within it to transform unsaid words and suppressed emotions into lines of melodies that are sometimes celebratory, sometimes vengeful and the other times helpless but hopeful. It examines how songs have brought together people to listen to the voices of the suppressed and the sidelined, to pay heed to them and to see the unifying and mobilising capacity of it to transcend time, space and cultures in the face of struggles and oppressive structures, by recognising the force of emotions in driving change.

PRELUDE

The origins of music are as ancient as humanity itself and though contested, it takes on varied forms to weave itself into our existence. Scholars have debated its primal purpose– economic scholars like Karl Buscher see it as a means of assisting cohesive labour, anthropologists like Siegfried Nadel have seen music as a means for communicating with the Divine while musicologists like Carl Stumpf see its roots as existing in the need for easing long distance communication. However, the common perception remains that music came up at a time when language and the written word were making their marks felt in the world. While language, in its spoken form, likely emerged as a communal tool that was accessible to all and shaped cooperation, survival and cultural identity, in its written form, it increasingly became the domain of the elite, primarily because of its association with power, control and specialised knowledge. On the other hand, music defined by its recording, documentation, written lyrics, notation and formal knowledge, too was becoming a space inaccessible to those who were often sidelined and pushed to the periphery. It is at this juncture of time and space where both music and language (read the written word), both coexisted but were unequally accessible due to social stratification, that folklore emerged.

Marginalised communities, often denied literacy or formal means of documentation, relied on oral traditions to preserve their histories, struggles, and aspirations. This gave birth to folklore as a raw, unfiltered, and communal space—a musical form that was neither constrained by professional training nor dictated by written records. It was a creation of necessity, a living archive that became the voice of the voiceless. It was a means of evoking emotions of rage, resistance and survival against the oppressive and exclusionary structures of the state, where institutions of justice, education, political power and artistic expression were reserved for and served the privileged. Folklore thus became a genre of resistance and push back, a collection of oral traditions that breathed the stories of people who were often sidelined when writing histories.

FOLKLORE AND THE CONNECT

Folklore provides solace, a sense of belonging and a medium of communal expression, a means of preservation of the struggles, the resistance and the warnings, the hope and the desire for freedom that is often overlooked. It resonates deeply with people because it is derived from their lived experiences.The rawness of its lyrics, often paired with simple but haunting melodies, evokes a powerful emotional response. Whether in the form of sorrowful laments, protest songs, or celebratory anthems, folklore taps into the shared human experience and brings to forefront the injustices often shown by the general populace who remain indifferent to their needs.

One of the folklores of the African American community, “Sometimes I feel like a Motherless Child,” is rooted in the era of slavery in the US. The repetition of the lines highlight the profound pain of displacement, loss and the yearning for freedom. The parallels drawn between a motherless child and the African American people yearning for a homeland ran deep enough to bring people together, to fight for a cause that cut deep. The song embodies this sorrow, its mournful tone amplifying the pain of displacement while carrying a quiet hope—the hope to be heard, the hope to be seen. It became a symbol of resistance, emotional pain, and resilience, capturing the dehumanisation of slavery and inspiring the abolitionist movement. It was later embraced by the Civil Rights Movement as well, resonating with those who were at the receiving end of the segregation and discrimination.

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In the context of India, Kabir’s Dohas and Tukaram’s Abhangas are powerful manifestations of folklore that explicitly and vociferously criticised religious orthodoxy and social hierarchies. The Jungalnama songs sung by the Adivasi community of Jharkhand, Odisha and Chattisgarh express the resistance against displacement and corporate land grabs while the dalit panther songs condemn caste oppression. Similarly, the Maithili and Bhojpuri Sohar geet like “Jug Jug Jiya Su Lalanwa Ke" and “Sohar | Beti” are the folk songs sung by women that show their deep resentment towards the preference for a male offspring, the gender discrimination and patriarchy. Rajasthani folklore is another exemplar of how women have used this genre as a means of critiquing societal norms of sexuality and modesty. Songs like “Jatyavarchi Ovi” and “Bhavageethe” sung by the working class women in Maharashtra and karnataka discuss the domestic hardships and oppression. People gathered in huge numbers, sometimes hearing these, sometimes singing these. But people gathered, because such is the power of folklore. The emotional undercurrents, the feeling of connectedness because of shared struggles and the catharsis people gain out of these, reclaiming the agency they were deprived of, still are, reflect the power the folklores hold.

Similarly, the famous folklore "Bella Ciao" was originally a work song of rice paddy workers, later adapted as an anthem of resistance by the Italian partisans during the Second world war. Just as the song tells the story of a partisan bidding farewell to his beloved, knowing he may not return, it reflects the sacrifices made by those who resist tyranny. The lyrics embody both the pain of struggle and the unwavering determination to fight for freedom, making it a powerful anthem of resistance.

The song became a symbol of defiance, resilience, and unity, first among Italian anti-fascist partisans during World War II and later across global movements against oppression. It transcended its origins, resonating with labor movements, civil rights struggles, and modern protests, turning into a universal cry for justice and liberation. Bella Ciao is the epitome of how folklore lives, breathes and evolves with the struggles of communities. It’s a dynamic artform, not bound by written notations or single authorships, but carries the fluidity to be reshaped across era and struggles, keeping its essence intact.

THE FORCE OF MUSIC TODAY

The gradual flow of audience and trend from folklore to commercial music, as it is today, was inevitable. Music has long been a catalyst for change, evoking deep emotions, mobilising communities, and igniting movements against injustice. From Billie Holiday’s haunting Strange Fruit to Kendrick Lamar’s Alright, songs have served as a prominent unifying factor in the face of oppression.

One of the earliest and most striking examples of musical activism is Strange Fruit (1939), performed by Billie Holiday. This harrowing song paints a gruesome image of lynching in the American South. Its unflinching lyrics—"Black bodies swinging in the Southern breeze"—shocked listeners and exposed the brutal realities of racial violence. Though controversial and often suppressed, the song became a defining anthem in the fight for civil rights, showing how music could confront systemic cruelty when words alone failed.

Beyond racial justice, protest music has also played a crucial role in anti-war and labor movements. Bob Dylan and Joan Baez, trailblazers of folk activism, used their music to criticise the Vietnam War and advocate for civil rights. Songs like Blowin’ in the Wind and We Shall Overcome became rallying cries for peace and equality. John Lennon’s Give Peace a Chance (1969) and Creedence Clearwater Revival’s Fortunate Son (1969) fueled anti-war sentiments, uniting disillusioned youth against military aggression.

In recent years, Paris Paloma’s Labour (2023) has emerged as a modern feminist anthem, addressing the burden of emotional and domestic labor disproportionately placed on women. With its visceral lyrics—"All day, every day, therapist, mother, maid"—the song resonated deeply with women feeling unseen and undervalued, sparking conversations about gender inequality. Meanwhile, Beyoncé’s Formation (2016) celebrated Black pride and resilience, weaving themes of heritage, feminism, and social justice into a bold, unapologetic declaration of empowerment.

The songs “Mardaani Anthem” by Sunidhi Chauhan and “Patakha Guddi” by the Nooran sisters are some other masterpieces that evoke emotions and talk about female empowerment, albeit in different ways. The Mardaani Anthem takes a very explicit and in the face approach that talks about female rage and the way women now take agency to fight the constant oppression and assault that they face. Its lyrics and tone are fierce, the beats a constant reminder, as if calling upon women to stand up to the injustices and crush the intrusive male gaze and the unsettling objectification of women that their eyes hold. On the other hand, Patakha Guddi by the Nooran sisters celebrates a free-spirited young woman who defies societal expectations. Rooted in Punjabi folk music, it represents the break from patriarchal norms, embracing independence and self-discovery. The song carries a strong feminist undertone by portraying a woman unshackled by societal constraints, embracing her freedom.

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THE MOVE TO RAP

Just how folklore served as an oral medium for preserving collective memories and resisting oppression, today, rap has taken on that mantle as the primary outlet for these voices, with its raw, unfiltered style offering an emotional release and a platform for social change. While rap-like elements did exist earlier, the way modern rap is understood today is rather a recent phenomena resulting from the blend of newer styles of music and trends. Public Enemy’s Fight the Power (1989) emerged as a fierce critique of racial and political injustice. With its explosive beats and incendiary lyrics, the song became the heartbeat of the hip-hop-driven resistance of the late 20th century, giving the message of defiance against systemic racism and police brutality. Similarly, Kendrick Lamar’s Alright (2015) became the unofficial anthem of the Black Lives Matter movement, offering hope and resilience amid nationwide protests against police violence. Other artists like Tupac, NAZ and J. Cole have used rap to critique societal structures, from systemic racism to police brutality, making it a catalyst for movements. The genre’s ability to convey both personal pain and collective struggle has made it a powerful emotional force, mobilising listeners and uniting them in their fight for justice.

Rap transcends traditional music forms, blending personal narrative with collective defiance, and it continues to evolve as a symbol of empowerment. Artists like Beyoncé, Prabh Deep, Dazzle and Rihanna embody pride and resistance, combining rap elements with feminist themes and critiques of class struggles, using music to celebrate identity and call for social change. Global movements, such as Palestine’s hip-hop collective DAM, use rap to speak against political oppression, while artists like Nay Wa Mitego in Tanzania blend their struggles with bold lyrics that challenge political authority. These songs not only evoke emotions but also build solidarity, creating a sense of unity and collective action. Despite facing challenges such as censorship, gender inequality in the industry, and the commercialisation of rap, the genre remains an essential vehicle for resistance, empowering communities to stand together, raise their voices, and demand change.

THE RISE OF PLATFORM FOLKLORE

In the recent period, especially with the Washington consensus of the Neo-liberal Project and globalisation, folklore was no longer an extension of the community but rather a product for mass consumption. Once what was fluid, now was fixed into market-appealing genres. This shift not only altered how folklore and as a result, music was produced but also who controlled it. Yet, remnants of folklore still persist today, despite the cultural homogenisation, in the form of protest songs and fusions. This gave rise to what is commonly known as the concept of “platform folklore,” i.e., the unofficial, collective narratives that emerged in response to the growing influence and opacity of digital platforms.

At a point in time when algorithms are biased and manipulated to suit political agendas and mainstream narratives, platform folkloreI manifests through online movements, viral protest music, and digital storytelling that push back against these dominant narratives controlled by large media platforms by capitalising on the way trends work. For example, hip-hop and rap have thrived on social media as tools for activism, where artists like Kendrick Lamar and Beyoncé use digital spaces to amplify social justice messages. In India, Bengal’s artistry highlighted the need for harmony and an end to monopolisation of patriotism while Kashmir’s political hip-hop movement was a living example of how a region’s volatility can gain visibility despite obstacles, showing how digital platforms were used to create counter-narratives against state control and mainstream erasure.

Platform folklore, thus, thrives in protest music, memes, and digital activism, offering a space for collective resistance, particularly in an era where algorithmic control dictates visibility. Whether through the viral spread of politically charged rap songs or online storytelling in oppressed communities, it serves as a modern extension of folk traditions—adapting oral resistance for the digital age.

CONCLUSION

Music, be it folklore, commercial songs or rap, has always been the medium through which social change has been envisioned. From the raw storytelling of folklore, which captured resistance and collective memory, to commercial songs that have been used to amplify activism, music has consistently given a voice to the oppressed. Rap has become a modern extension of this tradition, offering marginalised communities a platform to speak out against injustice. While folklore preserved the unfiltered voices of everyday struggles, commercial songs reached wider audiences, and rap became a medium for protest, addressing race, inequality, and oppression. Together, these forms of music have driven solidarity and inspired movements for change.

By Sanchita Dash

Sanchita Dash is a second year student pursuing Political Science Honors from Hindu College. Passionate about social movements, public policy redressal, and gender studies, she is deeply interested in geopolitics and the manifestation of resistance through actions outside formal institutions and processes.

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