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Can you think of Dalit folk music (parai drumming) as a counter-hegemonic discourse shaping the reality?

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Can you think of Dalit folk music (parai drumming) as a counter-hegemonic discourse shaping the reality?

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Dalit art forms have always been a counter-hegemonic discourse and it’s only the academicians and the middle class intelligentsia, who have failed to understand it as such. The question itself is wrong and should be framed as ‘how has the drum been used as a counter-hegemonic discourse by the oppressed and is that changing in any way?’ Then the major question one would have to ask is, ‘Is it becoming less counter-hegemonic as it enters the popular media or being appropriated by the middle classes?’ Can Dalit folk music be compared with Afro-American or Afro-Caribbean music? Yes. Oppressed people have always had a form of resistance through folk music and it’s been the case with many communities in many parts of the world. Dalit folk music is no exception in that this music always had a thread of resistance in it. However, if parai is appropriated by the middle classes it might lose its liberating power and its ingrained trait of resistance. What do you think is the difference in using

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