Indian rapper Hanumankind’s Big Dawgs is a smash hit and the world is waking up to his art. But many can’t unsee the ‘Indian’ in the Bengaluru-based artist. They just can’t overcome the identity question. And they can’t get over their biases and stereotypes of what an Indian is supposed to be.
Many questioned if Hanumankind was really Indian. It seems they couldn’t believe that an artist from the country could make more than typical Bollywood music; the idea of a proper rapper from the subcontinent confused them. Many of the comments were racist and mocked Hanumankind for his lineage. But those mocking miss the point of the song, which has lyrics like “The Sourthern family gon’ carry me to way beyond”.
IShowSpeed, one of the biggest streamers and internet personalities in the world, was seen bopping his head to Big Dawgs. But he couldn’t stop asking “Why does he sound good?”, as if it was hard for him to believe that an Indian rapper could actually be good. Disturbing, even though it is important to recognise that Speed’s acknowledgement of Hanumankind’s work will only influence more people to listen to his tracks and appreciate the Indian independent music scene.
Take Lifafa, his band Peter Cat Recording Co., and Prabh Deep, for instance. They have fused different musical genres with tunes, rhythms, and lyrics that are unique to their cultural background. Indian music has undergone a revolution, and it is imperative to take notice of it. These backhanded, racist comments undermine art that just hasn’t been noticed enough.
Shot in a well of death/motor dome and directed by Bijoy Shetty, the Big Dawgs music video has cars circling the singer. It’s an ode to entertainment that’s inherently dangerous, such as tightrope walking, knife throwing and dodging cobra attacks.
When the music video came out late last month, it was widely shared on international hip-hop and music forums and social media pages. Indians flocked to the comment sections, proudly proclaiming that he was one of theirs with comments such as “India represent”. The video has garnered over nine million views on YouTube in just three weeks. Since Western YouTubers have been responding to it in droves, it’s safe to say that Big Dawgs and Hanumankind have blown up worldwide.
Big Dawgs is provocative and pushes the envelope. Shetty said, “If this video had more budget, it wouldn’t exist,” suggesting that the video’s distinctive appeal is partly due to its limited budget. Good art can be created in any circumstance and deserves appreciation.
Rap royalty
Hanumankind, a Kerala-born rapper, is considered a part of Bengaluru’s rap royalty. In his distinctive style, he blends traditional Indian sounds with contemporary hip-hop beats. His music is relatable to anyone who is even remotely socially conscious; he focuses on everything from identity politics to personal struggles.
As a long-time listener of Hanumankind, it fills me with warmth to finally see him get recognition. He consistently pushes the boundaries of music and poetry in a world flooded with inconsequential songs centred around meaningless lyrics. From the 2023 song Ayyayo (made in collaboration with artists Parimal Shais, MC Couper and Thirumali) to his 2019 single Southside, his work is a window into South India.
Hanumankind is one of the most powerful representatives of Indian rap. I remember the first time I listened to him three years ago; he had just put out Genghis and Southside, two songs that were enough for anyone to notice him. His art makes a statement and demands appreciation. Most of his songs infuse culture with powerful lyrics—Southside, for instance, incorporates the beats of tablas. This approach shows Hanumankind’s unique ability to mesh different elements and create deeply impactful music that encompasses history, politics and art.
Views are personal.
(Edited by Zoya Bhatti)