Rappers in Bangladesh use their rhyming skills like a weapon and look to Tupac for inspiration

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Bangladesh is a relatively new nation, having gained independence from Pakistan in 1971. It has a young population, with only 7 percent of its 160 million people over the age of 60, according to a 2016 UN Development Program report. Despite its youthful demographic, the country faces significant challenges, particularly high youth unemployment, which is notably severe among those with just a primary education. A recent survey indicates that 82 percent of young people feel pessimistic about their job prospects. This disillusionment has partly led to a rise in religious radicalization, with the country shifting from its secular roots. While conservative Muslims in Bangladesh often reject violence, religiously inspired crimes are increasing, evidenced by the murders of at least 30 secular bloggers, writers, and intellectuals since 2013.

However, there is an alternate narrative to the unrest among young people in Bangladesh, one that involves music rather than extremism. Over the past 15 years, a vibrant hip-hop scene has emerged, drawing inspiration from American artists like Tupac Shakur, Eminem, NWA, and Public Enemy. Tupac Shakur, in particular, resonates with Bangladeshi rappers, who echo his themes of social and political critique. In the U.S., hip-hop has long served as a vehicle for protesting against inequality and injustice. Songs like Public Enemy’s “Fight the Power” and NWA’s “F*!k tha Police” articulated the struggles of African Americans and continue to fuel social movements like Black Lives Matter. Similarly, Bangladeshi rappers use their music to call out political corruption and social inequality. Through listening to around 50 tracks by about two dozen Bangladeshi hip-hop artists, researchers aim to comprehend how this musical movement reflects the dissatisfaction among the youth, which can sometimes lead to violence and radicalization.

While many Bangladeshi rap songs touch on themes like love and money, political topics frequently recur. One such theme is the societal silence surrounding inequality. In the song “Shob Chup,” rapper Skib Khan comments on how the wealthy benefit from this economic imbalance, as it provides them with cheap labor. In Bangladesh, around 60 million people live below the poverty line, with the top 20 percent owning 41 percent of the nation’s wealth. This disparity is visible in Dhaka’s overcrowded slums but remains largely unaddressed in political discourse. “Shob Chup,” meaning “everyone is silent,” critiques this inequality as a betrayal of the inclusive ideals that fueled Bangladesh’s 1971 revolution. Bangladeshi hip-hop, celebrated annually in Dhaka, also advocates for free speech, which is increasingly constrained. In 2013, changes to the Information and Communication Technology Act introduced severe penalties for online speech considered “offensive.” Human Rights Watch reports that since then, 1,271 journalists and activists in Bangladesh have faced charges of cyber defamation. A new digital security law proposes even tighter speech regulations. Rapper Towfique Ahmed’s song “Bidrohi,” or “rebel,” suggests these restrictions betray Bangladesh’s founding principles. His lyrics express a fierce dissatisfaction with current affairs and a refusal to remain silent. Another group, Cypher Project, addresses the murder of seven people by security forces in Narayanganj in 2014, highlighting the bloody nature of Bangladeshi politics.

On metrics such as political equality, free speech, and human rights, the nation struggles to uphold democratic standards. Rappers sharply criticize Bangladeshi politics, with groups like Uptown Lokolz denouncing the pointlessness of elections, which they see as dominated by self-interest regardless of who wins. They also blame politicians for the increase in religious violence. In “White Democracy,” rapper Matheon questions how long religion will be used for political manipulation, acknowledging corruption despite being of a different faith. Research shows that major Bangladeshi parties have leveraged religious fervor for political advantage, strengthening extremist groups. Religious radicalization in Bangladesh is not fringe; many supporters of terrorism come from middle-class backgrounds. U.S.-based Bangladeshi rapper Lal Miah accuses politicians of betraying the secular spirit of 1971 by encouraging religious extremism. Towfique Ahmed critiques politicians for engaging in a “false Jihad” to corrupt society for their gain. In an environment where challenging authority is discouraged, Bangladeshi hip-hop’s candid depiction of harsh realities becomes a form of protest music.

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