CHAPTER 1

DESI HIP-HOP ECOLOGY AND DESI HIP-HOP ARTISTS

This section is focus on Desi hip-hop genre artists and ecology. The synergy between hip-hop

text and environmental issues has been addresses. Mainly this is try to establish connection

between hip-hop and environmentalism in theater and performance studies. Bringing the

example of TDDP and Swadeshi to see how these artists are using hip-hop as a tool for

educating communities about environment. These artists may incorporates themes of nature,

climate change, pollution, resource conversion, and environmental justice into their work.

Beyond the artistic realm Desi hip-hop ecology, these hip-hop ecologist or emcees are

working on urban environment issues and how they are trying to sustain their career as artists.

I try to see through hybrid ethnography of these artist’s artform and lyrics. It analyses on

rural and urban environments movements in India and hip-hop lyrics written by these artists.

Later it will focus on an intersectional approach to put a multilingual form in Desi hip-hop on

the interconnectedness of these movements. How the Desi hip-hop genre is setting an

example of intersection of art and movements of Desi hip-hop artist’s powerful words in their

rhetoric. The words and texts of lyrics leads us to see deep inside one culture and preexisting

problems in urban spaces like Mumbai. It refers to the intersection of hip-hop music, art, and

activism with environmental issues and sustainability. Here artists use their talent and

creativity to shed light on environments. This nature of consciously practicing art and at the

same time keeping an environmental issue needs to study in theater and performance studies.

Hip-hop culture is a phenomenon that has been more popular in recent years. The culture of

hip-hop is a manifestation of these qualities and features. On account of the fact that hip-hop

encourages individuality and adaptation, as can be seen in freestyle rap bouts and graffiti art,

it is very probable that hip-hop may be beneficial for programs that are geared toward
sustainability. This is due to the fact that hip-hop inspires creative improvisation and

originality. In addition, hip-hop is a significant contributor to the celebration of a broad range

of different cultures and aspects of identity. The creative energy and commercial perspective

that are widespread in hip-hop culture are essential for artists and performers to have in order

to promote new ways to environmental awareness and community development. Hip-hop

culture is a significant source of inspiration for these individuals. Both of these reasons are

contributing to the flourishing of hip-hop culture. Many of these things may be traced back to

hip-hop culture, which is responsible for a major extent. When it comes to the creative

capability of individuals to adapt to new cultures and infuse wants with variety, the question

of whether or not this ability is being retained throughout the process is a contentious issue.

This ability is a source of contention. At this present time, ecologists are seeing the

degradation that is being inflicted upon the environment, which can be defined as a

significant reduction in the number of different kinds of biological species. In the present day

and age, it is quite probable that surveillance systems that are more technologically advanced

are being used in order to keep a watch on urban regions. A parallel may be drawn between

the adoption of these technology and the constant monitoring that takes place outside of a

correctional institution.

Hip-hop and environmentalism are becoming increasingly intertwined in the field of theater

and performance studies at the same time that artists and performers are using their platforms

to raise awareness of environmental concerns, advocate for sustainability, and drive action in

their communities on behalf of the environment. Hip-hop is also becoming increasingly

related to environmental activism. The production of rap that are ecologically aware on stage,

the creation of music that is environmentally conscious, advocating for environmental issues,

and interacting with the community are all ways in which hip-hop artists display their

involvement in a wider environmental justice movement and collective action. Theater and
performance studies make use of hip-hop culture as a way of successfully addressing

problems of social inequality, environmental degradation, and climate change via the use of

creative approaches. The use of hip-hop performance culture is the means by which this

objective is attained. By engaging in a broad variety of activities, such as community

outreach, the transmission of information, and the establishment of grassroots initiatives, hip-

hop musicians and performers are actively engaged in environmental activism. Because

differences in geography and ecosystems are the basis for cultural differences, the only way

to find solutions to these issues is to study our relationship with the land on which we live.

This is because the only way to discover answers to these challenges is to investigate our

connection with the land. The traditional civilizations that have existed over the duration of

their existence have absorbed the distinctive traits of their locations into the way of life that

they have constructed. Adapting to the essential demands of their surroundings, including the

flora and fauna of their surrounds into their storytelling, and incorporating the sensory

characteristics of their environment into their cultural practices, artistic expressions, and

gastronomic choices are all necessary steps for them to take in order to accomplish this goal.

In the setting of the society that we live in today, capitalism is able to financially gain from

any and all types of resistance or criticism that it confronts. As soon as they are said, criticism

of any kind may be changed into a commodity that can be sold. This skill allows for the

transformation of criticism into a commercial commodity. As a result of the presentation, the

value of the work that was done to conceive of and sketch the concept has been diminished,

taking away from its inherent value. In order to urge their audience to become environmental

stewards and ambassadors for change in their own communities, hip-hop artists make use of

the power and cultural significance they possess in order to exert influence on their audience.

The significance of this cannot be overstated when it comes to inspiring their audience to

become responsible stewards of the environment. Hip-hop culture serves as a depiction of

endurance, ingenuity, and imaginative problem-solving, all of which are necessary abilities

for resolving environmental concerns.

All of the people who live in Mumbai are familiar with situations that are comparable to this

one since they have encountered them in the past. The beginnings of hip-hop in Mumbai can

be traced all the way back to the junction between the local language and the local artwork.

This is something that can be done without any difficulty. The various cultural and linguistic

environment that exists inside the city is represented by this intersection, which also serves as

a representation of the socio-economic reality of the city. Hip-hop artists from Mumbai have

shown that music has the ability to bring people together, motivate them, and make

communities better via the use of tools such as graffiti, poetry written in several languages,

and social criticism. Within the hip-hop culture that is going place all over the world, they

have carved out a special spot for themselves that is all their own. Through the use of their

unfiltered lyrics, seductive rhythms, and captivating performances, these musicians were able

to capture the essence of the city and convey its tales to an audience that was stationed in

different parts of the world. The city of Mumbai has seen an increase in the popularity of hip-

hop, and as a result, a new generation of rappers and producers have started to embrace hip-

hop as a way of self-expression and empowerment. The hip-hop scene in Mumbai has grown

as a result of this, which has contributed further to its expansion. Hip hop was first conceived

as a method of social criticism and resistance precisely because of the socio-economic

climate of Mumbai, which was characterized by disparities in terms of money and

possibilities. A form of social critique and resistance, hip-hop was a kind of movement. The

beginnings of hip-hop may be traced back to these surroundings, which proved to be an ideal

habitat for the genre's growth and development. A further benefit of hip-hop culture was that

it provided musicians from disadvantaged communities with a medium through which they
could express their frustrations, aspirations, and expectations. Furthermore, hip-hop culture

offered them a feeling of comfort and empowerment, which was an additional benefit of their

participation in the culture. Their employment of rap music is an example of one of the

channels that they implemented. Hip hop has become a voice for people who do not have a

voice when it comes to drawing attention to issues such as unemployment, inequality, and the

destruction of metropolitan neighborhoods. Hip-hop has been used to raise attention to these

issues. The reason for this is because hip-hop has the capacity to bring attention to the issues

that are being discussed. This phenomena may be seen in a number of different places,

spanning from the alleyways of Dharavi to the streets of Bandra, among other places. The

fact that Mumbai is home to a huge number of different languages had a major influence on

the development of the sound and style of hip-hop singers in the city. This was the case since

the city boasts a large number of different languages. The city of Mumbai is home to a

considerable number of different languages spoken by its many residents. The people who

live in Mumbai are fluent in a variety of languages, and they speak both English and other

languages. Languages such as Marathi, Hindi, English, and Urdu are examples of many of

these languages. As a result of this, Mumbai hip-hop has evolved a hybrid type of poetry that

integrates wordplay and cultural references from a range of languages into its rhymes. This

hybrid form of poetry is characteristic of Mumbai hip-hop. The aforementioned elements,

which were responsible for the creation of this hybrid approach, are the outcome of the

aforementioned reasons. Graffiti served as a visual medium that allowed local artists to

express their originality and distinction in the bustling neighborhoods of Dharavi, Kurla, and

Andheri. These neighborhoods are known for their activity. Because of this, they were able to

exhibit their creative abilities. Graffiti served as the means of communication that allowed for

the successful completion of this objective. Many people were familiar with the urban

environment of Mumbai as a result of the colorful murals and tags that were displayed there.
In order for the budding hip-hop genre to establish a foothold and grow, these murals and

tags served as a backdrop for the creation of the genre.

Artists And City

Swadesi, The collective was established in 2014 by a group of friends who all have a

common interest in hip-hop. It consists of vocalists Kamlesh Sutar (MC Mawali), Dharmesh

Parmar (MC Todfod), Yash Mahida (Maharya), and Saurabh Abhyankar (100RBH). The

team consists of graffiti artist Robston Soares (Lobster), beat producers Tushar Adhav (DJ

Bamboy), Abhishek Shindolkar (Raakshas), music producer Abhishek Menon (NAAR), and

sound engineer Joshua Fernandes. Swadesi, a socially conscious hip-hop ensemble that sings

in many languages, Aarey is known as the "green lung" of Mumbai since it is the lushest

location in the northern suburbs and plays a vital role in preserving the air quality of the

coastal city. The forest is home to many Adivasi groups like the Warlis and supports a

diverse array of flora and fauna, including leopards and endangered species. A government

project intends to destroy a significant portion of the forest to construct a car shed for the

Mumbai Metro. This is only one of the development proposals recommended for the forested

area. The harm, disguised as advancement and development, endangers the fragile forest

ecosystem, as well as the tribes' means of living and heritage. It is time to initiate the

revolution. Swadesi is encouraged to champion the cause of marginalized individuals, those

experiencing forced relocation from their own area, and the conservation of the environment.

Progress is not synonymous with devastation. The video and soundtrack, which required a

year for production, feature the famous Warli art shown through animation by Dinesh Barap

and Janmeet Singh. The movie aggressively cautions about a potential revolution due to

extensive harm, condemning the government for corruption, materialism, and hypocrisy, and

alleging them of endorsing fake progress. Swadesi's lyrics predict a forthcoming major
change. Ignorant individuals, elevate your minds before it's too late and there's nothing left to

gain. Aside from its socially provocative subject, the song is notable for using powerful

rhythms from tribal percussion and instruments, evoking war drums to underscore the

importance of their message. Swadesi's music sets itself apart from mainstream hip-hop by

incorporating the genre's traditional political and social protest components, creating a unique

sound that is distinctly their own.

Kamlesh Sutar (MC Mawali): A creative Marathi rapper who composes songs about his life

and the people he meets while traveling. His songs are about his experiences. Due to the fact

that Mawali is able to keep his authenticity to his past, he is able to express his strong

opinions against the westernization of Indian culture. He tells the tale of true Indian hip-hop

in both Hindi and Marathi, and he incorporates indigenous rhythms into his rendition of the

genre. Swadesi is a collective of DJs, MCs, and graffiti artists that are based in Mumbai. He

is a part of the group, which is comprised of artists from the city. Mawali is inspired by

revolutionary icons like as Bhagat Singh, and he intends to use his music to promote social

development. In addition to being well esteemed within the community, Mawali is also

motivated by these people. To produce a fascinating blend of classic hip-hop rhythms and

cutting-edge bass music, he collaborates with members of his Swadesi crew, including MC

TodFod and other persons, during live performances. This combination is a fascinating

combo.

Dharmesh Parmar (MC TodFod): MC Tod Fod was a very successful hip-hop musician in

India known for his impactful lyrics that resonated with audiences. His songs, such as The

Warli Revolt and Plandemic, were quite successful. Regrettably, Gully Boy rapper MC Tod

Fod passed away at the age of 24. The reason for his death remains undisclosed. Dharmesh

Pawar, also known as MC Tod Fod, provided vocals for the song "India 91" in Zoya Akhtar's

film, Gully Boy. Tod Fod, raised in Dadar, aimed to establish himself as a professional
musician renowned for his contributions to Swadesi, the fusion/hip-hop group Ta Dhom

Project with Viveick Rajagopalan, and his own endeavors, seeking acknowledgment within

the business. Social media announced the passing of hip-hop artist Tod Fod on March 20, as

confirmed by other musicians and fans. Some speculate that his death was caused by a heart

attack, while others propose a stroke as the cause. The rapper's funeral took place in Dadar on

the afternoon of 21 March. He established a powerful and authentic tradition of protest rap in

India.

Yash Mahida (Maharya): Maharya was born in the neighborhood of Andheri, which is

located inside the city of Mumbai. Maharya perform in Bengali, English, and Hindi, but he is

also recognized to be a performer in each of these languages individually. In addition to that,

he is a musician who is proficient in a number of languages. The lyrics of his songs include

rap that is quick and forceful, and they address genuine and uncensored themes that are

prevalent in our culture. His songs are a testament to his musical talent. These concerns are

addressed by his songs, which provide a solution. One excellent example of this may be

found in the music that he creates. Our culture is plagued by a plethora of problems that are

of general concern to a huge number of individuals. These problems are quite pervasive. Not

only does he listen to music that is affected by certain genres of music, such as rap music,

trap music, hardcore hip hop, and underground music, but he also draws inspiration from a

broad range of other sorts of music. One of the things that motivates Maharaya to follow his

passion is the idea that music has the potential to bring about a change in the world. This

belief serves as a technique of ensuring that the flow of his rhymes stays continuous

throughout the process of composing from beginning to end.

Saurabh Abhyankar (100RBH): A rapper and performer hailing from Amravati,

Maharashtra. As a kid in his hometown, 100RBH was exposed to revolutionary and peace-

promoting music, including Qawwali and other local music that influenced his artistic
development. Many individuals aspire to collaborate with 100RBH due to his prominence as

a rapper in the Marathi hip-hop community and his reputation for crafting intense rap lyrics.

His rap provided insight into his emotions, thoughts, and concepts. Saurabh stated that music

is an art form that allows for self-expression, and this is the method through which he now

operates and plans to operate in the future.

Due to the fact that he is a composer as well as a performer of music, it should not come as

much of a surprise that music has been the driving force behind his remarkable personal

development. Considering that he is both of these things, it should not come as any kind of

surprise. That music has been the fundamental driving force behind his exceptional progress

is something that may be considered to be true. As a result of the circumstances that he

worked through, he was able to achieve these triumphs as a consequence of the difficulties

that he encountered and the comfort that he discovered in that setting and surroundings. A

issue that was pushed to the forefront of people's notice and brought to the forefront of

discourse was the theme of conserving the environment. This was accomplished via the use

of songs that were created in a range of languages and performances by performing artists

from the desi hip-hop genre. The employment of songs was the means by which this was

done. One of the strategies that was used in order to achieve this goal was the utilization of

music. One of the strategies that was implemented in order to achieve this purpose was the

utilization of music as a tool. In order to properly attain this goal, one of the strategies that

was successfully used was the utilization of music as a tool.

Verse 1

Me tho warli aadiwasi

Amchaya padhati hait etihasik

(I’m a Warli Adivasi, Our story is an ancient one.)

Hya rana cha mool nivasi

Jeev annto padsar matit

(We are indigenous, We bring life where there was none)

Pran hirva majha deva he wagoba

Pragati tumchi baad amchya jungle laathna maagh wha

(In this jungle even our lives are green, Waghoba is our feline God)

(Put a hold to your ‘development dream’ back off from our forest, be gone forever)

Paisa kiti dekhawal bhawtik sukhache chakar whal bhavisya

(You tempt us with material gains, just to make us your slaves)

Tumcha hai labad

Me jagto hai tho wartaman

Pragati che tumche dhong

Pahatar paise chaptai kon

(Your future is a cunning lie, but the present is what I am living with)

(You’re selling us your ‘Fake Progress’, but you know who is raking in the profits)

Jhade aamchi kaptaikon ni

Junglat metro magtai kon

Jhale hai jagne dukh hai

Pinjaryat ghalta janawar muke

(Who’s cutting down our sacred fortress, Who even wants a metro in a forest)

It breaks my heart to see you putting innocent animals behind bars)

Kele maal matache tukde

Pahuna det tumha akash mokale

Godbole neta te songade adiwasyan che ghar mhande jhopde

Chombde te labad bomble

(Dividing the spoils, money and land too. You claim open skies that are rightfully ours)

(You politicians are sweet talking scum, calling our Adivasi homes slums)

Swai kasha madhe rokda komble

Nishi dini amha deta ashaanti atta maati kapapatti

(Why should we step aside, How long should we watch you trample our pride)

(Day and night you tortured us, took us for a ride until our patience was forced out of us)

Dharin baan me hoyin raanti yataajaat mag yel kranti

(Right now at this moment, I were to smear my forehead in the soil of the land)

Bhit na me tilka manjhi hasi chadbo fassi

Manus mhanun jagnyasaathi amhala sara karaycha

Aaj nahi udyala maraycha tar kashala maga saraycha

(Grab my weapon and show you my wild side. A massive revolution before you will stand)

(I am not scared of you, I am Tilkha Manjhi. With a smile on my face, I’ll lay down my life if

need be)

(To live like human what should we do. To live like human what should we do)

(Death will come today or tomorrow, so why to be afraid and step back for protecting the

jungle)

Verse 2

Hume na pasand ye khota vikas, na hai tum jaise choron pe vishwas Metro banane ukhado

(We don’t like your ‘fake development’, nor do we trust your thieves)

(To build a metro you’re killing the trees. When they are gone then how’ll you breathe)

Tum zhaad jab zhaad na bachenge kaise loge saans Ghar mera jungle khula aakash, tum aye

(The jungle and sky are my home, You come here, mess with us and destroy our home)

traas dene karne iska nash Prakriti ka banao mazak yahi prakriti se bani manav jaat

(Nature for man has lost its worth but she is the one who truly gave us birth)
Tum aaj rahe ho hume bhaga, cheenke tum humse humari jagah

(Today you are trying to throw us out snatching away our home and ground)

Bas bacha hai ye jine ka tarika, tum wo bhi chinke karre hume tabah

(All we have left is the way we live now, but you want to steal that too, somehow mess with

our lives)

Saja pakshi prani ki hai kya, kyu inhe bedakhal kar rahe aisa

(What did our birds and animals do, why are you evicting them too)

Udyogi sarkar hume rahe fasa, hume vata ke ye bana re paisa

(Your sell-out industrialist government is making us fools)

Aur basa rahe bhalti soch, bhavishya me inke bache denge inhe dosh Par afsos ye na dekh

(Making your money by making us move Setting up an evil condition, for which their own

kids will find them guilty)

sakenge wo, sehte hue apne agle pidhi ko

(It’s a regret that they won’t be around to see the next generation suffer)

Khud tum jeeyo aur jeenedo, lagao paudhe jab tak jeevit ho

(So ‘Be and let be’ - As long as you live, plant tree after tree)

Murkho utho apni soch badlo ya na kuch bachega fir khoneko Jeeneko ek hi hai praan uski

bhi kagaz me tum mango pehchaan

(Wake up and open your mind you fools before it’s all gone and there is nothing left to lose

There’s just one life to live, proof of my status you want me to give)

Adivasi hu garib insaan kaisa sabit karu mera hai ye sthaan

(I am an Adivasi, I am a poor man. How do I even ‘prove’ that this is my land)

Me kisaan ugavu anaaj aur har prani mere parivaar saman

(I am a farmer and I grow my own food. Every animal here is part of my brood)

Khud pe karo tum bas ek ehsaan bachalo apni ye sone ki khan

(Now do yourself a favour, save your own treasure, it’s yours too)

Verse 3

Gaav shejal padik raana Pikavala adivashyana

(Now we tribals created life from what was once a barren ground)

Gaav gunda haramkhorana tyachi keli aadul daana jar ka guna kela puncha

(But evil goons from villages nearby destroyed everything around)

Tyala titech gadaycha aaj nahi udayala tar kashla maga saraycha

(If anyone dare repeat this crime again, they will be buried right then and there)

(Death will come today or tomorrow, so why to be afraid and step back)

Jungli jungli jungli

Jungli zindagi pahije amhala jungle khavala jungli power

(Jungle’s life! Jungle’s food! Jungle’s power!)

Matichi lekra maishi julun dost aanewale hain janwar

(Sons of the soil, sons of our mother. The forest animals are like my brothers)

Hukurukuku mhatlya barobar eka awajawar saare angawar

(The minute I scream “hukurukuku”, they will rip you asunder)

Tumhala tar lok mhante maalak pathi maga kiti gandi haalat

(Innocent people might call you their master, but you’re just a sweet-talker, a destructive

disaster)

Mantri nandi sarkhe dolat gulam banun rajacha that

(Your ministers are like puppets you pull, nodding their heads like nandi the bull)

Aadesh dete ki jungle kaap

Lavala tar nahi yet konach baap

(Sending out orders to cut down the trees, but who comes here to plant another)

Cement che majhle takle bhobale

Tari bhi pahije chamiya naach

(Not their fathers, in their fancy quarters, Balding, toothless swine, lusting after girls like they

are objects)

Ya junglaat ekine naachto dharun saryache haatat haat

Tarpa dhol warli bol vajte nachte ya junglaat

(In our jungle, we give and take respect. Dancing together hand in hand. Tarpas and drums

our Warli band, our words dance through the land)

Bayko poraa hardcore bahin bhava sarakha samaaj

Nisargachya rangana jagaat famous aamcha warli art

(Our women and children are brave. We all live like brothers and sisters now, just like we did

before. Our Warli Art has global fame)

Swatahachya gharana anna banavto nahi ho amhi konache ghulam

Gadya motar savayi tumchya indhanichi tumhi kara tabahi

(We grow our own food. We are nobody’s slaves. So dependent to motor cars, just look at

how much oil you are burning)

Karakhane dete zehrila dhuaa

Ani tarangte dhagachi kaali malai

Banduka marayla paisa pan jantechya bhukecha ilaaj kela nahi

Itihaas dete sakshi warli kadhi bhi bhukena mela nahi

(Your factories spit out poisonous smoke, leaving behind a thick, black cloak. They have

spent so much on guns and cavalry, not a rupee is spent on feeding the hungry)

Deshbhakt lok tumhi tyaag kaay maagta

(But history will show you the score that no Warli ever died of starvation before)

Arey jungle ase aamchi aai, rakshanat jeev zai, rakhshanat jeev zai

Jhada tumhi todum taak ta tyaag amha kaay maagta

(You call yourselves patriotic.Then why asking us to be the sacrifice)

Arey deshbhakt lok tumhi na tyaag amha kaay maagta

(You call yourselves patriotic.Then why asking us to be the sacrifice)

Dolya dekhat ujed choritaa amha kaay maagta

(The jungle is our mother, to save her we will lay down our lives.To save her, we will lay

down our lives)

Tyaag amha kaay maagta

(The jungle is our mother, to save her we will lay down our lives.To save her, we will lay

down our lives)

The Warli Revolt is a hymn written in Marathi that was released with the assistance of the

artists group and Prakash Bhoir, who is the leader of the Warli tribal people. The song was

sung from the perspective of tribes who would be substantially impacted by the proposed

destruction of Aarey, a forest that is located in the suburbs of Mumbai, for the purpose of

creating a vehicle shed for the municipal transit system. The construction of the vehicle shed

would be for the purpose of establishing a vehicle shed. The music video that was attached

with the song had a video that featured a vivid animation that highlighted traditional art from

the Warli tribes. The lyrics, which are critical of India's operations in the areas of

deforestation, excessive industrialization, and incorrect expansion, were written by Mawali,

TodFod, and 100RBH. These three artists are responsible for composing the lyrics. Music

and poetry are generated by them in a variety of regional languages, each of which is unique

to that location. Their music, which is revolutionary and goes against the system, crosses

boundaries and differentiates them from other artists due to the fact that it is familiar. This

sets them apart from other musicians. Warli Revolt is the name given to a demonstration that

took place in opposition to the destruction of the Aarey forest, which is situated in close

proximity to Mumbai. At the same time as the song criticizes the government for its
widespread hypocrisy, materialism, and corruption, the song also criticizes the government

for these things. It is becoming more apparent that the contemporary hip-hop culture of India

is going through a period of political awakening, which is a phenomenon that had never been

seen before. The rise in popularity of the music industry may be attributed, in large part, to

the surge in the number of rappers and other musicians who tackle serious themes with

powerful voices. The creation of music that has a significant impact on society is something

that Swadesi is dedicated to doing. At the same time as they are firm in their dedication to

revealing the truth to people who are in positions of power, the rap group that is based in

Mumbai and speaks a variety of languages feels that they are a movement because they speak

several languages. The power of poetry provides a fresh perspective on performance poetry,

which is particularly relevant in light of the current enormous interest in poetry performance

on a national and worldwide scale. In light of the enormous amount of interest that is now

being displayed in poetry performance, this is of utmost significance. The act of providing an

explanation of major connections in a way that is not only captivating but also simple to

comprehend.

Performing Poetry And Ecology System

The reach of environmental justice, and therefore of hip hop poetry, has been expanded to

incorporate the transnational interrelationships of human mobility, global capitalism, and the

ecology of the globe as a result of the fact that these poems have been contributed to the

literary canon. There is a dearth of appropriate representation of this foreign perspective

among the numerous issues that are covered in our issue, which focuses mostly on hip hop

from and inside Mumbai, India. This is one of the many themes that are explored. As was

said at the beginning of this introduction, migrants were the individuals who were responsible

for having an impact on the early beginnings of hip hop and for assisting in its rapid

development around the world. Poetry may evoke emotions and encourage deep thought in
ways that go beyond conventional forms of communication. Poets utilize vivid imagery,

metaphor, and rhythm to immerse listeners in different states of consciousness, enabling them

to perceive the world from new perspectives. Poetry is a good medium for expressing the

urgency of environmental problems because of its ability to create empathy and establish

bonds between people. This makes poetry an effective medium for doing this. This is due to

the fact that poetry has the ability to bring people together. Poets that include topics such as

nature, conservation, and sustainability into their work not only raise awareness but also

encourage others to do the same. This is done with the intention of creating a more profound

care for the natural world. Either poets express their sorrow over the devastation that is

caused by human actions or they invent tales about ecosystems that are brimming with life

for the purpose of expressing their feelings. Throughout the course of these stories, the

audience is urged to contemplate their connection to the natural environment and examine

how they feel about it. As a result of the use of their words, they study the influence that

people have on the earth, challenge the conventional standards that have been established,

and push for change. Within this framework, hip-hop emerged as a medium through which

these poetry lines were injected into performance. Hip-hop itself was a product of this

framework. In other words, the act of engaging in poetry may be considered a type of

demonstration, and poetry itself can be a form of protest and resistance against the damage

that is being done to the environment. Poets have the capacity to utilize poetry as a medium,

which has the potential to raise the voices of underprivileged communities who are affected

by environmental injustice. Poets have the ability to use poetry. By virtue of the fact that they

are able to handle topics such as pollution, deforestation, climate change, and environmental

racism, poets have the ability to evaluate the current state of affairs and to confront those who

hold positions of power. Poets have the capability to do both of these things. Through the

efficient use of words, images, and performance, they have the ability to persuade people to
reevaluate their connection with the environment and to motivate them to take action in order

to safeguard it. Poets are gifted with this trait. It is possible to elevate the voices of

environmental activists, tackle institutional injustices, and create a better feeling of

connection and responsibility towards our world by using the transformational power of

poetry. These are all things that may be accomplished. All of these things are within the

realm of possibility. Indian hip-hop has evolved from boastful rap with flashy lyrics to a more

profound form of communication. Communities commonly acknowledge its effectiveness in

drawing attention to important concerns, such as environmental damage caused by a polluting

multinational corporation in Mumbai, and the severe violence in the Kashmir valley and

North-Eastern Indian states. An emerging hip hop subculture is evolving in prominent Indian

urban areas, where young people dressed in at leisure clothing engage in cyphers at deserted

or unfinished sites decorated with street art and graffiti, rapping in their own language. In

2019, the burgeoning underground hip-hop genre gained prominence countrywide, with

Mumbai emerging as a significant hub for mainstream Hindi hip-hop. After closely studying

performers from Mumbai for several months, I saw a unique cultural theme that stands out in

this genre, despite its worldwide similarities, originating from the influential Indian

metropolis. I have been analyzing the disparities between hip-hop tales originating from this

urban area and juxtaposing them with contemporary mythology and creativity. I was

intrigued by the striking similarity between the city's music and tale. Mumbai, known as the

"city of dreams," is often viewed as a dynamic metropolitan hub teeming with chances for

ambitious and entrepreneurial individuals. It draws ambitious individuals from all regions of

India who want to achieve notable success in life. In Bollywood movies, packing baggage

and leaving Mumbai is typically portrayed as the symbolic start of a journey from poverty to

wealth. Hip-hop in Mumbai has mostly developed among the significant disadvantaged

population residing in the most deprived regions of the city. Rappers may append their stage
name with their local postal code to create a link to the socioeconomically disadvantaged and

politically disenfranchised neighborhoods of the city. The overcoming challenges in a harsh

environment, including violent family relationships, community violence, police oppression,

susceptibility to substance abuse, and severe poverty. The caste and class dynamics in Indian

society hinder the goals and ambitions of many individuals, leading them to feel restricted

and directionless. Youth who surpass practical and psychological limits instill optimism and

hope in the community. Artists in this setting get inspiration from their own path of change,

which they openly discuss and accept as their story. They confidently display their well-

deserved accomplishment to the public without hesitation. Rap music, which originated in the

urban areas of the United States, has transformed into a worldwide phenomenon that

intimately connects with many cultures globally. Rap is known for its rhythmic delivery,

strong lyrical skills, and commentary on social and political issues, providing musicians with

a platform to express their experiences, goals, and complaints. Rap has gained popularity

among underprivileged populations in Mumbai, giving a voice to people typically ignored by

mainstream conversations. Rap music, which originated in the urban areas of the United

States, has transformed into a worldwide phenomenon that strongly connects with many

populations globally. Rap is known for its rhythmic delivery, strong lyrical skills, and

commentary on social and political issues. It provides musicians with a platform to express

their experiences, goals, and complaints. It has gained popularity among underprivileged

populations in Mumbai, giving a voice to people typically ignored by mainstream

conversations. Rapping may be a type of environmental activism that allows artists to connect

with audiences about sustainability, conservation, and climate change. These artists may use

their lyrics and performances to increase awareness about the impacts of environmental

degradation and promote remedies. Rap songs may highlight issues like plastic pollution,

deforestation, and the need of renewable energy sources, encouraging discussion and
motivating people to take action. Premature mortality due to outdoor urban air pollution has

been estimated by applying exposure-response data from research in industrialized nations to

estimated air pollution levels derived from restricted observations. In recent years, air

pollution has emerged as a significant issue in India due to high pollutant levels in urban

areas and new global studies on the health impacts of air pollution, which have improved risk

assessments. The situation in China and several other developing nations is analogous. It is

shocking to find that the burning of garbage is one of the biggest contributors to this ugly

claim to fame. The fact that the state of Maharashtra has the second highest number of

fatalities in the nation that can be attributed to air pollution is not only unsettling, but it is also

aggravating to be aware of the fact that this is the situation. It is possible to see the heaps of

garbage that are positioned along the sides of roads and highways in a number of different

regions which are located across the state. The fact that this is something that can be seen in a

variety of various locations is notable. Finding oneself in a circumstance similar to this one is

not at all rare. Although the urban areas of Maharashtra have a waste management program

that is more or less properly carried out, the rural and semi-rural areas of the state continue to

dispose of their rubbish in huge open fields or along highways. This is in contrast to the urban

areas of the state, which have a waste management program. On the other hand, urban areas

already have a waste management program in place, which is a significant departure from

their current situation. One may see a significant disparity between the circumstances that

prevail in rural regions and those that prevail in urban places. According to Sumaira Abdulali,

who works for the Awaaz Foundation, a non-governmental organization (NGO), the large

piles of burning waste that are spread along the roadsides in the areas surrounding Mumbai

are not identified as being a part of any specific campaign.

Hip-Hop Language And Sustainability

Hip hop has been a means through which folks have been able to communicate their worries

and troubles with the world ever since it was first established in the South Bronx in the

1970s. People have been able to do this via hip hop. It is something that has been around ever

since the hip hop genre was founded. Poverty, racism, and an increase in the number of

individuals who are murdered by weapons are just some of the factors that have contributed

to these problems. There are a myriad of other factors that have also played a role in the

development of these problems. The occurrence of these difficulties might be attributed to a

variety of different conditions. The fact remains, however, that this list does not include

everything. In light of the fact that there is no valid reason why this should not be the primary

emphasis of the organization, it ought to be about ensuring that actions are taken to protect

the environment. A very limited amount of time is going to be required for the building of the

bridge, which is going to be essential. Even though they are more likely to be harmed by

environmental problems like as air pollution, hazardous waste, and floods, the perspectives of

the people who live in Mumbai are frequently ignored in discussions that are highly

important concerning environmental policy. This is despite the fact that they are more likely

to be affected by these phenomena. In spite of the fact that they are more prone to suffer

harmful effects as a result of these particular environmental problems, this is the case. In spite

of this, the situation is not at all like this. In spite of the fact that they are more likely to be

affected by these issues, the fact that this is the case does not alter the fact that this is

something that is really the situation. During the course of the discussions that are taking

place, there are a vast number of situations in which they consistently do not show up at the

table. This is simply another example of how things might be put into perspective. It was

discovered in a survey that was conducted in 2014 by an environmental non-governmental

organization (NGO) among environmental NGOs, foundations, and government agencies that

despite the fact that people of Mumbai make up 36 percent of the Indian population, they
only make up no more than 16 percent of the workforce of any environmental organization.

This was the conclusion that was reached as a result of the findings of the survey. The fact

that individuals of Mumbai make up a sizeable portion of the population does not alter the

fact that this is the conclusion that can be drawn from the data. The fact that this was found

out emerged over the course of the inquiry that was being carried out. During the course of

the investigation that was being carried out, this discovered was one of the things that was

found out. It was determined, on the basis of the logic, that the decision led to the formation

of an insider’s club that was disproportionately composed of people who were white and

green. This was the conclusion reached. A difficult issue was whether or not this club should

have been in existence. The question was whether or not it should have existed. This is not

due to the fact that environmental professionals do not want to engage in conversation with

the people of India, nor is it due to the fact that the people of Mumbai do not wish to have a

seat at the table. This is not the case for any of these reasons. For each and every one of these

reasons, this is not the case. In the following paragraphs, we will spend more attention to

each of these issues that have been brought up. There is no evidence to suggest that any of

these two elements is to blame for the situation that is now taking place with the conditions

that are being taken into consideration. According to my point of view, the primary reason for

the excessive amount of misunderstanding that occurs is due to the fact that these many tribes

simply speak different languages when they converse with one another. This is the underlying

root of the problem. My understanding is that this is the key reason that is responsible for the

problem that has arisen. Individuals who are employed in environmental industries are used

to talking with minor audiences that are capable of comprehending a certain method of

communication. On account of the fact that they are unable to communicate with them in this

language, they are unable to have a productive conversation with them. This is because they
are unable to converse with them. The residents of Mumbai are not fluent in this language,

which is the reason behind this situation.

Hip-Hop Hoods And Woods

Hip hop may be described as a kind of creative expression that is also politically disruptive.

Hip hop may be seen as a kind of artistic expression. Hip hop is a type of expression that is

expressive of the visual imagination, which is another notable aspect of the genre. As a result

of this, it has the effect of causing confusion about the fundamental meaning of terms such as

the environment, nature, and ecology, and it also has the effect of expanding the meaning of

these ideas. The manner in which hip hop negotiates human and nonhuman agency, non-

dualistic understandings of human-environment interaction, the social practices and cultural

knowledge that appear in material surroundings, and the interconnectedness of environment

and identity are among topics that will be discussed. Hip-hop, in the process of working

through these obstacles, challenges traditional understandings of natural ecosystems as well

as cultural environments to which they are applied. These understandings are something that

hip-hop aims to challenge. Hip-hop continues to cast doubt on these understandings, which

should be taken into consideration. Examples of hip hop that are presented in the case studies

include hip hop that revises historical manifestations of environmental thinking such as

Darwinism and literary naturalism; hip hop that weaves ecological principles into cultural

assemblages; hip hop collections that function like ecosystems; and hip hop that predates and

expands the new materialist recognition that social structures are entangled with and shaped

by the material world. All of these examples are presented in the book. Each and every one of

these illustrations may be found in the book. There is a possibility that each and every one of

these pictures is included in the book. It is feasible to recognize hip hop by each and every

one of these occurrences in their appropriate order. To be more explicit, the purpose of this

special issue is to do research on the relationship that exists between hip hop, well-being,
sustainability, and the environment. This is the aim of the special issue. Specifically, the

objective of the special issue is to accomplish this goal. In accordance with the definition that

is now being used, it is not accurate to assert that hip hop is an ecological movement in any

way, shape, or form. Over the course of its history, it has often given precedence to urban life

over natural life, giving the city rather than the countryside a higher priority than natural life.

Indeed, this has been the situation for the whole of its history. Another way of putting it is

that there has been a greater focus on urban life as opposed to natural life. On the other hand,

researching hip hop from an environmental viewpoint has the opportunity to expand our

understanding of the ways in which environmental challenges have an effect on popular

cultural forms and are affected by those forms. This is due to the fact that environmental

issues are a result of contemporary forms of popular culture. This is due to the fact that hip

hop often draws its inspiration from issues that are related with the environment in which it is

now situated. Environmental studies and hip hop studies are two subjects that are at the

forefront of innovation and are seeing tremendous development. Both of these fields are also

experiencing significant growth. As a consequence of this, Hip Hop Ecologies places itself at

the point where these two fields of research meet with one another. The use of a method of

this kind has the potential to bring to our attention essential aspects of hip hop that have been

overlooked in discussions both in the public sphere and in academic circles. This is done with

the intention of bringing them to our attention. In the case that anything takes occur, it is

something that may be said to be within the realm of being attainable. Hip hop, on the other

hand, presents unusual points of view that bring into question the traditional beliefs that are

held about the environment and the environmental studies that are conducted at academic

institutions. In the most recent years, a new musical genre known as hip hop has arisen. In

particular, hip hop makes it tougher to accept these presumptions with enthusiasm.