TH9 and Musical Protest

[anah_ibrahim]

Hutnyck discusses the lack of academic discourse or overall interest in the subject of diasporic cultural movements, specifically Asian youth cultural work, arguing that “even when it has managed to find space in the academic tableau, it has rarely been considered in any sustained political way” (Hutnyck 50). Acedmica has proved uninterested in researching and understanding the impact of youth diaspora cultural work, perhaps encouraging and emphasizing its presence in the cultural sphere as it translates to political activism, with underlying themes of protest. Hutnyck emphasizes this idea by stating, “A variety of South Asian musicians are political in a way that suggests an intellectual, commercial, and public cultural engagement that addresses contemporary issues” (Hutnyck 51). Further Hutnyck discusses how academia downplays the significance of south asian cultural movements, sidelining them which prevents discourse on understanding the importance of the emergence of diaspora political advocacy, specifically within the South Asian diasporic community in the UK.

Dog Tribe and TH9 are prime examples of the emergence of a political genre of South Asian music as a form of political protest, that highlights social, cultural, and economic nuances of the marginalized and discriminated community. These musical pieces precede the attacks of 1993, protesting actions taken by police during peaceful protests.

Following the attack of 17-year-old Qudds Ali, Youth Connection and Tower Hamlets Nine Campaign formed as a peaceful alliance against racial discrimination. TH9 by the Asian Dub Foundation highlights racially biased interactions with police against peaceful groups composed of racial minorities.

The police a chase we
The beast can't catch me
When I see his big stick
Him deal me a lick
Tower Hamlets Nine
Have to go free
Not even a fine for the
Tower Hamlets Nine
Youth Connection
Stop this infection
Defending defending defending

These lyrics illustrate the events of 1993, specifically the racially biased interactions with police and their “big stick”. They protest against the arrest of members of Tower Hamlets Nine and Youth Connection, advocating for them “to go free” and protesting against their fines, arguing they didn't deserve them. These lyrics further emphasize the continuity and strength of the movement, stating “The beast can't catch me”. The movement will prevail despite how many are arrested because race-based violence will continue to prevail. Further, they criticize the action of the police, asking them to “stop this infection” which can be interpreted both as stopping the infection of race-based violence, but also as a call to the limited efforts by governing systems, socially the BNP at successfully intervening. The line “defending, defending, defending” almost sounds like a mockery of the excuses that police forces make in violent attacks against the Tower Hamlets Nine and Youth Connection, highlighting the stupidity of their argument.