In a country where stand-up comedians are quickly becoming the most feared individuals, Kunal Kamra has once again landed in trouble. This time, his crime is not videotaping a so-called nation’s true journalist in an Indigo flight for which he was banned by the airline, as if the airline itself values everything, nonetheless, Karma is on hot topics again for something far worse, making a few jokes.
Kamra dared to sing a parody song about Maharashtra Deputy CM Eknath Shinde. The tune ‘Bholi Si Surat’? Bollywood’s Dil To Pagal Hai. The lyrics? A reference to a rather well-documented political event- the 2022 defection that split the Shiv Sena. The result? Outrage, vandalism, police summons, and accusations of national betrayal. Because, of course, nothing shakes the foundation of Indian democracy more than a comedian with a mic in his hand.
The Art of Taking Offense (It has Become A National Pastime)
Deputy CM Eknath Shinde, in his wisdom, acknowledged the existence of “freedom of expression” but also reminded us that “there should be a limit.” A reasonable point, after all, is where we would be as a society if people started expressing themselves freely everywhere. And just in case Kamra didn't get the message, the studio Indie Habitat where he performed found itself on the receiving end of some good old-fashioned “spontaneous outrage” in the form of Shiv Sena workers vandalizing the premises. When asked about this, Shinde calmly explained that “action causes reaction.” Quoting Newton’s Third Law of Politics, where one misplaced joke results in damaging the property.
India is a democracy with a thick constitution but, unfortunately, the thinnest skin. We can handle economic fluctuations, diplomatic crises, and the Prime Minister attending a poet’s daughter’s wedding, but is hesitant to visit Manipur for once since the brutal violence took place there, and when a stand-up comedian calls a politician “gaddar” (traitor)? Now that is where we draw the line. “Can create Jallianwala Bagh-type situation”- ShivSena leader’s genocidal speech against the protest regarding Waqf Amendment Bill, no one then questioned his derogatory hate speech, nor did he get summoned, unlike Kamra. It will always be the ones who speak against the government.
Despite the controversy, Kamra has made it completely clear that he is not going to apologise for his remarks and he doesn’t regret any. "I will not apologise... I don't fear this mob and I will not be hiding under my bed, waiting for this to die down," Kamra tweeted amidst the constant attacks from BJP and Mahayuti leaders.
What’s interesting is that the government’s definition of a “threat to the nation” seems to depend entirely on the occupation of the person speaking. If a comedian makes a joke, it's a crime. But if a political leader publicly threatens someone with exile, "You will be forced to flee India," as MP Naresh Mhaske so eloquently put it. We can rest easy knowing that our leaders are working tirelessly, not to fix roads, improve healthcare, or address unemployment, but to protect us from the most dangerous weapon of all: satire.
If a politician makes a false promise? Political strategy.
If a comedian makes a joke? Threat to national security.
It’s shocking to see how efficiently the government acts when real danger arises. Not for things like crime, corruption, or unemployment- for them, these are just some minor issues. But the moment a comedian sings a parody song? Immediate action! FIRs! Summons! Threats of exile! If only the same enthusiasm existed for fixing potholes. Until then, comedians in India will continue to be the biggest danger to democracy, right after free thinkers, journalists, and citizens who ask questions. But don’t worry, the government assures us: we still have freedom of expression. As long as we don’t use it. However, one can always say that the man took away all the limelight from Aurangzeb’s grave towards himself. The emperor can now, for some time, rest in peace!
Sana Faiz is a student pursuing English Literature from Jamia Millia Islamia.
Disclaimer: The opinions expressed in this publication are those of the author. They do not purport to reflect the opinions or views of The Jamia Review or its members.
