When songs carried political messaging to the last mile

The 1977 Assembly election in Tamil Nadu unfolded as a dramatic contest between two friends-turned-political rivals — M. Karunanidhi (DMK) and M.G. Ramachandran (AIADMK) — each commanding immense personal loyalty.

Karunanidhi’s speeches, marked by literary flourish and emotional appeal, resonated with cadres, while MGR’s populist style carried the intimacy of a screen hero addressing his devoted audience. In a political culture where cinema functioned as a powerful mobilising force, the AIADMK, led by a reigning film icon, clearly possessed an advantage.

Campaigning spilled onto the streets through loudspeakers mounted on Ambassador cars, playing film songs that doubled as political messaging. Two songs from the film Indru Pol Endrum Vaazhga — Anbukku Naan Adimai and Ithu Naattai Kaakkum Kai — became ubiquitous. Their lyricist, A. Muthulingam, recalled how MGR had them converted into RPM records in Calcutta (now Kolkata) for campaign use. While many credited such songs with the AIADMK’s electoral success, Mr. Muthulingam downplayed their role, pointing to MGR’s charisma and organisational groundwork.

MGR further innovated by commissioning original campaign songs. With music by M.S. Viswanathan and lyrics by Pulamaipithan, songs like Vasal Engum Rettai Ilai Kolam Idungal (sung by Vani Jairam) and Rettai Ilai Vetri Thantha Ilai (by T.M. Soundararajan) blurred the lines between cinema and political propaganda. These records even included brief spoken messages by MGR, reinforcing direct connection with listeners. Though immensely popular during the campaign, they gradually faded from public memory.

Songs from MGR’s final film Maduraiyai Meeta Sundarapandian, such as Thayagathin Sudandiramey and Veeramagan Porada, also carried overt political undertones and echoed through campaign trails. A telling anecdote involves the line Kottaiyile namadhu kodi paranthidavendum — retained despite fears of censorship — that highlights how the lyrics cinema lyrics were consciously aligned with political aspirations. MGR acknowledged Mr. Muthulingam’s role in preserving it in his autobiography Aanantha Then Kaatru Thalattuthe.

Cultural vacuum

For the DMK, MGR’s departure created a cultural vacuum. Earlier, the party had relied on his film songs such as Puthiya Vaanam Puthiya Bhoomi. Later, figures like Nagore E.M. Hanifa emerged as powerful substitutes. His stirring songs — Odi Varugiran Udhaya Sooriyan and Enge Sentrai Anna — became staples of DMK rallies, invoking both party symbolism and emotional memory. Numbers like Karpoora Kanal Vaarthai Kalaignar Sollattum reinforced cadre identity and loyalty.

Pushed to the margins in Tamil Nadu after the rise of the Dravidian majors, the Indian National Congress used turned nationalist sentiment to stay relevant. The party leaned heavily on the screen aura of Sivaji Ganesan, whose association with the Congress lent emotional legitimacy to its campaign.

Songs such as Thangangale Naalai Thalaivargale Nam Thayum Mozhiyum Kangal, Neengal Athanaiperum Uthamarthana Sollungal and Inthiya Naadu En Veedu invoked a broader Indian identity. The party also tapped into the enduring legacy of K. Kamaraj, one of its tallest leaders in the State.

Private recordings circulated during campaigns featured songs like Unnaipol Thalivarundu Uzhaipale Uyarnthavare and Malargalin Naduvile Oru Roja Makkalin Mathiyile Kamaraja, alongside narrative pieces recounting Kamaraj’s life and simplicity.

It was the Communist Party of India that pioneered the use of music as a powerful tool of political mobilisation in Tamil Nadu. At the centre of this effort stood Pavalar Varadharajan, a charismatic performer and organiser, and the elder brother of the future maestro Ilaiyaraaja. The Pavalar Brothers, including Bhaskar and Gangai Amaran, became a cultural phenomenon, touring extensively across Tamil Nadu and Kerala. Their popularity was such that their concerts were deliberately scheduled at the beginning the end of meetings, ensuring that crowds stayed back to listen—and in the process, absorbed the party’s message.

Ilaiyaraaja’s recollection of those years is telling: he writes of carrying a harmonium on foot across villages, reaching places “where even bullock-carts could not enter”.

A key feature of their success was adaptability. As Gangai Amaran notes, they often borrowed popular film tunes and reworked them with political lyrics. The transformation of Viswanathan Velai Venum into Subramaniam Soru Vendum — a pointed appeal to Food Minister C. Subramaniam — illustrates how humour, familiarity, and urgency were combined to make political messaging both accessible and memorable.

Following the split in the communist movement, the Communist Party of India (Marxist) created dedicated music troupesand theatre groups. Among them, Karisal Kuyil gained prominence, with singers like Krishnaswamy rendering deeply emotive songs that spoke of everyday hardships—poverty, crumbling roads, under-resourced hospitals, and failing public transport.

Even today, in an era shaped by platforms like YouTube, WhatsApp, and Telegram, these songs continue to linger in public memory. They belong to a time when ideology was sung, not just spoken—and when music carried politics to the last mile.

Published – March 29, 2026 12:30 am IST