In the ever-evolving realm of the global music landscape, the narrative of Suraj Cherukat—universally hailed as Hanumankind—strikes a profound chord. His ascent is more than a mere footnote in the hip-hop genre; it symbolizes the rich, multifaceted identities of the Indian diaspora, now boldly asserting their presence on the world stage. With "Big Dawgs" reverberating through the airwaves—at one moment eclipsing even Kendrick Lamar’s "Not Like Us"—Cherukat emerges as a formidable player in an arena long dominated by Western luminaries.
Hailing from the vibrant tapestry of Malappuram, Kerala, where he was born in 1992, and molded by the eclectic vibrancy of Houston, Texas, Cherukat’s life has been a mesmerizing dance between cultures, interwoven threads that significantly enrich his musical expression. Houston’s revered hip-hop scene, with its syrupy beats crafted by DJ Screw and the raw narratives spun by UGK, blended seamlessly with the kinetic energy of Three 6 Mafia, laying the groundwork for his artistic foundations. Yet, there lies beneath this Texan influence a pervasive connection to his Indian heritage—a bond that deepened following his return to India in 2021.
The Indian hip-hop scene, still in its infancy, finds a compelling advocate in Hanumankind, whose journey illuminates the latent potential within Indian artists to transcend geographic limitations and break into the global consciousness. Cherukat’s artistry captivates, seamlessly weaving together the tangible pulse of Houston’s music with the rich tapestry of tales from his Indian roots, forging a sound that is unmistakably his own.
For Cherukat, this journey transcends mere musicality; it is a profound exploration of identity. His childhood—a series of migrations spanning continents from France to Nigeria to Dubai—cultivated his passion for music in Houston, a city he regards as a cultural haven. "Houston has a culture all its own," he muses in interviews, reflecting on how it was there that he first gleaned the art of storytelling in hip-hop. Immersed in the Southern hip-hop milieu—from the languid, codeine-infused remixes to the relentless spirit underpinning the culture—he returned to India with a newfound depth, eager to embed his cosmopolitan experiences within his sound while grappling with his cultural duality.
His music embodies an odyssey through these complexities—a personal narrative steeped in the trials of belonging and identity. Hanumankind’s lyrics resonate with the societal struggles faced in India, merging his global experiences with the stark realities of his homeland. The video for "Big Dawgs," featuring Cherukat performing within a maut ka kuan (well of death)—a daring carnival spectacle where motorcyclists defy gravity—serves as both homage to his roots and a bold deviation from the glitz typically associated with mainstream hip-hop.
The choice to spotlight Indian stuntmen rather than the cliché trappings of luxury symbolizes a deliberate pivot. "These are the real risk-takers," he asserts, highlighting how these audacious performers hail from humble beginnings and embody a fading art form. Through this lens, his craft metamorphoses into a salute to the underdog—the hustlers and dreamers daring to transcend societal confines. "That’s what being a Big Dawg really means."
Cherukat’s meteoric rise mirrors a broader shift within the Indian diaspora—a transformation wherein children of immigrants, once expected to adhere to traditional vocations, are now carving out spaces in creative spheres, melding their dual identities into innovative expressions. For him, forsaking a stable corporate position at Goldman Sachs for the volatile terrain of rap wasn’t merely a vocational leap; it represented a liberation from societal norms. "Music was the only thing that made sense," he reflects, candidly revisiting his courageous departure from finance.
However, his reception in India has not swayed without hurdles. Primarily delivering his verses in English, Cherukat faces the daunting challenge of cultivating a mainstream following in a nation where vernacular rap reigns supreme. Some critics contend that although his artistry is formidable, it sometimes feels remote from the quintessential Indian narrative. Yet, it is precisely this tension—the dual existence of being both an insider and outsider—that encapsulates Hanumankind’s allure. As he himself articulates, "I’m not an Indian rapper; I’m a rapper from India."
Cherukat’s unique fusion of cultural stimuli—melding the raw edges of Houston with the vibrancy of Indian urban life—renders him a quintessential modern diasporic artist who resists simplification. His ability to traverse genres, languages, and stories is not a limitation but rather his artistic strength, propelling him to center stage within the global hip-hop domain. His trajectory heralds a fresh wave of Indian talent eager to assert their presence on the international platform.
In a recent landmark performance at New York’s Nassau Coliseum, graced by none other than Prime Minister Narendra Modi, Cherukat reached yet another pinnacle of recognition. The prime minister’s spirited exclamation, "Jai Hanuman," echoed the collective pride in witnessing an Indian artist imprinting his essence on the worldwide music scene.
This performance, set against a backdrop of acclaimed international figures like Devi Sri Prasad and Aditya Gadhvi, signified that Indian talent is no longer a mere whisper in local corners; it resonates loudly on global stages, celebrated and embraced.
As the Indian diaspora continues its expansive journey, artists like Cherukat will emerge, bridging continents and cultures with their narrative arcs. In an age where identity is an increasingly fluid concept, Hanumankind’s music crafts a roadmap of what it means to be a borderless artist—one whose essence is undeniably Indian yet speaks to universal sentiments. His odyssey commenced in Houston, but the echoes of his message reverberate far and wide, touching the souls of listeners around the world.
