"Dosanjhan aala naam dilaan utte likheya,
Khaasa jor lag ju mitaun vaaste,
Paise-poose baare billo soche duniya,
Jatt paida hoya bas chhaun vaaste"
(The name ‘Dosanjh’ is written on people’s hearts, it requires a lot of strength to erase it. Money may be the primary concern of the world, but I am born to shine.)
There's no stopping Diljit Dosanjh. His latest film 'Sardaar Ji 3' starring Pakistani actor Hania Aamir, is all set to be a commercial success despite not being released in India. The success is mainly due to a strong showing overseas and a record-breaking opening in Pakistan.
He's also got support from different sides of the political spectrum amid right-wing calls for a life ban on him as well as the censoring of 'Punjab 95', where he plays human rights activist Jaswant Singh Khalra.
And finally, Toronto Metropolitan University has announced a course dedicated to Diljit Dosanjh, his influence on music, culture and the South Asian diaspora.
So why does such a phenomenally successful artist face such hate?
'Punjabi Aa Gaye Oye': Rise of A Turbaned Sikh Cultural Icon
Diljit Dosanjh was born in Dosanjh Kalan near Phagwara in 1984. This was a deeply traumatic year for Sikhs due to the attack on Harmandir Sahib and Akal Takht during Operation Bluestar and the anti-Sikh pogrom later that year.
Sikh faith and Punjabi roots are central to Diljit Dosanjh's identity. Some of his songs center around Sikhi such as Nanak Aadh Jugaadh Jiyo, Aar Nanak Paar Nanak and earlier Gobind de Lal. It is also reflected in the way he says "Punjabi aa gaye oye" in his concerts.
However, it can be argued that while Diljit does sing devotional songs now and then, they aren't as central to his art as it is for many other artists, like Kanwar Grewal for instance.
What Diljit represents became all the more important when we look at his foray into Bollywood. It compelled filmmakers to write scripts around turbaned Sikh characters. From the perspective of Sikh representation in Hindi films, this was nothing less than revolutionary.
Barring a few exceptions like 'Rocket Singh' and 'Love Aaj Kal', turbaned Sikh characters in Bollywood films before Diljit were either comic stereotypes or over-the-top patriots, both caricatures.
While 'Udta Punjab', 'Phillauri' and 'Arjun Patiala' were based in Punjab, in 'Crew', 'Good Newz' and 'Suraj Par Mangal Bhari' Diljit played lead characters that just happened to be Sikh.
Then there were films based on real-life incidents and people, such as 'Soorma', 'Jogi' and 'Amar Singh Chamkila'.
For Chamkila, Diljit wore a wig and didn't cut his hair. For Punjab 95, Diljit grew his beard for several months and didn't wear an artificial beard to bring authenticity and also out of respect for Jaswant Singh Khalra. These may seem like small things, but these are important to understanding what it means to be a turbaned Sikh actor. More on these films later.
The most significant aspect of Diljit's Bollywood stint is that while he may have enjoyed the attention, it was on his own terms. At no point did it seem that he was making any compromises to gain acceptability.
At an actors' round table, he openly spoke about the events of 1984 in front of Amitabh Bachchan, who was closely associated with the Gandhi family at the time of both Operation Bluestar and the anti-Sikh pogrom.
Bollywood became one part of Diljit's persona, but he never let it define him.
Diljit Dosanjh's Politics
Punjabi music has off-and-on been political - some of Kuldeep Manak's songs gave vent to the unrest of the 1980s and were popular among those who joined the militancy. Diljit's character in Punjab 1984, a youth named Shivjeet Singh who becomes a militant due to police atrocities, is also shown as an avid fan of Kuldeep Manak.
However, in the 1990s there was also a unsaid push towards political acquiescence - Gurdas Mann is often associated with this trend. The Bollywood-isation of a number of Punjabi singers in the 90s and 2000s further contributed to this trend.
However, younger singers like Sidhu Moose Wala, Ranjit Bawa, Kanwar Grewal, Chani Nattan, to name a few, often engaged with political themes in different ways.
In comparison, Diljit's songs haven't been overtly political. Themes of Punjabi pride, Sikh faith and Jatt pride do feature in his work, but the politics is implicit at most, never explicit. A majority of his songs are around romantic themes.
In fact one song which could have potentially gone into political territory, landed Diljit in a bit of trouble - Kharku (2012). Kharku means a bold and courageous individual but the term has come to be associated with those who joined the Khalistan movement.
Diljit's song, however, was centered on a man who got into brawls to protect his beloved. Sikh activist Bhai Gurbaksh Singh, at that time on a hunger strike for Sikh political prisoners, scolded Diljit for "trivialising the word Kharku" when the latter came to meet him. Diljit gave the activist a written apology, and their interaction ended with the two embracing.
Diljit's acting choices have actually been more overtly political than his music. Punjab 1984 remains one of the most sincere films made on the Khalistan movement and Diljit brought a great deal of empathy in his portrayal of a young man who was forced by circumstances to join the militancy but later faces betrayal and disillusionment.
In Jogi, he plays a brave young Sikh man during the 1984 pogrom who tries to rescue fellow Sikhs with the help of two friends, a Hindu and a Muslim.
In Chamkila, Diljit plays Dalit singer Amar Singh Chamkila who becomes controversial due to allegedly vulgar songs. The film presents a critique of caste discrimination and shows a section of hardline Sikhs in bad light.
Diljit's most politically significant decision was to play Jaswant Singh Khalra in Punjab 95. At the time of making the film, Diljit or the filmmakers probably didn't expect such hostility from the censor board.
The CBFC has suggested as many as 127 cuts, including asking for Khalra's name not to be used. Director Honey Trehan, Diljit and the rest of the team of Punjab 95 have remained steadfast in their commitment to the film and to Khalra's family. According to Honey Trehan, agreeing to these cuts would be a betrayal.
'Vairi Nu Vi Mitha Bolda'
Dosanjh presents himself as someone who is true to his roots and also tries hard to be liked by diverse, often contradictory, sections. He supported the farmers' protest to the hilt but also danced at Anant Ambani's pre-wedding function, he met PM Modi but had a Twitter spat with Kangana Ranaut.
This "likeability" is also the main theme in his Instagram reels, where he often talks to his audience while going about his routine, like having breakfast or travelling.
Dosanjh's frequent refrain is that his aim is to spread "unity and positivity".
To understand Diljit, a comparison with Sidhu Moose Wala may be helpful. This is not to run down either of them - both are great in their own right. We are using the comparison more as an analytical tool.
Both are icons who got immense fame both nationally and internationally, but have very different vibes in their music and persona.
If Dosanjh is firmly in the desi-pop mould with a majority of his songs being "romantic" or "feel good", Moose Wala is much more raw, hard-hitting and heavily influenced by the underground hip-hop culture.
Diljit collaborated with Ed Sheeran in one song and made another song about Kylie Jenner and Kareena Kapoor, Moose Wala's idol was Tupac Shakur and he had a close connection with rapper Drake.
By expressing his admiration for Kuldeep Manak and collaborating with veterans like Surinder Shinda, Mohammad Sadiq and Gurdas Mann, Dosanjh presents himself as someone taking forward a legacy.
Moose Wala, on the other hand, was a disruptor who became a genre by himself.
Even the content of their songs is very different: Moose Wala was much more political and called out the hypocrisy of different sections in songs like 295 and Scapegoat. Even posthumously, Moose Wala's song SYL was banned in India because it criticised the Centre and allegedly glorified a militant Balwinder Jattana.
It is a contrast between Diljit's Vairi nu vi mitha bolda (I speak politely even to my enemies) and Sidhu's Sach bolega ta milu 295 (If you spreak the truth, you pay the price through police cases).
The nature of the adulation they get is also very different. For many of his fans, Diljit is like a friend who gives you a great time and shows you the world. But for Moose Wala's fans, he is like a brother, someone who is "one of their own".
The contrast between the two is particularly clear in their fan following in Pakistan. Diljit is a huge hit among diaspora Pakistanis and urban elite youngsters in the country. On the other hand, as one moves towards villages and smaller towns in Punjab, it is Moose Wala who rules, especially among younger men. There were scores of memorials held across Pakistani Punjab after Moose Wala's assassination.
Diljit's fan following in Pakistan has now increased significantly after he and the makers of 'Sardaar Ji 3' stood by Pakistani actor Hania Amir amid the hate the film was receiving from the Indian right wing.
Why the Hate?
Diljit Dosanjh has been careful in promoting a "positive" public image and avoiding controversies. This is both a product of his personality as well as a strong PR machinery.
So it becomes surprising why Diljit receives a considerable amount of hate both online and offline.
Most recently, the Federation of Western India Cine Employees (FWICE) wrote a letter to Prime Minister Narendra Modi demanding a life ban on Dosanjh's films in India and reportedly even “cancellation of Dosanjh's citizenship.
There are several angles to this hatred.
The biggest reason for this is the toxic nature of majoritarian politics in India, especially online. A section of Hindutva supporters (and some liberals) just cannot deal with a Sikh achieving success and international fame, while flaunting his Punjabi and Sikh identity and not playing to the nationalist gallery.
Any attempt by Sikhs to carve out their own identity, especially internationally, is viewed as an act of rebellion.
Diljit may not have openly called out this ecosystem but he's committed some acts of "rebellion", be it his exchange with Ranaut or taking up films like 'Punjab 95', 'Punjab 1984' and 'Jogi'.
But there are smaller gestures as well. For instance, around the time hate was being spread online against people offering Namaaz in public, Dosanjh posted a video showing Muslims praying at an airport and said that one should remember the Almighty whenever one gets the chance.
His songs like 'Paigambar' and his singing of 'Khuda Gawah' in concerts are a huge hit with some of his Muslim fans, besides his other popular songs.
Then there is the fact that Diljit has a sizable following among Pakistanis and he has been careful not to make negative remarks about Pakistan even during times of Indo-Pak conflict.
The Hindutva ecosystem's hate for Diljit is sometimes used by some of his own rivals in the industry. On at least two occasions, singer Guru Randhawa was accused of posting cryptic tweets when Diljit was being trolled by the Hindutva brigade. In December 2024, when Diljit was facing hate for using the spelling "Panjab", Randhawa tweeted "Punjab" followed by the Indian flag.
More recently, when Diljit was facing a hate campaign for his film 'Sardaar Ji 3', Randhawa tweeted "Jehre mulk da khaiye, us da bura nhi mangi da" (You shouldn't wish ill on a country where you get your livelihood). He was forced to delete his tweet after facing a backlash, including people who reminded him of his own song "Lagdi Lahore di aa".
Then there's Mika who said that Diljit needs to apologise for starring opposite a Pakistani actor.
However, there is a divergence between the BJP leadership and its ecosystem on Diljit. From PM Modi's meeting with him to BJP leaders like RP Singh and Hobby Dhaliwal calling him a "national asset", the leadership doesn't seem to share their supporters' hostility towards Diljit. However, they haven't condemned the hate campaign.
Their soft stand may partly be because of Diljit's ability to maintain ties with those in power. His comment after his Kashmir visit that "armed forces are in full control" was seen as toeing the Centre's line.
His meeting with PM Modi came barely a few weeks later.
The Big Picture
There is a larger context to the hate that Diljit is receiving and that is the increased hostility towards Punjab and Sikhs, especially artists, following the farmers' protest. This further intensified after Sidhu Moose Wala's assassination.
Artists being called for questioning, songs like SYL being banned, films like 'Punjab 95' facing brutal censorship, and the absurd glorification of Moose Wala killing mastermind Lawrence Bishnoi, are all part of the same process.
Any strand of Sikh opinion that doesn't align with Hindutva, is being subjected to hate and intimidation. Diljit Dosanjh has become the most visible target of this trend.
However, so far, he has shown a great deal of deftness in striking a balance and not falling on the wrong side of the powers that be, while holding on to his own beliefs.
Diljit's desire to be liked universally and not getting tied to any one ecosystem has stood him in good stead so far. In that sense, his political skills may be much more advanced than many people think.