Tag Archives: bella ciao

A brief history of Bella Ciao, the anti-fascist Italian song cited in the Charlie Kirk shooting

The band Fiati Sprecati playing ‘Bella Ciao’ in Florence, Italy, on Liberation Day, April 25th 2014. Photo licensed under a Creative Commons CC BY-NC 2.0 license. Find the original photo by Felip1 here.

Justin Mallia, Monash University

Following the assassination of conservative political activist Charlie Kirk, officials reported unspent bullet casings were found at the scene. These were engraved with phrases such as “If you read This, you are GAY Lmao”, “hey fascist! CATCH!” and “O Bella ciao, Bella ciao, Bella ciao, Ciao, ciao!”

Bella Ciao (literally, “hello beautiful” or “goodbye beautiful”) is a traditional Italian folk song known for its association with the anti-fascist resistance in Italy during the second world war.

It has since moved beyond its usage as an Italian resistance song, appearing internationally in TV series, video games and TikTok videos.

It’s unclear how the reference on the bullet casings was intended to be read, but here’s what we know about the song, and its ties to the history of Fascism in Italy.

What is Fascism?

Fascism was a political movement conceived in Italy. It came to power for the first time in 1922 with the “March on Rome” of the fascist “Black Shirt” squadrons, led by Benito Mussolini.

The movement reframed the concept of freedom in society as possible only under the rule of a dictator.

Traits included the repression of political opposition, complete control of the media, intense propaganda campaigns and racial laws.

Atrocities were committed, including with military invasions and occupations in Africa in attempts to recreate an Italian empire.

Black and white photo, in front of the colosseum.
Benito Mussolini in Rome in 1922. As he leaves the Colosseum, young people greet him with the Fascist salute. Wikimedia Commons

Fascism in Italy coincided with advancements in the economy and industrialisation. By the 1930s, fascist political movements appeared across Europe including in the United Kingdom, Latvia, Estonia, Lithuania, Poland, Hungary, Romania, Bulgaria, Greece, Yugoslavia, Spain, Portugal, Norway and, most notably, in Germany.

A common misconception today is to equate Fascism and Nazism. Fascism refers to a broad array of often contradictory authoritarian political philosophies. German Nazism falls under the broad banner of fascism, but there was only one Nazism, based in specific theories of racist suprematism.

The definition of fascism has always been ambiguous, but after the demise of the Italian Fascist and German Nazi regimes, it lost much of its political meaning in commonplace use.

In a 1946 article for the Tribune newspaper, George Orwell declared:

the word Fascism has now no meaning except in so far as it signifies ‘something not desirable’.

Giving examples such as referring to someone who adheres to a strict diet as a “health-fascist”, or someone who advocates for the environment as an “eco-fascist”, in 2013, political theorist Roger Griffin noted:

The term ‘fascism’ continues to be bandied about by those clearly more interested in its seemingly inexhaustible polemical force than in anything resembling historical or political fact.

Some scholars in Fascism, such as Ruth Ben Ghiat, warn against the authoritarian tendencies of leaders including Donald Trump.

But the unwieldy labelling of politicians or commentators operating within democratic systems of government as “Fascist” is misguided. It dilutes the meaning and memory of Fascism.

What is the song Bella Ciao?

Like many traditional songs, the origins of Bella Ciao are not definitively known.

The melody is thought to date back to 1919. The first documentation of the lyrics is from 1953.

Oral traditions trace the origin of the meaning to the Apennine mountains in the Italian region of Emilia. There, during the second world war, anti-fascist fighters with modest resources stood up to the power of the Fascist regime.

The lyrics recount the solemn story of a fighter bidding farewell to his loved one, preparing to sacrifice his life for liberty.

In Italy, the song has become revered as an almost sacred tribute, sung on occasions such as the anniversary of the liberation of the country from Fascist rule in 1945.

In recent years, Bella Ciao has become popular outside of Italy. It featured in the Spanish Netflix series Money Heist (2017) and on the soundtrack of the first person shooter video game Far Cry 6 (2021).

With a catchy tune and innocuous chorus, Bella Ciao has been remixed in dance music, and featured on TikTok videos. These adaptations pay limited or no attention to the political meaning.

But some new uses of the song, while drawing on its uninformed popularity, are politically reinfusing it for purposes different to its original context.

In October 2024, members of the European Parliament on the political left chanted the chorus in response to a speech by Prime Minister of Hungary Viktor Orban.

No formal explanation was given, but here the use of the song can be understood as a loose attempt to indirectly associate Orban with Fascism.

Making meaning

Bella Ciao has developed conflicting meanings, stemming, at least in part, from the many modern meanings and interpretations of Fascism.

We do not know what was intended by inscribing bullet casings with this traditional song, or what the inscriber’s understanding of Fascism and Nazism are.

But by understanding all of these conflicts, we can avoid collapsing the meanings into a single, monolithic phenomenon – and avoid the dangers of trivialisation and misappropriation.

Justin Mallia, PhD Candidate in Art History and Theory, Monash University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Bella Ciao: A travelling anthem of resistance

This article was originally written by Ananya Wilson-Bhattacharya and published by The New Arab.


Ananya Wilson-Bhattacharya explains why the revolutionary protest song, ‘Bella Ciao’ continues to play a role in global struggles today, and how it has served anti-government Gota Go Gama protests in Sri Lanka which forced the president to resign.

Earlier this summer, a video from the Sri Lankan ‘Gota Go Gama’ protests circulated online: the president Gotabaya Rajapaksa had finally resigned, and protestors were singing a Singhala version of ‘Bella Ciao’, the popular Italian song which was used in the Partisan anti-fascist resistance movement of the 1930s and 1940s. While the military violence and attacks on protestors in Sri Lanka continue, this was a clear moment of victorious celebration in the ongoing movement against the authoritarian regime.

The song – which details the singer’s awareness of their imminent death at the hands of the ‘invader’ and desire to die as a ‘partisan’ or freedom fighter – has been adapted by various anti-fascist movements globally prior to its use in the Gota Go Gama protests. In fact, the protests are part of a wider trend of anti-authoritarian resistance movements across South Asia in recent years, several of which have been characterised by new versions of ‘Bella Ciao’ in different languages.

”This cyclical, continual reproduction of ‘Bella Ciao’ across starkly contrasting yet uncannily similar contexts of protest is ultimately testament to the unifying power of protest music, as reproduced across time and space, in illuminating connections between struggles across decades, centuries and continents against a backdrop of evolving forms of capitalism.”

Symbolic image of the people’s revolution based on the series “La casa de papel”. Image by AbarcaVasti, licensed under the Creative Commons Attribution-Share Alike 4.0 International license.

Anthem of struggle

Certain features of the song have held throughout its reproduction across different contexts: its undeniable catchiness, and its clear theme of political resistance, despite drastic shifts in its lyrics. The song has even found its way beyond the realm of resistance movements into mainstream television, famously featuring in the hit Spanish crime drama Money Heist.

A Hindi adaptation of the song was released around the time of the mass protests against the fascistic Citizenship Amendment Act, or CAA, introduced in India in 2019. Broadly, the CAA aims to deny Indian citizenship to (Indian) Muslims; it is widely perceived as a step towards ethnic cleansing, indicating the current escalation of Modi’s Hindu supremacist regime into full-blown fascism.

Following the popularity of ‘Wapas Jao’, the songwriter, Poojan Sahil, subsequently penned a Punjabi version retaining the same melody with new lyrics, also entitled ‘Wapas Jao’ (‘Go Back’), for the large-scale Indian farmers’ movement protesting new anti-farmer legislation introduced by Modi’s government in 2020. These farm laws, which received global coverage and were largely retracted in Autumn 2021 following the year-long mass protests, were set to adversely affect poor farmers, and are widely seen to represent the ongoing corporate takeover of agriculture in India.

Both versions of ‘Wapas Jao’ have a similar theme lyrically to ‘Bella Ciao’ – although, as Sahil clarified, the songs are not translations. The Hindi version alludes to the fascism of the Indian government through the repeated line ‘go away, o you tyrant’, explicitly locating the singer within the resistance movement, and the song as an unmistakably anti-fascist anthem.

‘Wapas Jao’ (across both versions) also moves away from the somewhat personal lyrics of ‘Bella Ciao’, which uses the singular pronoun ‘I’ throughout (in contrast to ‘we’ in ‘Wapas Jao’) and captures the fear invoked by the rise of fascism through the line ‘I feel death approaching’. By contrast, the lyrics of the Punjabi ‘Wapas Jao’ discuss the movement against the Indian government and the major companies which are profiting from the farm laws. Both versions of ‘Wapas Jao’ are thus references to the context of the original song which take its anti-fascist commentary a step further, situating themselves within a specific anti-fascist protest movement.

By pairing the original melody with a sparse acoustic guitar, these versions both highlight the timeless catchiness of ‘Bella Ciao’ as well as showing its versatility in lending itself to diverse musical styles – and languages – of different eras and locations. The case of ‘Bella Ciao’/ ‘Wapas Jao’ illustrates Walter Benjamin’s suggestion that reproduction allows the work of art ‘to come closer to whatever situation the person apprehending it is in’, and thereby ‘actualises what is reproduced’.

Interestingly, the anti-fascist or partisan ‘Bella Ciao’ is not, in fact, the original version -despite being the best-known – but is adapted from the ‘mondine’ version, which originated as a folk song sung by mainly women paddy workers (mondine) in Northern Italy in the late 19th century in protest against harsh working conditions. This agrarian context is evoked – intentionally on Sahil’s part – by the Punjabi version of ‘Wapas Jao’ centred on the farmers’ movement, which includes the lyrics ‘each grain of soil sings in chorus’.

Taking on the tyrant

Whilst the anti-fascist version of ‘Bella Ciao’ focused on resistance against ‘the invader’ as opposed to ‘the boss’ of the original version, the Punjabi ‘Wapas Jao’ evokes a new kind of invader – or ‘tyrant’ – the Indian government and the companies taking over Indian agriculture, which are being urged to ‘go back’ by agricultural workers. This version recalls the voice and perspective of the original song, in a new political, geographical, and temporal context.

Indeed, this evoking of the original version also underlines the concentration of agricultural workers in the Global South and their relative decline in the Global North during the 20th century.

Having originally been centred on workers’ experiences, and subsequently been reproduced and adapted in various contexts of anti-fascism, ‘Bella Ciao’ is once again being used to shed light on (agricultural) workers’ struggles through the Punjabi ‘Wapas Jao’.

Through both versions, meanwhile, Sahil arguably utilises the fame of ‘Bella Ciao’ as an anthem of resistance against the widely-known rise of fascism in 1930s Europe, referencing the song through reproduction as a way to emphasise the gravity of the current situation in India through implicit comparison.

This cyclical, continual reproduction of ‘Bella Ciao’ across starkly contrasting yet uncannily similar contexts of protest is ultimately testament to the unifying power of protest music, as reproduced across time and space, in illuminating connections between struggles across decades, centuries and continents against a backdrop of evolving forms of capitalism.

The Gota Go Gama protestors singing ‘Bella Ciao’ sends an affirmingly hopeful message – that the movement recognises itself as situated within a history of people’s struggles all sharing the same determination for change, from the anti-fascists in Italy to the farmers in India and everything in between and beyond.

Ananya Wilson-Bhattacharya is a writer, activist and co-editor of Red Pepper magazine, interested in arts and culture and social movements.

Follow her on Twitter: @AnanyaWilson

Cover photo by AntanO. Image licensed under the Creative Commons Attribution-Share Alike 4.0 International license.


Legendary Italian Protest Song, Bella Ciao, Gets A New Rendition Supporting Indian Farmers

What started out as a folk song sung by the mondina workers in the paddy fields of Northern Italy later became a global anthem of protest. Bella Ciao has been sung and chanted all over the world where people gather to protest fascist governments or oppression of the powerful.

Now a new rendition of the classic song has been published by Indian musician Poojan Sahil. In an interview with The Telegraph India Poojan commented on his thinking as a new generation under an oppressive government:

“Like many of my generation who came out to support the anti-CAA protests, there is disappointment at what is going on around us. We feel that we will have to struggle for freedom of thought, the very existence of our friends…. essentially the world the generations before us took for granted,”

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