Dalit Studies

DALIT STUDIES
(ENG4E16)
STUDY MATERIAL
IV SEMESTER
M.A. ENGLISH
(2019 Admission)
UNIVERSITY OF CALICUT
SCHOOL OF DISTANCE EDUCATION
CALICUT UNIVERSITY P.O.
MALAPPURAM - 673 635, KERALA
190016
School of Distance Education
University of Calicut
Study Material
IV Semester
M.A. English
(2019 Admission)
ENG4E16: DALIT STUDIES
Prepared by:
LIKESH M.V.
Guest Lecturer
Department of English
Sree Narayana Guru College, Chelannur.
Scrutinized by:
APARNA ASHOK
Asst. Professor
Department of English
University of Calicut.
DISCLAIMER
"The author(s) shall be solely responsible

for the content and views
expressed in this book".
ENG4E16 : DALIT STUDIES
SECTION A
THEORETICAL STUDIES
TOWARDS AN AESTHETIC OF DALIT LITERATURE

( Chapter 3&4)
Sharankumar Limbale (1965-) is a Marathi language

author, poet , novelist, and literary critic. He has more than 40
books to his credit along with the widely read autobiography
titled Akkarmashi. Towards an Aesthetic of Dalit Literature
became a phenomenal work that dealt with the way in which
literature was approached so far. This was one of the first
works to have appeared in English by a Dalit author. Limbale
was awarded the Saraswati Samman in 2020.
In the third chapter of the text Towards An Aesthetic of
Dalit Literature, Limbale talks about the form and purpose of
Dalit literature. The introduction suggests what disillusionment
had happened after India became independent. There was a
misconception that India‟s being free would resolve every
issue it faced so far. At the same time, saying that nothing
changed would be untrue.
From 1920s to 1956 , that is , the period from
„Mooknayak‟ to „Mahanirvan‟ , ( Mooknayak was a journal
published by Ambedkar and Mahanirvan was a Marathi play
written by Satish Alekar ) writing was influenced by a single
person named Ambedkar. The Dalit writers of this period
became inspired by Ambedkar and their writing foreshadowed
whatever was given to them by the great visionary. Setting up
of Siddhartha College and Milind College by Ambedkar paved
the way for many Dalit students to receive higher education.
Yet, the Dalit writers had to struggle a lot in order to be heard.
The savarna publications never heeded them at all. Following
School of Distance Education, University of Calicut 1

such neglection , on March 2 , 1958, the first Dalit conference

was held at Dadar. This conference passed a resolution that
cultural importance of Dalit literature should be given
importance. Once Ambedkar passed away, things again
changed for the Dalits. A force that brought everyone together
suddenly left a vacuum and this resulted in the formation of
many splintered groups. Meanwhile, the atrocities against the
Dalits continued to happen as well.
There appeared a different stratum in the society as the
Dalits acquired education. They were educated yet couldn‟t do
much with it since the physical atmosphere stayed the same for
them. Poverty was a major issue that was not resolved even in
the post-independent India. The transformation in the Marathi
literature was something necessary. This happened with the
emergence of better Dalit literature. Marathi literature was tied
with the themes of soul and supreme soul. Marathi literature
had the tradition of Sant literature, which was primarily
concerned with the attainment of moksha , salvation. But this
literature had nothing to do with Dalits since they never
struggled to fight casteism.
Another rift the Dalit writers in Marathi had was with
the tradition , or the established tradition precisely. They reject
the Hindu tradition and claim the tradition of Buddha , Kabir ,
Phule , and Ambedkar. Talking about Modern Marathi
literature , there is this literary time period from Keshavsut to
Mardhekar, which falls in the pre-independence period.
Though there are portrayals of Dalit characters in the works of
middle class writers , they are often smeared with sympathy.
Never could they see a Dalit character with self-pride. What
the post war writers did to the world literature was favourable
to the post-independence Dalit writers as well. The non-Dalit
writers who wrote in mainstream magazines were different
from the Dalit writers. Their style , aesthetics , and even
content were sometimes heavily inspired from the western

Modernist canon. As a reaction to the rejection from the

mainstream literary magazines , the new Dalit writers started
their own little magazines. The writers like Raja Dhale and
Namdeo Dhasal used to write prominently in these little
magazines.
Limbale talks about the segregation practiced in the
villages. There are separate settlements , cremation grounds
and wells for Dalits. The nomadic and criminal tribes , so
called by the upper castes in the villages, do not have even
these privileges since they are supposed to fend for themselves
by begging or stealing. It may be argued that the reality of all
these groups, the nomads and other tribes is the same if the
case of untouchability is put aside, but Limbale argues it is
morally wrong to put aside the presence of casteism and
untouchability while talking about Dalits here. Hence, it can be
said undoubtedly that Dalit literature is born out of the pains of
untouchability. One difference the rural writers did have with
the Dalit writers was regarding caste system. The Dalit writers
kept on talking about the unequal caste system because it was
their lived experience whereas the rural writers didn‟t have to
bother with such a harsh reality.
Limbale starts defining some terms associated with
Dalit literature , starting with the very word Dalit. According
to Limbale , the term Dalit is a very vast term that consists of
everyone who is an untouchable. Similarly , Dalit literature
speaks of grief in its raw nature. In other words , Dalit
literature portrays attempts to find one‟s honour in life. The
suffering of the Dalit is often portrayed in the mythology to be
a way to salvation. Limbale says that the Dalit anguish is a
collective one. The individual experiences do not vary much
from each other. Dalit literature uses rejection to fight an
inhuman system that made the Dalits slaves of the same
system. One can say that, from this rejection arises the revolt
to assert that a Dalit deserves all the respect and rights an

ordinary human being has. Along with this, the Dalit

experience is what constitutes often the content of what the
Dalits write. This experience is important because it is not a
perceived experience as such, rather it is lived experience.
Together with this , the idea of Dalit consciousness is also
defined in the way that, such a consciousness is educative in
nature since it makes the Dalits aware of what they went
through in their lives.
It is remarkable that a Dalit writes out of social
responsibility. It is often to teach , enlighten , or even wake up
the less privileged Dalits who do not know how to manifest
their lives in writing. A significant thing here is of the
language used by the Dalits for articulating their thought. We
see the style to be so different when compared with the
mainstream writings. More than grammar or the so-called
stylistics, they depend upon emotions and the truthfulness of
what they say. There is this rejection of standard language
since the standard language comes with a class. In other words,
the Dalits have to do with segregation in every sense. Along
with using different language and style, it was necessary to
reject the epics as well since the portrayals of Dalits in the
epics were rather not accurate.
Once Limbale finishes defining the key ideas of Dalit
literature , he goes on to talk about the charges against Dalit
literature. The prime accusation that emerged against Dalit
literature is that it is propogandist. It is often argued by the
mainstream literary world that the Dalit literature doesn‟t have
finesse and it is too raw. Another accusation Dalit literature
faces is of its being univocal. This happens since the
experiences in different Dalit narratives seem similar, because
the atrocities faced by different Dalit communities do not
differ much among themselves. The univocality is often more
present in poetry rather than in prose. Since the Dalit
experiences are often collective and a single experience both

reflects and represents the community, the presence of

individuals doesn‟t really matter in the narratives. Those who
say that Dalit literature is resentful have never seen Dalit life in
close circles. This will be clearer when closely watched , since
this resentment happens because of rage, anguish , and
rebellion. The independent entity of Dalit literature happens
because it is distinct in itself. So how has Dalit literature
contributed to Indian literature? The answer lies in the fact
that, the very experiences it shared were fresh. As a result of
Dalit narratives, many people started telling their life stories.
Limbale concludes the third chapter saying that as long
as such an unequal system exists in the society, the raw Dalit
literary and non-literary narratives will continue.
The fourth chapter deals with the connections Dalit
literature has established with Ambedkarism. Ambedkar‟s
conversion to Buddhism was a significant movement in the
Dalit history. This had a far-reaching consequence as many
Dalits left their allegiance with Hinduism and converted to
Buddhism. The reason why a good number of Dalits converted
to Buddhism was that, there were no caste hierarchies in
Buddhism. They slowly started assimilating the Buddhist ways
to their lives, like naming the kids , following the Panchasheel
( the five essential precepts of Buddhism including abstinence
from falsehood,. Theft, killing, sexual misconduct, intoxication
) etc.
It was in 1949 that the Dalit writers had established an
organization for them called Dalit Sevak Sahitya Sangh. By
March 1960 , the name of the organization got changed into
Maharashtra Boudha Sahitya Parishad , which has connection
with Buddhism in name itself. Terming the literature produced
in this convergence as Buddhist literature wasn‟t a logical
thing at all, since it was purely Dalit literature in essence.

The Neo-Buddhist writers suggested that Dalit writers

should study the Buddhist texts in all the languages it was
produced. According to Limbale ,the truth is that , expecting
Buddhist literature from Dalit writers is undesirable.
There have been accusations from the ones who
support Buddhist literature against Dalit literature , since
expressing the woes earlier didn‟t benefit the community at all.
They argue that what benefit the repetition of the same
activities will bring. Another accusation appeared was that
Dalit writing was devoid of emotions. Limbale says that the
primary purpose of Dalit writing is to make the savarna aware
of their misdeeds not to move them to emotions. Hence, while
one is exposing the injustices done to the community, there is
nothing to be ashamed of. Tying the Dalit identity with
Buddhism was a different thing altogether. The very
philosophy of Buddhism suggested that misery came out of
human desire, but when it comes to the Dalit misery, it doesn‟t
arise from desire. No matter what, a Dalit confronts misery
everywhere. Though Buddhism has nothing to do with caste
system in its philosophy, the Dalits face the same mistreatment
even after converting to Buddhism.
The fight was against the main characteristics of the
caste system , such as , heredity , marriage restrictions,
professions ,dietary rules , and hierarchy. What Ambedkar told
his followers was revolutionary. He advised them to build self-
respect and consequently live a life with self-pride. This was a
fresh idea for Dalits since they have always been cowered by
the system. Ambedkar believed in the ideals of liberty ,
equality , and fraternity. He used to say that his philosophical
roots were not political but religious. His ideology regarding
literature was value based. More than societal and human
progress, literature should also foster values, Ambedkar said.
He said that he had to burn Manusmriti not because it was a
substandard text in every sense. He burned it because that text

was used to crush his life along with many other Dalits‟ lives.
In other words, Ambedkar couldn‟t accept a text that supported
inequality. Similarly, Ambedkar couldn‟t accept Sant literature
since it wasn‟t beneficial to overthrow the caste system.
According to Ambedkar, aestheticism didn‟t matter as
long as you expose the issues to the mainstream society.
Limbale extensively talks about many significant lectures
made on Dalit literature. Most of them influenced the masses
who attended them/ listened to them. Often, it is seen that the
reviews of Dalit literature on magazines and newspapers are
neglected or half-baked without much essence in it. It is easily
understandable that the sincerity is lacking there. This happens
since the middle-class critic has no idea of the Dalit life at all.
Limbale says that Dalit writers should write for Dalit readers
and not for the acceptance of savarnas. Altogether, the narrator
talks about the way in which the entire Dalit literature has been
critiqued and analyzed so far. Limbale calls for a rethinking
when it comes to Dalit literature.
Answer the following.
1. Why should there be a separate genre called Dalit
literature ?
2. How did Ambedkar shape the format of Dalit
literature?
NATIONALISM, MODERNITY, KERALANESS: A

SUBALTERN CRITIQUE
Dr.Pradeepan Pambirikunnu was a prominent critic in

Malayalam who focused on Dalit aesthetics , culture , and
much more. He was an accomplished social critic whose
attention wasn‟t limited to literary articles alone. Pradeepan

was a well-known orator and a teacher. He focused his

attention to often neglected realities of the sensibilities of
Kerala , like the elitism in film music. Apart from writing
many articles , Dr. Pradeepan penned a novel titled “ Eri” as
well. His prime concern in writing was the epistemology and
its relationship with society.
Nationalism, Modernity , Keralaness : A Subaltern
Critique subtly narrates how the so-called progressiveness of
the Kerala society has connived at harsh realities
interconnected with caste and its applications. Pradeepan
quotes the historian A.L. Basham to get to his focus area.
Basham says that the salvation in the Indian context was too
individualistic. From this cue, Pradeepan says that, it is not just
democracy but caste also gets established thus. The writer says
that, there used to be a hierarchy that worked strictly on the
basis of caste. Kerala faced some crisis in relation to
production as the so-called lower caste folks acquired better
education and jobs.
Pradeepan aims at an often-neglected state of
appropriation. Often, someone from the higher caste would be
lauded as a reformist or renaissance hero, whereas if it was
someone from a Dalit Community, the same attention would
never be received at all. The author takes the instances of Raja
Ram Mohan Roy and Jyotirao Phule and how they are
perceived in the social renaissance in India. The scenario in
Kerala is not different at all; Mahatma Ayyankali is still called
a “Dalit” leader , not a renaissance leader as such. This
difference is what Pradeepan calls out.
Along with these notions, Kerala‟s general conscience
also nurtured a strange thought that, in order to thwart the caste
system , caste doesn‟t have to be abolished but one has to be a
global citizen altogether. The author finds this Eurocentric
notion to be not effective at all. The history of Kerala never

lauded the leaders like Poykayil Appachan, Krishnadi Aashan ,

or even Ayyankali because it was easy to replace them with the
Savarna/ Elite leaders. In other words, the elite names were
more accepted than the Dalit leaders.
Another sea change that took place was the emergence
of a common caste. Many sub castes were integrated into a
common caste called Nair. Instead of sub castes, community
emerged which became stronger gradually. This community
started to spread through many institutions. Gradually, caste
became something of a standard or basis in Kerala as even
electoral politics used caste for selecting candidates. Putting a
caste surname became fashionable among the Keralites. This
even extends to food items being sold in the name of upper
caste names, whereas the so-called lower caste names never
have even this privilege. The very cultural sphere of Kerala has
produced even adages reeking with casteism. For example,
jaathyalullath thoothal maarilla suggests one is born with
qualities associated with caste and they can never be changed.
Most often, the target of such remarks were the downtrodden,
subaltern people in the society.
One of the prominent novelists of Malayalam, M.T.
Vasudevan Nair, gets criticized by Dr. Pradeepan for his
portrayals of elite class characters alone. The term called
Tharavadu has a savarna /elite connotation since the
downtrodden / Dalit classes never had such a term to denote
even their houses. In other words, the very equivalent term for
the word House in Malayalam became veedu. The
appropriation never came from terms like Pura , Chala , or
Cheri.
Some of the staunch advocates of Modernism in
Malayalam never had to do anything with caste in Kerala since
they were in a way a diasporic. The writers like Anand , O.V.
Vijayan , and M. Mukundan stayed outside Kerala though they

prolifically wrote in Malayalam. Hence, the very characters

they created didn‟t have the baggage of caste with them. Many
of the protagonists the Modernist fiction in Malayalam
contained were rather “global citizens” who could just feel that
caste didn‟t even exist.
Even when the Dalit characters with bone and marrow
existed in the works of P.Valsala , M. Sukumaran , or C.V.
Sreeraman , they rather felt like part of some generosity ,
rather than reality.
Slowly, language , style , and the very aesthetics of
writing changed as Dalit writers started writing. The style shed
its elitism. Pradeepan concludes by saying these are the new
movements one should look forward to, since they will decide
how the new wave in Malayalam literature will be.
1. Why do you think people like Ayyankali and Krishnadi
Asan didn‟t get the recognition they deserved ?
2. Elaborate upon how caste system prevails even in a
state like Kerala that takes pride in being the first when
it comes to literacy.
DALIT WOMEN TALK DIFFERENTLY
Gopal Guru is an Indian Political scientist. After

retiring from the political science Department, Jawaharlal
Nehru University, Guru is busy running Economic and
Political Weekly. The focus of Guru‟s writing most often
revolves around the Dalit discourses, women, and obviously
wide nature of politics. He has edited works like Humiliation :
Claims and Context, The Cracked Mirror. Guru might be
termed as someone who redefined Dalit discourses in India.
Such scholarly gestures to unearth the Dalit perspectives in the

discourses proved that there were many works to be done.

Often, they were neglected as elitism penetrated even
academia for ages in India.
Dalit Women Talk Differently by Gopal Guru depicts
an oft-neglected aspect of how patriarchy works. Guru starts
talking about how women are treated globally and how the
issues of women need global attention, irrespective of region,
caste, class and many differences they incorporate. The most
important idea Guru raises here is regarding National
Federation of Dalit Women (NFDW). There are apparently
two different bases as to why should the Dalit Women talk
differently: the external factors like , non-Dalit factors
homogenizing the issues of Dalit women and the Internal
Factors where the patriarchy works predominantly in the Dalit
communities itself. Quoting Rajni Kothari , Guru says that a
„discourse of descent‟ appeared as a series of movements like
trade unions making their way as the faith in the modern
nation-state declined gradually.
The focus on external factors also doesn‟t penetrate to
the harsh reality the Dalit issues represent. Taking an example
of a heinous crime like rape, Guru says that when a Dalit
woman gets raped, it cannot be treated as something like an
ordinary incident. Here , the case of caste needs to be taken
into account. Atrocity towards a downtrodden woman should
be treated severely.
Earlier , the Dalit women had acknowledged the radical
feminism in the form of urban , non-dalit activists. In other
words, the radical feminism was accepted. A pressing factor
that needs to be considered here is that , while the purpose of
the non-Dalit activists speaking for the Dalits is commendable,
it also takes away the agency of the Dalits to speak up for
themselves.

The moral economy was another bone of contention

there. The moral economy of the organization called Shetkari
Sanghatana wasn‟t helpful in addressing the poverty of the
people there. Instead, it rather naturalized the poverty of the
Dalits.
Another issue that needs to be addressed is the way in
which caste is practised among women themselves. There used
to be skirmishes between upper-class , upper caste women and
Dalit women. Often, the dalit women quote Phule and
Ambedkar so that the non Dalit women do not own the dalit
identity. But what it does is that it takes away the agency from
them. In other words, the voice that needs to be heard gets
silenced whereas the elite voices always get more attention.
The last point Guru puts forward is that of Dalit
Patriarchy. The patriarchal dominance has often been
neglected by the same activists who advocated the progress of
the Dalits. So, in a way, there is a political marginalization
happening even though both the genders try to smash the same
casteist notions. In this battle, there is an internal battle
between two genders. The male, as has always been, tries to
dominate the cause. This domination takes place not just in the
political scenario but happens even in the literary field. The
writing of the Dalit women has been neglected because of this
reason. On a close scrutiny, it is revealed that along with caste
and class identity, gender positioning also matters. Another
important idea is that, the Dalit men reproduce the same
mechanism their elite counterparts use to subjugate their
women.
The need to talk differently becomes a valid argument
for Dalit women, which in turn foregrounds the identity of
Dalit Women as well. There are also other issues like the
distribution of resources like better education differently
allotted to different strata of Dalits in the society. Altogether,

the Dalit women from Maharashtra are moving beyond the

caste and religion barriers set up by the Hindutva forces.
1. How does patriarchy in their own community subjugate
the Dalit women ?
2. Why does the author say that Dalit Women need to
speak differently?

SECTION B : POETRY
SONG : POYKAYIL APPACHAN
Poykayil Yohannan (1879-1939) , known as Poykayil

Appachan alias Kumara Guru Devan was a renowned Dalit
activist and poet from Pathanamthitta. Appachan also founded
a socio-religious movement called Prathyaksha Raksha Daiva
Sabha. Though he joined the Marthoma church , he understood
that he was still mistreated for being a Dalit. No matter
whichever church he joined, he was always mistreated. It was
at this juncture that he decided to found his own religious sect.
Song is one of the powerful manifestations of Dalit
experiences in Malayalam. It was during this time that the
Renaissance in Kerala was taking place led by reformers like
Sri Narayana Guru. There was the elected legislative
parliament called Sri Moolam Praja Sabha. After Ayyankali ,
Poykayil Yohannan was elected to this assembly. Yohannan
was a reformer too. He encouraged his people to throw away
superstitions.
The song is in the form of a lament. This works in the
form of a reminder to his people as well as the elites. His
people have struggled in the soil to make the land fertile but at
the end of the day, nobody remembers them. In other words,
all the songs are about others. No song is ever heard about his
community anywhere. They, the one who toiled in the hard
soil, became nothing less than a bystander to eulogies given to
upper castes. Appachan says that there are narratives running
parallelly. There are histories written about other people. Yet,
none can be heard about his community anywhere. Appachan
suggests that Dalit literature never finds space in the
mainstream literature. It is neglected just like Dalits are
neglected in the society.

Appachan reminds us of one thing: the need to rewrite

the history. History has been unkind to Dalits and such
subaltern communities always. It becomes a lament when we
see that an entire community is erased from the memory of the
society. The history becomes the history of the elites, the
savarnas. The oft repeated lines from the song summarises the
essence of what Appachan has to say. He says that ,
“Kanunneeloraksharavum ente vamshathe patty
Kanunnundanekam vamshathin charithrangal”
( I can’t see even a single letter about my clan but I see
histories written about many other clans)..
1. Why do you think history hasn‟t recorded the deeds of
the subaltern at all ?
DREAM TELLER : PRATIBHA JAYACHANDRAN
Pratibha Jayachandran is a Tamil Dalit poet and short

story writer. Like all the Dalits, he was also a victim to the
atrocities until education saved him gradually. Pratibha moved
to Pondicherry from his native place and got himself indulged
in literary activities. His first anthology of poems appeared in
1985.
Dream Teller was originally written as Kanavukal
Solbavan in Tamil. Like the title suggests, this poem talks
about the ambitions and dreams of Dalits and how and why
they were detained from pursuing these dreams. The speaker in
the poem tells us about the urge of a Dalit, especially the
creative urge. The casteism practiced in the society is seen in
the lines of the poem in the form of grief and frustration.
Though the Dalit wants to write and be heard by the others, it

never comes out as there is always this fear of being a low

born. In other words, the life of a Dalit is a life of denials.
Wherever he or she goes, they are denied things, services,
access to knowledge, and so on. Even the very act of thinking
or the agency to think is hijacked by the others.
Pratibha talks about the dreams of Dalits because, like
all the other human beings , Dalits are also entitled to see
dreams. They are creative. They love to write, but coming out
in the open as a Dalit from the Dalit community is tougher
since the rest of the world has always been cruel to them.
The poet concludes the poem on a positive note,
thinking that someday, he and his clan will receive space for
manifesting their life. As someone who “tells” his dreams, it is
inspiring since many others will be influenced to dream more
about their passions and ambitions.
1. Why are the Dalits restrained from even dreaming
about their future?
IDENTITY CARD: S. JOSEPH
S. Joseph (1965-) is an Indian poet who writes in

Malayalam. Some of his poems talk about the harsh realities of
Dalit life in Kerala. Joseph is an awardee of Kerala Sahitya
Akademi.
His poem Identity Card is a representation of Dalit
identity in a so-called progressive society. The poem talks
about two students, presumably lovers. They used to partake
the food together. They were from different religions but it
didn‟t matter too. The narrator was immersed in poems of
Neruda. This might mean how romantic he was.

As the poem unravels the way it deals with identity

card and the way it was lost and found, the reader gets into the
inner play of caste. The details of the stipend received were
marked in red ink on the identity card. The girl finds it. She
remarks the same. From this juncture, the poet brings us to the
present, saying that he doesn‟t look at a place where a boy and
girl forget themselves loving. He says that they might leave
after sometime. This becomes a strong social poem with the
last line. The speaker says that even if both of them live
together, there will not be a record of stipend received on their
identity cards.
Society hasn‟t changed much. It still retains the so-
called traditions based on religion and caste. The people fall in
love nowadays observing everything about the caste, creed,
and colour. The poet in S. Joseph deals with this in a
nonchalant manner. It is like a statement coming from
someone who has seen repeated scenes like this every day. The
red ink may be read as a red flag. One should stop there. A
single red mark on an identity card defines one‟s identity
altogether. The poem talks about how much segregated we all
are. In other words, how caste works as an indelible red mark
on the pages of the identity cards of life. The religion as well
as the caste play a bigger part here. The girl was almost fine
with the boy‟s Christian identity but she wasn‟t able to feel the
same way in relation to his Dalit identity.
1. The poet says that he doesn‟t look at lovers anymore.
What makes him say so?
2. Write about the metaphor of red mark on the identity
card.

WHICH LANGUAGE SHOULD I SPEAK ;

ARUN KAMBLE
Arun Krushnaji Kamble (1953-2009) was an Indian

Marathi language writer, professor, politician, and Dalit
activist. He was the president and founding member of the
movement called Dalit Panther.
Which Language Should I Speak is a poem of contrasts.
Consisting of mere two stanzas, Arun Kamble portrays the
refinement and raw usages of the same language. In other
words , privilege defines the so called gentleness. Looking at
the very first stanza , we see a character of grandfather
swearing at grandkid. He calls him son of whore outright.
This doesn‟t mean that he is hated there. The grandpa tells him
to use the language as used by him and other people of the
community. At a glance this might mean to advise using the
swear words. Well, never. This is suggestive of the fact that
one should use the language defining one‟s community. In
other words, language acts as a root of one‟s identity.
Forgetting the language here means forgetting ones‟ home,
one‟s roots.
The next stanza is stark contrast to what we have seen.
The same grandkid is in the attire of a student now. He is being
advised by a Brahmin teacher to use the language correctly.
What would be this correct language? That is a language
devoid of rough sides, totally polished. In other words, a
language that has no soul.
While concluding the poem, the narrator in the first
person leaves a question to the reader. Which language should
he speak? What kind of a language will complete him? It
doesn‟t have a finite answer. Yet, one may say that the narrator

might eventually move towards his parent language, his roots,

and his home.
1. Write on the use of contrast in the poem.
SHAMBUKA : G.SASI MADHURAVELLI
Sasi Madhuravelli (1959-2004) was born in

Madhuravely ,near Kottayam. Sasi started writing poems in the
1980s. Unlike the earlier Dalit expressions in poetry, Sasi‟s
poems differ in their articulation, which is more forceful.
Often, the expression goes beyond personal experience and
considers the community at large.
Shambuka is a poem in which Sasi attempts a
reworking of the Ramayana. Mythologically, Shambuka was
the Sudra who was killed by Rama. The poem travels through
present and past with enough ease. The poet remembers
Shambuka , whom he treats as a martyr. The poet says that
Vedanta was not the cup of tea of the one who went to do the
tapas. In such a situation, Shambuka didn‟t have a role to play
that was worthwhile. Shambuka , in the words of the poet , was
just a steed. Was that steed spared of torture? No. It was
harnessed and whipped.
This may be treated as a symbol of what has been
happening for ages. The Dalits have been tortured for ages.
The plight of Sita isn‟t any different. She was even treated like
chewed betel and at last spitted. The Ebony children refer to
the Dalit kids who are tortured by hunger.
The shift of mood in the poem happens towards the last
stanzas. The narrator asserts that salvation doesn‟t come from
tapas. And he writes off the gods totally. Salvation doesn‟t

come from gods according to the narrator. The hope in the

poem appears in the last stanza. From Shambuka , poet draws a
long line to Valmiki, the first poet. He hopes that someday,
Valmiki will be reborn as kaattalan, in his pristine form. That
will be the day of salvation for everyone. The poem ends on
the word Shanti, just like T.S. Eliot concluded The Waste
Land. In other words, the poet says that the total salvation will
happen only when Valmiki is reborn someday, not as the one
who wrote Ramayana but as someone who was born as a Dalit.
1. How does the poet connect Shambuka with Valmiki,
the sage poet?
UNDER DADAR BRIDGE: PRAKASH JADHAV
Jadhav is a downtrodden Dalit poet who rose from very

substandard premises in his life. He had even worked as a
porter for livelihood. Often , the poems of Jadhav talk about
identity crisis as expressed by many other Dalit poets in India.
Jadhav and his poetry became famous when the film maker
Amar Kanwar used the poem Under Dadar Bridge for a film
titled A Night of Prophecy. His poems were criticized for
using profane language in them.
Under Dadar Bridge is a poem that reminds the reader
of screams. There is nothing soft in it. A good part of the poem
is written in the format of exchange between a mother and son.
The mother is seen as a beggar while conceding to men
because she can‟t resist them. There are instances in the poem
where the reader is introduced to the raw usage of words:
words without any sophistication of the modern society.
This exchange questions the masks in the society as
well. The boy wants to know who his father was. The mother

doesn‟t have an answer. Helplessly she says that she doesn‟t

know since it was not merely a single man who used her
physically. There were many and one among them might be
his dad. The atrocities against the Dalits are seen here, since
had it been the case of someone from a higher caste, the things
would have been different.
One day, the mother dies. That was when the son
realized that he was left alone in the world. This is more than a
lament or an elegy. Though emotionally the poem accepts the
form of an elegy, the imagery and the diction make it more
than a mere elegy. To a question like what his religion, may
tell him that he was neither Hindu nor Muslim. She adds that
he was an abandoned spark of lusty fires.
While concluding, the boy in the poem is still under the
Dadar Bridge. Now the roles have changed and he is the one
who begs now. He remembers that it was because of her, the
passersby throw coins at him. Altogether, the poem becomes
one long narration of scream and frustration, and grief coupled
with anger. The narrator becomes someone who couldn‟t undo
the injustices hurled at him.

SECTION C: SELF NARRATIVES & FICTION
MADNESS : C. AYYAPPAN.
C. Ayyappan (1949-2011) was a powerful proponent of

the Dalit writing in Malayalam. He tried manifesting the Dalit
life through a strong and intense style and consequently
reworked the Malayalam aesthetics in relation to Dalit
literature. He was born in Keezhillam, Ernakulam. Having
worked as a Malayalam professor in various colleges, he
retired as a principal. His two significant anthologies are
Uchayurakkathile Swapnangal and Njanundukal.
The story Madness, titled as Bhranthu in Malayalam, in
which it was originally written talks about the stigma
surrounding the Dalit communities even in progressive
societies like Kerala‟s. The story takes the form of a
monologue. Dealing with madness as a metaphor, C.
Ayyappan narrates the story of Krishnan master, who belongs
to the downtrodden/ subaltern community. Recounting a visit
from a group of people who wanted to treat his sister who was
mentally challenged, Krishnan master narrates how the society
might perceive a supposedly rash act he had done. The good-
natured people who came to ask his help to bring his sister to
the hospital were shocked when Krishnan master didn‟t
cooperate with them at all. He told them that he was not going
to go with them.
Gradually, the narrator gives his reasons. One of them
was that, he had married someone outside his community, a
supposedly upper caste one. The impact was that, he was
forced to forget his roots. His wife didn‟t like his family. She
wasn‟t able to identify with them at all. Even severe was the
case with his daughter since she couldn‟t even stand meeting
his mother, who was clad in a shabby saree. So, even if he

went to the mental hospital with his sister, it wouldn‟t have

been easy to connive the fact that his neighbours would make
fun of him for doing so.
Concluding the story, the narrator says that his former
classmate had asked him if he himself was mad or not.
Recounting the incident, he replies that he wasn‟t mad because
he foresaw everything before shutting them out. He knew what
would be the consequences if he did accept his sister and
illness. He would be socially alienated. His friends would
mock him.
The story ends saying that the narrator affirms he is not
stupid like his friend thought him to be. Well, while analyzing
this, one reaches the conclusion that it is tough to be a Dalit in
a society no matter how educated he or his friends are. The
subaltern will not be accepted at all. He or she will have
succumbed to the demands set up by the society, that always
obeys the elite class. Madness is a title that leaves an important
question as to who is mentally challenged at the end. The
answer isn‟t a pleasant one since it always comes back to the
same people who ask the question.
The narrator might seem to be a pompous guy at a
glance. But there is a moment in the story where he says that
he was drooping because of inferiority complex. That has kept
him chained forever. He asks what else he should have done as
no circumstance was favourable to him ever. The story
penetrates into the heart of the reader and reveals that we are
living in a fake world.
1. How does social stigma play a part in the story
Madness? How does the author use sarcasm here?

SARASWATI VIJAYAM: POTHERI KUNJAMBU
Potheri Kunjambu (1857-1919) was a novelist who

fought caste oppression through his creative works and social
intervention. He wrote the novel Saraswati Vijayam when
Kerala was undergoing radical changes amidst caste
oppressions. The novel was written in 1892. Kunjambu had set
up a school in Kannur for Pulaya community. He was
derogatorily called Pulaya Kunjambu by caste Hindus.
Often, we see that caste issues sprout from the rift from
a higher caste and lower caste. Kunjambu was attacked by his
own community when he stood for another lower caste. He
was ostracized by his own people as they couldn‟t digest that
someone from their community (Thiyya) was standing up for
the Pulaya community.
The novel begins with the attempts of killing someone
from Pulaya community. Obviously, the caste plays an
important part here. The novel moves back and forth from past
to present. The reader is brought to a court room where they
argue about the alleged murder of someone called Marathan
before 15 years. It was supposed that it was Ramankutty
Nambiar who carried out that heinous act but he denied it in
court. At the same time, Raman Kutty Nambiar doesn‟t deny
that he had manhandled Marathan. Four other persons named
Kuttyassan, Deen Muhammed, Abdurahman,
Ezhuthaneentakath Moosa give their statements as witnesses.
As the trial proceeds, it is revealed that the judge is none other
than Marathan, who was supposed to have been killed earlier.
In fact, Marathan was beaten by Raman Nambiar for
singing louder. They used to believe that the people from
Pulaya community should not sing. Kuberan Namboothiri with
Raman Nambiar conduct an interrogation to know more about
Marathan , who was singing earlier. They understand that

Marathan was attending school under the guidance of a white

man who stayed far. They give an ultimatum saying that they
should evacuate their huts soon.
As the novel concludes, we see that Marathan has
accepted another name called Yesudasan. He was educated and
became a judge through his struggles. Kuberan Namboothiri
wasn‟t able to identify him at all. At the end of the novel, we
meet the titular character named Saraswati, who is the
granddaughter of Kuberan Namboothiri. The judge decides to
send Kuberan Namboothiri scot free. Saraswati reveals that she
has married Yesudasan. The novel ends on a handshake
between Kuberan Namboothiri and Yesudasan.
Considering the time in which it was written, Saraswati
Vijayam was a revolutionary one. It should be remembered for
its content rather than the literary quality it possesses. The
novel was far ahead of its time when we consider the content.
It is no wonder that it requires rereading in the future to know
how difficult it was to write such a novel during those times.
Potheri Kunjambu should be appreciated and remembered for
his brave feat in every sense as we still live in a society where
inter-caste marriages still arouse suspicion and hatred.
1. What do you think about the conclusion of the novel?
Why was it revolutionary?
JOOTHAN: OMPRAKASH VALMIKI
Omprakash Valmiki (1950-2013) was an Indian writer

and poet. He was well known for his phenomenal
autobiography. He portrayed the life of a Dalit in its raw nature
without adding any spice to it.
The very word joothan refers to the leftover food on a

plate. Omprakash Valmiki was from the sweeper caste.

Because he was born in a lower caste, he had to face so much
discrimination ever since childhood. The segregation of Dalits
to a backward area in the village shows the cultural
untouchability that was blatantly practiced. Valmiki stayed in
front of a stinking cowshed of an upper caste man. There used
to stay the people from the lower castes like Chuhra , Chamar ,
and Jhinwar. It was a different kind of life altogether.
Untouchability was practiced between upper caste and lower
caste people.
Valmiki remembers his different teachers in this self-
narrative. There was Sewak Ram Munshi, who had no issue
with anyone he taught. He used to teach every kid irrespective
of their caste. He was fine with sitting with them on the floor.
It was in this school that Valmiki learned the alphabets. One
day, Valmiki‟s father got into a fight with his teacher and this
resulted in forcing Valmiki out from the school. He decided to
enroll Valmiki in another school nearby. This was a
government school and they thought everything would be
better since it was a government school. Things were so
different there as Valmiki was asked to sit on the floor instead
on a bench. He started tasting what untouchability was. It was
a unanimous attempt from the part of both teachers and
students in that school to drive away Valmiki. They even used
to make him sweep the floor, and sometimes the entire school
as well.
Valmiki had two other classmates from the same caste.
They were named Ram Singh and Sukkhan. Both were smart
and industrious kids. It was the hobby of the upper caste kids
to taunt all three whenever they could. Valmiki reached fourth
class to receive his punishments in the severe forms
imaginable. He had a headmaster called Kaliram. Valmiki was
asked to make a broom by climbing a teak tree in front of the
school. He wasn‟t satisfied with a broom. Valmiki was made

to sweep the entire school that day. Moreover, Valmiki was

reminded by the teacher that it was his family vocation to
sweep. The next day followed without any change. The third
day was going to be the same but Valmiki hid in a corner to
avoid sweeping the school that day. Eventually, the
headmaster found him and asked him to sweep the school
again. Valmiki wasn‟t ready to do so, but was afraid to deny
the headmaster. He was made to sweep the floor again. It was
at this juncture that the father of Valmiki passed through the
school and what he saw infuriated him. He stormed to the
room of the headmaster. Though he was threatened, he didn‟t
flinch.
Bringing him out, the father begged many schools to
enroll his son but none of them considered the plea. At last he
goes to the Pradhan of the school and with his permission,
Valmiki was given chance to pursue his studies. Valmiki was
taunted and beaten no matter how he was dressed. He could
never equate the term guru with anyone who taught him in
school. They used to call him names whenever possible.
Valmiki narrates an incident where an upper-caste
named Sukhdev Singh Tyagi who denied giving any food to
him and his brothers when there was a wedding at his house.
He said the joothan (leftover) itself was enough. Valmiki‟s
mom didn‟t like it at all and she stopped going there altogether
for household work. After many years, the same person came
to Valmik‟s house to have a meal.
Later, after his brother died, it was tough for Valmiki to
continue his studies. His Bhabhi, brother‟s wife had to pawn
her last piece of jewelry so that he could go on with his
studies. He gradually grows friendships with upper caste boys
in the class. Valmiki was even made the monitor of the class.
Life in the basti was tough. When it rained, they would
have to find another shelter since there houses would be

soaked in rain. When once a teacher narrated the story of

Dronacharya who had to feed water mixed with flour to his son
Ashwatthama, Valmiki asked why weren‟t the untouchables
mentioned in the epic who had to quench their thirst as well as
hunger with mar, the rice water. He was obviously chided. He
was made to sit in an awkward position and thrashed.
This is a narrative smeared with no colourful images.
Whatever Valmiki wrote was straight from his heart. He didn‟t
add anything to enrich what he experienced. It was raw
portrayal of life in its true colours. It is quite significant that
some of the best Dalit narratives are autobiographies, not
fiction. This is because fiction cannot portray lived experiences
better than nonfiction at all.
Joothan paved the way for many other autobiographies
to emerge in the history of Dalit literature. This was one of the
primary attempts to narrate Dalit personal experiences. Joothan
still inspires many people in India to narrate their life with
honesty and not with shame.
1. What is the significance of the title “ Joothan”?
2. Narrate the mistreatment Omprakash had to undergo
when he was a student?
OUTCASTE: A MEMOIR : NARENDRA JADHAV
Narendra Jadhav (1953-) is an Indian economist .

educationist, public policy expert, professor and writer in
English, Marathi , and Hindi. Narendra Jadhav is considered
an expert on B.R. Ambedkar.
Outcaste : A Memoir was published in Marathi in 1993.
This was originally titled as Amcha Baap An Amhi. Being born
to Damu in the Mahar community, Narendra had a long way to

go to reach where he is today. The memoir uses the period

spanning for around 80 years. We mainly follow three persons
while reading the narrative. The first one is Damu, his father,
the next is Sonubhai, his mother, and third , Narendra himself.
There are four parts in the narrative/autobiography. These are
titled as Up Against Bondage , Towards Freedom, The
Struggle , and Making of the Second Generation.
One of the important aspects in the work is the memory
about the forefathers. This is significant because in order to
know more about the history of the plight of these Dalits, one
should know how and why these forefathers struggled and
faced humiliations. The autobiography uses so many dialects
like Marathi, Hindi, Butler English, and English in various
parts. Damu was so much into Ambedkar and this made him
fall in love with progressive movements. Though he was
illiterate, he was positive about the need of abolishment of the
caste system. It can be clearly seen that Narendra was
inculcated with the sense of Ambedkar because of his father‟s
intense passion towards the same. Damu used to work as a
Yeskar, someone assigned with the village duties. This is when
he confronts social boycotts and the way in which human
beings are treated worse than animals. Damu did not want to
flinch about the scenes he was a witness to. He stood against
them and decided to fight. Damu was an advocate of self-
respect no matter what he did.
In 1926, Damu married Sonubhai and from Ozar they
move to Mumbai. Damu wanted to be a great father to his kids.
He held Ambedkarism close to his heart and saw salvation
through the words of Ambedkar. Narendra had to overcome
many struggles while he was growing up. Once he
outperformed all the other students in the class for a test in
Sanskrit and his class teacher said he had lost his faith in
education system. Earlier, he used to remark that Jadhav was
government‟s son-in-law since his fees were waived. Jadhav

understood that at times even untouchability was not practised

when the person was of a higher status with enough money.
Jadhav was of the opinion against Gandhiji. Gandhiji
advised people to go to the villages whereas Ambedkar told
them to go to the cities. For, cities slowly adapted the changes
in class, often not to the changes in caste.. He was always a
man who said that one should be lions and not goats. Goats are
the ones who get sacrificed not the lions. One shouldn‟t beg
for one‟s rights but struggle to earn them. Jadhav goes on to
marry an upper-caste woman. Once Phule and Ambedkar
entered the picture, the influence of Gandhi among the Dalits
slowly waned. Damu says that Gandhi was another face of
Hinduism, maybe a soft one. No matter what, the Hinduism
didn‟t allow the Dalits to enter the temples. They were
prohibited from many rituals. So, according to Jadhav, it was
idiotic to go after a religion that was not beneficial for the
upliftment of the Dalit communities. Damu decides to leave
the religion behind and he has a justification to this. He says
that he does this to be a better human being.
The last one in the genealogy, Apoorva, daughter of
Jadhav is outspoken about her decisions. She says somewhere
that she knows what her father and her grandparents went
through, but she is no longer going to be the same. The
autobiography is in a way a challenge to Hinduism as well.
This is an outstanding story of someone who stood against the
odds and fought the way forward as well. Outcaste may be
read as something of a declaration against the religious and
nonreligious atrocities one experiences. Jadhav and his parents
chose to be lions instead of goats.
1. Discuss the significance of Ambedkarism in the life of
Narendra Jadhav.

GYPSY GODDESS : MEENA KANDASAMY
Ilavenil Meena Kandasamy (1984-) is an Indian poet ,

novelist , translator and activist from Chennai. As a writer,
Meena is more focused on caste annihilation, feminism, and so
on. Meena‟s collections of poetry include Touch (2006) and
Ms. Militancy (2010).
The Gypsy Goddess narrates the story of Dalit
agricultural workers and the ways in which they were hacked
to death by the upper caste landlords. Set in the district of
Tanjore, the novel is a gripping story of grief, despair , and
anger. Gypsy Goddess is based on a massacre happened in
Kilvenmani on a Christmas day in 1968. Meena narrates the
evolution of Marxism/ Communism on a parallel note here.
One sees the use of language in the novel to be so vivid.
A popular communist leader is killed and the farm
workers decide to go on a strike. They are bullied into work by
the landlords. They set up fines, use police, yet none of them
works to persuade the farmers who are adamant. Many Dalit
women are assaulted there. At last, a group of goons attack a
raw of villages and set fire to them. Around 42 villages were
burnt down that night. The bodies found the next day were
disfigured. Even after such genocide, many of the perpetrators
were left scot-free.
Marxism, as we noted earlier, plays an important part
here. Some of the union leaders among the workers in the
paddy fields followed the ideology and this was something that
infuriated the landlords. They perceived it as if it was some
poison that entered the land. In fact, it was an ideology they
feared since, if people united, landlords wouldn‟t be able to
exploit them at all. The landlords in one of the meetings say
that it was a proud thing to have acquired so many cases
heaped upon them. They were really happy there have been

cases of murder, rape, and other physical abuses.

Just like seen in all the other cases filed against the
upper-caste folks, here too the cases are dropped gradually. All
the people mentioned in the charge sheet present fake alibis.
The novel suggests what could be done with money. Slowly, it
was treated as a crime without any culprits.
The genocide takes place on a Christmas night in 1968.
The peasants demand for a raise of six measures of paddy so
that they could sustain their lives. There is casteism
everywhere as presented in the novel. There are four parts in
the novel : Background , Breeding Ground, Battleground, and
Burial Ground with a Prologue and an Epilogue. We start with
the letter written by Gopalakrishna Naidu to the Chief Minister
of TN about a potential murder case going to be framed against
him. This was a time in which Marxism was gaining
momentum in the rural areas of Tamilnadu. In the novel, we
don‟t find a specific protagonist, rather it becomes a novel that
reaches out to an entire community. Her narrative is too direct.
Often , the points of view dangle from first person to third
person effortlessly. She criticizes the way in which history is
written often. In her own words , it goes thus :
“it is common knowledge that no land would ever be
found interesting until a white man arrived, befriended some
locals, tried the regional cuisine, asked a lot of impertinent
questions, took copious notes in his moleskin notebook.”
The men and women of Kilvenmani are treated in the
same manner throughout the novel: they are abused, whipped,
and women are often raped. Yet one idea stands out : the
women do not flinch.
Kandasamy mocks the traditional manner in which
chronicles are written. The predators are praised often without
any tinge of shame at all. Since Meena is primarily a poet, we

see that her expressions are precise, too direct without beating
around the bush.
This is not a novel to be read for the sake of
understanding the story in it. This is more about the ill
treatment an entire community faced during the highhanded
regime of the landlords. It isn‟t a mere novel that talks about
resistance but a novel of memory; the memory of charred
bones and dreams.
1. Critically comment on the unusual narrative style of
Meena Kandasamy?

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DALIT STUDIES

ENG4E16: DALIT STUDIES

"The author(s) shall be solely responsible

TOWARDS AN AESTHETIC OF DALIT LITERATURE

Sharankumar Limbale (1965-) is a Marathi language

School of Distance Education, University of Calicut 1

such neglection , on March 2 , 1958, the first Dalit conference

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Modernist canon. As a reaction to the rejection from the

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ordinary human being has. Along with this, the Dalit

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reflects and represents the community, the presence of

School of Distance Education, University of Calicut 5

The Neo-Buddhist writers suggested that Dalit writers

School of Distance Education, University of Calicut 6

NATIONALISM, MODERNITY, KERALANESS: A

Dr.Pradeepan Pambirikunnu was a prominent critic in

School of Distance Education, University of Calicut 7

was a well-known orator and a teacher. He focused his

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lauded the leaders like Poykayil Appachan, Krishnadi Aashan ,

School of Distance Education, University of Calicut 9

prolifically wrote in Malayalam. Hence, the very characters

DALIT WOMEN TALK DIFFERENTLY

Gopal Guru is an Indian Political scientist. After

School of Distance Education, University of Calicut 10

discourses proved that there were many works to be done.

School of Distance Education, University of Calicut 11

The moral economy was another bone of contention

School of Distance Education, University of Calicut 12

the Dalit women from Maharashtra are moving beyond the

School of Distance Education, University of Calicut 13

Poykayil Yohannan (1879-1939) , known as Poykayil

School of Distance Education, University of Calicut 14

Appachan reminds us of one thing: the need to rewrite

DREAM TELLER : PRATIBHA JAYACHANDRAN

Pratibha Jayachandran is a Tamil Dalit poet and short

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never comes out as there is always this fear of being a low

IDENTITY CARD: S. JOSEPH

S. Joseph (1965-) is an Indian poet who writes in

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As the poem unravels the way it deals with identity

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WHICH LANGUAGE SHOULD I SPEAK ;

Arun Krushnaji Kamble (1953-2009) was an Indian

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might eventually move towards his parent language, his roots,

SHAMBUKA : G.SASI MADHURAVELLI

Sasi Madhuravelli (1959-2004) was born in

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come from gods according to the narrator. The hope in the

UNDER DADAR BRIDGE: PRAKASH JADHAV

Jadhav is a downtrodden Dalit poet who rose from very

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doesn‟t have an answer. Helplessly she says that she doesn‟t

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SECTION C: SELF NARRATIVES & FICTION