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Semester 4

ENG-205: DALIT LITERATURE

(SY BA- A & B)

Study Notes
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Index

Sr. No Title Page

1 Authors & Works 3

2 The Dalits are Coming 4

3 Promotion 7
4 When I Hid My Caste 11
5 Kirwant 14
6 Sangati 19
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Name of the Text Author/ Poet

1.​ The Dalits are Coming Siddalingaiah

2.​ Man, You Should Explode Namdeo Dhasal

3.​ Promotion Arjun Dangle
4.​ When I Hid My Caste Baburao Bagul
5.​ Kirwant Premanand Gajvi
6.​ Sangati Bama Faustina Soosairaj
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The Dalits are Coming by Siddalingaiah

About the Poem
●​ A revolutionary poem that reflects the spirit of the Dalit movement in India.
●​ Written by Siddalingaiah, a prominent Kannada Dalit poet and activist.
●​ The poem uses strong imagery and powerful metaphors to depict the rising assertion of
Dalits against historical oppression.

Thematic Analysis of The Dalits Are Coming

Siddalingaiah’s poem is a bold declaration of Dalit empowerment, using fiery imagery to depict
their struggle, resistance, and hope for a new era.

1. Resistance and Revolution

The poem opens with a direct and commanding tone:

"The dalits are coming, step aside—​

hand over the reins, let them rule."

This statement establishes the theme of resistance, signaling a shift in power. The poet portrays
the Dalit movement as an unstoppable force, using powerful natural imagery:

"Minds burning with countless dreams,​

slogans like thunder and lightning,​
in the language of earthquakes."

Here, dreams are not just aspirations; they burn with intensity. The comparison of slogans to
"thunder and lightning" and "earthquakes" suggests the Dalit movement is shaking the foundations
of an unjust society. Their voices are loud, their demands unignorable. The repetition of words
associated with fire—"burning torches," "sparks of revolution," "exploding like balls of
fire"—further reinforces their fiery determination.

The line "Bullet for bullet, blood for blood" suggests that resistance may not be peaceful; it is a
struggle against deep-rooted oppression. The movement is portrayed as one that refuses to be
passive, prepared to fight injustice at all costs.

2. Breaking Free from Oppression

The poem does not just call for revolution; it explicitly rejects the structures that upheld caste
discrimination. The poet writes:

"Into the dump go gods and gurus,​

down the drain go the lawmakers."

This suggests that religion and politics have historically failed the Dalits, enforcing rather than
eradicating their oppression. By discarding these figures, the Dalits symbolically reject the
institutions that justified their subjugation.
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The historical reference to "Since Rama’s time and Krishna’s time​

unto the time of the Gandhis,​
they had bowed low with folded hands" highlights the long-standing oppression of Dalits
throughout Indian history. From ancient mythology to colonial and modern India, they have been
forced into submission. However, the poem marks a turning point:

"Now they have risen in struggle."

This marks a shift from passive suffering to active defiance. The Dalits are no longer pleading for
justice; they are seizing it.

3. The Procession as a Metaphor for Unity

A central image in the poem is the Dalit procession. The poet describes:

"On a path they struck for themselves

March the dalits in procession,

burning torches in their hands,

sparks of revolution in their eyes."

The procession represents collective resistance and solidarity. Unlike before, when they followed
paths set by others, Dalits are now creating their own way. The march is not one of submission
but of power, symbolized by "burning torches" and "sparks of revolution."

The repetition of the phrase "The dalits are coming" at the beginning and end of the poem
reinforces the image of an unstoppable march. The movement is growing, evolving:

"It grows, it breaks out of its shell

the endless dalit procession."

By calling it "endless," the poet suggests that the Dalit struggle will continue until true justice is
achieved. The poem also unites different oppressed groups under one banner:

"Under the flag of dalit India

stood the farmers and workers."

This expands the struggle beyond caste, bringing in class issues as well. Dalits, workers, and
farmers—those historically exploited—stand together against systemic oppression.

4. Hope and a New Beginning

While much of the poem is militant, its ending offers a vision of a better future:

"Flowers bloom in every forest,

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Thousands of birds take flight,

the eastern sky turned red,

morning broke for the poor."

This shift in imagery—from fire and violence to nature and light—suggests that revolution leads
to renewal. The "flowers" symbolize new opportunities, and "birds taking flight" represent
freedom. The "eastern sky turned red" signals the dawn of a new era. Finally, the phrase "morning
broke for the poor" is significant—it means that after centuries of darkness, a new day of justice
and equality has begun.

Tone of the Poem

1.​ Defiant and Assertive – From the opening lines, the poem commands attention:​
"The dalits are coming, step aside—​
hand over the reins, let them rule."​
This direct and commanding tone signals a challenge to oppressive structures. The
rejection of gods, gurus, and lawmakers further reinforces this defiant stance, showing a
refusal to accept traditional hierarchies.​

2.​ Revolutionary and Fiery – The poem is charged with the language of rebellion, using
imagery of "thunder and lightning," "earthquakes," and "burning torches." The phrase
"Bullet for bullet, blood for blood" intensifies this militant tone, emphasizing the struggle
against oppression.​

3.​ Hopeful and Triumphant – Despite its fiery rhetoric, the poem ends on a note of hope:​
"Flowers bloom in every forest,​
Thousands of birds take flight,​
the eastern sky turned red,​
morning broke for the poor."​
This shift in tone suggests that revolution leads to renewal and liberation. The rising sun
symbolizes a new dawn of justice, reinforcing the poem’s ultimate optimism.
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Promotion by Arjun Dangle

Summary

"Promotion" tells the story of Waghmare, a Dalit man who has recently been promoted to the
position of Assistant Purchase Officer in the Railways through the reservation system. Despite the
official recognition, Waghmare experiences internal conflict, isolation, and social tension both in
the workplace and at home. His colleagues show subtle hostility, especially Godbole, who refuses
to do tasks assigned by Waghmare due to caste prejudice.

Awale, another Dalit officer, encourages Waghmare to be assertive and reminds him that their
community has faced historical exclusion, making these recent promotions a form of justice, not
charity. However, Waghmare distances himself from the Dalit community and avoids association
with their movements to maintain his new "status." This internalized oppression becomes evident
when he avoids traveling in second-class compartments or interacting with old friends like
Gaekwad, fearing judgment from upper-caste society.

At home, this conflict deepens when his wife Kusum welcomes her aunt from a nearby slum.
Waghmare is embarrassed and scolds her, insisting on maintaining his “officer status.” The final
blow comes when his son, Pappu, is injured after being pushed by an upper-caste classmate’s
grandmother for drinking water from their pot—a stark reminder of caste barriers that still
define everyday life. The story ends with Waghmare’s illusions of status crashing, revealing the
painful truth that caste identity cannot be erased by a promotion.

Characters

●​ Waghmare – A Dalit man promoted to officer status, who struggles with internalized
casteism, insecurity, and a desire to be accepted by upper-caste society.​

●​ Godbole – A senior subordinate who openly disrespects Waghmare due to caste prejudice.​

●​ Awale – A fellow Dalit who urges Waghmare to stand up for his rights and embrace his
identity.​

●​ Kusum – Waghmare’s wife, who feels warmth and gratitude toward her aunt but is
pressured to behave “like an officer’s wife.”​

●​ Kusum’s Aunt – A woman from a slum who represents Waghmare and Kusum’s past and
social roots.​

●​ Waghmare’s Son (Pappu) – A young child who becomes a victim of caste discrimination,
reinforcing the persistence of untouchability.
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Themes in Arjun Dangle’s “Promotion”

1. The False Promise of Social Mobility Through Reservation

The story shows that getting a government job or a promotion through the reservation system
does not automatically bring respect or true equality. Waghmare is promoted to the post of
Assistant Purchase Officer, but he still feels uncomfortable and unwanted in higher social spaces.
On the train, he notices the word “Reserved” written above his seat and feels ashamed, thinking
others might figure out his caste. His subordinate, Godbole, openly disrespects him and does not
follow his instructions, showing that his higher position means nothing to those who still look
down on him as a Dalit. This proves that even with official promotions, the deep-rooted caste
system continues to control how people are treated.

2. Shame and Denial of One’s Own Identity​

Waghmare feels embarrassed by his background and tries to hide it. He wants to behave like an
“officer” and forget his past. When Kusum’s aunt, who comes from a slum, visits their house, he
becomes angry and scolds Kusum for letting her stay. He tells her to behave like an officer’s wife
and not mix with such people. He even avoids using his childhood nickname “Pandu” because it
reminds him of his roots. This shows how Waghmare has started looking down on his own
people. Instead of being proud of where he came from, he tries to act like the upper-caste people
who never truly accept him. This inner shame is a result of how society teaches Dalits to feel
inferior.

Waghmare has a deep discomfort with his Dalit identity in a caste-conscious workplace. After
being promoted through the reservation system, Waghmare should feel proud and empowered.
However, instead of embracing his roots, he becomes increasingly anxious about how others
perceive him. His behavior shows that he is torn between his past and present—between the
reality of being a Dalit and the appearance of being a respected officer.

At work, he is hesitant and insecure, especially around upper-caste colleagues like Godbole, who
openly disrespects him. Waghmare does not confront this discrimination with confidence;
instead, he avoids conflict, fearing that asserting himself might draw attention to his caste
background. His internal shame makes him believe that he needs to act more like an upper-caste
officer and less like someone connected to the Dalit community. This shame becomes the source of
his inner struggle—he wants the benefits of success without the label that helped him achieve it.

Dangle uses Waghmare’s hesitation, silence, and efforts to distance himself from his community to
show how internalized casteism can deeply affect self-worth. The internal conflict is not just
about facing others’ prejudice but also about fighting his own fear of being seen as “less than”
because of his caste. This emotional battle makes his promotion feel hollow, showing that true
dignity cannot come from denial, but only through self-acceptance and solidarity.

Waghmare hesitates to support the Backward Class Workers’ Association because he is deeply
ashamed of his Dalit identity and wants to separate himself from it. After receiving a promotion,
he starts to see himself as part of the elite class and fears that openly associating with Dalit
movements will remind others—and himself—of his roots. He believes that behaving like an
upper-caste officer and distancing himself from his background will help him gain more respect.
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This is why he avoids people like Awale who are actively involved in community matters and tries
to avoid going to meetings where his identity as a Dalit might become visible.

His actions reflect internalized oppression, where the oppressed person begins to believe in the
negative stereotypes society places on them. Waghmare’s refusal to support the association is not
just about disagreement—it is about fear. He fears being judged, mocked, or looked down upon by
upper-caste colleagues and society at large. By avoiding the association, he thinks he is protecting
his new status, even though it isolates him from his roots and his own people.

3. Personal Gain vs. Collective Responsibility​

The story also highlights the difference between focusing only on personal success and standing
with your community. Waghmare is only interested in enjoying his new post and doesn’t want to
attend any Dalit meetings or be seen with other people from his background. His colleague,
Awale, tells him that it is because of the struggles of people like Ambedkar and the Dalit
movement that they are now able to get such jobs. Awale tries to encourage Waghmare to be
proud of his identity and to help others too. But Waghmare refuses, wanting to act “respectable”
in front of the upper castes. The story criticizes this selfish attitude and suggests that true progress
is when you support your community and stay connected to it.

4. Caste Discrimination Does Not End with Education or Status​

Even though Waghmare has a good job, he cannot protect his family from caste discrimination.
His young son is badly hurt because he drank water from an upper-caste boy’s pot. This incident
shocks Waghmare and makes him realize that no matter how high you go in life, society still sees
you through the lens of caste. The same untouchability and hatred that Waghmare faced in his
childhood are now being experienced by his son. This shows how caste discrimination continues
across generations and how it affects even innocent children.

5. Emotional Pain of Leaving One’s Roots Behind​

One of the most touching and quietly powerful themes in Arjun Dangle’s Promotion is the
emotional pain that comes with rejecting one’s origins in the pursuit of social advancement. While
the protagonist, Waghmare, becomes deeply focused on his new status as an “officer,” his journey
upwards comes at the cost of his emotional connections and sense of belonging. This is most
clearly seen in his relationship with his wife Kusum and her aunt. Kusum’s aunt comes from a
nearby slum and is someone who played a key role in raising Kusum and supporting her in
difficult times. Her presence in their home brings warmth and a connection to their shared past.

However, Waghmare sees her not as family, but as a reminder of his lower-caste identity. He
scolds Kusum for inviting her aunt into their middle-class home, fearing that her presence might
ruin their image in front of neighbors or colleagues. He tells Kusum to behave “like an officer’s
wife,” indicating that he now values appearances more than relationships. This moment reveals a
deep emotional disconnection—not just from his family but from himself.

Kusum’s silent tears after her aunt leaves reflect the emotional toll of Waghmare’s behaviour. She
feels torn between her gratitude and love for the woman who helped raise her and her husband's
new obsession with image and class. Her grief symbolizes the pain that often comes with social
mobility—where one is expected to shed the past in order to “fit in” with a higher status. Unlike
Waghmare, Kusum does not want to erase her background.
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Waghmare’s desire to look respectable leads to a loss of empathy and gratitude. In trying so hard
to prove that he belongs in the upper ranks, he ends up hurting those who were part of his
growth. Arjun Dangle uses this emotional conflict to critique not only caste prejudice but also the
false idea that dignity comes from leaving behind one’s community. The story suggests instead
that true dignity comes from remembering, respecting, and staying connected to the people and
experiences that made you who you are.
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When I Hid My Caste by Baburao Bagul

Summary

“When I Hid My Caste” is a first-person narrative that captures the emotional, psychological, and
social consequences of caste-based discrimination.

The story is centered around the unnamed narrator, a Dalit man who is elated to get a job at
Udhna Railway Station in Surat. The narrator, an easily gullible man, inherits the idea that a job in
a city would promise a greater happiness in life, equating the idea of economic upliftment with
social happiness.

Initially treated with respect due to his mannerisms, education, and refined speech, the narrator
experiences a painful shift in how others perceive and treat him once they discover his Dalit
background. He soon realizes that the city is not free from its caste bias where people are ready to
“eat mud with a caste brother” but not even a “feast with someone of a lower caste.” The story
presents several incidents where the protagonist is denied housing, friendship, and dignity due to
his caste. He initially hides his Dalit identity and with his poetic skills wins the appraisal of an
upper-caste man Ramcharan who ends up hero-worshipping the former and invites him to his
house for dinner.

However, his caste is eventually revealed by the story’s end making him the victim of caste-based
violence by Ramcharan and his group. He is eventually rescued by a fellow Dalit, Kashinath
towards the end of the story. When asked if they should go to the police station, the narrator
refuses to prosecute his perpetrators and proclaims:

“When was I beaten by them? It was Manu who thrashed me.”

Themes:

1.​ Caste Discrimination: This is the central theme of the story. Bagul portrays it as a deeply
ingrained system of oppression that dictates an individual's social standing, opportunities,
and treatment. The protagonist's experience starkly illustrates this reality. Initially, he is
accepted and respected, but this changes abruptly when his caste is revealed. He faces
dehumanizing treatment, such as being assigned degrading work, and ultimately suffers
violent abuse. These instances highlight how caste discrimination pervades all aspects of
life, denying individuals their basic human dignity. The story emphasizes that caste is not
just prejudice but a structural violence that shapes every interaction and limits the
potential of individuals. The protagonist's initial optimism quickly dissolves into
disillusionment, demonstrating the insidious nature of caste discrimination. The text
shows that it leads to physical violence, social ostracization, and economic exploitation.
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2.​ The Psychological Weight of Hiding One’s Caste: The most dominant theme in the story
is the unbearable emotional burden the narrator carries by hiding his caste. While the act
of concealment seems to offer temporary relief—letting him be treated “normally”—it
creates an internal divide within him. This is not an easy silence, but a forced one, rooted
in fear. The narrator is constantly aware that any wrong word, gesture, or slip could
reveal his identity and change how others perceive him.

The narrator’s decision to hide his caste is a direct consequence of the oppressive caste
system. This act of concealment becomes a source of immense internal conflict. He is
forced to live a lie, constantly suppressing a fundamental part of his identity, leading to
feelings of inauthenticity and alienation. The fear of exposure creates chronic anxiety, and
his interactions are marked by a constant need for vigilance. He is acutely aware that any
slip-up could reveal his true identity and lead to severe repercussions.

His relationship with Ramcharan, built on a false premise, exemplifies the moral
dilemmas and discomfort that arise from this deception. The protagonist experiences a
growing sense of unease as Ramcharan showers him with respect, knowing that this
respect is based on a lie. Ultimately, hiding his caste erodes his self-esteem as he
internalizes the societal view that his true identity is shameful, leading to a diminished
sense of self-worth. The psychological toll of living with a hidden identity is a significant
aspect of this theme.

3.​ Social Justice and Resistance: The story explores contrasting responses to caste
oppression, highlighting the theme of social justice and resistance. While the protagonist
initially attempts to navigate the system by concealing his caste, the character of
Kashinath embodies a more confrontational approach. Kashinath openly defies casteist
attitudes and fights for his dignity, even in the face of hostility. He refuses to accept the
demeaning treatment meted out to him and challenges the authority of those who
perpetuate caste-based discrimination. The story suggests that there are multiple ways to
resist oppression, but also acknowledges the heavy price of resistance. Kashinath's
outspokenness and willingness to fight come at a personal cost, as he faces constant
antagonism and danger. The story doesn't take a stand on which method is more effective,
but presents both as a response to oppression.

4.​ Hypocrisy and Double Standards: The story exposes the hypocrisy and double standards
inherent in a caste-based society. Characters like Ramcharan demonstrate this vividly.
Ramcharan's respect for the protagonist is entirely contingent on his perceived
upper-caste status and love for poetry. He is willing to offer hospitality and friendship
based on this false assumption. However, when the truth is revealed, his respect
transforms into violent rage, illustrating how caste identity overrides individual merit and
humanity. This stark contrast in behavior reveals the shallowness and conditional nature
of social interactions in a caste-based society. The story critiques the way people uphold
caste even over basic human decency.
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5.​ Complicity and Silence: The story also explores how silence and complicity perpetuate
oppressive systems. The protagonist's initial decision to hide his caste makes him complicit
in maintaining the system, even though he is also a victim of it. His silence allows the
discrimination to continue unchallenged for a time, highlighting the complex ways in
which individuals can be both oppressed by and complicit in perpetuating oppressive
structures. The story suggests that silence is not a neutral act, but one that supports the
status quo.

6.​ The Burden of History: The story connects the contemporary experiences of caste
discrimination to a long history of oppression, symbolized by the figure of Manu. The
protagonist's statement at the end of the story, "It was Manu who thrashed me," highlights
how ancient laws and traditions continue to shape and legitimize caste discrimination in
the present. This underscores the enduring nature of caste oppression and the difficulty of
overcoming a system that is deeply ingrained in history and society, suggesting that the
past continues to haunt the present. The reference to Manu, the law-giver, shows how
caste discrimination is not just a social phenomenon, but one with historical and legal
backing.
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Kirwant by Premanand Gajvi

Summary

The play Kirwant centers on the deeply rooted caste-based discrimination faced by a family of
kirwants—people who traditionally perform death rituals in Hindu society.

Main Characters and Their Background:

●​ Siddeshwarshastri Joshi: The central figure, a kirwant in a village. He performs the last
rites of the dead, a job passed down through generations. He is meek, submissive, and has
come to accept his position in society without protest.​

●​ Revati: His wife, who is more aware and assertive. She wants a better life for their son,
away from this stigmatized profession.​

●​ Madhu: Their young son, who is being educated so he can escape this social trap.​

●​ Vasudeo: Siddeshwar’s younger brother, a member of a reformist group called “All Hindus
Are One.” He opposes caste-based discrimination and fights for equality and respect.​

Plot Overview:

Despite Siddeshwar’s important religious function, his family is ostracized by upper-caste

Brahmins. Revati and Vasudeo are fed up with this humiliation and hope to break away from this
degrading system.

The Spark – Humiliation at a Religious Ritual:

During a Satyanarayan Maha Pooja, Siddeshwar tries to participate like others. But
Digambarshastri, an upper-caste Brahmin, insults and kicks him out of the ritual, refusing him
blessings and prasad. This humiliating incident ignites a spark of rebellion in Vasudeo.

Vasudeo demands that Siddeshwar be allowed to perform the same pooja again with dignity.
However, the village’s upper-caste Brahmins strongly oppose this request, not wanting to
acknowledge Siddeshwar's equality.

The Turning Point – A Death in a Brahmin Family:

Soon after, Vedantshastri’s mother dies. His friend Dhabbushastri approaches Siddeshwar,
requesting him to conduct the last rites, showing how even those who hate the kirwants rely on
them in times of death.

But Vasudeo, still angry over the previous insult, refuses. Revati also joins in and insults
Vedantshastri, rejecting the request.

Humiliated and desperate to complete his mother's funeral, Vedantshastri decides to perform the
rituals himself, breaking religious custom.
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Moral Dilemma and Plot Against the Kirwants:

This decision by Vedantshastri shocks the upper-caste community. Digambarshastri and

Dhabbushastri oppose it and even plot to kill Vasudeo. However, Vedantshastri intervenes, saying
killing a fellow Brahmin—regardless of caste—is morally wrong.

Eventually, Digambarshastri comes up with another plan: They hire a kirwant from another
village to perform the last rites. They plot the social and spiritual destruction of Siddeshwar’s
family to punish them for defying the caste order.​

Conclusion:

Siddheshwarshastri, unable to bear the psychological pressure and humiliation, develops

hallucinations and dies of a sudden heart attack. The play ends on a bitter note, exposing the
hypocrisy, rigidity, and cruelty of caste society. Siddeshwar, though submissive, becomes a symbol
of oppressed dignity. Vasudeo, through his defiance, shows a path toward resistance and reform,
though the cost is high.

Themes:

1. Caste Discrimination and Social Exclusion

At the heart of Kirwant lies a powerful critique of caste-based discrimination, especially within
the Brahmin community itself. Siddheshwar Shastri, the central character, belongs to the highest
caste in the Hindu social hierarchy—the Brahmins—who are traditionally respected for their
religious knowledge and ritual authority. However, Siddheshwar is treated as impure and
untouchable by other Brahmins because of his profession: he performs the last rites for the dead,
a duty that is looked down upon even though it is religious in nature. This contradiction exposes
the hypocrisy within the caste system. The same society that upholds the need for funeral rituals
shuns the person who performs them.

An especially painful example of this exclusion occurs during the Satyanarayan Pooja organized
in the community. When Siddheshwar attempts to attend the event, Digambar Shastri—another
Brahmin priest—openly humiliates him and throws him out, saying that a “Kirwant” (a priest who
conducts funeral rites) has no right to be part of such a sacred occasion. What makes this act even
more unjust is that Siddheshwar’s work is deeply religious and necessary, yet it is treated as filthy
because it deals with death. This double standard reflects how caste discrimination is not only
about social hierarchy but also about deeply internalized prejudices tied to notions of purity and
pollution.

The exclusion Siddheshwar faces is not limited to one event. It is woven into his daily life. He
walks with lowered eyes, avoids confrontation, and accepts his place in the margins. His isolation
is both physical and emotional. People don’t eat with him, avoid touching him, and never invite
him to public or celebratory gatherings. This systematic exclusion is so normalized that even
Siddheshwar has come to accept it as fate. Gajvi uses this character to show how casteism
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operates not just through dramatic violence but also through everyday social practices that deny
people their dignity.

What’s especially powerful in Kirwant is that the discrimination is not coming from a lower caste
towards an upper caste, but from within the same caste—one Brahmin looking down on another.
This reveals that casteism is not a simple hierarchy but a complex system that keeps dividing
people even within their own communities. The play does not just highlight the cruelty of this
system—it also challenges the audience to question why such divisions are accepted and passed
off as tradition.

Through Siddheshwar's painful journey, Gajvi portrays caste not just as a label, but as a weapon
that isolates, humiliates, and crushes the human spirit, all while being justified by religion and
custom.

2. Internalized Oppression and Helplessness

Siddheshwar’s character also reflects the theme of internalized oppression. He has quietly
accepted the humiliations and restrictions society places on him. Even after being insulted at the
pooja, he does not express anger or question the injustice. He returns to his work, carrying on
with his duties as though nothing happened. This acceptance shows how years of discrimination
can lead a person to believe that they deserve such treatment. Siddheshwar’s silence is not due to
weakness but due to the conditioning he has experienced all his life. He has been made to believe
that he is meant to suffer, that his work is necessary but shameful, and that he has no right to
demand respect. This theme highlights how systemic injustice not only harms people externally,
but also damages their sense of self-worth from within.

3. Resistance, Rebellion, and the Fight for Dignity

While Siddheshwar represents silent acceptance of social injustice, his younger brother Vasudev
becomes the voice of resistance in the play. He refuses to accept the humiliations and
marginalization faced by their family simply because Siddheshwar performs funeral rites.
Vasudeo's character is important because he questions the idea that one must quietly accept their
social role, especially when that role is used to justify inequality. Through him, Premanand Gajvi
brings out the powerful theme of rebellion against caste-based oppression and the urgent need to
fight for dignity.

Vasudeo works with a group called “All Hindus Are One”, which preaches unity beyond caste
lines. His beliefs are not just theoretical—he acts on them. For instance, after Siddheshwar is
publicly insulted and kicked out from the Satyanarayan Pooja by Digambar Shastri, Vasudeo does
not let the matter go. He openly demands an explanation and insists that the same ritual should
be conducted again, this time with Siddheshwar as the main priest. His demand is not just for his
brother’s personal justice, but also a symbolic protest against the larger system of discrimination.

Vasudeo’s courage shows that oppression can be challenged when people speak up. He is not
afraid to confront the so-called “upper” Brahmins or question the religious and social customs
that are used to control others. Even when others in the village—including those in power—plot
against him, he refuses to back down. His confrontation with Dhabushastri and Digambarshastri
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becomes a turning point in the play, showing how those in power try to silence resistance not with
dialogue but through threats, exclusion, and even the idea of violence.

Vasudeo’s motivation is driven by a strong sense of justice. He cannot bear to see his family
insulted because of their traditional role in the village. However, his resistance affects both his
family and the wider community. Within the family, there is tension between him and
Siddheshwar. Siddheshwar fears upsetting the social order, but Vasudeo cannot tolerate injustice.
His actions—like confronting Digambar Shastri after Siddheshwar is humiliated at the
Satyanarayan Pooja—bring a sense of pride to the family but also lead to greater hostility from the
upper-caste Brahmins. This hostility becomes dangerous when the powerful priests plot against
him. His boldness creates fear and discomfort in a society that prefers silence from those
considered "lower." Yet, Vasudeo’s resistance also awakens courage in others. Revati,
Siddheshwar’s wife, begins to speak up. Even young Madhu represents the hope for a new future
through education. Vasudeo's actions plant the seed of change, but at the cost of safety and
acceptance. The play shows that resistance is necessary—but never easy.

Another powerful moment of resistance comes from Revati, Siddheshwar's wife. Initially quiet,
she too begins to speak up, especially when she sees her husband and son suffering. When
Dhabushastri requests Siddheshwar to perform the final rites of Vedantashastri’s mother, Revati
steps in and refuses, saying that the same people who insulted her husband cannot now ask for
his services. Her refusal is more than an act of anger—it is a clear stand for dignity and
self-respect. By doing this, she breaks the cycle of silent suffering.

Together, Vasudev and Revati represent the spirit of rebellion—not rebellion for the sake of
revenge, but for the sake of human dignity. They challenge the idea that tradition should be
followed blindly and call out the injustice hidden behind so-called religious duty. The play uses
their voices to show that social change is only possible when people gather the courage to speak
out, even if they stand alone.

4. Religious Hypocrisy and Corruption of Power

Another important theme in Kirwant is the hypocrisy of those in religious authority. Priests like
Digambar Shastri and Dhabushastri claim to be defenders of tradition and religious purity, yet
their actions reveal greed, ego, and even violence. They use religion not to uplift others, but to
maintain their own power and status. When Vasudeo begins to challenge their authority, they plot
to harm him—even planning his murder. This shocking turn in the play reveals the extent to
which religious leaders will go to protect their position. It exposes how religion can be twisted
into a tool of control and oppression when it falls into the hands of the corrupt. Gajvi uses these
characters to question not just casteism, but the moral decay hidden beneath the surface of
religious institutions.

5. Tradition Versus Change

One of the central themes of Kirwant is the powerful conflict between tradition and change. The
play explores how old customs, especially those related to caste and religious roles, can become
oppressive over time, and how individuals react differently to such oppression. This conflict is
most clearly seen in the contrasting characters of Siddheshwar and Vasudeo.
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Siddheshwar represents tradition. He accepts his role as a Kirwant—a Brahmin who performs last
rites for the dead—without question. He performs these duties out of a sense of spiritual duty and
loyalty to his inherited role. Even when he is insulted and humiliated, like during the
Satyanarayan Pooja where Digambar Shastri refuses to give him prasad, Siddheshwar does not
protest. Instead, he bows his head and continues his work. He believes that patience, humility,
and silent endurance are virtuous. For him, change seems frightening and even dangerous,
because it could destroy the fragile respect he still holds onto.

Vasudeo, however, embodies the spirit of change. He refuses to accept the idea that someone
should be disrespected just because of their inherited occupation. He is angry at the way his
brother is treated and cannot understand why Siddheshwar stays silent. For Vasudeo, respect is a
right, not something to be begged for. His resistance is not just emotional—it is intellectual and
political. He challenges the religious leaders who misuse tradition to maintain their own power.
When Digambar Shastri insults Siddheshwar, it is Vasudeo who takes a stand and exposes the
hypocrisy of the upper-caste Brahmins. He even risks his own safety to defend his family’s dignity.

This clash between the two brothers reflects a larger battle within society. Should individuals
blindly follow traditions, even when they are harmful? Or should they challenge them and fight
for a more just world? Kirwant does not offer an easy answer, but it clearly shows the pain caused
by outdated customs and the possibility of liberation through resistance.

Gajvi uses other characters to support this theme. Revati, Siddheshwar’s wife, slowly moves from
being submissive to becoming more outspoken, especially after witnessing her husband’s
humiliation. She begins to support Vasudeo’s view. Madhu, the young boy, represents the
future—he is curious, hopeful, and eager to get an education. Through him, the play suggests that
true change will come not just from rebellion, but also from knowledge and awareness.

In short, Kirwant uses its characters and conflicts to highlight how clinging to oppressive
traditions can lead to suffering, while questioning and challenging those traditions can open the
door to dignity and progress. The play invites its audience to reflect on their own relationship
with tradition—and to ask themselves if silence is still an option in the face of injustice.
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Sangati by Bama (1994)

Introduction
Sangati (meaning “Events”) is a novel by Bama, a Dalit feminist writer, originally written in Tamil
and later translated into English by Lakshmi Holmström. The novel focuses on multiple
generations of Dalit women, depicting their struggles with gender and caste oppression. Unlike
Karukku, which is a first-person personal narrative, Sangati takes a collective approach, focusing
on the lives of multiple Dalit women from the Paraiyar community. Through oral storytelling,
Bama highlights caste discrimination, gender oppression, and resistance.

Narrative Structure:
●​ The novel is narrated by a young girl who discusses with her grandmother the real-life
experiences of Dalit women in her community.
●​ The novel appears to lack a dominant plot but weaves together the stories of female
protagonists such as Maariamma, Maikkani, Thayi, Essaki, Mukkama, Irulaggi, and
Rakkamma, highlighting the oppression they endure.
●​ The themes focus on gender discrimination and caste oppression, particularly in physical,
psychological, and social aspects.

How Dalit Women Face Discrimination

1.​ At Home – Girls are seen as a burden, and boys are treated better.
2.​ In Childhood – Girls are not allowed to play freely like boys.
3.​ At Work – Women work hard but get paid less than men.
4.​ In Marriage – They cannot choose their partners freely and are often forced into unfair
marriages.
5.​ After Marriage – Women face mistreatment from in-laws and husbands.
6.​ In the Community – Village leaders reinforce unfair rules that favor men.
7.​ In Religion and Education – Even though Dalits convert to Christianity for education, boys
still get more opportunities than girls.
8.​ In Cultural Practices – Traditions often keep women in secondary roles.

Discrimination Starts from Childhood

❖​ Even as babies, girls are treated unfairly.

❖​ The narrator notices that:
➢​ Boys are comforted when they cry, but girls are ignored.
➢​ Boys are breastfed for longer, while girls are weaned early.
➢​ Boys get better medical treatment.
➢​ Boys are given the best food, while girls eat leftovers.
➢​ Example from the Book: 1. "If a boy baby cries, he is instantly picked up and given
milk. It is not so with the girls... A boy is breast-fed longer. With girls, they wean
them quickly..."
➢​ 2. The grandmother, Patti, prefers grandsons over granddaughters, giving them
better food. "If she brought cucumbers… she gave the best pieces to the boys.
Because we had no other way out, we picked up and ate the leftover skins."
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How Society Teaches Girls to Accept Injustice

●​ Families treat boys as important because they will take care of parents later, while girls
will get married and leave.
●​ Women are raised to accept unfair treatment.
●​ Limited Freedom for Girls : The narrator questions why girls cannot have the same
freedom as boys: "Why can’t we be the same as boys? We aren’t allowed to talk loudly or
laugh noisily... We must always walk with our heads bowed..."
●​ Girls are only allowed to play games like cooking and marriage, while boys can play freely.
"She’s just like a donkey, look. Look the way she plays boys’ games."

Dalit Women’s Hard Work and Exploitation

●​ Dalit women work in difficult jobs but are underpaid.

●​ Men can spend their money as they like, but women must support their families.
●​ Girls are forced into labor at a young age.
●​ Maikkanni, a little girl, must do household work because her mother works in the fields.
"Her mother had to go out to work in the fields. It was Maikkanni who looked after all the
tasks at home."

Conclusion: Fighting for a Better Future

Bama shows the courage and strength of Dalit women despite the struggles they face. Through
Sangati, she exposes unfair treatment and calls for change in society.

____________________________________________________________________________

Themes in Sangati

1.​ Double Discrimination

In Sangati, Bama powerfully portrays the theme of double discrimination faced by Dalit women,
who suffer not only due to their caste but also because of their gender. This intersectional
oppression is central to the narrative, and through the voices and experiences of Dalit women,
Bama illustrates how caste and patriarchy work together to deny them dignity, freedom, and
equality.

●​ Caste-Based Discrimination: Dalit women in Sangati are always excluded and

dehumanized by the upper castes. They are denied access to education, public spaces, and
respectable employment. Even when they work harder than anyone else—labouring in
the fields, factories, or as domestic help—they are paid poorly and treated with disrespect.
Their bodies, time, and labor are seen as disposable.

For instance, Dalit women must draw water from wells that are not meant for them, and
often face verbal abuse for simply trying to access public resources. They are not just
untouchables in theory, but are made to feel it daily through humiliation and exclusion.

Bama also highlights the internalized patriarchy within Dalit communities, where men
often abuse women despite facing discrimination themselves.
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●​ Gender-Based Discrimination: Alongside caste-based oppression, Dalit women also face

gender discrimination, especially within their own communities. Patriarchal norms
expect them to submit to the authority of fathers, husbands, and male community leaders.
Their labor is undervalued both outside and inside the home. After returning from a long
day’s work, they are still responsible for cooking, cleaning, and caring for
children—without rest or recognition.

Women are also frequent victims of sexual violence, often from both upper-caste men and
men in their own communities. However, while the violence is normalized, any woman
who speaks out or fights back is shamed or silenced.

Example: Maarriamma’s story – She faces attempted sexual assault by the upper-caste
landowner, Kumarasami Ayya. When she reports the incident, the community sides with
the upper-caste oppressor. Instead of punishing the landowner, Mariamma is fined Rs.
200, while Manikkam (a Dalit man falsely accused of being with her) is fined Rs. 100.​
The village headman (Naattaamai) justifies this by saying, “It is you females who ought to
be humble and modest. A man may do a hundred things and still get away with it.”

Women like Mariamma and Thaayi endure regular beatings from their husbands.
Marriage does not provide them protection; instead, it intensifies their suffering.
Mariamma is forced into marriage with Maanikkam, a drunkard who beats her daily.
Despite her protests, she is married off and becomes a lifelong victim of abuse.

●​ Intersection of Caste and Gender: What makes Bama’s portrayal particularly powerful is
how she shows that Dalit women’s suffering is not simply the result of caste or
gender—but both together. Their experiences cannot be fully understood by looking at
caste or gender in isolation. Dalit women are often doubly marginalized—looked down
upon by upper-caste women and dominated by Dalit men. For example, the character
Mariamma is harassed by an upper-caste man but is not supported by her community.
Instead of punishing the perpetrator, the community fines her and questions her
character. This shows how Dalit women become easy scapegoats, bearing the brunt of
both caste prejudice and patriarchal control.

2.​ Resisting Double Oppression through Protest.

The first half of Sangati mainly depicts the suffering of Dalit women, while the second half
shifts towards resistance and empowerment. Women start questioning the oppression
they face and attempt to assert their dignity. Bama presents small acts of rebellion, such
as:

a.​ Women talking back to men.

b.​ Publicly discussing issues of sexual violence.
c.​ Teaching their daughters to resist subjugation.

Despite facing double discrimination, Bama does not portray Dalit women as
helpless. On the contrary, Sangati celebrates their courage, strength, and resilience.
Women speak out, protest, and use sharp wit to fight back. They form networks of mutual
 Page 22

support and pass down stories and wisdom to younger generations, building a legacy of
resistance. Through the use of easy language and storytelling, Bama gives space to voices
that are often ignored in mainstream literature. By doing so, she not only exposes the
double discrimination faced by Dalit women but also gives them the agency to speak for
themselves.

How do Dalit women resist double discrimination in Sangati?

Bama highlights Dalit women’s resilience as a crucial survival mechanism. Their words are
powerful declarations of resistance, self-affirmation, and strength. Despite facing continuous
oppression, they refuse to be silenced and assert their recognition in society. Through their daily
struggles, they develop strategies to withstand the forces working against them, ensuring their
survival and dignity.

One of the strongest tools of resistance in Sangati is the Dalit women’s ability to use sharp wit and
humor to challenge oppression. Rakakkamma, for instance, fiercely talks back to an abusive man,
hurling insults at him before he can lay a hand on her. She screams, “Ayyayyo, he’s killing me. Vile
man, you’ll die, you’ll be carried out as a corpse, you low-life, you bastard, you this you that…”. This
verbal defiance not only serves as a shield against violence but also momentarily shifts the power
dynamics, allowing women to push back against dehumanization.

Support from fellow Dalit women plays a crucial role in their survival. They stand by each other
emotionally and practically, offering assistance in times of crisis. The sense of solidarity helps
them resist both caste and gender-based oppression. Patti, an elder woman in the novel, expresses
the harsh reality of their social position: “What do we know about justice? From your ancestors’
times it has been agreed that what the men say is right.” This acknowledgment of patriarchal
oppression sparks discussions among women, leading to a collective effort to challenge these
norms.

Education is presented as a means of breaking the cycle of caste and gender oppression. Some
Dalit women in the novel strive to educate themselves and their children, seeing knowledge as a
tool for empowerment. Their collective vision for a just society is reflected in the statement, “One
day, we will be free from this caste system. We will live like human beings, with equality and
justice for all”. This hope for a better future reinforces their resilience and determination to fight
against systemic discrimination.

Beyond individual acts of defiance, Sangati portrays instances of collective resistance where
women come together to challenge oppressive systems. They protest against discrimination,
question patriarchal norms, and demand justice. Through storytelling, songs, and shared
experiences, they create spaces for self-expression and solidarity. These cultural practices become
tools for resistance, reinforcing their collective identity and pride.

Through these various forms of resilience—verbal defiance, community support and education
—Dalit women in Sangati assert their strength and agency. Their struggles highlight the
importance of solidarity in challenging oppression and striving for a more just society.

How does the storytelling format act as a symbol of strength?

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Storytelling plays a significant role in fostering resilience among Dalit women. By sharing their
personal struggles and victories, they inspire younger generations to face hardships with courage.
Proverbs and anecdotes from elder women serve as valuable lessons, reinforcing the importance
of fearlessness. Bama conveys this sentiment through a statement in the novel: “If you have
courage in your heart, you can live fearlessly”. These shared narratives help build a sense of
community and mutual respect, strengthening the bonds between women.

Bama employs multiple voices in Sangati to capture the collective experience of Dalit women,
emphasizing their struggles, resilience, and agency. Rather than focusing on a single protagonist,
the novel presents a chorus of voices, each contributing to a shared narrative of oppression and
resistance. This technique reinforces the idea that the experiences of Dalit women are not isolated
but deeply interconnected.

The novel mirrors the oral storytelling tradition of Dalit communities, where experiences are
passed down through spoken narratives rather than written texts. Women share their personal
stories of discrimination, domestic violence, and labor exploitation, creating a sense of unity in
suffering and survival. These accounts, often told in an informal and conversational manner,
bring authenticity to their lived realities. The narrator listens to and participates in these
discussions, acting as both a witness and a recorder of their collective wisdom.

Bama structures Sangati as a series of dialogues where different women express their grievances
and opinions. These conversations provide diverse perspectives on issues like marriage,
education, and economic hardships. Women like Rakakkamma, Patti, and the narrator’s
grandmother each contribute unique viewpoints, reflecting generational shifts in attitudes toward
caste and gender oppression. Through their voices, Bama captures the tension between tradition
and the desire for change.

This technique prevents the novel from being reduced to an individual’s suffering; rather, it
becomes a testimony of an entire community’s lived reality. The collective outcry against injustice
amplifies the urgency of their fight for equality.

While individual experiences vary, common themes emerge across the women’s
narratives—domestic violence, unequal wages, and the double burden of caste and gender
oppression. The repetition of these injustices across different stories strengthens the argument
that these are systemic issues rather than isolated incidents. By weaving together multiple voices,
Bama emphasizes that the fight against oppression must be a collective effort.

How is Bama’s feminism different from other upper-caste feminist ideologies?

Bama’s feminism in Sangati is very different from the feminism we usually see in upper-caste
women’s writings. While upper-caste feminist ideas often talk about freedom in love, choosing
careers, or breaking traditions in marriage, Bama’s feminism is about something more
basic—survival, dignity, and everyday resistance. Dalit women in Sangati do not fight for luxury
or comfort—they fight just to live with respect, to feed their families, and to be heard in a society
that looks down on them both for being women and for being Dalit.

In many upper-caste stories, women are expected to be quiet, shy, and well-mannered. Bama
turns this idea upside down. She does not praise women who are silent and obedient. Instead, she
shows Dalit women as strong, loud, and fearless. These women speak up when they are wronged.
 Page 24

They use rough, bold words. They shout back at abusive husbands and scold men who try to
control them. For example, Rakakkamma screams and abuses her husband when he tries to hit
her, showing that she refuses to be a victim. Bama celebrates this kind of strength.

Another big difference is the language. Many upper-caste writers use very polished, formal Tamil
or English in their writing. Bama does not. She writes in the local, spoken Tamil of her
people—the way Dalit women actually speak. This shows that she wants to keep their voices real
and true. She does not try to make them sound “educated” or “refined” for elite readers. This use
of everyday language is itself a form of protest. It says: “Our way of speaking matters. Our stories
matter.”

Also, in upper-caste feminist writing, the focus is often on one woman—her personal journey, her
feelings, her growth. In Sangati, Bama shows that Dalit women survive together. They support
each other. They share stories, help one another during hard times, and teach younger girls how
to be strong. Their feminism is not individual—it is collective. It is built through community.

In Sangati, Bama shows that Dalit women suffer from both caste and gender oppression. They are
treated badly not only by upper-caste people but also by men in their own community. But even
with all this suffering, they do not stay silent. They resist. They laugh. They fight. They live.
Bama’s feminism is about this everyday courage. It is loud, it is angry, and it is full of hope. It is
very different from the soft, private struggles we often read in upper-caste feminist stories.

In conclusion, Bama’s feminism in Sangati is unapologetically bold, grounded in reality, and

deeply political. It is a feminism that speaks from the margins, challenging both caste and gender
injustice through storytelling, everyday resistance, and collective strength. By giving voice to Dalit
women in their own language, and by celebrating their resilience and defiance, Bama reshapes
the literary and feminist landscape—demanding that the most silenced be heard, seen, and
respected.