Kanshiram: Leader of the Dalits by Badri Narayan Published by Penguin India 2014
Dalit politics in the late 20th century India owes its rise to the vision and work one man–Kanshiram.
The bedrock for this movement was laid in the mid-20th century by its tallest leader Dr. B.R. Ambedkar. Despite his brilliance and lifelong commitment to the cause of the dalits, Dr Ambedkar had been largely forgotten in the national consciousness till the rise of the Dalit Soshit Samaj Sangharsh Samiti (DS4) and then the Bahujan Samaj Party- both creations of one man, Kanshiram.
Born in a Ramdasia Sikh family in Punjab, Kanshiram was named after a local baba who apparently predicted that he would grow up to be a big leader. He grew up more or less unaffected by the stigma that his caste was subjected to in most of the country.
Kanshiram’s eyes opened to the reality of caste oppression when he was employed with a government research laboratory in Pune. Spurred by the extant Dalit movement, primarily led by the Mahars in Maharashtra, he went on to dedicate his life to the cause that he took upon himself. He decided not to marry or have any relations with his family. His encounters with his family back in Punjab were sporadic, and interspersed over many years. For a long time, his parents and siblings did not know his whereabouts.
There is limited first-hand information about Kanshiram–he left behind no autobiography or work except a very short pamphlet titled “The Chamcha Age.” Badri Narayan has collected the facts of Kanshiram’s life from accounts of some of his associates and later, with the BSP’s emergence as a major political force in the late 1980s, from the media. Continue reading
It takes some time for the film to sink in, but when it does, Anhey Ghorey Da Daan (Alms for a Blind Horse) has mastery written all over it.
That Anhey Ghorey belongs to niche contemporary cinema is not insignificant, even more striking is that the film is in Punjabi. This is a dissonance- the film in every way is far removed from what one expects from a Punjabi movie, or even the Hindi movies that Punjabis make.
Isn’t any movie in Punjabi about a Jatt on a revenge spree? Isn’t every Hindi movie with Punjab in the background about lush green fields swaying with bright mustard crops? If not about the big fat Punjabi weddings, isn’t it supposed to be about the valour of militant patriots like Bhagat Singh?
Based on a novel of the same name by Gurdial Singh, Anhey Ghorey presents a contrarian perspective- something that isn’t found in the Bollywoodized versions of Punjab. The story is not about the revenge of the Jatts, it is not about a militant valour either. It is a life that at best is stoic, and at its worst is impassive in the face of hardships. It shows one day in the life of a Mazhabi Sikh family that lives on the fringes. The characters don’t jump into a frenzy of song and dance every few minutes- instead they eek out a precarious existence against a a volley of brutal attacks on their daily existence.
Little over a year ago, this blog had posed the question:
There is a deafening silence on part of dalits in Punjab. One wonders why, and for how long.
To which a naive comment from a reader was:
Presumably if Dalit oppression was blunted by Sikh philosophy, if not absolutely at least comparatively, Dalits might not have felt need for a movement.
Over the last two days, my question as well as the comment to the post have been answered loud and clear.