Very few writers have the courage to laugh when they feel like laughing. Siddalingaiah was one among them. In Ooru Keri, I discovered a way to read and write, yes. But what I learnt more than anything was a way to laugh. Before that, I am not sure I knew how to laugh. Sometimes I stole laughter from my father who laughed with his stomach. And everytime he broke into his hiccupy laugh, the room held its breath for him to finish. I don’t know if Siddalingaiah laughs like this but I like to imagine he does.
Siddalingaiah left me with many stories.
I will leave you with four.
The first one I shamelessly find excuses to tell is the Boodisaheba story from Ooru Keri. The story of young Ambedkar falling into an ash pit from a tree, people teasing him and calling him Boodisaheba was something that might not have happened, need not have happened. But the image of a young Ambedkar saying that he might be Boodisaheba now but will be Babasaheb in future gave me goosebumps for how true it turned out to be.
I stood nervously in front of Townhall during the Anti CAA NRC protest one evening, my legs refusing to hold me. I clung to the mic with my heart but didn’t know what to say so I told them the Boodisaheba story. I could conjure only Siddalingaiah that day because no one wrote protest like he did and that’s because no one wrote poetry like he did. That Boodisaheba story is poetry, protest, and song.
The second one still puzzles me. When Bangalore Brahmins refused him a home for rent, he wasn’t bitter. That the home that was promised to him was taken away after the owners discovered that he was Dalit didn’t leave him angry. That when they made it worse by saying “we like you & would’ve given you this house if only you weren’t Dalit” didn’t make him want to scream. He put his hands together, said thank you and walked away.
That story continues to be a lesson that I still haven’t learnt.
The third is a story I am fascinated by: his love for graveyards, for the silences they offered him, for the muffled secrets they teased him with, for how magically poetry came to him when he sat in one and began to write.
The fourth is a story I am stunned by: his capacity to hold multiple truths. He was being felicitated at a hostel in Bangalore and when he went on stage to receive it, he saw his mother standing on the first floor, a broom in hand, watching him. She was a sweeper there and he leaves us here at this point to take what we want from this truth. I don’t know what he took. I am scared to ask.
The fifth is a story for me. For all the laughter he taught me, the hardest to learn was laughing at myself. There is steel in my mouth when I think of the time someone called me a Brahmin for writing in English. The steel becomes grit when I think of how according to this beautiful logic, even Ambedkar must be a Brahmin. The grit shatters into 4 meters of giggles and 5 kilos of laughter when I think of Siddalingaiah.
‘O world, I must get to know you
And so I must have a word with you’
P.S: He doesn’t say if a word should be in English or Kannada or Konkani or Urdu.
I broke down in class last week when I was reading out this piece by a student. I haven’t wept in class before. I have caught myself just short of breaking down (sometimes unsuccessfully) while saying goodbye to students in the last class. But never like this, never in the middle of reading a piece. Maybe I wouldn’t have broken down if the piece wasn’t written by a student. Maybe I wouldn’t have broken down if she had never sat in my classes, if I had never watched her write, if I didn’t know what she was talking about. But I did, and I do. I am making excuses after all. I have always cried after reading her, sometimes privately, and now I can say publicly as well. She wrote things that aren’t easy to write. I cried because she was walking around with everything she hadn’t written until she wrote that piece, I cried because I don’t know what else she is still carrying.
I could have stopped reading, told the students to read it on their own, switched my camera off and composed myself. But I kept going, I don’t know why. I think she made me keep going. And I pray she keeps me going.
I once cried at Meta when a girl student had yelled at me under the banyan tree in college. I didn’t know what to do. But I just kept thinking, if I were a man, or a tall & pretty Savarna teacher with perfect teeth, sharp nose, and bright wide eyes, I wouldn’t be crying under the banyan tree. Maybe I would, I don’t know – but it’s unfair – this desire to know what it would’ve been like if I was Savarna. After all, how often does a Savarna teacher spend time thinking about what it’s like to be a Dalit teacher?
And also – I don’t like feeling that way. Because I know that if I were Savarna, I wouldn’t have been able to read Beloved the way I did and let it live inside me like it now does. There is a reason you write the way you do and when I’d finished reading Beloved, I felt closer to you in a way I wouldn’t have been able to feel if I were Savarna.
I don’t know if I’d have not cried if it were a boy yelling at me, not a girl. Because boys and their words have a way of hiding behind my teeth and making me angry and sour, never sad. The girl returned after months with two roses and an apology. I smiled and accepted all three. Then I wondered if I shouldn’t have, then I was happy that I had. Will I ever reach a stage where I’ll be confident about the choices I’ve made? Will I ever know what to do immediately? Will I ever have it in me to not cry, not be angry? But why should I not cry? What will I do with all that strength it takes to not cry? Where in my body will I keep so much strength? So much self-respect? So much control? I don’t have that much space in my body for that kind of control.
I have been waking up early, not to write oh but how I wish I could. I have been waking up early to look at the sky and think of you. I had read that you woke at 4 to make coffee and watch the light come. It’s how you knew that you were ready to write each day. That you didn’t have to be in the light, you had to be there before the light with coffee to know you were ready to write. I loved the sound of that so much that I have been waking early to watch the sun come up, to look at the way it touches the tree outside my door, and to think of you. Thinking of you makes me want to get ready to write.
I don’t know how it’s possible but your belief in storytelling, in the stories your parents told you, about themselves, and the world is how I see mine. I think it’s not easy for Savarna people to understand this or to even take this seriously. And I am learning to live with that. Because their inability to see love and stories makes me never want to give up on myself.
Today, I woke at 4:30 from a dream I wanted to urgently return to so I went back to finish it (Possessed teddy bear-owl with flapping, beating wings is going nuts in my room. Doesn’t leave me alone so I dump it in the trash outside. It becomes a baby and sits on the windowsill cackling at me before jumping to its death and returning again to my bedroom to haunt me. Basically this is Clifford Geertz + Mixer Week + Google Meet+ Online classes)
And when I woke up again, it was 5:59 and I felt like the day was already over, that I was too late. Then I really woke up, told myself to fuck off and begin the day (take trash out, bring milk, put it to boil, put bread in the oven, boil water, make coffee)
After that crying episode, I was afraid the students wouldn’t take my classes seriously anymore. That because of this ’emotional’ outburst, I have shown them that my intellectual relationship with the subject at hand (Resisting caste) has been compromised.
But then I thought, wtf – a teacher moved to tears because of something her student has written is nothing to be ashamed of. If there are teachers who have cried teaching Shakespeare, then A. Suresh is no less than Shakespeare. But it will be used against me, I know that. Someday, when I am least expecting it, it is going to come back and bite me.
So yes, bite me.
“I am not interested in happiness. Not yours, nor mine nor anybody’s. I don’t think we can afford it anymore. I don’t think it delivers the goods. Most important, it gets in the way of everything worth doing. Happiness has become a bankrupt idea, the vocabulary of which is frightening: money, things, protection, control, speed, and more. I’d like to substitute something else for its search. Something urgent, something neither the world nor you can continue without. I assume you have been trained to think- to have an intelligent encounter with problem-solving. It’s certainly what you will be expected to do. But I want to talk about the step before that. The preamble to problem-solving. I want to talk about the activity you were always warned against as being wasteful, impractical, hopeless. I want to talk about dreaming. Not the activity of the sleeping brain, but rather the activity of a wakened, alert one. Not idle wishful speculation, but engaged, directed daytime vision. Entrance into another’s space, someone else’s situation, sphere. By dreaming, the self permits intimacy with the Other without the risk of being the Other. And this intimacy that comes from pointed imagining should precede our decision-making, our cause-mongering, our action. We are in a mess, you know; we have to get out, and only the archaic definition of the word “dreaming” will save us: “to envision; a series of images of unusual vividness, clarity, order, and significance.”
When I read this from your Sarah Lawrence Commencement Address, I had a warm desire to hear you and Babasaheb talk to each other. I grew hungry to have you both in my belly, walk into a classroom and roar, walk to my table and write my heart out.
Someday, it will happen. I can feel it gathering in my fingertips.
The men in my mother’s family inherited a love for gossip. In my father’s, they inherited the more dignified baldness. Ajja had shiny white hair growing at the back of his head, leaving the top shinily exposed. He had a small, round face with the faintest trace of uneven white stubble, like an incomplete game of bingo.
Every Sunday morning, Ajja sat in the veranda with a towel on his lap, giving me a small hand-mirror to hold up to his face. Next to us, there’d be a red mug of hot water, shaving cream, brush, & a razor. I had to hold the hand mirror steady for him to begin shaving. I failed often because I’d keep bringing the mirror down to examine his face.
Every time I did this, he’d stare at me wordlessly & I’d say sorry & hold it back up. I couldn’t help it. I was fascinated by the procedure & wanted to take it all in. The smell of the shaving cream was always strongest when Ajja shaved. I could rarely smell it when Appa shaved boringly – standing by the wash basin.
Ajja would squeeze a blob of shaving cream on the brush & I’d egg him on to take more. ‘Ashtu Saakagalla.’ First of all, he didn’t have much hair. There was some barely noticeable stubble, sandpapery in texture but watching Ajja shave was the single most joyous thing & I tried as much as I could to prolong the spectacle.
He’d smile, sprinkle some water on it & begin painting his face. If I opened my mouth, I could almost taste an acid-like something at this point. He made circular motions covering large parts of his cheeks, chin & throat, always saving the upper lip for last – it was the hardest & required the expertise of a beautician. He pursed his lips together & drew an efficient line, barely touching the nostril.
Then in went the razor. Every time he cleaned a section & brought it down to dip into the red mug of water, I’d steal a glance expecting hair but there was only foam. Even so, when the blades hit the stubble, they made the most delicious, crispy, silvery sound. The sound of something sharp being cleared most gently. Hypnotized by the sound, I’d look for the expanse of naked skin on his face. There were always a few smears of shaving cream on his face – below his ears – sometimes inside, and under his neck. The foam happily floated in the red mug with occasional spikes of hair winking at us.
Post the shave, Ajja looked barren, emptier somehow. Like he had suddenly become strict, like he had no more stories. And week after week, I waited for the hair to grow so I could stand in front of him with the mirror & watch a story being told without words.
This one is hard but it’s about love so it’s also easy. I am here somewhere, with my students. Behind us, on a screen is a black & white photo of Joan Didion. It was my idea to have her there. Let’s take a picture & send it to her, I told them. And they indulged me, like they always have.
We read a lot of Didion this semester. We memorized words on Self-respect, hoping it would give us some. We watched her on screen as she moved from one beautiful shot to another, we watched as she called herself wife – never quite becoming one, we watched as she became a widow – never quite seeming like one. And as always, I came out learning more than I taught.
Something the English Department is always accused of is all play, no work. We apparently only screen films in our classes and do nothing else. How cute. If that accusation was worth dignifying with a response, I’d have done that long ago. But as Prof. AM always reminds me, ‘Our work is our defence’ & that seems enough of a response – for now, and forever.
But I’ll tell you why I like watching things with students – half the time I am not even watching the screen, I am watching their faces. I want to see the little things that delight them, I want to know what makes them smile, what makes them forget their phones, what makes them laugh like lizards coming out of nowhere suddenly. And it’s what I am also hungrily looking for when we read & write together. I’ve had my share of miseries with students, yes. But what I’ve also had is their friendship & their laughlets.
I wouldn’t know what teaching is without stories, without laughing, without rain. And in my mind, I am forever teaching in the way Machado’s The Husband Stitch is narrated. I’ve gotten royally burnt for being so ambitious but I will never stop.
And today, I am grateful for never having stopped – even on the darkest days, when there was no rain, even when I felt like quitting & running away, even when I was empty of stories, even when I was made to believe that I suck at this. And there are days when I really really do, but it’s never enough to make me want to give up. Ambedkar’s blood y’all. And for most other days, there’s chai.
My mother grew up in a house full of children. They were 7 but it always seemed like they were seventeen. And because there were so many of them, I imagined them all in a large and crumbling bungalow with squeaky, uneven staircases. I have neither lived in this house nor seen it. But years ago, I caught a passing glimpse when it was pointed out to me from a speeding auto. I stuck my neck out and saw what appeared to be a small house, heaving on its haunches surrounded by piles of bricks and cement. The house, as it turns out, had always been small – only its ghost in its own stories had been big like my mother’s laugh, which is loudest when she laughs with her two sisters.
It is louder when she laughs soundlessly- her eyes watering, face contorted, cheeks red, belly shaking, the rest of the body motionless on the floor – which is were they sat – her and her sisters – chattering endlessly, reminding each other of what they’d done as children.
All their stories are marked with a kind of poverty that they never learnt to forget. The one they often narrated involved a month-long wait to watch Amar Akbar Anthony in a theatre. The oldest earning member of the family, their brother (then 22) had to be convinced. Money had to be earned. So they took turns in selling more bags of tea powder than usual.
Finally, they made a small bag full of coins which couldn’t jingle because it was that heavy, and wound very tightly with a rubber band. Preparations began 3 days before the show. Clothes were washed and left to dry until they were warm and crunchy. They were then put under the beds and left to self- iron.
On the day they were supposed to go, the rain wouldn’t stop, the theatre was far away and they had to change two buses to get there so they decided to go the next day. At this point while narrating the story, my mother and her older sister took turns to imitate their middle sister who, when she was told they couldn’t watch the film that day – had rolled on the floor, beaten her chest and wept. She had made the most earnest preparations to watch the film that evening, so she spent a good few years after that being very angry with rain. Finally, they all got to watch Amar Akbar Anthony and it is perhaps one among the very few films that my mother didn’t mind us watching on repeat.
All the other houses my mother found after that could never become homes. How could they if she had to light a dozen agarbattis everytime she cooked fish? Or if she had to pretend we weren’t home when owners came to ask rent or complain about something?
Appa grew up in hostels more than in homes. He tells his stories like Siddalingaiah did – with a lot of heart and stomach. And because his laugh comes from somewhere deep inside his stomach- when his belly shakes violently, it is curious how the laugh comes out of his mouth in whispers, not sounds.
Pranks make him laugh, prank videos make him laugh more, Vadivelu makes him laugh, people who fall, fart, flee make him laugh. His favourite classroom story is about a boy whose bum was apparently pinched a lot, especially right after he gave attendance – so every time he said “Yes saar” – it was always followed by aiiiiieeee.
When my father imitates the boy’s aiiiiieeee, his face never betrays the expression of a properly pinched bum.
I eat these stories the same way I have eaten all their other stories – their humiliations in college, defending themselves against the gods of merit, not having money or food, being bullied for not being good enough, not knowing how to talk to people, and dealing with unkind, ugly, casteist institutions.
These stories live together, not because my parents wanted them to. They were made to. It was how they managed with what they had, it was the only way they knew how to make-do.
This is how I have come to know ‘Making-do’ – what about you? Write and send to email@example.com
***DISCLAIMER: For the kind souls who walk around with a Savarna checklist of political correctness and might take offence at the bum-pinching or might feel that being able to watch Amar Akbar Anthony is not Dalit enough, not poor enough: Naale banni***
When it rained in Mangalore, amma made us wear raincoats and carry umbrellas but we’d still get wet. One afternoon after school we went looking for a new house in an auto. The broker was on his bike in front of us, his feet slanting upward on both footrests. We followed his yellow raincoat. The huge bungalow we first stopped at had two coconut trees growing out of it. The trees shot upwards from the roof, and looked uneasy like the swords I’d sometimes seen emerge out of Swamiji tongues in Kanyakumari.
I looked at Amma. She squinted at the trees and looked miserable. I looked at the broker. He sighed and started giving the auto driver new directions for a new house.
I wanted to tell him no. I had already imagined spending all my free time under the trees. Never before had life organised itself so beautifully as it did on those house- hunting days where the space of a new home offered dreams of being good girl – set up a solid routine, do homework on time, sleep at 9, wake at 6.
Amma and broker were damaging my creative juices.
The second house was inside a huge compound sharing space with another house. I stepped out of the auto and into a puddle, slowly, deliberately. The water seeped into my socks making it squishy. I walked around carefully listening to each squish.
A girl climbed out of a school van in front of the other house and watched us. I recognized her as a classmate but struggled to remember her name. Amma was quick to notice when we greeted each other shyly. I’d already started day dreaming a routine – this time my new best friend was in all of them.
When I was pulled away from the house, and from her, and thrust into the auto – I was beginning to bawl. Amma patted my back loudly and said that closeness is not ok. It will ruin your life.
The idea all along was to live castelessly. My father and mother did it well. The last time I saw them hassled was when we lived in an apartment in Basavanagudi and the man upstairs did jasoosi, found out we were Dalit and started making a fuss. First he had full respect for dad’s position in the government. Sir! Sir! He’d say every time he saw him. Then the ‘Sir’ went off. The first thing to go when people ‘find’ you out is respect. The second is conversation. He stopped talking to my dad and began talking to dad’s office car driver.
But Noorullah loved my dad. Dad still finds it very puzzling that Muslim men have the greatest love for him. Noorullah didn’t tolerate that man’s banter. Once he came to chat with Noorullah about dad’s income and if reservation was going to take care of his pension as well. I am told that Noorullah attacked the man with a newspaper and chased him up the stairs.
After a while, my parents thought it best to leave that house and go elsewhere. Amma was heartbroken. She had built it – brick by brick. Right from the colour of the walls to the spoon in the kitchen – amma had given the house more than two years of her life. It was our first ‘own’ house, our first ‘non-rented’ house and that too in Bangalore. Wherever we were before this, we had always lived in rented houses and amma had hated it. She was tired of the agarbattis and the dhoops that had to be lit every time she made fish or chicken. She was tired of being asked what caste we belonged to before we were even given a tour of the house.
Maybe they still experience caste in small shocks today but because they have seen so much worse, they just laugh it off and ignore it.
This should have been my first lesson.
Today dad keeps having WhatsApp fights with people who are anti-reservation. When Tina Dabi topped IAS, it bothered many people and they sent shit forwards to him. Dad would sit and compose long messages to shut them up. They all began the same way – Mr so and so. I think you are wrong because –
He does the same thing even when he posts his Islamophobia ridden and anti-Tamil forwards but that’s another story and another tragedy altogether. I think he has figured out that the country is so stupid and so beyond help that the only way to gain respect, especially if you are Dalit is by behaving like a Brahmin or at least by trying to become like one.
Very early in school, it became clear to me that there was something wrong with me. I stood before the mirror every day of my school life trying to figure out what it was. One day it was the gap between my teeth. Another day, it was the dullness under my eyes, the paleness of my skin, the thinness of my hair, the roundness of my nose. The day after that it was my weakness in math and science. And the next day it was a smell that followed me everywhere I went. I stopped eating egg.
But I couldn’t find out what it was and gave up. I did what I had seen my mother sometimes do. She’d make friends to learn the secrets of the trade, as it were – to be accepted, to be liked. So to forget my own discomfort with myself, I craved friendships that seemed to be in excess for other people everywhere. Girls and boys who lived next-door to each other, who would walk to school together, eat lunch together.
Years later when I will read Elena Ferrante, some bits of my caste ridden childhood will begin to make sense to me. I understood the violence in those books because that was caste in my world. This is probably why my students find it hard to relate to the book, to me – because I keep talking about experiences that were/are alien to them.
In Belgaum where I studied for a year, neighbour aunties would pull their daughters out of our house exactly at 5 to say ‘Abhyas maadbeku. Time aaytu’
I thought Abhyas was some karate class they went to. My mother and I realised much later that Abhyas meant practice, study. Everywhere we looked, parents were training their children to be competitive adults – to get them ready to take over the world.
It must have been daunting for my mother to prepare her children in a city where everyone was fast, everyone was modern, where Merit sat like a Brahmin God — that visible form that we could see but not touch. Like kaig sikkidru baig sigolla. The proverbial distance between the cup and the lips.
We were put in good schools but beyond that these other girls had something that my mother knew she couldn’t give us because she didn’t know what, she didn’t know how. But she did something. She did what other mothers were doing. She took us to music classes, dance classes and there she figured, we will learn something. But did we?
The music classes were amusing. The children there seemed to know everything there was to know already. So there was no learning happening. There was practice happening. And then one day the music master played some tune on his harmonium and asked us to recognise it. Yeh raga cha naav kai, he sang to us. My sister told him her name. He stared, gulped air and moved on. So did we.
We didn’t go back after that.
How was my mother to prepare us for this battle without right genes and pure blood? It must have been a lonely time and lonelier world. This was a battle she was not ready for. Dad kept getting transferred so for the longest time she fought this alone.
This is what some of you would call cultural capital. And some of you would call Merit.
What does this mean in our lives but? How to define this invisible code?
It was that neat handwriting in which studious Brahmin girls wrote in their hardbound books, which some of us could never touch. It went from their hands and into the hands of others deserving and then into their bags. It was like a secret document that only some had access to.
It was the look of utter disgust on the faces of these girls when I asked them on the morning of some exam – can you please explain this theorem? And then they explained the same with pleasing smiles when some of their own asked them the same question.
It was the neat partition of their oiled hair, the ability to sit in perfect padmasana during tuitions, the glow of their skin, and the aroma of their vegetarian lunch boxes.
Essentially, Merit is a tall building full of assembly lined, well-oiled Brahmin robots who receive all the training very early to take over the world – Engineering, MBA, IIT, IIM, and now because it’s cool – humanities.
Merit is definitely not just hard work then. It’s the license code to being allowed someplace because you are of the right kind.
And this became starkly obvious to me when I started working as a teacher. I was still blind to caste in many, many ways. And discovering Ambedkar wouldn’t happen for a couple more years. But again, there was that growing anonymous discomfort with myself. I think back to the time when a Brahmin colleague declared over lunch one day ‘I am proud to be a Brahmin.’ I think back to the time when there was clandestine discussion over my NET qualification and its validity because apparently there was no evidential ‘merit’ involved.
I can only cringe with disgust now. It is clear to me that caste networks operate invisibly but quite strongly everywhere, especially in schools and colleges, and even among students. Here of course it takes on various forms – talent, good English, knack etc.
In the classroom, I am quick to sense when a student doesn’t find me challenging enough. When I take books that I’ve liked into the classroom – it is with a faint hope that if I can open out the book for them — something might click, and they will want to read it. I have learnt to rely strongly on my own pleasure to be able to reach out to students.
But the students’ demands on my ability to offer challenge, puzzle is blurring into that dangerous line where they switch off pleasure completely. I am horrified by their indifference to pleasure. What is the point of literature if you only want to capitalize it into an app that offers challenge and devalues pleasure?
Isn’t pleasure political? Doesn’t that make it a challenge? A book that did this for me was Nabokov’s Lolita. I struggled because I couldn’t believe how much I was being seduced by the damn book. And that immediately became political.
One of the things I have learnt from reading Paromita Vohra and watching her interviews obsessively is the idea that no one can and no one must define what is pleasure or what is political for you. That choice is yours to make and yours alone.
I might be the lesser person here for putting pleasure over everything else. And I know I cannot escape it when it leads to situations I often find myself in. For instance, it hurts my eyes when I notice students dumb themselves down to talk to me. But at least it doesn’t hurt my heart, thank god. Just my eyes, but oh my eyes! My eyes!
But I’d rather have pleasure – you keep your merit OK? Tata bye bye.
What I have in abundance, that all Dalit people have, is the desire to learn, and the longing to feel alive.
This is the first thing I learnt from Ambedkar.
The next was that merit needn’t be something we cannot touch. Either by challenge or pleasure, if we can get to the point where learning becomes something we are invested in every day, then we have won.
When I saw this, it became tolerable, even desirable for me to look into the mirror every day.
A nagging question I have had of all big movements, whether it is feminism or the anti-caste movement – is what to do in situations that life throws at us?
Bratty cabbage girls who hate female teachers, Brahmin batata vadas who smirk when you talk about caste in classrooms. How to deal with them? I find that every now and then, I discover an answer because I’m always looking for one.
I went from anger to humour, from Ambedkar to Dhasal to Manjule, and found the answer with Gogu Shyamala.
The women in Gogu Shyamala’s stories (Father may be an elephant and mother only a small basket, but…) make me feel more empowered than #MeToo and #Losha.
In Jambava’s Lineage, Cina Ellamma is a young Bhagotam performer of the Nizamabad Chindu Ellavva Troupe. One day a bunch of upper caste men abuse her and she is outraged. She goes to the senior Ellamma for advice and this is what Ellamma tells her –
My child, we too have lived through many similar experiences … but we have somehow managed to keep the art of the Chindu Bhagotam alive. Those who resent or dislike us will speak harshly. We have to deal with them, persuade them maybe, but make sure that we continue with our own work. What you saw happening today is nothing compared to the high-handedness of the dora folk in the villages when I was a young girl. They would make us do all the work, and then say ‘keep your distance … you son of a madiga … chinduloda… dakkaloda’
As they listened to Ellamma, Cina Ellamma fell silent. Something touched her deep inside.
Ellamma continues –
‘The best way for us is to attract them with our performance, to make it so riveting that they sit and watch for hours. That is the most fitting reply to those who try to ride rough over us.
On stage I’d bring out all the anger and suffering hidden in my heart. I’d indirectly abuse some of the men sitting in the audience as if I was referring to someone else. Initially they were very angry, but gradually they changed, and grew more polite’
I am sorry if you don’t see the connection here but I do. Perhaps because Gogu Shyamala is writing about my women – not yours. My ancestors entertained and performed for a living. And this story is equally important to me as a teacher because what is teaching if not performance? When I am doing my job, there is room for a lot of Savarna noise to drown me out. When this happened in 2015, I was crippled. It took me years to move on. I wish I had it in me back then to make my performance so riveting that they sit and watch for hours.
Instead I whined and moped and did nothing except fume.
In Tataki Wins Again, Balamma walks like a ghost at the crack of dawn to go water her fields. If she is late, the upper caste landlord would empty all the water into his fields. And that’s why she’d wake up at 4 in the morning and get there before him, every single day. This offended him so decides to rape her.
He grabs hold of her one morning and drags her into the fields. When he begins to molest her, Tataki ‘takes aim and kicks him as hard as she could on the groin with both her legs.’
The landlord collapses.
In the village, the mala and madiga women giggled through their sari ends as they shared the news, “The landlord wanted to catch our balamani. She kicked him in the groin!”
When I read these stories I feel like I have more than just answers. I have a way to live.
At the Dalit Women’s Conference last year, Ruth Manorama said that our Dalit women must never respond to campaigns like #MeToo because we just end up becoming numbers for the benefit of Savarna Feminists.
It doesn’t happen to me very often but I heard my heart click into the right place when she said it.
My Mouma is a champion in life. She represents herself and she is not bound by anything. She is 82 and takes care of herself like a queen. If you mess with her, she will hit you on the head with a water bottle that she always carries around.
These are the women I want to read and write about. Sumitra, the woman in my short -story is vulgar in her laughter and dirty in demeanor.
I had just been looking in all the wrong place for answers but as it turns out – Dalit women have always had answers to these questions. Women with loud and vulgar laughter who, like their hair, are mad and untamable – always do.
*Featured Image Credits – Savarna Audience by Dr Sylvia Karpagam at drsylviakarpagam.wordpress.com