ABSTRACT

Shahiri tradition which has anti-cast notion and philosophy in it seems as sanskritist in the contemporary era. Shahiri has a tradition from Tukaram to Charvaka and Gaddar to Sambhaji Bhagat. Everywhere, Shahiri has its own revolt, a revolt that claims the anti-caste movement. Vilas Ghogare died for the Shahiri, Kabir Kala Manch got arrested because of their songs. But contemporary period imposed the visual culture on it. Sanskritization I mean where Shahiri is just the stooge of Television and documentaries and forgetting the labor and dedication of lower caste peoples for integrating the whole human kind in one form. Yelgar , the cultural troupe, it seems that its work in the society for society notably ignored by the cultural academicians as well as academic intellectuals. This research is showing the labor and dedication of Yelgar , cultural troupe. They are the only example I can see, right now to show the Shahiri dedication to anti-caste movement.

INTRODUCTION

Shahiri (1)as folk arts associated with anti-caste movement and there as a cultural wing it has been contributed on a massive level. But like others work of Shahiri this contribution also never noted by a scholar as well as which work has been done it’s not satisfactory because their focus seems to one sided contribution. It means a contribution of Shahiri to the anti-caste movement was covered but it’s another side; like how the anti-caste movement seems to the Shahiri ’s contribution never explore yet.

This study conceptual framework consists of a set of three connected notions. There I have focused on larger three parts, I explored (I) Relation between Shahiri and anti-caste movements (II) and Shahiri’s contribution to anti-caste movement with the folk’s art utilization (III) then how the anti-caste movement sees that contribution. Through further conceptual map, this can be explained as per follow.

My life in a certain way is dedicated to Shahiri and its form. I have seen after coming to Mumbai, that Shahiri has the new and weird combination for its performances. Being a part of cultural troupe I got to know that the Shahiri is losing its sense somewhere in the process of reaching the masses. I felt that the Shahiri should go what it meant and what is its agenda. Its affiliation with anti-caste movement and massive contribution to it, as cultural activist always encourage me to perform this art. But the perspective of anti-caste movements towards Shahiri becomes the subject of large-scale concern resultant I moved to do this study. In matters of the theoretical framework, I am going to utilize a- Brahminical perspective lens (Multi-linear methodology). This has been formulated by Co. Sharad Patil while pointing out Marxist Philosophy’s single-linear method’s limitations. This is the commingling methodology of Marxism and Buddhism (Gokhale 2013).

After consideration of literature review which debate and gap bring in front, it’s helped me to set my research methodological setup. As far as my research entitle “‘Poetry of the Resistance’ Exploring Shahiri through the Eyes of the Anti-Caste Movements ” is concern its make me clear to set the methodological framework of Qualitative research. Through the non-probability sampling techniques ; the method of purposive sampling has been selected for gathering data. According to this method, Yelgar cultural troupe’s five respondents were selected on the basis of their active participation. As the primary source of data, collection interview tool was utilized. It’s formulated as an unstructured in-depth interview with flexibility support of ideal questionnaire. The base of data analysis was rooted with research diverse objective. Content analysis was used to analyze data which were gathered from personal in-depth interviews. This gathered data has categorized in themes and sub-themes on the basis of respondent argument or experience.

On 3rd January 2017, the remaining cultural activists of Maharashtra’s leading Shahiri troupe ‘Kabir Kala Manch(2)’ (KKM) were granted bail by the Supreme Court of India. These KKM members along with others were accused under the Unlawful Activities Prevention Act by the Anti-Terrorism Squad, Maharashtra. The episode of this arrest was discussed widely in both cultural and political spheres in Maharashtra. But as far as the case of the Shahirs (3)accused is concerned one thing should be pointed out that they were not the first Shahirs to be indicted within this sequence of events. Mumbai-based Shahir Shantanu Kamble had been arrested and further acquitted by additional sessions court judge A.A. Khan while saying, “He is a poet, not a Naxalites. Release him.” (Ayyub 2010). At the back of both phenomena, Shahirs affiliation with the contemporary anti-caste movement was the significant object, because as mentioned above all Shahirs have been involved with leading an anti-caste movement group in Maharashtra.

The cycle of arresting followed by acquittal as also because of their own personal and political reasons led them to participate to a lesser degree within the aforementioned movements. Agenda that was slated to deal with caste but instead dealt with a class led to fractures within the core faces of the cultural troupe within KKM (Shantha 2017). Here one thing I want to mention that in the present movement the separation of some Shahirs from the anti-caste movement come in a clear way, in the history of anti-caste struggle and Shahiri association there seems to be a similar strength. This is not new in history and this can be evidenced from the lifetimes of Shahirs like Vilas Ghogre and Sambhaji Bhagat who call themselves Ambedkarite Shahirs. This stand is indicative of the Shahiri tradition and its contribution which has been interpreted in a number of ideologically rooted ways. This is evidenced from existing literature as well as emerging data.

My association with the tradition of Shahiri stems from the above historical tragedy wherein we see the act change its course through the intervention of Mahatma Phule. The character of the Shahir and the tradition of Shahiri has been an important part of the anti- caste movement when compared to other kinds of performative arts.

About Shahiri and its origin:

Shahiri is originally a folk art derived from the oral custom of sub-continental history; it is a notable form of Marathi literature. Shahirs sings the Shahiri and they called as Balladeer in English. Shahiri as a folk art is a combination form of several types of performing arts; the art style of the drama, dancing, and singing are incorporated itself in Shahiri as well with the heroic genre, it is also engaged with various forms of emotions like wrath, love, hate and rebel. Traditionally musical instrument like Daf or Halgi (4), Dimdi(5) , Tuntune , and bells have been associated with the act.

The tradition has been viewed differentially by scholars of the folklore tradition. According to leading Dalit literature scholar and author Meshram (1998), “ the period of Shahiri literature starts around 1750 to 1850 until established the British rules over in India ” . In the Marathi book called ‘Shahiri Kavita ~ Ek Chikitsa ‘ by Dr. Prakash Deshpande while exploring travel of the Shahiri poem underscore differences between the saint poem and panditi (high class) poems as well Shahiri poems. He said that “ Saint Poem and the panditi poem have enormous travel to reach this stage. In between of the 13th and 17th century is known as saint poem period. With the equation of these 400 years period notable for the Shahiri too, after this period Panditi poems that are high-class poems emerged and it states for 200 years period until the Shahiri ( 1750-1850) was full on the charge to against the oppressions ” Dr. Deshpande (1999).

Due to Brahminical biases when the Marathi literature analysts proclaim that the origin of Shahiri or Shahir word gets in the Persian tradition and throughout they try to establish that the origin of Shahiri was to be found in the Saint tradition. At that time while rejecting this half-truth in a book titled ‘Dalit Shahiri’ Gaykawad (1997) underscores that: it is true that the origin of Shahiri is associated with Saint Tradition but which form of arts, this tradition had utilized it was rooted with others caste based folks arts. Further, he pointed out that how the after the ruling period of Samrat Ashoka, in front of king ’ s court or local fairs in Tamasha(6) as a form of folk ’ s arts Shahiri was performed by Shahirs .

Changing facade of Shahiri : From folk art to resistance

It is apparent that in the Indian context the natures of folk arts became the identity of particular caste; the root of Shahiri is attached there. Such as Tripathi (2016) underscored that “ originally Ballad (Shahiri- Powada ) sung by the members of the Gondhal ( Gondhia ) caste, which is a Dalit community. Post-Shivaji all caste adopted it ” . During the era of Shivaji, when the external attacks were in full swings, at that period the prime duty of the Shahirs was to propel Mavada ’s(7) with their full strength for the battle (Tripathi, 2016). From this time the Shahiri ’ s nature of folk songs changed and it transformed into social purpose .

But after Shivashai (8) during the era of Peshwai(9) Shahiri ’ s abiding relationship with battlefield seems to fade. Traditionally the discourse of understanding Shahiri has been one of its origins and demises but the fact remains that its differing ideological stances continue to be only tangents. Deshpande (1999), Gaykawad (1997) also appear to glorify Peshwai ’ s as a golden period of Shahiri , it received patronage from the Kings. But considering Shahiri ’ s this era changing nature in the Book title ‘ Jati- Antak Sanskrutik Krantiche Aatmbhan ’ Mali (2013) claim that “ Peshwai was a black period of Shahiri because Peshwa ’s made Shahiri court affair. In this period Shahir seems to write poetry on the women fairness and drink ”.

Shahiri from Satyashodhaki Jalsa to Ambedkari Jalsa

Considering Shahiri ’ s innate qualities it returned journey to the battlefield was obvious and this thing happened in 1869 when Mahatma Phule devised Tomb of Shivaji and he wrote a book, ‘Ballad on Shivaji’ This was an important turning point for Shahiri , from the here it was associated with the anti-caste movement directly. Why I am arguing in such way because Mahatma Phule brought Shivaji in front as a-Brahminical icon and according to Patil (2003) this lens didn’t get without applying the multi-linear approach to knowing Indian historical conflict which was remained as Brahminical vs. a – Brahminical .

About Shahiri ’ s this journey in Hindi journal article ‘Maharashtra ka Dalit Sahitya’ which appeared in Amukh Omvedt (1995) underscored that “ It should also be noted that in the 19 th century Maharashtra social radicals like Mahatma Phule, Pandit Koundiram and Gopal Baba Walnker often used to write songs, story and small drama (which was known as Shahiri ) as a way to rebel against caste exploitation”. Furthermore while exploring work of Annabhau Sathe she pointed that “ which traditional songs-drama (Tamasha) lower caste had performed for the high-class people of the village from 1920 it was utilized by the non-Brahmin Satyashodhak movement as Satyashodhaki Jalsa and afterward in 1930 Ambedkarite movement also adopted it with a distinguished title like Ambedkari Jalsa ” (Omvedt 1995).

Shahiri : as the base of Dalit literature?

As far as Dalit literature base is a concern in book title “Dalit Sahitya Udgam Ani Vikas” In introduction part author Gangadhar Pantawane, the most popular persona of Dalit literature noted that “ Dalit literature originates from two ideological conflicts which have been going on since the ancient India. In the 13 th century it inertly appears in the form of Chokhamela(10) and as literature, it emerged in a 19 th and 20 th century ” (Meshram1998). Although Pantawane explicates that Dalit literature originates from two ideological conflicts but due to pure traditional Ambedkar perspective while saying “ its inspiration was Ambedkar ideology never left ” he indicated that he does not consider Shahirs Annabhau Sathe and his literary contribution to Dalit literature.

In spite of this, considering Annabhau Sathe and his leftist background using a- Brahminical approach in an article Omvedt (1995) underscores to Annabhau Sathe as forerunner of Dalit literature because throughout his literature he always opposed to caste system and furthermore she claims that if as movement Dalit literature emerged during the era of 1960-70 it was because of Annabhau Sathe. Similarly, Pawar (1995) also pointed out that “ the oppression of Dalits, caste harassment, and brutality pressure of upper caste; Annabhau opened to it in the Shahiri and his other literature which afterward 1970s came to be termed as Dalit literature ” (Pawar1995). So considering the Omvedt (1995) and Pawar (1995) arguments this thing would confirm that the origin source of the Dalit literature remains Dalit Shahiri . Such as Mali (2013) claims that “ the foundation of Dalit literature is made by Dalit Shahiri but this reality could not understand by the so-called literary critic ”.

Shahiri ’ s Relation with ruling caste/class

The art form actually resisted the power economy of the hierarchy; such as Bhakti Movement(11) challenged to this hierarchal religious hypocrisy through the culture revolt. This tradition Saints like Kabir, Namdev, Tukaram ’ s and Chokhoba appears to fight with the hegemonic system of feudalism which had oppressive nature. In this context, Pandey and Tyagi testified that “ spirit of rebels against feudalism and the creative potential of mass culture had not been expressed in any other form of Indian poetry before the Bhakti period ” (Tyagi 2001). Such as while exploring origin relation of Shahiri with saint tradition Gaykawad (1997) pointed out that “ the word Lavani (12)( a form of Shahiri) gets in the sixteenth chapter of Dnyaneshwari, Which was also born as an alternative arrangement to the Brahminical hegemony ”.

Relation of Shahiri with Anti Case Movement

‘Talks at the Yan’an Forum on Literature and Art’ happened in 1942 Com. Mao underscores that artists and authors feeling to be integrated with the workers, farmers and mass soldiers, at the back its intention is that to exist literary which was not able to understand to people’s life and their language. (Borkar 2008) Before the emergence of Shahiri poems; in the sphere of Marathi literature, same things apply to literary. According to Meshram, ‘ In 1998 first time people life and theirs contemporary social situation was featured by Shahiri literature which is Panditi poems in shortly, others were not able to do ’.

There is a saying that in Marathi, Balache Paay Palnyaat Distat literally translation ‘ child’s feet appear in the cradle ’ same with the Shahiri that introduced its future journey further and it seems affiliated with anti-caste struggle at the beginning and I think that is what considered the social stratification of Indian society which is the obvious. But here question is that when it affiliated with anti-caste movement what kind of contribution it has been given to an anti-caste movement in contemporary period and what is the nature of mentioned contributions?

Origin of aspiration belongs to the anti-caste movement.

‘ Yelgar ’ as Shahiri cultural troupe was established in 2014 at Shanivarvada(13) , Pune by the leading cultural activists of the “Muktivadi Yuva Sanghatana’ which was the early name of this troupe. Swati Utale one of them, those were taken efforts to form the troupe says that “ before the emergence of ‘ Yelgar ’ they used work in Satara region as ‘Ran Shahiri’ then as being part of an anti-caste struggle this troupe had joined to ‘Shramik Mukti Dal ’(14) in 2011 ”

In the context of ‘ Yelgar ’ origin and aspiration, Pravin Khade a lead Shahirs states that ‘ the Shahiri heritage we got from Mahatma Phule, he wrote the 1000 lines Akhand (15), and to be exposed the Bramhinical system. Which origin aspiration is shared by Pravin Khade regarding this in the book ‘ an aesthetic of non-Brahmin literature ’ Patil (1988) explicate

“ A gainst the colonial period ’s caste system, the tru mpet was played firstly by Mahatma Phule . H is non-Brahmin literature like ‘Gulamgiri’ (slavery) Phule underscore disguised description of Shudra-Atishudra (non-Brahmin) economic, social and religious inferiority which is imposed by Brahmin ” (Patil, 1988).

Shahiri follow Ma-Fu-Aa ideology through performance

‘ It observed that from the beginning of 19 century Maharashtra remain the central point of the anti-caste movement, due to this reason whenever Marxist-Leninist movement emerged in this ground when question they had a face ’ (Ghandi, 1995). Afterward Ambedkar ’ s great nirvana(16) this needs came in front on large level and results while criticizing to the traditional view of the Indian left (CPI-CPM) as well Ambedkarite also the new anti-caste struggle groups emerged with its new Ma- Ph u-Aa Ideology, for instance ‘ Dalit panthers ’ in 1972, The Satyashodhak Communist Party in 1978 (Patil, 2003), Shramik Mukti Dal in 1980 and Republican Panthers in 2007 etc.

In spite of this historical event new upcoming Shahirs seems to perform under Ma- Ph u-Aa ideology. At this point, while rejecting the orthodoxy of the class base perspective of left and dogmatic Ambedkirtes ; Shahirs seems to perform Shahiri of caste, class, and gender. In this context Charan Jadhav, 26 years old , poet and writer of ‘ Yelgar ’ state that, “ in the movement where intellectual space and issues of caste or class remain debatable but as far as Shahiri s concern instead stuck in that debate considering caste-class exploitive nature it takes to stand against both ” . Further, he says that as cultural troupe ‘ Yelgar ’ bring in front like a brand of “Jay Bhim- Lal Salam” and its concern that both ideologies ought to be run together ” .

It is very surprising that w here Maharashtra is debating on the basis of Marxism or Am edkarism was always in full swing. I n that ground, Shahirs like Annabhau Sathe (As Marxist wing) and Vaman Dada Kardak (Known as Ambekairte Shahirs ) performed Shahiri with both ideologies . Annabhau S athe writ ten and got famous ‘ Jag Badal Ghaluni Ghav , Sangun gele mala Bhimrao ’ (Babasaheb stroke s to change the world and that is the education he gave to us. ) And an other si de Vaman Dada asked Indian capitalized peoples that ‘Sanga Amhala Birla Bata, Tata Kuth ahe ho’. (Let us know where are Tata, Birla and Bata seats ) like hardcore communist poets. Before the debate of collaboration of Ambedkarism and Marxism in the intellectual and academic sphere, Shahiri already established the collaboration before the thinking of intellectual and academic sphere.

Shahir and Caste base art form:

Songs and caste have an emblematic relationship, Thorat (2016) in his unpublished but going to be published paper which he presented in Diginaka conference in Tata Institute of Social Sciences. He depicts that “ nothing is more emblematic of this system of social organization than the Marathi saying ‘ Bamnya ghari livan , Kunbya ghari daan , Mahara-manga ghari gaan ’. (To the Brahmin ’ s house belongings writing, in the peasant ’ s house the crops and in the house of the outcastes ’ performance of dance and music) What does this indicate? According to Omvedt (1995) “ Brahmin can be claimed on the intellectuality and Kunabi (Maratha) over the land, Mahar-Mang is deprived of both. It also emphasizes that the lower caste can claim on the own oral tradition ” . Mali (2016) also disputed that ‘ Dalit literature do not have a base of own oral tradition is always have been neglected by Marathi literature critic ’.

Shashtra: dispute of labor.

Hunting to gathering or feudal to capital society, this historical event claimed that ‘ the folk’s arts, folks dance, folks songs and folks music are associated with labor ’ (Gaykawad 1997). The book ‘Dalit Shahiri’ explored the origin of word ‘ Lavani ’ which is one of the popular forms of Shahiri Lavani was used to mobilized peoples. Gaykawad (1997) claims that there are many scholarly arguments which had been done to origin word of Lavani, but considering the fact that people life remains on agriculture and folklore also associated with the daily life and its matters. Popular revolutionary Lokshahir Gadar (1998) claims that

“ Tribals and Labor music, songs and dance steps to be involved in each other. Therefore it was simple like their lifestyle. But those peoples remained aloof from the labor and learned to live on others labors. They get free time for making Shashtra of art form and music instrument ”. Gadar (1998)

Therefore, in spite of it, creation roots which were associated with working caste and Shahiri as art became an integral part of the anti-caste movement.

Arts, its beauty, and Shahiri

I n the caste system like lower caste people their arts, instruments also gain lower status than the other upper such as in the Maharashtra as art form Kirtan (Dominated by OBC) and its instrument like Vina gains highest strata instead the arts form like Tamasha (performed by Dalit caste ) and instrument like Dholaki, Daf, Ektara comes in a lower category. In this Omvedt (1995) pointed out that “ when the political activist performance street play at that time people ridiculed them as Dombari(17) caste people But as soon as Shahiri comes in the arena of Social battle its seeks to break this casteist perspective. As an example, the social radicalism of Maharashtra used to lower caste people arts and instrument to performing Shahiri but Shahirs like Annabhau Sathe used all art form of Tamasha in the Shahiri and provided beauty to it ( Omvedt 1995 ).

‘ Yelgar ’Shahirs S wati says that “ in the Dalit, caste art remains an important part of their life, but such arts does not gain admiration ” . Further, she shared that, “ according to the caste, singing work has been done by Dalits, our policy is that it should be used for the eradicat ion of caste ” . As a Shahir Swati pointed out that ,

“ In one of the editorials of a journal called ‘Vidrohi’ published in the Maharashtra region said that D alit art is a weapon for liberation, this alive consciousness, and the mass altogether came and fight against the oppressive caste ” .

As far as lower caste people’s music instrument is concern ed , Rahul Sapkal , 24-year-old , working in CSR hub and the lead musicians of Yelgaar said that “ we go to mass with the instrument that has a symbol of lower caste strata that time we realized its appeal people quickly than an o ther instrument . But what is going on in our society is that the other instrument s (western) great value than any other instrument ” . Further, he says that “ in the Shahiri we used these all lower caste musical instruments as an alternative to all kind of mainstream instrument ” .

Purpose of performance

Available l iterature on Shahiri ’ s perform ance and its purpose that massively messed up. According to the study, the intention perform ance and its purpose of Shahiri have changed over the year. I n the context of Shahiri and its contribution to social movement according to its evolution journey, it has seen to divided. Mali (2016) said that “ it has the fifth era of the evolution of change the shahiri ” . Mali further states that,

“ While carrying the dream of freedom in heart Shahiri’s which helped to Shivaji for the formation people density , but at the end of Shivaji period the Peshwa Shahiri becomes dominant. Phule Shahiri returns in the battlefield . This Shahiri seems to fight with internal-Brahmins and external-British rule altogether . Satyashodhki and Ambedkari Jalasa Shahirs played an impor tant role to show the impact of anti-caste movement through the song . This was the fourth era which was during Sayunkta Maharashtra M ovement where Shahiri played a key role to the communists and socialist . Shahirs seems in full swing against the Indian state at that time . Afterward in the fifth era which was Dalit Panther time and Marathwada U niversity renam ing movement, again Shahiri was involved with the revolutionary struggle . Vaman Dada and Vilas Ghogare was the key face of this arena ” (Mali 2016).

Throughout the above, it seems Shahiri reached to t he stage, where Shahiris ideas provide the arena of an anti-caste struggle with the involvement of a larger level than what it can be imagined. The argument of Shahiri in contemporary period can be explored following way.

Voice of Voiceless peoples.

In Marathi literature there is a debate going on regards to the stand of art, but when the journey of Shahiri in front s of us , this question answers resolves because as art Shahiri seeks to take a stand against the oppressive nature and it becomes the voice of the peoples, those don ’ t have an own voice. The code of Manu does not allow to shudra- atisudhra for basic rights, rather said that the inhuman activities have put on the shudra and atishudra . In spite of inhuman activities, they were not able to express their life p ain and joy through the literature. ‘ Yelgar ’ founders’ member Dhammarakshit Randive states that,

“ When as Shahirs we performed the songs, drama, poems and music we represented that person along with us who does not have any media to represent them . In the contemporary movement intellectual, activist and follower are weeping because movement don ’ t have any media through it can be reached to the people ”.

Politicize the Masses

Compare to others arts form, Shahiri come s in fron t as a lobbyist art, at the back its reason is that in which form it performed like Powada . A ccording to Gaykawad (1997) “ this form singing intention to produce heroic feels into Public and kings an army ” . I n the beginning era, this movement target groups was illiterate. “ They were not able to understand scholarly written language hence to politicize them this form has been utilizing by Maharashtra radical reformer. ” (Omvedt 1995). ‘ Yelgar ’ Shahira Swati Utale shared that , “ through the Shahiri, we can tell easily that which is not possible through books, speech and others form of information ” . Furthermore, she pointed out, “ We sing Shahiri against Brahmanism and C apitalis m. It explores the oppressive nature of this both system ” .

Myths and Shahiri have a close relation . “ In the creation of myth, Shahiri has been forward. ” ( Mali, 2016) I t was nature of Shahiri that a-brahmin m yth of ‘Bali Raja(18) ’ and ‘Kulwadi kul -Bhushan Shivaji(19) ’ has been produced by Jyotibha Phule. In that basis, Swati Utale said that “ through our songs, we tell to people how Shivaji, Baba s aheb Ambedkar and Bhagat Sings had fought for our right ” . In this context book, Dalit Sahitya Udagam ani Vikas (Dalit Literature Rise and Development ) Meshram 1998 explore that, “ while exploring work of Mahar-Mang Shahiri , after Mahatma Phule ’s literature , Dalit thinkers and Dalit Shahirs also played a key role to politicized peoples. F or this Shahirs aspiration are Chokhamela, Mahatma Phule, Mahar battalion and Bravery of Bhima Koregaon battles(20) . H istorical event Meshram bringing in front of the base where the picture shows that to politicized the Dalit and others caste . Shahiri plays major role that’s what the Mesharam meant in his book.

Exposes the socio-political-economic issues

P oems , songs, and drama explicate the religious hypocrite practice through the culture revolt but their focus merely remains on the social-centric. This traditions character istic is most inflectional. S cholar Sankrutyayan s book published in 2011 which was the second edition of his book, Darshan Digadarshan (Philosophy and Direction) pointing out differences between 17 th centur ies eastern and western philosophical development which claim ed that “ the era of 15 th and 16 th century Saint and Sufi tradition were trying to erase the society ’ s discrimination and social problems ” . In addition, while exploring Saint Literature nature, Meshram (1998) claims that “ through the saint thought Dalit people could not be overcome theirs day to day li ves issues because this traditions goal was spiritual betterment ” .

Afterward looking at the nature of saint tradition, further argument can be done that in the history of medieval-modern literature, Shahiri as literature emerged with the concern of socio-political-economic issues. ‘ Yelgar ’ Sahirs and m usician Rahul Sapkal state s that, “ our main objective to establish ‘ Yelgar ’ which not only explains a social condition of Dalit but also teach them about their economic and political exploitation as well as how to overcome it ” . Saint and S ufi tradition where which cause the effect of socio-political and cultural issues that ‘ Yelgar ’, tries to look at in history. Afterward, this statement Rahul, shared a name of that song like “ Sanga Amhala Birla Bata-Tata Kuthe Ahe Ho, Pudhari Nighala Bagha Diliila-Visarun Janar Zopad Galilla, and Hadachi Kad karun kadila Khanitun Kolasa”. (Songs like where the Birla, Tata are and Bata tell us, Leader is going to the Delhi, he will forget our ghetto now, our bones are burnt and mines are developing coal.)

This song referred by Rahul among them first songs has been written by Vaman Dada Kardak (21) in this song Dada asked that time most top capitalist s whose wealth you stocked; tell where is our share this ? Second is written by Vilas Goghare this song explicates the hypocrite nature of a politician and tells us how the Dalit M ass was utilized in an election period. Third songs wri tten by Sambhaji Bhagat throughout this song he pointed out how in the caste system relation of workers is associated with hypocritically.

About Shahiri target groups

Although in the arena of anti-caste struggle Shahiri massively performed in front of Dalit and working class but sometimes as per the needs of a particular movement, its target seems too changed. Such as in Samyukt Maharashtra M ovement and its target groups were entire Marathi peoples, but as soon as such particular movement goal was achieved instead active involvement with the anti-caste movement they seem to avoid it. Such things happened especially in high caste – class too and it observes that the behavior root is associated their apathetic response to anti-caste movement. While sharing own experience Swati Utale a member of ‘ Yelgar ‘ claim that

“ When they used to work with ‘Shramik Mukti Dal’ at that time during the struggle of “ equitable water distribution ” and Dam movement for the organizing purpose as Shahiri troupe they were working with Maratha caste. During the whole process this upper caste people was standing with Shramik Mukti Dal ’ but as soon as their problems were solved they left this movement ” .

Which own experience Swati Utale Shared that “ it indicated that with the concern of anti-caste struggle Shahiri simultaneously performed on the other issues. While doing this kind of activity Shahiri carry a mature understanding such as a ‘ Yelgar ’”. F ounder member of Yelgar Dhamma state that “ due to a one-sided dialogue we encourage our people to erase caste ego. But considering the mentality of exploitation for the intention of the annihilation of caste, we must go with others caste people because as Shahir when we look in that area at that time I realized due to caste there no coordination ”. Furthermore, he shared that for the fulfill above idea through the ‘ Yelagar ’,

“ We performed to Shahiri in Ganesh and Durgamata festival at the back reason is that those people were in such kind of idealist activity. They have to also participate in the anti-caste struggle but while doing we do not forget our prior target group which resides at slums and outside the village ” .

Shahiri and Solidarity

“ In 1939, Mao introduces three magical weapons for the defeating enemy in china ’ s revolution: United front, armed struggle, and party building. ” (Smith 2015). In the history of anti-caste struggle, Shahiri emerged as a cultural w eapon the Shahirs known as weapon holders of the society. In that caste society, they seem to play a key role in both places like the building movement and solidarity. About this regards Charan Jadhav state that we are surviving in such era where in full swing pressure we are seeing on ‘ freedom of expression ’ . Against this suppression, the political and cultural space has been taken a stand but in individual and separate level. Looking at hurly-burly situation ‘ Yelgar ’ activist decides that they need to form a cultural front on the national level. Presently in spite of ‘ Yelgar ’ initiative, a Rela cultural front has been established by ‘ Yelgar ’ activists. In this front around five states (Chhattisgarh, Odisha, Karnataka, Panjab and Delhi) this group as the Yelgar stated that cultural troupe and individual activism has involved.

In present era where the anti-caste movement has divided at the banner of different ideology and political agenda, movements seem to fight with like-minded ideology. where ‘ Yelgar ’ as Shahiri troupe takes such stand regarding this Rahul Sapkal states that “ there is a need to organize the front of the anti-caste moveme nt which will be in the broad role .

SHAHIRI’ S KEY CONTRIBUTION TO ANTI-CASTE MOVEMENTS

Throughout the chapter s, I am arguing t hat th e kind of relation and engagement remained between Shahiri and anti-caste movement is more static and covered with the understanding of soc io-cultural issues. This chapter will explore the key contribution of Shahiri and which is the affiliation with anti-caste struggle. Shahiri has been given to it b ut the thing is that this journey appears too long, so considering research study limitation I shall focus on the core area which has been considering the base of the caste system and without destroying to them the dream of ‘annihilation of caste’ might not become a reality. But here problem is that the core areas also massively covered by Shahiri, therefore, I decided that I shall explore Shahiri and its contribution in two parts: First base on historical contribution and second is through the Yelgar groups a song.

Religion and Shahiri

If I said that after Phule-Ambedkar this non-Brahminical tradition carries out by the Shahiri will not be an exaggeration because, through the Shahiri, shahirs critically examines religious hypocrisy. Such as in book ‘ Jatiantak Sanskrutik Krantiche Atmbhan ’ Mali (2016) refers to Laxman Kedare songs

Budh Kabir Bhimrao Phule, Ya Bhumivar janmale

tyanni jag jivan , phulvile ga shejarin Sakhe bai …

(Buddha, Kabir, Bhimrao and Phule they born and their work give us emancipation)

Throughout this song, Kedare is radically exposed the social politics of religion as well as religious superstitious-ness such as human reproduction as growing due to the existence of God. The origin of such kind of Shahiri comes from Shahir’s a- Brahminical approach which was associated with anti-caste struggle. Therefore this type of Shahiri became helpful to anti-caste struggle. Dhammarakshit Randive states that “ it is observed truely that the religious philosophy believes in the destiny and fate. People think that the social, cultural and economic caste discrimination is happening because of theirs fate ” . Further, he pointed out that while making people to scientific or rationalists, Shahirs break the idea of destiny and fate and this was the eminent contribution of Shahiri for the anti-caste struggle.

When the Ayodhya Babri Mosque was demolished by Hindu Kar Sevaks(22) result in 1992-93 Mumbai and others riots happened. Sambhaji Bhagat has written a song to describe the riot in his song. The disturbance gave by the riot only made it complicated, it was made it complicated deliberately, Sambhaji Bhagat stated, Song goes,

Ghadi Ghadi Lafada Kayaku Re, Are Locha Kayaku Re

Zopade Me Jhanjat , Jhamela Kayaku Re’.

Pukarate Pujari – Pukarate Hai Moula

(Why this confusion, why is this complication , why is this tension in slums, why is this fight in slum .

Pandits and Maulavi calls everybody for the fight and social tension)

Khatare Me Rahim Lalla , Khatare Me Yeshu-Alla .

Are Eshvaro Ka Election Se Panga Kayaku Re

Zopade Me Danga Desh Nanga Kayaku Re…

(Rahim-Christ and God are in danger, they are fighting for the election. This tension should not be in focus. Slums are full with riots and why the nation is naked)

This stanza exposes that religious hypocrisy which is associated with election politics and whenever religious riots happen its effects has to face to lower caste/class people and those are residents from ghettos and slums. Further while exposing differences between high caste and lower caste gods he wrote that …

Hamara Nam Kacharu Kachroba Hamara Dev Hai

Hum Gore Nahi Kale , Mata Hamari Kalubai

Hamrare Dev Dekho , Hhmara Khana Khate

Ab Tumhare Dev Dekho, Bilkul Tumhare Jaise

Chikani Hai Unki Surat, Chikani Hai Unki Murat

Our Shudh Shakari , Khate Na Murgi Kali

Manav Ka Leti Bali …

(Our name is Kachru so our God is Kachroba – a lower caste God. We are black, not fair so our Goddesses are Kalubai – Black Women. Our God eat our food, now you see your God just like you fair and slim.)

Through these songs, Sambhaji Bhagat explores that the fact which clearly shows such relation differences between religious practices and its ideology. At the end of this stanza, he tries to tell lower caste people and their God ’ s practices which are not harmful to a human being but upper caste God believe in violence and they are destroying Human Kind. It observed that the Kalubai and Kachroba are not the reason for the riots but Ram and Krishna, Christ and Rahim are. Sambhaji Bhagat used a-BramhinicalBrahminical approach to the others which could not write such song at the back of it there’s orthodox philosophy is at work.

Even though we are living in the 21st century, but the conscious and subconscious mind remains in the medieval period. That ’ s the reason a need of such kind of Shahiri always become helpful to anti-caste movements. In India, where taking separation from the Hindu religion (Brahminical philosophy), A-BramhinicalBramhinical philosophies give to birth; new creed or religion, such as Charvak (Lokayata), Mahavira (Jainism), Siddharth. (Buddhism) This a-BramhinicalBrahminical tradition also appears to proceed in same way till the modern era, for instance, Mahatma Phule gives to us Satyashodhak Samaj(23) as well Dr. Ambedkar to ‘ Buddha Dhamma ’ . Such thing happened into Indian history, because in the Indian context; since Upanishads doctrine to till contemporary era the human community is stuck or cobweb over to a large scale constrained religion.

Symbols of anti-caste movement and Shahiri

The nature of Shahiri is rooted with symbolic culture through the Powada’ s form Shahiri established its symbols. Afterward, its affiliation with anti-caste struggle this form of Shahiri changed a little bit in this era where symbols come together with Ideology sung by Shahiri . Here one thing should be pointed out that while making symbols of anti-caste struggle Shahirs, directly and indirectly, used an a-BramhinicalBramhinical approach which was much helpful to spread anti-caste ideology. In this queue, further symbols bring in fronts like Buddha, Bali Raja, Kabir, Shivaji, Savitribai, Phule, and Ambedkar.

In present era where from the right wing side Shivaji as symbols of Hindutva (Go-Brahmin Pratipalak) strongly imposed on people ’ s mind. At this time after Mahatma Phule, (Ballad on Shivaji) Shivaji as an a-BramhinicalBrahminical symbol was brought to the front and was need of anti-caste movement. Considering this needs a song “ Amhi Shivbachya Aouladi ’ ( we are a follower of Shivaji) was produced by Kabir Kala Manch this songs ‘ Yelgar ’ also perform.

In that songs, while making the anti-caste identity of Shivaji Shahirs write that.

Rayatechya Rajyache Jyan Thoran Bandhal

Vatndari Julmala Jyan Matiti Gadal

Jati-Dharmachya Killyat Jyan Surang Peral ….

Jivlag Jiva Mahalachya Navane Chang- Bhal …

(Peoples governance was formed in Shivaji’s time, caste based distributed land where destroyed, caste-religion foundation were broken down in a time of Shivaji’s time.)

Through this song, Shahirs underscore that how the Shivaji made such kingdom, which was free from caste based structure as well how it was formed eradicating to caste based land distributed system. It was the challenge to the Brahminical system but as Shahirs which lens Mali as Shahir used to establish King Shivaji as a-BramhinicalBramhinical symbols due to this stand, he was criticized by orthodox left circle because according to their Russian lens Shivaji was a proponent of feudalism. In this context while criticizing to left this orthodox lens in the book title ‘ Jatyaantak Bhandvaldari Lokshahi Kranti Ani Tichi Samajwadi Purti ’ Patil (2003) claim that the “ during the medieval feudalism period if external conflict was going on between Turkey imperialist and like Shivaji autonomous but internal contradiction was between Basweshwar, Mahnubhav al(24) to Shivaji-Sambaji’ s a- Brahminical and Brahmanism. In this context while pointing out the contribution of Shahiri to the social changed. Rahul Sapkal states that if Mahapurash (great personality) are alive in struggle its credit goes to Shahiri.

Like, Shivaji Kabir, Savitribai, Phule, and Ambedkar ‘Bali Raja’ who killed by Brahmin Vaman avatar also bring in front as a-BramhinicalBramhinical symbols. In songs “ Yevo Balich Raj ’ (Time of the farmer will come) Shahirs write that …

Ye Narakachi Hi Vedana Sari To Soshito Ga Bai

Ya Jati Vyevasthela Gadun Ka Samta Anit Nahi…

Tya Brahman Shahicha To Ka Mudata Padat Nahi…

Vidrohache Hatyar Gheun ,Rani Ladhito Aaj

Talo Julmach Raj…..

(Like hellish pain farmers tolerating, why did not farmers are bringing the equity and bury the caste system, why farmers are not killing Bramhnism and why not they are using revolutionary tool to kill the Bramhanism)

Through this song, Shahirs are exposing the Brahminical system and claim that Brahmin Vaman which should kill called Bali, after that, they established their Brahminical system. In that system, we are facing a lot of trouble that ’ s why as a legacy of Bali we should eradicate to this caste and Brahmanism.

Dalit Massacre and Shahiri

Rahul Sapkal who is balladeers in Yelgar explicates that the Shahiri played a key role in transforming the history of the Ambedkarite movement. Shahirs wrote a song of the historical phenomenon those were affiliated with anti-caste struggle. Information that Rahul shared that, “ looking Shahiri literature, not with doubt, because Shahirs like Vaman Dada Kardak wrote thousands of songs about anti-caste movement. But when the Dalit Massacre happened and in spite of media biases, it did not reach to people at that time Balladeer not only write songs about this context but also they appeal to people for mobilization and fight against it. Such as Marathwada rename movement upper caste people in groups were burning to Dalit ghettos and Dalit was under fear at that time he wrote that…

Holila Holi- Tolila Toli, Golila Goli De Re Ata

Uchh – Nichh Techi Karun Holi, Tolila Toli De Re Ata

(Burnt should be face burnt, bullet should be facing bullet and differences should be burnt and their organization should face our radical organization)

Stanza of this song appeals to the peoples those are facing such caste discrimination and it suggested them to fight like tit for tat, otherwise this burning of Dalits will not be solved . In this regard another most mass appeal songs ‘ Jaltoy Marathwada ’ (Marathwada is burning) is written by Vilas Ghogare.

Kuni Kambale Pochiram, Pot Bhari Galuni Gham

Gavachya Vairi Tharala Mukhi Hote Mhanun Jay Bhim

Aad Rani Tyas Gathun , Dorin Jyam Bandhun

Adhi Hat Pay Todale , Agnit Dila Fekun…

(Some person Pochiram Kamble was landless labor, he was the enemy of his village just because of he was an Ambedkarite and slogan Jai Bhim. His feet and hands were broken by villagers and burnt alive)

Dalit massacre incident which was actually happened in Marathwada, Vilas Ghogare is noting down through the Shahiri . Vilas, this aliveness is seen in a more energetic way in another massacre such as the Ramabai Nagar Massacre. Shantanu Kamble wrote song ‘ Dalita Re Halla Bol Na ’ (Dalit organized , let’s attack them)

Ramabi Nagara Madhye Ghadlela To Prakar Athva

Nishashra Hote Dalit Sare , To Amanush Golibar Athva

Rakt Ajun Sukale Nahi Raktacha To Sada Athva

(Remeber the attack on Ramabai Nagar, Ghatkopar. People were without weapon but Manohar Kadam inhumanly attacked all Dalits. The blood is not dry yet let’s not forget, Dalits organised and lets attack them)

This stanza appeals to all people and shows what happened to Ramabai Nagar, Ghatkopar. This shahiri explain the police ’ s savagery; how they killed Dalits people who were were weaponless. Like, Vaman Dada, Vilas Goghare and Shantanu Kamble and others Balladeer also write the song about Dalit massacre and throughout its anti-caste struggle could be organized by people march against this system and pressure put on the state system. Dhmmarakshit Randive states that, “ as Shahiri troupe ‘ Yelgar ’ performed songs and we believe that through such songs we reminding a slave and their slavery

Women : love and Shahiri

Dr. Ambedkar famously stated that the, “ women are the entrance door to the caste system ’ . And after looking six functioning characters (among them endogamy marriage system) of caste system we get the sense why Dr. Ambedkar says above mentioned. In this regard Swati Utale stated that, “ in spite of inter-caste marriage caste system could fall down, these things observed Shahirs , therefore, they write Shahiri about love and revolution ”. Here one statement should be pointed out that, “ if anti-caste movement through slogan claims that ‘ the movements should be aware of women issues and it will be fighting for eradicating to them but in practice women, participation in anti-caste movements appears to really less. So considering these problems Shahirs seems to write Shahiri of those appealing songs indicating especially women participation. Shantanu Kambale writes song like ‘Samtechya Watan’ (the way of equality)

Samtechya Waten Khankawat Paijan Yav

Tu Yav Tu Yav Bandhan Todit Yav…

Vade Jati Patiche Jyat Mans Kondali Hadachi Masachi

Kashi Mans Na Disali , Tya Bhinti Jati- Patichya

Tu Todat Phodat Yaav… ( will be translated)

(Come on to the way of equality dear, come with your anklet. Forts that built on the dominance for inhuman activities, those walls where humans are not visible, women you should break them and come to the reason.)

Through this stanza as activist of anti-caste movement, Shahir called to his fiancé. Song is appealing that the person will come to the struggle against the breaking the caste obligations.

DISCUSSION ON RELATIONSHP BETWEEN SHAHIRI AND ANTI CASTE MOVEMENT

Shahiri emerged as topmost media of anti-caste movement

Such as in chapter four we have discussed that from the origin of anti-caste movement Shahiri becomes the voice of the community which they don ’ t have an own voice in inhuman differentiated caste system. As soon as this anti-caste struggle was spread at the level where equity will be there and media will emerged which might help to spread anti-caste thought in the masses. In this period print media tools like newspaper, magazine, and books were used by a contemporary social activist and observed that the activists’ people ignored shahiri forms. On this basis, it should be mentioned that the sphere of anti-caste struggle such kind of media already emerged during the period of Dr. Babasaheb Ambedkar. But before it in the era of Mahatma Phule Shahiri seems to carry out this burden. The reason that Phule and Savitribai wrote anti-caste literature in form Gey (oral) and drama such as Akhand, Powada , and post-Phule – Savitribai this legacy has been carrying out by the Satyashodhaki and Ambedkar Jalsa. Swati Utale stated that “ when we look the history of anti-caste struggle, we found that for the purpose of social change Phule also used this art. At that time I realized that in present era also this art is more mass appeals rather than others. ”

Although during and post-Ambedkar period, all kind of print media tool including Dalit literature anti-caste movement spread in full swing but where is a concern of media anti-caste movement still depends on Shahiri . Communication of Shahiri is still better than the other instrument of media. It assumed that the Shahiri is also the medium of communication. Dhammarakshit Randive pointed out that, “ as far as the annihilation of caste is a concern there is a need of cultural front and considering the historical contribution of Shahiri to anti-caste struggle, any others form of arts could not take place of Shahiri” . In addition ‘ Yelgars ’ other Shahirs Pravin Khade Shared that in the society general notion is that “ Arts and Artist should not follow any political ideology, but when we look to Shahiri art and Shahir the picture appears different, Shahiri as arts remained always part of the anti-caste movement.

I think that considering the historical contribution of Shahiri to anticaste movement and ‘ Yelgar ’ Shahirs is appropriately contributing to the anti-caste struggle. The arguments can be done that Shahiri emerged as topmost media of anti-caste movement.

Honestly affiliated with anti-caste struggle

While looking at the journey of Shahiri and anti-caste movement there one thing appears that they have been evolving together. Pravin Khade explicates that the “ for me anti-caste movement and Shahir are two sides of the same coin, without a study of both, the real picture could not come in front ” . Here which arguments Pravin did at the back of it some historical event seems to work. “ Because whenever anti-caste struggle has to face burning issues at that level Shahiri played a key role to organized, educated, and agitation of people. For instance, examples like Buddha Dhamma, renaming movement, Ramabai Nagar, and Khairlanji massacre are prominent ”.

After post-Ambedkar the Republican Party of India(25) split that the time Shahir like Vilas Ghogare sings Shahiri ‘ Mai Bhim Ka Divana hun ” (I am mad for Dr. Bhimrao Ambedkar) Through the above role of Shahiri I am trying to state that as the name of anti-caste movements many organization and political parties groups dishonest with Phule-Ambedkar thought but Shahiri never did it.

Provided beauty to caste base stigmatize arts

In book title “ Jatiantak Sanskrutik Krantiche Atmbhan ” Mali, 2016 claimed that the Shahiri as art emerged with several types of folks art and each folk’s arts is associated with particular caste. Furthermore, he pointed out that due to this reason after the revolution such folks arts will become the identity of such groups. Here which fact Sachin Mali brings in front it is helpful for the contemporary anti-caste struggle to develop their organizational strategy in regard to caste base folks arts.

But which fact he introduced at the back the Shahiri contribution has hidden which while growing with folks arts Shahiri gave to them. This is observed true that in a caste system like their caste status, lower caste people folk arts also don ’ t get status. But when Shahiri it to these folk arts for the social purpose these arts gets beauty, such as Rahul Sapkal state that in the mainstream society western and others instrument are dominated on the folk’s instrument and arts, so considering it when ‘ Yelgar ’ first cultural forum at Pune at that time around an hour we performed on stage with folks instruments. Furthermore, he said that people are not aware of the folk’s arts and its musical instrument therefore with this arts and instruments we performed. Here I would like to say that, as far as folk’s arts-instruments and its beauty are a concern, here direct-indirect Shahiri seems to provide beauty to it.

PHILOSOPHICAL STAND OF ANTI CASTE MOVEMENT AND CONCERN OF LOWER TREATMENT TO SHAHIRI

Philosophical stand of cultural activism

As far as anti-caste philosophical stand regard to cultural activism is a concern of as cultural and political activism Shahirs follow Ma-Phu-Aa ideology. ’ I have already mentioned that the post-Ambedkar maha-nirvana most of the anti-caste movement group were dominated by the Marxist ideology. In spite of this their stand regarding cultural activism had developed base on Marxist philosophy. I think that due to this reason Shahir could not look to Shahiri as a weapon of liberation. The reason such anti-caste movements groups stand can be explained with the further way.

Where is caste , base or superstructure?

There in the Indian Left circle, an assessment about caste has originated as ‘ Caste is not the issue ’ , proceed it seem to say such gender, minority, nationalism and like communalism ‘ Caste is also issue ’ , to gaining this kind up maturity? They had to spend around 80-90 year. Though caste could not become their struggles key agenda. So while examining this Indian left 80-90-year-old journey of activism; one thing found that due to their Russian lens, they could not permit to caste become the (part) base of Indian society because according to them it is part of the superstructure.

In this context most popular Dalit intellectual Dr, Teltumbade pointed out that as far as caste is a concern the Indian left (CPI, CPM) stuck in the base and superstructure. Further state that for the getting knowledge of caste ‘ base and superstructure ’ is not an accurate mode of knowing caste reality. Furthermore, he suggested that in spite of historical references this lens has to utilize, so caste should seem in both parts of society like base and superstructure (Teltumbade, 2012).

Agreement on caste as part of the base or superstructure but question cultural activism?

I have mentioned that while rejecting to CPI- CPM left traditional perspective in Maharashtra anti-caste struggle emerged as with Ma- Ph u-Aa ideology but as far as cultural activism is concern due to Impact of traditional Marxist ideology they also take stand like ‘ the cultural changes happen base on material change ’ and according to this lens through cultural activism changes could be possible merely in people’s mind neither in the base of society.

In this regard while criticizing to anti-caste movements this perspective ‘ Yelgar ’ Balladeer Pravin Khade claim that “ t he anti-caste movements is not serious about the Shahiri and Shahirs contribution and at the back of it reason is that the movement carry out the bias thinking like ‘ Gani Gaun Kahi Hot Nahi ’ ( society does not change through the singing songs). In addition ‘ Yelgar ’ founder members also claimed that ‘ notwithstanding anti-caste movement leader (a driver of movement) proclaim they follow to Ma- Ph u-Aa ideology but in spite of theirs caste consciousness and sub-consciousness they also seek to sing & writing a song as secondary things than theoretical contribution. Furthermore, State that due to such stand they could not see seriously to a cultural movement.

Perspective regard to the political and cultural activism as impact of caste consciousness

Rahul Sapkal mentioned that the when we see in the anti-caste movement organization structure in the large level we found that the cultural wings activist mostly belong to lower caste community and others wings like the front , magazine, political organizer and central committee member mostly belong to upper caste/class community. Further he pointed such thing happened because when the upper caste people participated in anti-caste movement at the time they function there with this caste conscious sub-consciousness resultant if he/She joined to organization as cultural activist but after some period they converted in the role of the other although they were culturally more sound than others lower caste cultural activist.

In this regard, in documentary movie review “ Jay Bhim Comrade (26)’ (which was centric on ‘ Avhan Natya Manch ’ (Mumbai base cultural wing) lead Shahirs Vilas Ghogare and Dalit Issues) Dr Anand Teltumbde claim that “a Dalit when he comes to the left movement continues to be a Dalit whereas he becomes an outcaste as communist for his own people. It is an enormous psychic cost Dalits incur upfront while entering the left movement (Teltumbde, 2012). Furthermore as Dalit Shahirs what was happening with Vilas Ghogare, he states that “ Vilas plunged into the movement. With his unexceptional talent, he became a natural core of the Aawhan . While he threw himself into the movement body and soul, completely giving up performances for Dalit programs that fetched him much needed extra income, there was not much appreciation of these facts by the leadership. He was still seen with skepticism because of his Ambedkarite background, to be replaced in course of time by some other Dalit who was not seen as such. What lay beneath this ideological euphemism was the ugly play of sub-casteism? On the ideological level also, Vilas experienced discomfort with the romantic superficiality of the English-educated upper class/caste youth (claiming to have declassed themselves) who constituted the leadership of Aawhan ” (Teltumbde, 2012).

In this regard, if focus study focus has been done on that I think that like this many examples we found but above example is for explore anti-caste movement such caste character.

Secondary priority to organizational agenda

In Books Jatiantak Sanskrutik Krantiche Atmbhan (Mali, 2016) claim as art Shahiri used by the anti-caste struggle for gather to peoples during congress and convention. Beyond this, they could not understand the strength of Shahiri . Which arguments Mali makes, ‘ it is enough for describe anti-caste nature. Because like Mali, Yelgar Shahir Dhammarakshit Randive also pointed out that “ during a program like a congress and convention Shahiri cultural troupe is invited by anti-caste struggle because during session youthfulness can be alive by Shahiri” . But further while connecting to it with anti-caste movement philosophical stand the claims that ‘ In such program balladeer as cultural activist treated like labor ’ . Furthermore while sharing some live experiences he states that such secondary treatment also gains to balladeer in within movement leadership structure. He said that movement leadership thinks that if a person joined the movement as a cultural activist should die as a cultural activist therefore if we look a structure at that time found that most of cultural activist lower level of such movement.

Song gets secondary location than speech and others thing

The code of Manu which are functioning now in form of caste system does not allow to lower caste people for a participate intellectual sphere because according to him it was an arena of Dharmasastri, those belong to upper caste like Brahmin. So what can be lower caste does that, they can entertain to upper caste through the singing song and performing drama & dance. But this tradition indirectly also follow by anti-caste movement program Pravin Khade claim and state that the anti-caste movement program is started by Shahiri but Importance gained to intellectual debate. Furthermore while sharing live experiences he explicates that ‘ Yelgar ’ was performing at the stage on BAMCEF in Pune during performs our song was stopped by organizer because time was less for their speaker speech. Which experience Pravin Shared here such kind of bad experiences gained in the program of Ma-Fu-Aa base ideological anti-caste movements groups claims Charan Jadhav and further blames that the Shahiri ( Shahirs ) has been just used by anti-caste movement.

In this regard, while analyzing to anti-caste movement such stand Rahul Sapkal noted that “ the activist of anti-caste movement could not think that the separate front like ‘ a movement of songs ’ can be done. Further, he claims that in spite of such stand their priority also changed resultant they seem to spend money on books, magazine and new later than the cultural production. During the interview whatever information Shahirs shared, it is cleared indicated that song and its related activity like a cultural workshop, making C.D., organize cultural event always remains a secondary priority of anti-caste movement except for such group.

Economic status of political and cultural activists

In Progressive movement and most of that claims that they are more radical and revolutionary than others. A greatness of activism majors on his/her devotion to that movement. I think in anti-caste movement sphere Shahirs devotion remains high than the others such as in Book Dalit Shahiri Gaykawad, 1997 while pointing out Shahirs contribution to anti-caste movement noted to such fact anyone can not dare to reject its truthiness, he claims that “ for the purpose of radical change those Shahirs gave their entire life to anti-caste struggle their financial situation was extremely weak ’ (Gaykawad, 1997). In this context Swati Utale pointed out that the most of the Shahirs belong to lower caste/class background and compare to others activist they have to spend more time as well as if they performed this performs coast get to anti-caste movement but in others hand such writer, poets, and intellectuals published his book that royalty they get but Shahirs could not do such act.

It observed true that in anti-caste movement those Shahirs gave contribution at the end of their life they had to face very critical condition. But point is that if such condition comes upon to most popular Shahirs like Annabhau sathe , Vaman Dada kardak , and Vilas Goghare , so what happened with others? The picture clearly indicated that Shahirs financial condition worst compared to others activism.

CONCLUSION

From the affiliation with anti-caste movement, Shahiri played a vital role to spread anti-caste movement such as respondent state that ‘ in spite of Shahiri Mahapurush are alive in masses as well as because of it caste base art form could be used as a weapon for liberation. For instance when folk ’ s arts and instruments used in Shahiri at that time beauty gained them. Although movements carry out anti-caste thought but as far as cultural activism is concern caste consciousness works in such movement . Such as cultural troupe most of the member belongs to lower caste background. In caste society singing and performing drama and playing instruments considered as stigmatizing work, its impact also seems in movements when speech and others works take priority rather than the songs. Resultant if Shahiri emerged as topmost media of anti-caste struggle and become the voice of voiceless people but movement does not seek to it in this way. Which lower treatment Shahiri and Shahirs gets its roots is associated with anti-caste movement ’s ideology. The secondary treatment to Shahiri its result of anti-caste movement perspective towards cultural activism. Hence without any changes on that movement could not be developed in the cultural sphere .

Shahiri as people ’ s art developed itself in the ground of social battlefield as well according to historical phenomenon its battlefield also changed. From Shivaji to present era, the journey of Shahiri make remarkable and at this stage, it has reached to that level; where its performer means Shahirs has to face state operation. And I think that Shahiri could be reached at this stage because of its affiliation and contribution to the anti-caste struggle. This studies each chapter proclaims that Shahiri plays a vital role to spread anti-caste thought and Movement also but considering its contribution which type treatment it was given by ant-caste movement. It is the biggest tragedy which is happening with Shahiri .

Apparently, not properly recognized to Shahiri contribution it seems like such single or groups attitude problems. But its roots is affiliated with anti-caste movement philosophical stand. Hence, without changes in that space although Shahiri has the strength of changes but it could not be contributed in full swing. Because those are claiming that they are part of revolutionary anti-caste movement groups. Notwithstanding considering caste importance those agreeing that caste and class struggle should be run simultaneously. According to Co.Ranjeet Pardeshi due to their traditional Marxist impact (like psychological changes happened automatically base on material changes), they seem to Shahiri as forming part of psychological change.

Refernce

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End Notes

1. Made by Anand Patwardhan.
2. Published in Times of India in 1995.
3. Mahatma Phule founded the satyasodhak samaj which believed in nature. This is Nirishwarwadi in nature.
4. A saint those were belong to bhakti tradition
5. One of political party of India, founded by Dr. Babasaheb Ambedkar.
6. One of the untouchable castes in Maharashtra.
7. Bali was a mythological king for the farmers and other sub caste of farming. He was killed and conspiracy stated by Mythology, why he got killed. Mahatma Phule, first noted down this mythology through his work in non-vedik, non-bramhin form. Even today, Bali Raja is devoted in full swing because he has roots in the farmers families. Famous song sung by Shahirs now a days also, Yevo Balich Raj (King Bali will rise)
8. Kulwadi Bhushan is the farmer to term for kIng shivaji, coined by Mahatma Phule.
9. Mahar Battalion fought against the Peshwa in 1801. British was the found them and make them to fight against the Peshwa soldiers. Mahar Battalion did revolt against tyranny of the Bramhanical structure of Peshwa. At 1 January peoples goes to Koregaon near pune to pay homage.
10. Waman Dada Kardak was famous and eminent poet and singer in radical circle.
11. Shahiri, a medieval form of singing: Literal translation of Shahiri is Ballads. It includes the historical instruments and oral history. It was introduced by Saint Traditions of Maharashtra. It is still appropriated in contemporary forms of songs
12. Kabir Kala Manch was a cultural troupe of Maharashtra, recently disputed. Their members were arrested under UAPA Act. Shital Sathe, Sagar Gorakhe, Sachin Mali are well known Shahirs.
13. Shahirs, who sings a cultural songs. In English, shahirs are called Balladeers.
14. It drums, made from an animal skin. It connected the caste equation also.
15. A kind of small frame drum.
16. Tamasha is a folk culture; emerge to entertain feudal society of India. Its perform by the Dalits, it has connotations of caste based structure. Annabhau Sathe gave a new identity to the Tamasha. His Tamasha was known as political tamasha during the Samyukta Maharashtra Movement in 1960.
17. Mavada known as soldiers in the ruling period of King Marathas.
18. Ruling period 1674 to 1683 Maratha king of Shivaji & Sambhaji
19. Ruling period 1683 to 1918 Peshawa (Brahmins) kings
20. Choka, was a saint in medieval era, belongs to the untouchable community and known devotee of a Pandharpurs (one of the pilgrimage town) Vitthala.
21. Medieval revolutionary tradition against the Bramhinical structure.
22. Lavani, popularly known an erotic dance form performed in front of kings of feudal, but Lavani was initially a song form of a Shahiri tradition.
23. Shanivar wada is the famous fort in Pune, Maharashtra. Known as seat of the Peshwa.
24. Organization in Western Maharashtra lead by social activists Bharat Patankar
25. Akhand literally means continued. Mahatma Phule wrote to bring back the equity.
26. Death of Dr. Ambedkar known as Mahanirvana. Nirvana means who is mortal.