Dalit History Month: Reviewing ‘Dr. B. R. Ambedkar: Now and Then’- Diving into the Bahujan Female Gaze

Bangalore - Dr. B. R. Ambedkar: Now and Then (Brant) is a documentary film by Jyoti Nisha. She is a filmmaker, writer, and theorist who has conceptualised the theory of ‘Bahujan Spectatorship,’ which calls for a Bahujan's gaze (oppositional) in making and critical reading of visual texts. The documentary is a testimony to her theory. She builds the film through her oppositional gaze while bringing in Herman and Chomsky’s Manufacturing Consent, Althuser’s idea of State Apparatus, and Bell Hook’s Oppositional Gaze. 

The film opens with a close-up of Jyothi Nisha's eyes, symbolizing the "Bahujan female gaze"—a perspective that shapes the entire narrative of the film. She says, “The gaze of the popular culture is an upper-caste gaze, and it didn’t agree with my politics of anti-caste movement and the idea of assertion and social identities. So, I decided to represent myself. I decided to tell my story.”

The documentary unravels various themes of Dalit and Bahujan identities and narratives. True to its title, the film discusses the Dalit identities and discrimination meted out to them from the mythological times to the present day. While it addresses oppression, it also highlights Dalit resistance, challenging the stereotypical portrayal of Dalits solely as victims. She draws an analogy between the historical and contemporary resistance movements, emphasizing Ambedkar's enduring influence and his ideology in people's lives. This analogical storytelling approach, crafted by Jyothi Nisha, lends the documentary a distinctive and engaging narrative style.

In an interview, the filmmaker reveals that it took her eight long years to complete the film. The extensive coverage of events in the documentary is a testament to this dedication and effort. The film delves into Dalit Bahujan identities, spanning from ancient Vedic texts and mythology to contemporary social movements.

The references to the Rig Veda and the Purusha Sukta (a part of the Rigveda) describe the apparent emergence of the universe from the body of Purusha—the supreme being—and the establishment of the Chaturvarnya system. This system places Brahmins at the top, followed by Kshatriyas, Vaishyas, and Shudras, while Atishudras, considered untouchables, are positioned outside this hierarchy. Verses 11 and 12 of the Rigveda explicitly excluded Shudras and women from the Upanayana (the sacred thread ceremony observed by other varnas), assigning them the lowest rank within the Vedic social structure and subjecting them to systematic oppression.  By introducing the triangular visual representation of the Chaturvarnya system at the beginning of the film, she sets a simple ground for the viewers to understand the complexities of identities and systems that the film then explores throughout.

While discussing mythological representations of Bahujan identity, the film narrates the story of Eklavya and then transitions to the contemporary social movements of Dalits and Bahujans. It brings in wide array of themes like the appropriation of Ambedkar by the so-called upper caste, films– the victimisation of Dalits and the missing Bahujan Spectatorship, institutional murder of Dalit Bahujan students with particular reference to Rohit Vemula, anticaste-movements in the country, women’s movements against instersectional oppression, #Metoo Movement and exclusion of Dalit women from the same, idea of untouchability, Brahminical patriarchy, Buddhism and its role on challenging caste structures among others.

Jyoti Nisha aims to expose the historical caste-based hypocrisy perpetuated by the so-called upper castes by presenting the story of Eklavya. In this tale, Dronacharya refuses to teach archery to Eklavya solely because he is a tribal. Nisha satirizes this by incorporating visuals where Drona declares, “We strictly follow an upper-caste reservation policy.” Despite the rejection, Eklavya masters archery on his own by keenly observing Dronacharya. Once Eklavya perfects the skill, Dronacharya demands his thumb as Gurudakshina (a traditional offering to a teacher) to ensure that Eklavya can no longer practice archery, thereby preserving Arjuna’s status as the greatest archer. The narrative is enriched by Sunil Abhiman Awachar’s vivid illustrations and Harikrishnan Sasindran’s dynamic animation.

Jyoti Nisha introduces the concept of Manufacturing Consent by Herman and Chomsky, which analyzes media through five filters: Ownership, Advertising, Sourcing, Flak, and Common Enemy. The documentary highlights how Ownership, Advertising, and Sourcing in India are predominantly controlled by the so-called upper castes, a claim backed by statistical evidence. This lack of Dalit representation, both historically and in the present, led to the creation of independent Dalit newspapers and media outlets. For instance, Ambedkar established his own newspaper, Mooknayak, to voice his community’s perspectives since mainstream media, controlled by upper castes, largely ignored Dalit issues. Tilak’s Kesari even refused to publish a paid advertisement for Mooknayak, illustrating the long-standing denial of media ownership rights to Dalits—a problem that persists till today    

The documentary highlights how the media, including cinema, has consistently portrayed Dalits through a stereotypical lens, often emphasizing victimization. Jyoti Nisha discusses the absence of Bahujan spectatorship – it relates to an oppositional gaze and a political strategy of Bahujans to reject the Brahminical representation of caste and marginalised communities in Indian cinema. It is also an inverted methodology to document a different socio-political Bahujan experience of consuming popular cinema. She stresses the importance of incorporating this perspective in both the creation and interpretation of visual narratives. Filmmaker Pa. Ranjith criticizes the common cinematic portrayal of Dalit characters as filthy, hopeless, unaware, disempowered, and criminalized, emphasizing that his films strive to challenge these harmful depictions. Similarly, the documentary seeks to break away from such stereotypes by showcasing the spirit of resistance embodied by Ambedkar then and Ambedkarites then and now.

Jyoti Nisha delves into the struggles associated with Dalit identity, drawing from her own family's experiences. She shares how her mother was forced to quit school, as upper-caste men taunted her about her caste on her way to class, shattering her dream of learning English—an evident example of educational deprivation.

Nisha then draws a parallel between two significant incidents: Ambedkar being forcefully driven out of a Parsi Inn due to his Dalit identity and Rohit Vemula and his friends being ostracized on campus for speaking out against caste discrimination. The students set up Velivada tents (ghettos traditionally associated with Dalits) on campus—a clear manifestation of spatial deprivation based solely on caste identity. Despite these injustices, both Ambedkar and Vemula resisted the oppression. The film openly condemns Rohit Vemula’s institutional murder. Reflecting on her own awakening, Jyoti states, “Vemula’s death sparked something across the country and within me. It coincided with attacks on artistic freedom and expression, making me feel controlled. I had to break free—it was personal.”

The documentary provides an in-depth look at the anti-caste student movement that emerged on campus following Vemula’s death. The film also sheds light on the Roopanwal Committee Report, which labeled Vemula as belonging to the Other Backward Class (OBC) instead of recognizing his Dalit identity. This manipulation served to protect the offenders from coming under the purview of the Scheduled Castes and Scheduled Tribes (Prevention of Atrocities) Act, 1989. This exposed the oppressive state apparatus operating to alter Dalit identities on paper for the benefit of the upper-caste perpetrators. Yet, despite such systemic oppression, the spirit of resistance endures.

Deprivation of education, resources, spaces, and, worse of all, identities has been a historical practice and violation of Dalit Bahujan human rights. This practice has remained alive due to the domination of upper castes in power structures. Therefore, while building moral courage, Dalits continue to resist and defy these power structures, seeking social justice.

The documentary then takes us on a journey through the resistance movements against upper-caste oppression in Uttar Pradesh (UP) and Gujarat. Jyoti Nisha again draws parallels between Ambedkar’s Mahad Satyagraha and the modern struggles led by Chandrashekhar Azad’s Bhim Army and Jignesh Mevani’s Dalit Asmita Yatra.

During the Mahad Satyagraha, Ambedkar declared, “Let me tell those who oppose us that we did not perish because we couldn’t drink water from this Chowdhar tank. We now want to go to the tank only to prove that like others, we are also human beings.” Similarly, the resistance led by Azad against the Thakurs of Saharanpur demanded dignified treatment for Dalits. The Dalits of Saharanpur condemned and opposed the desecration of Babasaheb’s face and were attacked for resisting. One Dalit woman says, “We’ll die for Babasaheb. He should not be dishonoured. We’ll not tolerate it”. This sentence reflects the immense love and respect people hold for Babsaheb. This love for Ambedkar led to mass gathering of Ambedkarites at Mevani’s Dalit Asmita Yatra which echoes the assertion for rightful ownership of land with slogans like, “Gaaye ki poonch aap rakho, hamein hamari zameen do” (You keep your cow’s tail; give us our land), emphasizing the right to resources.

Amidst protest footage, the documentary subtly inserts a visual of Babasaheb Ambedkar raising his hands while addressing a crowd and calling for mass movement, symbolizing his enduring influence on all anti-caste movements in India. This artistic touch demonstrates that the documentary is not merely a record of events but a thoughtfully crafted piece layered with profound and intricate Ambedkarite messages.

When Jyoti draws an analogy between Ambedkar’s historic movements and contemporary Ambedkarite movements, one noteworthy aspect is the portrayal of Dalit causes in past documentaries. These documentaries often overlook Ambedkar and his embodiment within the narrative, primarily due to the absence of a Dalit Bahujan perspective. In contrast, this documentary introduces a Bahujan female gaze, highlighting Ambedkar’s significant presence in anti-caste movements, making a meaningful and much-needed contribution to the cinematic landscape.

Alongside highlighting anti-caste resistance movements, the documentary also delves into the lived experiences of marginalized communities, particularly women. Jyoti Nisha examines the concept of Brahminical patriarchy, identifying it as a key factor in the oppression of Dalit women. Cynthia Stephen articulates this distinction, stating, “The patriarchy that operates in the lives of Dalit women is very different from that experienced by women from privileged communities. It is structural violence, and mainstream feminism has no answer for it.”

The film critiques the tendency of Savarna feminists to discuss patriarchy and women’s rights without addressing caste, a perspective rooted in their privileged upper-caste backgrounds. This disconnect became evident when Raya Sarkar’s List of Sexual Harassers in Academia (LoSHA), a crowd-sourced initiative published in 2017, faced opposition from upper-caste academics. The backlash, partly fueled by Sarkar’s Dalit Bahujan identity, highlighted how Savarna women continue to dominate feminist spaces while downplaying intersectional issues.

The documentary also critiques the #MeToo movement for excluding Dalit women, making it difficult for them to relate to its narratives. Another incident discussed is the 2018 controversy involving Jack Dorsey, who was photographed holding a placard that read, “Smash Brahmanical Patriarchy” (created by Sanghapali Aruna, a Dalit rights activist), alongside Indian journalists. The image sparked outrage among Brahmins, who claimed it hurt their religious sentiments. In this context, the documentary discusses the origin of Brahmanical Patriarchy from a Bahujan lens. By tracing the roots of Brahminical patriarchy back to ancient texts like the Rig Veda and Manusmriti, which have been largely overlooked by Savarna feminists, despite its profound impact on Dalit women’s lives.

In addition to the previously discussed themes, the documentary also addresses the appropriation of Ambedkar by Hindu groups; the persistent issue of manual scavenging and the government's inadequate efforts to eradicate it; the Hindu Code Bill; the Poona Pact etc. Jyoti Nisha enriches the film by featuring insights from prominent figures in the field, including political scientist Professor Christophe Jaffrelot, activists such as Bezwada Wilson and Thenmozhi Soundararajan, writer Urmila Pawar, politicians like Chandrashekhar Azad and Jignesh Mevani, and former BAMCEF chief B. D. Borkar, among others. Their perspectives add depth to the film’s exploration of anti-caste resistance and assertion of Dalit identity.

The documentary in the final part highlights Ambedkar’s conversion to Buddhism, exploring the rationale and philosophy behind this pivotal decision. Visuals of conversion ceremonies, Buddha, and Ambedkar appear on the screen, accompanied by the principles of Navayana Buddhism narrated in the background. At the beginning of the film, Jyoti Nisha is depicted running towards Chaityabhumi, symbolic of her journey towards Ambedkar, Buddha, and the liberation of mind that follows. In the concluding moments of the film, she reiterates the same. In the film’s concluding moments, she reiterates this idea, reflecting on the transformative impact of philosophy by stating, “This philosophy has liberated me as a woman and a thinker.” Her journey in the film, both literally and metaphorically, starts with Ambedkar and Buddha and ultimately circles back to them, emphasizing their enduring influence on her path to liberation.

At the film’s conclusion, Jyoti articulates her intent: “This film is an attempt to discourse, know, understand, and commit to what it means to be an Ambedkarite in a casteist Hindu India,” emphasizing the call for the annihilation of caste. The documentary ends on a powerful note with a song that pays tribute to Babasaheb Ambedkar, celebrating his role in bettering the lives of Dalits and inspiring them to resist and persevere. The song goes,

‘Bhim has blossomed a desolate garden,

He has given us Buddha’s Dhamma,

We were caught in darkness for ages,

Bhim has lit a lamp in the storm…’

As the song plays, a visual of a board displaying the Indian Constitution appears on screen, signifying that the Constitution, authored by Dr. B. R. Ambedkar, has endowed Dalits with rights and serves as a foundation for the ongoing struggle for liberty, equality, fraternity, and social justice. It highlights the continuity of resistance under the guiding principles of the Constitution, then and now.

- Apeksha Singegol is a research scholar in Sociology at the Centre for Research, Christ University, Bangalore. Her interest areas include Caste and Dalit studies, Sociology of Media, and Popular Culture. She is currently working in the fields of caste and cinema.