Abstract

During the 1990s, the VCK evolved as a radical Dalit movement. Pledging to revolutionize the history of Tamil politics, Thirumavalavan, an icon of new generation Dalit activists, mobilized the lower castes of Tamil Nadu. The party emerged as a representative of Dalits, since Dravidian politics turned ineffective in handling Dalit concerns and caste issues. The main Dravidian parties—DMK and AIADMK—have moved a long way from the self-respect movement of Periyar. The Dravidian leaders, while abandoning Periyar’s social radicalism, introduced a philosophical tradition, Tamil nationalism—inspired by the Tamil literary tradition. However, this linguistic nationalism deserted caste issues while romanticizing the antiquity of the Tamil language and culture. In contrast, the VCK vociferously campaigned on a concept of anti-caste Tamil nationalism in the early times. It engages on the liberative Tamil Buddhism—advocating the need for a collective identity, caste-less-Tamilians. However, in the latter stage, Thirumavalavan focused much on Tamil Eelam politics, turning into in an explicit supporter of LTTE. The VCK has almost lost track of the anti-caste Tamil nationalist politics in the present times. This article focuses on how these political shifts and dimensions are represented in a Tamil film, named Madras, directed by Pa. Ranjith. Through an effective screenplay with strong symbolisms, Madras discusses one of the significant histories and trajectories of Tamil politics. The film commemorates the social movement politics of VCK during the 1990s. It counters the Tamil literary tradition of Dravidian parties and criticizes their linguistic nationalism. It portrays VCK’s anti-caste Tamil nationalism. Further, it criticizes the VCK for losing-track from the anti-caste politics. This article examines how Madras represent these political shifts. It explores how Madras presents a Dalit criticism of the Dravidian parties and also on the Dalit party.

Full Text
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