Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India

Abstract

Abstract Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger.