Watch Gandhian activist Himanshu Kumar explaining the motives and methods behind the alleged killing of innocent young adivasi woman named Madkam Hidme in Chhattisgarh.
Video by: Amirtharaj Stephen

Watch Gandhian activist Himanshu Kumar explaining the motives and methods behind the alleged killing of innocent young adivasi woman named Madkam Hidme in Chhattisgarh.
Video by: Amirtharaj Stephen


Yesterday I performed a social duty. I watched Nagraj Manjule’s Sairat [English: Wild]. Every once in a while, I miss an important film. No one quite holds you up to it. But since Sairat’s release, everybody around me has been asking, “Did you watch Sairatyet?” The tone implies that watching this film is a duty. I performed it yesterday.
I watched it at a suburban multiplex. The theatre was half-empty, and there wasn’t a crowd enjoying the tunes from the film’s hit soundtrack. So I could watch the film properly. There were a few non-Marathi speakers in the audience. The Marathi speakers were responding well, unwittingly commending its script with giggles, snickering, smiles and nudges, all at the right time. Some left the theatre with tears. A lot has been written about this movie on the social media, particularly its ending, to the point that the shock element has been blunted. But as the end of the movie approached I felt like that man who sees his imminent end. In the film Madras Cafe, just before the blast, the bomb-clad terrorist is dressed up in her final attire. The director mutes all sound. On display is a cruel ceremony, a bride being dressed up to leave home forever. Sairat’s ending stirs up a similar emotion. I wasn’t taken aback by the ending, unlike the early watchers; but it did suffocate me.
With all its flaws and its merits, I liked the movie. The flaws exceeded the merits though. At first I was perplexed about why it would be the biggest ever blockbuster in the history of Marathi cinema. After all, an overstretched plot and a dispersed focus are major artistic impediments that ail this film. In this day and age of diminishing attention spans, a feature’s three-hour length should worry its makers. Yet the viewers watched it, enjoyed it and experienced it fully. This is nothing short of a miracle. But it cannot be dismissed as a mere marketing miracle. Nor can the brand value of a director drive such a feat. When a regional film breaks all collection records and grows across length and breadth, its popularity spreading wild, the reasons for its success and its implications become crucial. The implications of Sairat‘s success need a thorough examination, and from a variety of angles. The secret to Sairat’s success, I believe, lies not within the artefact, but without. I contend that we cannot find answers within the scope of the craft. In fact, what we will find through such a limited investigation would be deceptive. On the other hand, looking at what the success reveals, about the changing tastes and sensibilities of a huge section of society, is critical.
Of course Sairat has several noteworthy features. One of them is the absence of a contrived, scripted dialogue. It stands out as realistic and spontaneous. It is chitter-chatter, ambiguous and in its very nature, bahujan. Bahujan – that militant demonym coined by the visionary 19th-century social revolutionary Jotirao Phule to denote the vast majority of the Indian population that Manu’s caste order relegated as inferior to the “twice-born”. The language Sairat’s characters speak demolishes the grammar of the standardised dialect. Sentence structures militate against strict logic. Equally remarkable are its character sketches, particularly those of the male protagonist’s two friends — Pradeep a.k.a “Langdya” [Tanaji Galgunde] and Salim a.k.a. “Sallya” [Arbaz Shaikh]. The limping, bowlegged Pradeep is a superb character. Tanaji Galgunde, who plays Pradeep, is outstanding. In a number of scenes “Langdya” is conspicuously juxtaposed on the screen by various men with assorted physical deformities.
The pervasiveness of such symbols of disabilities of ordinary, poor people and their helplessness is prominently on display. The movie also moves increasingly from fantasy to reality. But even the fairytale romance of its two lovers is in the firm grip of the reality of rural life. The nakedness of caste in rural life is not hidden. When the Patil’s brat slaps his dalit teacher in the classroom, his Maratha father’s reaction betrays a certain pride and admiration. Later in the film, this same teacher has the following advice for the male protagonist: “Didn’t you sleep with the Patil’s daughter? Well, now leave her. This is what they do anyway.”
Such clear, caste-ridden references are, perhaps, gratifying to the audience. The film thus strikes a closer resemblance to the romantic lives of young women and men who live in the shadows of deprivation. It caresses that sense of romanticism and heroism in their lives. To date, quite a few “hero-heroines” on screen have appealed to the youth. This is different. The Parshyas, the Archies, the Sallus, the Langdyas are present in the audience and they are seeing themselves on the screen. Their environment is just as violent, heartless, deprived. It is here, in this very environment, that they seek reassurance. Sairat provides it, by picturing both their fantasies and their reality. But it also unpacks a picture of the future. The everyday lives of young men and women are presented for us in the form of a three-hour capsule.
The film is laden with bahujan culture. It resonates with the majority which can hear itself in it. It has its own aesthetics. This might seem false, fabricated and flat to the elite, or to those trained in elite understanding of Art. This film also does not have a definitive or well-formed shape. It flows organically. But it does have its own pace and its own nature.
The bajuhan youth that comes to watch this film have entered every small and big cinema theatre across the state. They have danced to its musical numbers. We can now go to a fancy urban theatre and dance, standing on its seats. There are none of those high-born types there anymore. The crowd resembles us now. Never mind the flip-flops, we shall dance full-on. This is a unique confidence that this movie has conferred upon the young. This picture shows their face and speaks their tongue. This inadvertent realisation has driven them wild. It is factors like these that operate covertly behind the success of Sairat. Its success has less to do with its art per se, and more to do with the social-scientific factors within and without.
What Sairat’s massive achievements mean, though, is that henceforth the responsibilities of, and exceptions from bahujan art, have augmented. It is clear now that the neat compartmentalised plots of older films might have been convenient; but beyond sanitising reality, they achieved little. People will now expect frank and explicit depiction of caste realities. It is no longer just an artistic element; it will be a demand, a need. This reality, unfortunately, is very complex. Films can no longer resort to the lazy, hackneyed and over-simplified equation of caste reality with the “Villainy of the Patil”. Khwada and Sairat might have offended a small section of Marathas, but such caste pride will also be of little use. Just as criticism of Brahmins has to be borne and tolerated by a progressive and sensible section of Brahmins, the Marathas too shall have to deal with criticism. There is no alternative. They will have to engage with it, attenuate their snobbery, and reform themselves towards a common progressive future. At the same time, other castes cannot assume the status of the oppressed. There are oppressors in those castes too. There are oppressors in all castes. Each caste looks down on those below it in the hierarchy. Particularly when it comes to matrimonial alliances, caste-conscious human beings metamorphose into ravenous beasts. Honour killings happen within every caste and there are innumerable examples of these from Maharashtra. Patriarchy afflicts every caste – the most oppressed castes included.
The woman of the “lowest caste” is thus the most oppressed human being. Bahujan artists who aim to confront reality will have to bravely face the layered complexities of caste oppression. The members of any caste, high or low, motivated by pride and identity will not think twice before trying to gag the voice of a work ostensibly critical of them. But the bahujan artist will have to take on, and struggle against, this kind of censorship. Sairat has not taken on this challenge. But it has cleared the way for future projects of this type. It is easy to expose the other who oppresses you. It is far more difficult to show – or even watch – how you oppress your kind. But that is the key to invoke humanity.
Translated from Marathi by Siddharth Adelkar from a review first published in the Maharashtra Times
Courtesy: indianculturalforum.in
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On the fourth day of her fast unto death in protest against the brutal killing of an Adivasi young woman, Madkam Hidme (falsely termed Maoist by the authorities), Soni Sori has resolved to carry the protest to Raipur, the Chhatisgarh state capital tomorrow. Meanwhile the sheer brutality of the ‘encounter’ of the young Adivasi woman has caused widespread outrage and unrest in the village of Gompad and around. Speaking to Sabrangindia, Soni Sori said that the sheer brutality of the killing –chopping of the girls nose and ears and other bodily parts—was worse than or matched the Nirbhaya rape and killing taht shook the nationwhen and after it took place on December 16, 2012.
Soni’s protest fast started on June 15 is against the police and administration for not allowing her to visit the village. Meanwhile she has collected photographs of the gruesome killing that will be available shortly. Sabrangindia had initially reported on this killing on June 15.”How many more deaths will it take before we accept that too many people have died: Chhattisgarh.
Meanwhile, the Aam Admi Party has filed a petition in tge Chhatisgarh High Courtseeking a SIT and judicial probe into Madkam Hidme encounter. The Aam Aadmi Party has filed a petition in the Chhattisgarh High Court seeking the formation of an SIT, consisting of officers from outside the state, and a judicial inquiry into the death of Madkam Hidme, who was allegedly killed in an encounter in Sukma on June 13.
Soni Sori has maintained over the past three days that they have been prevented “from visiting Gombad village on one pretext or another which shows that the state government has something to hide”. Sori said Friday that she and other members of the AAP team that had sought to go to Gompad were forced to return after the “administration engineered a protest”.“For the past three days, they have been doing one thing after another to prevent us from going. Around noon, a group of people, at least a hundred, came to the circuit house where we were waiting and started raising slogans. Instead of controlling the crowds, the police told us that they would not be able to handle it and the best thing for us was to leave Konta. It is clear that the government is hiding what has happened in Gompad. I will now take this fight to Raipur and hold a demonstration there after speaking to other AAP members. I have been on a fast and I will not break it,” Sori said.
In the petition to the High Court, AAP state convenor Sanket Thakur, who is the petitioner, has taken note of a photograph of Hidme’s body, raising doubts over the seeming contradiction of the police claim that she was killed in an encounter as her uniform was “nearly spotless”. Thakur has filed a petition in court demanding that it call for all case-related documents. He has also demanded that a case of murder and rape be registered.
“We have also asked for setting up of an SIT of officers from outside Chhattisgarh and a judicial inquiry into the matter,” Thakur said.
When contacted by The Indian Express, D M Awasthi, Special DG (Anti-Naxal Operations), said, “I have spoken to the Sukma SP and have told him to go to the spot. It is his moral duty to inquire into what happened. As far as Soni Sori or anyone else who wants to go, I have conveyed that nobody can be stopped as far as the Indian Constitution is concerned. They can go and visit the spot. If everything is right, there is no harm in people visiting.”
On June 15 we had reported:
Soni Sori, Adicasi woman leader and other members of the Aam Admi Party (AAP) party are right now on dharna outside the Sukma collectorate against the recent incident of Rape and Fake Encounter of Madkam Hidme, a young girl from Gompad village. Speaking to Sabrangindia at 11.30 p.m. Sonio Sori said that they would sleep out there and not leave the spot until the team is allowed to go in.
On June 13, the Sukma police announced a successful encounter where a woman Maoist, Madkam Hidme, was killed in an encounter close to village Gompad, Konta Tehsil, Sukma district. Villagers called up Soni Sori and her lawyers yesterday complaning that the 'official' account was incorrect and that Madkam Hidme was not a Naxalite, but a villager, picked up from her home, gang raped by the police and then killed, with the body then callously returned to the villagers. Today, June 15, a fact-finding team on behalf of the AAP, led by Soni Sori tried to visit the village to investigate the allegations.
On a legitimate citizen's mission, the team was stopped and harassed at four different camps on the way, finally they were stopped and held for almost hours at the Injeram Camp on various excuses, just 10 km short of the village. Soni Sori and others thereafter returned back to Sukma in the evening to meet the collector and SP. But no one was available at their office. ASP, Sukma Mr. Santosh Singh met the team and told them that they cannot be allowed inside without personnel from the security forces. The team then asked them to send some personnel's with them, ASP said no one was available and so they can;t be allowed to visit the village.
While the police is reluctant to afford even a basic degree of transparency to a leader like Soni Sori and her team, villagers on the other hand are willing to talk and are waiting with the body of the girl for the team or journalists to come and talk to them and see for themselves. In protest, Soni Sori and others have decided to camp/do a dharna at the collectorate itself until they are allowed to go in. That is where they are, past midnight, waiting and protesting.