Within this there were those from the depressed rather oppressed castes who were outsiders (by caste) to an otherwise all embracing tradition. Chokhamela and compatriot and partner Soyrabai were one such, Ravidas from Banaras (Varanasi) with a huge influence in Punjab was another. Babasaheb Ambedkar, who’s father was a kabirpanthi, looked deep within this tradition. While otherwise critical, he had a special place and mention for three renowned poet-philosophers (read Saints!)

Delving deep into the rich, suppressed history of the Mahars and other depressed castes, Ambedkar dedicated his book, The Untouchables—who are they and why they became untouchanbles to the memory of Mahar Varkari (Warkari) poet-philosopher, Chokhamela, Nandana, both from Maharashtra and Ravidas from the Punjab.

Chokhamela’s is a fascinating story. Born in the 14^th century into the Mahar caste in Mehuna Raja a village in Deulgaon Raja Taluka of Buldanha direct, lived in Mangalvedha and wrote hundreds of Abhangs, that unique expression of radical self-exploratory poetry in Marathi. Among his most widely sung is “Abir Gulal Udhlit Rang”. The Chokhamela festival is now celebrated thanks to activist Arvind Prabhakar Kayande in Deulgaon Raja. Residing with his life partner and wide Siyrabai –herself a brilliantly accomplished poet—and son Karmamela (hs “job” was to guard and work the farms of the privileged), all of the family were followers of the Varkari sect. Nirmalabai his sister is also an accomplished poet. His immediate menor was Namdev (1270-1350 AD/CE) especially after one visit to Pandharpur when he listened to Namdev’s Kirtans. Later he moved to Pandharpur, the site of the Vithoba temple. One traditional story strongly suggests that caste exclusions did not “allow” him to enter his precious Vithoba’s temple at Pandharpur nor was he allowed to even stand at the door and worship. So, in devotional protest he built his hut on the other side of the Chandrabhaga.

The tale does not end there. While working on construction of a wall in Mangalvedha, near Pandharpur, the wall collapsed crushing some workers. Chokha was tragically one of them. His tomb is in front of the Vitthal temple, Pandharpur, where it can be seen to this day. According to a legend the bones of the dead Chokhamela were still chanting Vitthal , Vitthal, apparently yearning to visit the Vitthal temple. The bones were buried at the footsteps of the Vitthal temple. And this is the poet-philosopher to whom, in the early 20th century, Dr Bhimrao Ambedkar dedicated his book. Ambedkar too attempted to visit the temple, but was stopped at the burial site of Chokhamela and denied entry beyond that point outcaste for being a Mahar!

We carry here a piece by scholar Yogesh Maitreya with due attribution to The Indian Cultural Forum, today when Warkaris (Varkaris) have been lathi-charged in Maharashtra in as a tribute to the rich spirituality and diversity that this tradition has inspired

                                                                                                                 –Editors

In 1928, Dr. Babasaheb Ambedkar was asked to preside over a meeting to consider building a temple dedicated to Chokhamela, a 14th-century mahar caste saint-poet from Maharashtra. Ambedkar knew of the songs and the abhanga style of poetry popularised by the Bhakti movement in Maharashtra and beyond. His own father was a Kabirpanthi, or follower of the 15th-century mystic poet, Kabir. Yet, on the temple proposed for Chokhamela, he presented a skeptical—though still radical—opinion about saint poets and the Bhakti movement.

“…the struggle of the saints did not have any effect on society,” Ambedkar famously told the gathering at Trymbak near Nashik in Maharashtra. “The value of man is axiomatic, self evident; it does not come to him as the result of the gilding of Bhakti,” he said. “The saints did not struggle to establish this point. On the contrary their struggle had a very unhealthy effect on the Depressed Classes.”[1]

This address by Ambedkar is recorded in the 17th volume of his Books, Writings and Speeches, published by the Government of Maharashtra in 2016. It records him saying that the Bhakti saints “…provided the Brahmins with an excuse to silence them [the Depressed Classes] by telling that they would be respected if they also attained the status of Chokhamela.”

By 1928, a new class of intellectuals, including Ambedkar, had emerged in India’s political and social life. Their commentaries on organised religion were radical and profound. They had started to reject outright the oppression that stemmed from religion. Also, by then, religion had become a matter of inquiry and interrogation; it was no longer considered a subject of just spirituality or romanticism. These changes were inevitable in the wake of scientific innovations and technological advancements of the age. This was the context of Ambedkar’s Trymbak address.

Even ninety years later, Chokhamela is only a small reference in the long history of Maharashtra. His works have not much currency among intellectuals or scholars. The American historian of South Asia Eleanor Zelliot has aptly captured the reasons for this. She says in the book Untouchable Saints, edited by her and Rohini Mokashi-Punekar and published in 2005 by Manohar, that “Those of Chokhamela’s caste now have by and large rejected him, and for two reasons: the Buddhist conversion initiated by Dr BR Ambedkar in 1956 has meant a rejection of most things Hindu on the part of many. Second, Chokhamela himself, in one abhanga, said that he was Untouchable because in a previous life he had insulted Krishna, and this karmic reasoning is totally unacceptable to Untouchables now.”[2]

Yet, Chokhamela’s 13th to 14th-century abhangas, and the songs of other Maharashtrian dalit-bahujan saint-poets from the Bhakti movement, offer a complex and crucial narrative to understand the inception and growth of resistance in future dalit traditions and movements. This is specially significant in the context of the Varakari tradition prevalent in Maharashtra. Every year, after the season’s first seeds have been sown in farms, devotees travel on foot—a journey called Vari—to the temple dedicated to Vitthal or Vithoba.

Consider the influence of this tradition in rural Maharashtra. Rohini Mokashi-Punekar, a professor of English at IIT Guwahati says in Untouchable Saints, “The Varkari cult is clearly the most quietly influential mass movement of rural Maharashtra.” She records the most striking feature of this cult as the absence of a priest to mediate between the devotee and his bhakta. “…no rigorous individual ritual such as elaborate pujas are needed. It is a code most suited to poor, illiterate, labouring castes and peasants who can afford neither money nor leisure nor learning… For the fifty odd saint-poets belonging to this tradition, drawn from almost all castes of the region of those times, the abhanga is the most important medium of comprehending, reaching, and expressing the sense of divine mystery and joy; it is also the means of articulating pain and anger against injustice.”[3]

These fifty or so saint-poets were predominantly from dalit-bahujan castes and Chokhamela was the most prominent among them, and the most notable from the mahar caste among the Bhakti poets of Maharashtra. His continuing popularity is therefore a creation of a dalit-bahujan literary imagination. The narratives they crafted did not explicitly pursue the path of annihilation of caste. Yet they exercised their agency in the domain of literary imagination as equals. To be able to enter and participate in this domain, especially as it pertains to religious discourse, cannot be trivialised. For this very domain had been distorted by brahminical narratives and had rejected them.

After Chokhamela’s arrival—himself was a labourer—fresh dalit-bahujan metaphors and perspectives emerged for referring to god. “It is said that Chokha died along with another Mahar labourer when a part of the wall they were repairing in the town of Mangalvedhe collapsed on them,”[4] the editors of Untouchable Saintsrecord. His abhangas have a dalit literary perspective that is never found in literary works written by brahmins of his time, nor in brahminical narratives.

He writes in Abhanga 284:

He pulled a wall for

Dnyaneshwar; made Changdev

famous; weeded the beds

for Savata the gardener

and fired pots for Gora.

He loves more than his own self

the goldsmith, the cobbler

and Namdev, the tailor.

He grinds the grain

at Jani’s home, sweeps the dirt

and brings the cow-dung in.

Says Chokha, he is so tender,

his devotees know him

as a fond mother.

Study this abhanga closely. Chokhamela has radically replaced the existence of god into everyday chores, making his verse the antithesis of brahminical narratives. This is the reason for his verses acquiring mass appeal across castes. He associates the image of god with the process of dalit-bahujan labour and occupations, which fulfil the material functions of society.

In the twenty-first century, Chokhamela may not appear radical, but for when he wrote, the 14th century, his ideas are strongly iconoclastic. The cruel social circumstances manufactured around idea of religion by brahmans, who had glibly started to give a brahminical veneer to all dalit-bahujan ideas—including their ideas of religion and traditions.

Not only does Chokhamela reject the existence of brahminical scriptures and their gods but also fought those notions by bringing in the Buddhist dialectic of impermanence. In another abhanga, number 282[5], he says:

The Vedas and the shastras

polluted; the puranas inauspicious,

impure; the body, the soul

contaminated; the manifest

being is the same.

Brahma polluted, Vishnu too;

Shankar is impure, inauspicious.

Birth impure, dying is impure.

Says Chokha,

pollution stretches

without beginning

and end.

For his time or any, these words rejecting the vedas and the shastras are no less than revolutionary. Besides, Chokhamela equates the existence of untouchables—the mahars were regarded as Untouchable in his time—with god.

An explanation of his use of Buddhist dialectics is to be found in Chokhamela’s abhanga 279:

Five elements compound the impure body;

All things mix,

Thrive in the world.

Then who is pure and impure?

The body is rooted in impurity.

From the beginning to the end,

Endless impurities

Heap themselves.

Who is it that can be made pure?

Says Chokha,

I am struck with wonder.

Can anyone be beyond pollution?

The idea of pollution and purity is a product of the wily imagination of brahmans. Here, he has dealt with it in a radical scientific temper that is as categorical as the laws of physics. This is important, for the scientific temper is the premise on which the dalit literary imagination stands and thrives till today. This creative imagination was not limited to Maharashtra. In roughly the same period came Ravidas, the most radical and scientific saint-poet in north India. It is yet Chokhamela’s voice that was the breakthrough cry in the dalit literary imagination. Today, his abhangas are on the lips of people across castes from interior Maharashtra, where they are sung during the Vari of Pandharpur.

Earlier this year, this writer said in the Economic and Political Weekly (From Shahiri to Sahitya, February 2019) that before the advent of dalit literary forms as a movement, Ambedkari Shahiri and its sound became the medium for dalits/Ambedkarites to understand, recognise, articulate and assert their anti-caste agency. An anti-caste consciousness grew in the community and seeded the imagination of dalit writers. In the 1970s, they produced a body of literature that was called “dalit literature”. “In the emergence of dalit literature, the sound of Shahiri played a crucial role as it challenged the domains of brahminical consciousness; dalit literature became the later manifestation of this challenge as well as a product of the sonic imagination of Ambedkari Shahiri.”[6]

To understand Chokhamela’s abhangas it is important to penetrate the context of the effect his music and poetry had, and to discern its popularity. His work has scaled the temporal barrier to transcend centuries and it took a giant leap when it comes to inquiring into brahminical scriptures and religion.

He was inclined towards acceptance by god and brahminical agency, but in his abhangas Chokhamela simply exercised his rights as a human being. A right which was denied, crushed and snatched from him and his community by brahmins.

Notes:

1. BAWS, page 8-9, Vol 17 Part three, Government of Maharashtra, 2016
2. Untouchable Saints, edited by Eleanor Zelliot and Rohini Mokashi-Punekar, Manohar, 2005
3. Ibid.
4. Ibid.
5. All Abhangas are from collected edition, Shri Sant Chokhamela: Charitra ani Abhang (rept. 1998) by S.B. Kadam
6. “From Shahiri to Sahitya”, Yogesh Maitreya, Economic and Political Weekly, Vol. 54, Issue No. 6, 09 Feb, 2019

(The author is a poet, translator and founder of Panther’s Paw Publication, an anti-caste publishing house. He was in 2021 when this was written for the Indian Cultural Forum pursuing a PhD at the Tata Institute of Social Sciences, Mumbai.)

Related:

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Political Power & narrow vision demonising Muslims, destroying harmony & defaming Varkari tradition says Sant Suhas Maharaj Phadtare: Trimbakeshwar row

The post Chokhamela’s Bhakti: the past transforms into a radical present appeared first on SabrangIndia.

Image courtesy Indian Express

JV Pawar, eminent historian and co-founder of the Dalit Panthers, says: “If Dhale had not been at the forefront when dalit literature emerged, if he had not stood there with a naked sword in his hand, dalit literature would have been killed in its infancy. Even ‘experts’ on dalit literature agree on this.” Dhale’s collected works were compiled for the first time by JV Pawar; and in 1990, on Dhale’s 50th birthday, the collection was published in a book entitled Astitwachya Resha (The Lines of Existence).This significant book provides insights into Dhale’s meticulous understanding of various subjects, and introduces us to the many unexplored aspects of his personality—the writer, the artist, the literary theorist and the political visionary.

Literary renaissance has one crucial requirement. Old literary values need to be refuted; and new values—that connect to contemporary society and advocate justice in social life, have to be vehemently propagated. For this to happen, an understanding of the relationship between society and literature is essential. Raja Dhale not only had this understanding; he also had the vision to develop it.

Just as “literature is a part of our personality,” says Dhale, “it is part of our existence. This means (that) as literature shapes our existence, our existence shapes our literature.” Dhale captured the objective of literature at the theoretical level. But he did more. He developed the objective into a literary framework to resolve the tussle between Marxism and Ambedkarism. He spoke of this as early as 1976 in a speech delivered at a convention of dalit literature. This speech also marked the arrival of revivalist understanding of dalit literatures, inspired by the thoughts, teachings and literary vision of Dr Babasaheb Ambedkar. Dhale’s speech shed light on literary aspects which had, till then, been matters of confusion and conflict in Indian literary spheres:

The concept of ‘Marxist literature’ originated from a theoretical understanding of society. But the concept of dalit literature originated directly from lived experience.

Today there are writings which can be said to be inspired by Marxian thought. But there is nothing that can be described as Marxist literature. Because of this, literature inspired by Marxian thought attempts to seize the field of ‘dalit literature’. Therefore, dalit literature should be called the literature of Ambedkar Pranalee (Ambedkarite ideology).

Till now, our literature has been that of Ambedkari (Ambedkarite) ideology. Because dalit literature emerges from life itself, it acquires social significance – which manifests as dalit social consciousness. This social consciousness of dalit life is shaped by Dr Babasaheb Ambedkar and his battles. Hence the social significance of dalit literature, is Ambedkari.

The vision of dalit literature is infused with its social consciousness – this is why dalit literature acquires social significance. But ‘Marxist literature’ has neither social consciousness nor significance; it has a theoretical significance. Just as its origin is theory, its eventual form too is theoretical, not social. The names Marxist literature goes by underline this. ‘Progressive literature’, for example: which social group does this literature refer to? Where exactly does it lead? Towards the social or the theoretical? Another example is ‘parallel literature’. The term does not clarify which social group and which social consciousness it is ‘parallel to’.

When we call ourselves litterateurs of Ambedkari ideology, and when we describe our literature as the literature of Ambedkari ideology, our objective of social revolution becomes clear. Likewise, our ‘place of work’ is also clear; it is the dalit community…

A skillful artisan gives shape to his artefacts, stroke after stroke, with persistence and patience. Like that artisan, Dhale’s meticulous study of literature and his understanding of theories of art and aesthetics shaped the discourse of dalit literature — which he preferred to call the literature of Ambedkar ideology — and the dimensions of its theory. Logic was never absent from his words– be whether he was writing his literary essays, articles, stories or his few but significant poems. For example, in his poem “Eka Panther Che Manogat”, he says:

Each man is the last one. If he sees that clearly,
why should he not fight each battle
as if it is the last one
I don’t understand it — because the end is decided.
Either the battle will come to an end
Or we will die. 

If death is certain, why shouldn’t
the battle for equality be certain?

As part of social movements, Dhale’s words and actions were directed by his commitment to truth; justice; and the creation of a casteless society, whether in the realm of the imagination or in the real world. His life showed that he never bowed down before power. His literary and artistic talents gained strength from his unique imagination, which, in turn, was fed by Ambedkar’s thoughts and vision. This is why he found his reference in social history, the history of his community, and in the vision of Ambedkar, rather than foreign theories on art, literature and movements. His contributions to literature and art are unparalleled in the legacy of dalit literature. He wrote short stories, literary essays, critical reviews, songs for adults and children, and introductions to books. What he chose to translate is also telling: he translated Zen short stories, Egyptian poems, and poems by African American poets such as Langston Hughes, Samuel Allen and Robert Hayden into Marathi. As for his art, its idea of beauty is not sensual, but charged with sense; with sensibility. His illustrations reveal an artistic sensibility that suggests future directions for the anti-caste struggle. They also indicate why the appreciation of beauty requires the creation of a just and equal world.

Notes:

¹ All translations are by Yogesh Maitreya.
² Pranali Prakashan, Mumbai, 1990.

Read more:
Remembering Raja Dhale: How the Dalit Panthers Planned to Burn Holy Books
दलित पैंथर: दलित अत्याचार के ख़िलाफ़ साझा संघर्ष
Sharankumar Limbale: “Literature that was restricted to a class or a group is now expanding”
Strike a Blow to Change the World

Yogesh Maitreya is a poet, translator and founder of Panther’s Paw Publication, an anti-caste publishing house. He is pursuing a PhD at the Tata Institute of Social Sciences, Mumbai.

All illustrations are by Raja Dhale. They first appeared in Raja Dhale: Samagra Lekhan Vol 1, published by Lokvangmay Gruh.
 

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