[1][2][3] This literary genre encompasses various Indian languages such as Marathi, Bangla, Hindi,[4] Kannada, Punjabi,[5] Sindhi, Odia and Tamil and includes narrative-styles like poems, short stories, and autobiographies.
[6][7][8] In the colonial and post-colonial period, Jyotirao Phule's Gulamgiri, published in 1873, became a seminal work describing the plight of the Untouchables in India.
Dalit women authors, such as Urmila Pawar and Baby Kamble, have written extensively about the complexities of caste, class, and gender in Indian society.
[9] One of the first Dalit writers was Madara Chennaiah, an 11th-century cobbler-saint who lived during the reign of the Western Chalukyas and who is also regarded by some scholars as the "father of Vachana poetry".
Modern Dalit writing only emerged as a distinct genre following reformist thinkers and writers such as Sree Narayana Guru, Jyotiba Phule, B.R.
Over subsequent decades, Dalit writing evolved into a nationwide phenomenon, reformulating the issue of caste and reassessing the impacts of colonialism and missionary activity.
[17] The movement can be traced back to the publication of Gulamgiri by Jyotirao Phule in 1873, which set the stage for future writers to explore and express the experiences of Dalits.
Notable contributors to Modern Dalit literature include Mahasweta Devi, Arjun Dangle, Sachi Rautray, Rabi Singh, Basudev Sunani, Bama, Abhimani, Poomani, Imayam, Marku, Mangal Rathod, Neerav Patel, Perumal Murugan, Palamalai, Sudhakar, and D. Gopi.
Dev Kumar, founder of Apna Theatre in 1992, has used drama to promote Dalit consciousness, while Tamil Nadu-based Meena Kandasamy combines feminist and anti-caste themes to highlight the intersections of gender and caste discrimination.
[23] Notable Dalit authors writing in Marathi include Arun Kamble, Shantabai Kamble, Raja Dhale, Namdev Dhasal, Daya Pawar, Annabhau Sathe, Laxman Mane, Laxman Gaikwad, Sharankumar Limbale, Bhau Panchbhai, Kishor Shantabai Kale, Narendra Jadhav, Shankar Rao Kharat, and Urmila Pawar.
The development of Dalit literature in Bengal was significantly influenced by the leadership of Harichand Thakur, a prominent figure in the Motua community, and the ideas of Dr. B.R.
This movement produced literature that starkly contrasts with the prevailing literary trends in Bengal, which often focused on romanticism and nationalism while neglecting pressing social issues.
Prominent Dalit writers, such as Daniel Selvaraj and Poomani, engaged with Marxist ideologies, reflecting the economic struggles faced by their community in their literary works.
This era marked the early development of Tamil Dalit literature, characterized by novels and short stories authored by Adi Dravida writers.
The release of the Mandal Commission report in the 1990s catalyzed communal tensions and heightened Dalit awareness, prompting the formation of a distinct caste identity.
Writers such as Sivakami, Edayavendan, Unjai Rajan Abimani, Bama, Anbadavan, K. A. Gunasekaran, Imaiyam emerged during this time, significantly contributing to the genre.
Notable works include Sivakami's "Pazhiyana Kazhidalum" (The Grip of Change) and Bama's "Karukku," noted as the first Dalit novel in Tamil written by a woman.
Journals like Subamangala, Nirapirigai, Kavithasaran, Ilakku, Thinamani Kathir, and Sathangai published special issues focusing on Dalit literature, contributing significantly to its growth and recognition.
[44] In the early nineteenth century, Sant-poet Sadhu Wazir Singh (1790–1859) became a notable figure, producing works that explored spiritual, social, and philosophical themes.
Wazir Singh's writings challenged established Brahmanical structures and advocated for gender equality, promoting a vision of a society free from hierarchical constraints.
Ditt Singh's works covered a wide range of subjects, from love-lore and Sikh traditions to history and ethics, often critiquing popular religious practices rooted in what he considered "superstitious beliefs.
[47] Telugu Dalit literature has a history dating back to the 17th century, featuring poets like Potuluri Veerabrahmam and Yogi Vemana, who wrote about the evils of caste and untouchability.
[48] Following India's independence, a new generation of Dalit poets, artists, and intellectuals emerged, bringing literary art into the public domain and supporting socio-political movements in Andhra Pradesh and Telangana.
The Communist Party’s Jana Natya Mandali was instrumental in disseminating messages through oral storytelling and folk art among Dalit communities.
Prominent activist-singers, such as Gaddar, Masterji, Goreti Venkanna, Suddala Hanumanthu, Bandi Yadagiri and Guda Anjanna, Mittapelli Surender and Andesri, used their songs to advocate for revolution, eventually making their way into the mainstream Telugu industry..[49] The Karamchedu massacre in 1985 highlighted the severe impacts of caste discrimination and galvanized the collective consciousness of the Dalit community.
The first collection of Gujarati Dalit poetry appeared in a magazine in 1978, featuring contributions from writers such as Neerav Patel, Dalpat Chauhan, Pravin Gadhvi, and Yogesh Dave.
[54] In the nineteenth century, Bhima Bhoi, a Kondh tribal poet and follower of Mahima Dharma, continued the tradition of protest literature.
Baluta, a groundbreaking autobiography by Dagdu Maruti Pawar that questioned the caste system and the social stigma associated with Dalit names, was one of the first and most impactful works.
Annabhau Sathe's autobiography Fakira (1972), Baburao Bagul's autobiographical novel Jevha Mi Jaat Chorli Hoti (1963), Babytai Kamble's Jina Amucha, Urmila Pawar's The Weave of my Life, Shantabai Kamble's Majya Jalmachi Chittarkatha, Omprakash Valmiki's autobiographical poetry Joothan (1997), Siddalingaiah's Ooru Keri (1995), and Bama's Karukku (1992) are among the notable writers and works.
Authors such as Narendra Jadhav, Loknath Yashwant, Kumar Anil, G.K. Ainapure, Avinash Gaikwad, and Santosh Padmakar Pawar write of their achievements, while Urmila Pawar, Sushama Deshpande, Ushakiran Atram, Ashalata Kamble, Sandhya Rangari, Kavita Morwankar, and Chayya Koregaonkar discuss the intersection of caste and gender.