ISSN (Online) - 2349-8846 Indian Cinema and the Bahujan Spectatorship JYOTI NISHA Jyoti Nisha (
[email protected]) is a writer, director, and producer. She directed well- known documentary film "B R Ambedkar—Now and Then." Vol. 55, Issue No. 20, 16 May, 2020 Bahujan spectatorship relates to an oppositional gaze and a political strategy of Bahujans to reject the Brahminical representation of caste and marginalised communities in Indian cinema. It is also an inverted methodology to document a different sociopolitical Bahujan experience of consuming popular cinema. “Indians today are governed by two different ideologies. Their political ideal set in the preamble of the Constitution affirms a life of liberty, equality and fraternity. Their social ideal embodied in their religion denies them.” (Narake et al 2003) This dual imagination of Indian nation, as B R Ambedkar forewarned, finds its manifestation even on the silver screen. India’s popular imagination of its colonial past has been that of a “haloed” history of Indian nationalism. Ambedkar has not been part of this popular imagination, and neither do the politics, history, and social movements of the marginalised. The assertion of the marginalised has hardly made it to the pre- and post-independence Indian cinema. Largely, the image of Indian nationalism in the popular imagination has been ISSN (Online) - 2349-8846 that of M K Gandhi, and Ambedkar and his social justice movements against Brahmanism have been absent from the public conscience. This gaze of “othering,” silencing, and appropriating the existence of history, knowledge, and symbols of the marginalised communities have been tools employed by the upper-caste film-makers deliberately.