American Poetry and Dalit Poetry Dr

ISSN No. 0974-035X An Indexed, Refereed & Peer Reviewed Journal of Higher Education Towards Excellence UGC-ACADEMIC STAFF COLLEGE, GUJARAT UNIVERSITY, AHMEDABAD, INDIA

Creating Space through words: A Comparative Study of Afro- American Poetry and Dalit Poetry Dr. Darshana Trivedi

Art says Bernard Shaw is, “Nothing but the social commitment.” Two prominent theories which govern the art since the times of Greeks are Art for art’s sake and Art for life’s sake. The Indian counterpart of this concept is literature created for pleasure (swant sukhay) or literature created for the upliftment of the society. (janahitay). Main stream literacy artists can afford to write for Art for Art’s sake. But Marginal discourses are not possible without social commitment. Black and Dalit literature is intimately related to social reality and is not imaginary or entertainment oriented. Talking about social responsibility of the writer Jean Paul Sartre says:

Writing is not simply writing, it is an act and in man’s continual fight against evil, writing must be deliberately used as a weapon. It is necessary that S/he understands this. (Dangle.324)

Since Afro American and Dalit literature is originated from the lived realities of the oppressed people, it is inevitable to relate both literatures to historical contexts.

Afro American literature: A Historical Perspective

Afro American literature is a literature by the Africans who were brought to America by the White denizens as slaves to work on the plantations. These Africans were not given any legal rights or protection. They were openly bought and sold, they were not allowed to maintain a family, and their marriage was not considered legal. They were not allowed to follow any religion nor could they pursue education. The blacks of America without any legal protection were subjected to brutality; discrimination and ostracism. There were few who initially started to vent their plight through words. Their first goal was to abolish slavery which they accomplished by 1860. But soon after that they faced a new evil of racial discrimination. When confronted with this new evil in their life, their literature took a turn from being an expression of art to begin an expression of reality.

Afro American literature has been divided in to six ages until now. They are

An age of Apprenticeship (1800-1830) An age of Abolitionists (1830-1895) An age of NIGRO Nadir (1895-1920) An age of Harlem Renaissance (1920-1930) An age of Richard Wright (1930-1960) An age of Black Militant (1960-onwards)

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Black Americans started creating their literatures in America by the middle of eighteen century. They were not talking about social discriminations in their literature. They were Imitating their master’s language to express their experiences of slavery. They were learning new skill of writing hence the age is termed as an age of apprenticeship or imitative phrase. By 1830 the first age of Afro American literature was over and a new age was Making its way which was to govern and inflame the black expressions. The writers Of this age were either born as slaves who had escaped from the south or Negros born in the north who ardently supported the abolition of slavery. During this period three amendments which deal with Negros were the thirteenth amendment 1865 Lincoln’s Emancipation proclamation .The fourteen Amendments 1866 aimed at granting Negro civil Rights and fifteenth amendment 1870 voting. it was an age of relative atrophy for the afro- American literature so was term as Negro Nadir. The period of 1920-1930 is known as age of Harlem Renaissance or the period of new awakening or Negro Renaissance. The age got formal recognition with the publication of Alain Locke’s anthology the new Negro. The main themes of Harlem renaissance are celebration of black Identity and rich Heritage of African culture. Two leading African American journals the NAACPS (National Association for the advancement of Colored People’s crisis and National urban league’s “opportunity” played a major role in the shaping the spirit of Harlem Renaissance. By 1938 Charles Houston managed to bring a new day for Negros civil right and Personal freedom. Afro American authors continue to reveal the harsh realities of black Life across America one of them was ground breaking novelist Richard Wright who achieved International status with the publication of Native son in 1940. At the threshold of 21 century Afro American literature exhibits an unprecedented variety, without any illusion of its distinctive power and Identity. The theme song of 21 century is “Black is beautiful”. The literature now entered in the phase of “celebration of difference”.

Dalit literature: Historical Perspective

Coming to Dalit literature it has also started as protest literature the age old caste system of Hindu society. The roots of caste system can be traced to the Purusukta Rigveda which says: Brahmansaaya mukhomasit Bahu rajanaya Kurta Uru tadasy yadvaishya Padmabhayan sudro Ajayat (X-90 12) According to Rig Veda the Brahmins are born from the mouth of Brahma, Kshatriyas from the shoulders, and the Vaishyas from thighs and Shudras from feet. Hence, the Brahmins are placed on the highest rung of the social ladder and the Shudras on the lowest rung, It was the Brahmins who established that the caste hierarchy was God made and not man-made. Subsequently Manu, an ardent supporter of class structure made it a core in his Manu smruti. Class distinction is a worldwide phenomenon but the characteristic of the Hindu caste divide is that it is based on birth and not on aptitude. As a natural corollary of this rigidity, the Sudras came to be considered outcasts, down-trodden, polluted and marginals by the exploitative higher classes.

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Dr, Babasaheb Ambedkar, the father of the Dalit Movement rejected the notion of the caste system as God-made and not man-made. He along with Mahatma phule initiated a political movement for the freedom and equality of Dalits. As he says:

We must uproot the four-caste system and Untouchability and set the society on the foundation of the two principles of one caste only and of equality... our work has been began to bring about a real social revolution … No one can now arrest it. I pray to God that the social revolution which begins here today may fulfill itself by peaceful means. (Dangle. 127)

The purpose of this movement was to create a new space for Dalits in an otherwise closed society thriving on unholy distinctions of caste. They rejected all role-models and critical theories and were determined to create a literature and identity of their own. The customs, traditions, way of life of Dalits are different from very root. Dalit literature is different from main stream literature because it gives full expression to the Dalits’ heart burn and agitation as well as their distinctly vigorous and revolutionary world view. The word Dalit in the Marathi language means (i)ground (ii) broken or reduced to pieces generally. The clearest definition of the word Dalit in contemporary usage has been given by Gangadhar Pantwane a professor of Marathi and founder editor of Asmita Darsh:

To me Dalit is not a caste. He is a man exploited by The social and economic traditions of this country. He does not believe in God, Rebirth, soul, Holy-books teaching separatism. Fate and Heaven because they have made him a slave. He does believe in humanism. Dalit is a symbol of change and revolution. (Pantwane. 78) Arjun Dangle observes:

Dalit literature is not simply Literature. It is associated with a movement to bring about change. It represents the hopes and ambitions of anew society and new people. (Dangle. 53)

Considering the historical perspectives of Afro American and Dalit literature we can mentioned the following similarities between Black and Dalit literature.

Blacks in America and Dalits in India are remained invisible and voiceless in the history and in nation building. Both Afro American And Dalit writers are in search of their respective identity. Experience in both literatures has surfaced from social life based on inequality.

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The language of both is life oriented. Black and Dalit writer write from the awareness of social commitment. The Language of both is the language of culture revolt. In both literatures the aim is to find new cultural values. Both literature aspire for humane society based on freedom equality and justice.

This section of the paper makes comparative analysis of afro American poetry and Dalit poetry respectively. The major themes of Black and Dalit poetry are inscriptions of pain and sufferings, protest against hegemony of established social structure, quest for identity celebration of Homeland and the hope for better tomorrows.

(1) Inscription of Pain and sufferings

Black and Dalit poetry initially began as an expression of pains and sufferings meted upon them because of color or caste. Sterling Brown’s poem “ Master and Man” Talk about the plight of the poor slaves, who were not allowed to claim even a Fist of harvest of their labour. The labour and sweat of the slave belong to his master. And the master hence becomes his centre of life as well as no less than God.

The Yellow ears are crammed in Mr. Cromarties’s bin. The Wheat is tight sacked in Mr. Cromarties’s Bran. The timothy is stuffed in Mr. Cromarties’s loft.

The ploughs are lined up in Mr. Cromartie’s Shed. The cotton has gone to Mr. Cromaartie’s Factor. The Money is in Mr. Cromaarties’s bank.

“Master and Man” discuss the cruel and inhuman behavior of the master.

Raman Vaghela’s Dalit poem “ Harsh Destiny “ talk about the pain of untouchability

Harsh is our destiny o friend Harsh is our destiny Bron with a spot o friend Harsh is our destiny

Time heals all wounds we know A life full of pains we live They kick us putting aside shame Our bleeding wounds they not see. (Burke. 19) Even more painful poem which talk about the pathetic plight of Dalit is Jaynti Makwana’s” Keshav Ganda Bhangi”.

I keshav Ganda Bhangi. My lords are in A.M.C. brand blue dress. Our family firm is on Ashram Road.

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Like an anchored boat by the footpath. Is my wheel- barrow bearing my name. It is my father’s imported ambassador. Its key – Chain hanging around my neck. This broom is my life –companion. (Burke. 42) Jivan Thkor’s “The curse of untouchability” is a poignant poem about the pains of being untouchable. The poet says:

If the green leaf of tender touch Grows on my barren fingers Announcement in the village Shall I make and sacrifice my life. My fingers yearn to touch Not only flowers but also stone. Bitter dreams I have when I think of tender touch. (Burke .54) The Dalit’s search for identity is expressed in Balkrishna Anand’s poem “ Who are we?” The innocent child asks the question to his father:

Have made him a slave. He does believe in Humanism. Dalit is a symbol of change and revolution. (Pantwane. 78)

Arjun Dangle observes: Dalit literature is not simply Literature. It is associated with a movement to bring about change. It represents the hopes and ambitions of anew society and new people. (Dangle. 53)

Considering the historical perspectives of Afro American and Dalit literature we can mentioned the following similarities between Black and Dalit literature. Blacks in America and Dalits in India are in search of their respective identity. Experience in both literatures has surfaced from social life based on inequality. The language of both is life oriented. Black and Dalit writer write from the awareness of social commitment. The Language of both is the language of culture revolt. In both literatures the aim is to find new cultural values. Both literature aspire for humane society based on freedom equality and justice. This section of the paper makes comparative analysis of afro American poetry and Dalit poetry respectively. The major themes of Black and Dalit poetry are inscriptions of pain and sufferings, protest against hegemony of established social structure, quest for identity celebration of Homeland and the hope for better tomorrows.

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(1) Inscription of Pain and sufferings

The ploughs are lined up in Mr. Cromartie’s Shed. The cotton has gone to Mr. Cromaartie’s Factor. The Money is in Mr. Cromaarties’s bank. “Master and Man” discuss the cruel and inhuman behavior of the master. Raman Vaghela’s Dalit poem “ Harsh Destiny “ talk about the pain of untouchability Harsh is our destiny o friend Harsh is our destiny Bron with a spot o friend Harsh is our destiny Time heals all wounds we know A life full of pains we live They kick us putting aside shame Our bleeding wounds they not see. (Burke. 19)

Even more painful poem which talk about the pathetic plight of Dalit is Jaynti Makwana’s” Keshav Ganda Bhangi”. I keshav Ganda Bhangi. My lords are in A.M.C. brand blue dress. Our family firm is on Ashram Road. Like an anchored boat by the footpath. Is my wheel- barrow bearing my name. It is my father’s imported ambassador. Its key – Chain hanging around my neck. This broom is my life –companion. (Burke. 42)

Jivan Thkor’s “The curse of untouchability” is a poignant poem about the pains of being untouchable. The poet says:

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The Dalit’s search for identity is expressed in Balkrishna Anand’s poem “ Who are we?” The innocent child asks the question to his father: Daddy After the prayer in school We read pledge together “India is my country, All Indians are my brothers and sisters”

But Master Joshi looked at me And grumbled “Not Harijans” “Daddy, who are Harijans? Who are Indians? (Burke.29)

(2) Protest or Resistance:

Protest against the hegemony of established social structure is at the core of Black and Dalit literature. Countee Cullen’s poem “From the Dark Tower” expresses the protest against the exploitation and ends with the firm resolution.

“We were not made eternally or weep”.

We shall not always plant while others reap. The golden increment of bursting fruit Not always countenance, abject and mute. That lesser men should hold their brothers cheap; Not everlastingly by others sleep So in the dark we hide the heart that bleeds, And wait, and tend our agonizing sees. (Blyden.59) Langston Hughes’s poem “Democracy” also expresses the protest against the established political system. He says:

Democracy will not come Today, this year Not ever

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Through compromise and fear I have as much right As the other fellow has To stand on my two feet And own my land. (Blyden.57)

The same note of protest we find in Baburo Jagtap’s “This Country is Broken” and Sharan kumar Nimbale’s “White Paper”

This country is broken in to a thousand pieces; Its cities, its religion, its castes, Its people and even the minds of the people All are broken fragmented. In this country each day burns Scorching each moment of our lives. We bear it all, and stand solid as hills in our life That we do not accept. (Dangle.037)

Similar tone is reflected in Sharan Kumar Nimbale’s “White Paper”:

I do not ask For the sun and moon from your sky Your Farm your land, Your high houses, or your mansions. I do not ask for gods or rituals Castes or sects Or even for your mother, sister, and daughters. I ask for my rights as a man. (Dangle.64)

(3) Asserting Self

Langston Hughes, a Harlem Renaissance Poet in his famous manifesto “The Negro Artist and the Racial mountain” writes”:

We younger Negro artists…. Intend to express our individual dark-skinned selves Without fear or shame. If white people are pleased, We are glad . If they are not, it doesn’t matter. We Know we are beautiful. And ugly too.

The most important characteristic of Harlem Renaissance poetry is self assertion. The young Negro poets believe in “Black is beautiful”. Hughes poems “Negrp” and “My People “is a tribute to black consciousness. I am a Negro

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Black as the night is black. Black like the depths of my Africa”. (Dickinson.321)

A black poem can also be about the beauty of blackness. Langston’s “My people” celebrates the beauty of blackness.

The night is beautiful So the faces of my people Beautiful, also is the sun Beautiful also, are the souls of my people. (Dickinson .322)

Alice walker’s poem “Be Nobody’s Darling “also accepts the outcast status. She says:

Be nobody’s darling; Be an out cast Take the contradictions Of your life And wrap around You like a shawl To parry stones To keep you warm. (Walker. 31) Compare to Black literature Dalit literatures is an infant stage, hence we do not have many poems about the self assertion in Dalit literature. Yet Shamat Parmar’s poem “Self Pride” celebrates the Dalit identity:

I am proud of my self I am extremely grateful To God for making me a Dalit. Thank…..God That He made me a Shudra And liberated me from all these sins. This is why I am proud of myself. (Burke.74)

(4) Celebration of Homeland

Blacks are fortunate enough to have their “home land” while living in America. They can think about their roots, their culture and their heritage. On the other hand the plight of Dalits in India is pathetic. As Dr. Ambedkar says: “Gandhiji, I have no

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Homeland”. Blacks retain their African culture through their folk literature and myths, but Dalits have yet to create their myths, folk forms and music which is different from the main stream Hindu literature. ( Indian tribal literature has rich heritage of folk tradition which is clearly different from main stream Hindu Literature). We have Mckay’s “I shall Return” and Hughes’s “The Negro Speaks of River” celebrate the African culture. Mckay contrasts the soft, gentle images of Africa with long years of pain in the United States.

I shall return again. I shall return To laugh and love and watch with wonder-eyes. I shall return. I shall return again To ease my mind of long long years of pain. (Blyden.63) Hughes’s poem “The Negros Speaks of River” is also a tribute to his roots.

I have known rivers ancient As the world and older than the Flow of human blood in human veins. My soul has grown deep like rivers.

I’ve known rivers Ancient, dusky rivers My soul has grown deep like the rivers. (Dickinson.70)

(5) Tomorrow is ours:

Black and Dalit literature has passed through the phases of imitative and reactive and entered in to the third phase i.e. “Assimilation” or “Celebration of Difference” and created their space through words. Black writers like Maya Angelou, Toni Morrison, Alice Walker to name a few have turned their adversities and pain in to celebrations. We have Kumud Pawade, Bama,Shivankami, who have created the tradition of feminist Dalit writing in India. Earlier Laxman Manne and Laxman Gaikwad received the prestigious Delhi Sahitya Academy Awards for their autobiographies Upara and Ucchaliya respectively. In the year 2012 Gujarati Dalit writer Dr. Mohan Parmar has received Delhi Sahitya Academy Award for his short story collection Anchalo. The young Gujarati Dalit writers like Anil Chavda, Chandresh Makwana (Yuva Gaurav Purshakar awardee) Mina Kamble, Daxa Damodara, Priyanka Kalpit have also change the face of Gujarati Dalit writing. Instead revolt or resistance the tone of their poetry is calm and repose. We find a note of hope in their writing. Langston Hughes’s poem “Note on a Commercial Theatre” and Pravin Gadhvi’s “Farewell to Arms” are affirmative poems about better tomorrows.

But someday somebody’ll Standup and talk about me, And write about me Black and beautiful,

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And sing about me, And put on plays about me!

I reckon it will be Me Myself! Yes it will be me.

Pravin Gadhvi’s “Farewell to Arms” originally titled Shastra Sanyassa also talks about assimilation.

Let us put aside the arms And hold a round table conference We have no nations to be proud of. We have no farm to till, no house for shelter You did not leave even a blade of grass for us since times of Aryavart

We are ready to forget all Are you ready to remove the walls from the village? We are ready to dissolve like sugar in milk.

Let us put aside arms And till the fertile land of our nation together. (Manglam.54)

Works Cited

Burke, Rupalee & Darshana Trivedi(ed) The silver Lining Ahmedabad: Dalit Sahitya Academy,2000.Print

Blyden,Jackson. A History of Afro American Literature Vol. I Louisiana: Louisiana state university Press, 1989.Print

Dangle,Arjun.(ed) Poisoned Bread Bombay:Orient Longman, 1992. Print

Dickinson,Donald. A Bio-Biblography of Langston Hughes Hamden Conn: Archon, 1972. Print

Zelliot Eleonor, & Mulk Raj Anand (ed) An Anthology Of Dalit Literature New Delhi:Gyan, 1972. Print

Dr. Darshana Trivedi Associate Professor - Dept. of English, Gujarat University, Ahmedabad. E-mail:[email protected]

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