Sahityasetu

Babasaheb Dr. Bhimrao Ambedkar started publishing a pamphlet called ‘Bahiskrut Bharat’. The objective was the upliftment of the Dalits. At the same time Gandhiji took over 'Navjivan and Satya' from Indulal Yagnik, and started the magazine 'Navjivan'. He accepted its editorship. First issue of 'Navjivan' was published in September 1919. Editor Mr. M. K. Gandhi wrote an editorial with the title 'Our Purpose'.

“I want to deliver 'Navjivan' to farmers’ huts and weavers’ houses. I want to write in their language.”

Gandhiji did not write in ‘their’ language, nor did the pamphlet reach ‘their’ houses. The magazine became a means of propagating the freedom fight. Staying away from folk dialects, ‘New Gujarati Language’ (Revised Gujarati Language) has been invented. Kept writing in ‘that’ language. In 1929 ‘Sarth Gujarati Spelling Dictionary’ for Revised Gujarati Language was prepared and it determined 33 rules of grammar. Ordered that now no one will spell in their own way, everyone to follow the Sarth Dictionary. In a way, let's say the burden of linguistic irregularities and Sanskrit scholarship on Gujarati was lightened. This new language is accepted for learning so it spreads quickly. It is stabilised as a recognised Gujarati language.

Zaverchand Meghani accepted folk – Saurashtrian dialect in his research on folklore. Pannalal Patel corrected the dialect of Idar area and created a unique mixture of dialects. And on Dr. Babasaheb’s death (1956) the Dalits have combined Gujarati language and dialects in about a hundred homage poems. The Dalit literature that emerged (named) after 1974–75 and in compositions till date by the Dalit Authors, dialect of Dalit has been used in dialogue while in description and writing Revised Gujarati has been used. This Gujarati language is not a mother-tongue of anyone. But the place in which the people are born; their mother tongue is a special dialect of that particular region. If we specify the caste – religion in which one is born, it has its own dialect; and it is common that within the caste, religion there are different dialects and pronunciations.

Even if the language of Dalits is not taken to the people and Dalits in the form of books by the ‘Others’, but we the Dalit writers are committed to reach Dalit literature to them. It was on the part of Dalit literature that it gives words to every good – bad experience of life, determining its historical value and drawing its truth. Dalit writers will cross it. Let's try to understand this Dalit literature.

There is a constant question with the birth of Gujarati Dalit literature. Apart from well-known writers these days, those who have recently held pen and after presenting a gazal with couple of praiseworthy words ask the question, “What is Dalit literature? Would there be literature like Dalit literature?” Let us evaluate such murmurs from the perspective of literature. Let’s put a scene in opposition to one another from two plays:

One is from the play 'Urfe aa lo!' (Playwright, director: Maulikraj Shrimali) and the other is from many of Krishnalila's scenes or plays.

Scene-1
The protagonist is standing in the open gutter in the dirty water. The gutter cover has sludge-waste extracted from the gutter. Nearby a bicycle is parked on the stand. People come and go, press their noses, look back as they pass. Flute in the hands of the protagonist, playing it. As if trying to forget his irony in this dirt and longing for rejuvenation like the sweet melody of a flute.

Scene-2
Kano is sitting on the branch of Kadamb on the banks of Yamuna. Playing the flute, he beckons the Gopis who are bathing naked in the river Yamuna to come out, showing their stolen clothes. Sometimes someone even comes out and looks at her own body, ashamed and jumps back into the Yamuna. Kana’s flute plays on.

Both the scenes are at the foremost in the Indian context. Nasty and unwanted to society. People keep sniffing at a scene. The audience seems to be vomiting. Scene two is viewed with greed by the audience. Hissing and waiting for the Gopis to come out of the water. The sound of the flute moves them.

These scenes show the differences between Dalit-Lalit. The first scene is the creation of a Dalit drama (literature) of the oppressed Dalit society; second is the thrive scene of the classical literary genre. Have you ever seen this difference in society?

Why did scene one start to form? Before independence, no Dalit dreamt that such a literature will exist and written by a Dalit author! (Except Babasaheb Ambedkar) But after thirty years of the Independence, Dalits were eager to compose literature after this the scene one is staged towards the end of the second decade of the twenty-first century. Many scenes have been played earlier but the scene of ‘Urfe aa lo!' is a 'landmark' for Dalit literature. I say that as long as Dalit society exists, there will be questions and solutions. There will be turmoil in implementation.

“Literature does not originate from literary material; It has its roots in the experience of the creator and its roots in the culture of the society in which he/she resides.” (Thirtieth Literary Convention, Criticism Section, Chairman: Dhirubhai Thakar)

And that is why Dalits tried to find their own roots. The roots buried in the ground, levelling the ground above it, have grown. Even though, if you look at the works of Gujarati literature, authors are writing stories of King- Emperor, trader – lender and the caste in which he/she was born. Being generous, nature- flower poetry has been written by poets. Thus, the works of Gujarati literature have flowed in a racist manner from its origin. Yes, it is not named. When Dalit writer started it by giving name to the literary genre and started efforts to find its place among non-Dalit, Bhramin literary persons; he also met with success. Acceptance of this Dalit literature is a great achievement. Gujarati writers who were not a part of Dalit society, they stop portraying the Dalit community. Progressive literature which sprouted in the Gandhi era was literally attacked by some so called patrons of Gujarati literature and in the post-Independence era modernism came into existence, in which common man along with Dalit blew up. Society began to move away from writers and literature. But it cannot be said that Dalit literature came into existence due to extravagance of modernity. It was the demand of the time that Dalit literature sprouted in Dalit social literature. Dalit writers did not become writers overnight. Many social, political, religious (especially untouchability), economic (living outside the village) and psychological factors along with current situation and events of that time are responsible. Two decades before Independence (maybe three), primary education was introduced among the Dalits. Independence provided them with further education. Also, in their migration to towns and cities, the freedom struggle and with the efforts of Ambedkar-Gandhi, the Dalit of Gujarat became ideological. They were shaken by Dr. Babasaheb Ambedkar's demise in December 1956. Paying homage to Dr. Ambedkar and praising his life and work, hundreds of poems were written by Dalit Mill Workers / other Dalits, published and sold as pamphlets, sung in every lane. There was a wave of poetry. Poetry contest was held. Prizes announced. The poems were composed in the style of bhajans, folk songs, couplets and filmy songs. These poems were edited by Ramesh Chandra Parmar in 1987, a book titled 'Anjali' was published. One who pays homage to Babasaheb with 'Anjali' poems, did not write poetry after that. The flow of Dalit poetry could not move further. Even before and after Dr. Babasaheb's demise, Dalits continued to write poems that shaped harassment of Dalits. In the eighth decade of the twentieth century, letters and magazines like 'Tamanna', 'Garuda', 'Dalitbandhu', 'Abhudaya', 'Artnad' etc. kept on being published. In the magazine 'Artnad' (1974) a permanent forum (column) was formed under the name 'Dalit Poem’. Mansukh Vaghela's poem was first published under it. Ramesh Chandra Parmar was the acting editor of ‘Artnad’. In Mumbai some Dalit writers Namdev Dhasal, Daya Pawar, Raja Dhale etc. founded ‘Dalit Panther’ in 1972. Meanwhile, in Maharashtra (Mumbai) and Gujarat (Ahmedabad), riots broke out by non-Dalits against Dalits. Maisaheb Ambedkar came to Ahmedabad with Dalit poets. Dalit Panther (1975), a monthly magazine started with the organization Dalit Panther and featured Dalit poetry, stories and one-act plays. Naran Vora was editor of the magazine.

On April 14, 1978 (Ambedkar Jayanti), Dalit Panther's 'Committed Dalit Poetry Ritupatra - Akrosh' was published. Its editors were Dalpat Chauhan, Nirav Patel, Praveen Gadhvi and Yogesh Dave. In the editorial they wrote showing the definition and usefulness of Dalit poetry,

"This first step of the 'Dalit Asmita Campaign' is expressed through the medium of the poem 'Akrosh'. Poetry and rich expressions demand discipline and talent. But we can't wait for it. Dalits' suffering, humiliation, injustice, atrocities, iniquity, contempt, hatred, disgust, drudgery, resentment, settlement, untouchability, violence, poverty, despair, helplessness, exploitation, discrimination, vulgarity, prejudice, inferiority complex, neo-Brahmanism – and against it their naivety, simplicity, kindness, generosity, sociality, self-respect, skill, culture and self-esteem - the silent cries over the years have been expressed today and the first poems of Gujarati Dalit literature are created - in the name 'Akrosh'."

Today, quoting this, I am reminded of Black Actress Haley, who won the Oscar for Best Actress in a Motion Picture in 2003. She said with tears in her eyes as she accepted the award:

"For this moment she and society had been waiting for seventy years."

We Dalits have been waiting for this moment for thousands of years. Success is achieved.

Sheikhadam Abuwala released the magazine 'Akrosh' on 14 April, 1978 in Ambedkar Hall, Ahmedabad with the blessings of Maisaheb Ambedkar. He highlighted this incident in his Jansatta's column 'From Adam to Sheikhadam'. Active columnist Bhanubhai Adhvaryu welcomed the poems of 'Akrosh' in his Jansatta daily's column 'Duniya Jaisi Dekhi Humne' as 'Rudraveena's first jingle'. Five Dalit Poems of 'Akrosh' (Dalpat Chauhan and Nirav Patel) were first published in 1979 in the monthly magazine 'Arvarav' (Ed. Pragji Bhambhi, Mohammad Ishaq Sheikh, Mahendra Amin) published from Prantij. Manjuben Zaveri, editor of Farbus Gujarati Sabha Quarterly, Mumbai came to know about the publication of Dalit poetry in Gujarat through ‘Arvarav’. She collected the 'Akrosh' and placed the editorial note on the cover of Farbus Gujarati Sabha quarterly July-Sept. 1979, Issue 3, Book 44. By writing editorial in quarterly, Dalit poems were cheered. She wrote:

"I was surprised to see five poems composed by Dalit poets in 'Arvarav'. I found out for the first time that there is something like Dalit literature in Gujarati.”

On December 6, 1979, Lal Darwaja Poets Workshop's ‘Black Sun’ (Untouchable Poetry Letter) was published from Ahmedabad. (Later, the word 'Dalit' was used instead of 'Untouchable'.) Fourteen issues of the magazine were published. Avanti Dave, the poet-writer of 'Akshar-Gurjari' column of 'Janshakti' daily from Mumbai, praised Dalit poetry by calling it the bowstring of black sun. Pinakin Dave, Mohammad Ishaq Sheikh, Sheikhadam Abuwala, Joseph Mecwan, Ramesh Parekh etc. wrote articles for various issues. Which were published in 'Black Sun'. The racist riots against reservation took place in 1981 in Gujarat. These riots led Dalits to write poetry / literature and farm labourers, mill workers, peons, officers and retired ones held the pen. In 1982, Nayamarg fortnightly magazine (Ed. Indukumar Jani, Arunaben Mehta) opened the door for all genres of Dalit literature. Along with many poets, the magazine introduced Joseph Macwan. ‘Akshay’ (Dalit Criticism) is an indefinite monthly magazine, ‘Samajmitra’- monthly magazine (ed. Rasilaben Natubhai Parmar) has become a carrier of Dalit literature and published special issues of excellent Dalit literature. From Junagadh ‘Vacha’ Dalit Kavita Monthly (ed. Nilesh Kathad), ‘Anugami Kon?’ Dalit Kavita Monthly (ed. Kishore Sondarva), ‘Muktinayak’ Dalit Patrika and from Rajkot ‘Scheduled Caste Saurabh’ came. Gujarati Dalit Sahitya Akademi, Ahmedabad's quarterly magazine 'Hayati' (Editor: Harish Mangalam) and Dalit Sahitya Pratishthan, Ahmedabad's monthly magazine 'Dalitchetna' edited and published all genres of Dalit literature and also published some specials issues. Dalit poetry became stable with modernism. Dalit poetry took advantage of the ‘chhandamukti’ experiment in Gujarati poetry in the sixth decade, in which Achhandas (free verse) made its mark as a carrier of poetry. Dalit poets added in it new patterns in the gazal – myths; and accepted the dialect. Raised their own distinctive impression. Personal anthologies of Dalit poets were published and collections of some Dalit poems were published. In which the first ‘Dalit Kavita’ (1981) ed. Ganpat Parmar and Manishi Jani; ‘Visphot’ (1984) ed. Chandu Maheria, Balakrishna Anand; ‘Asmita’ (1984) ed. Chandu Maheria; ‘Anjali’ ed. Rameshchandra Parmar; ‘Manas’ (1992) ed. Vasant Purani; ‘Dundubhi’ (2001) ed. Dalpat Chauhan, Harish Mangalam, Praveen Gadhvi, ‘Eklavyano Angutho’ (2001); Nilesh Kathad, ‘Dalit Geet-Gazal’ (2006) ed. Pathik Parmar, Harish Mangalam; ‘Sankaleet Geet’ (1985) ed. Raju Solanki; ‘Shramik Kavita’ (1986) ed. Ramesh Chandra Parmar; ‘Shramikasur’ (1990) Jayendra Shekhadiwala; ‘Gujarati Kavita’ (2009) ed. Nirav Patel; ‘Shabde Bandhyo Suraj’ (Kavyanjali to Dr. Babasaheb Ambedkar) ed. Chandu Maheria, Dalpat Chauhan; ‘Dalitkavita’ (2012) ed. Praveen Gadhvi are such collections of Dalit poetry that were published.

The publication of anthology of Dalit poets should be considered as the first ‘Dalit Kavita’ of Dalit poetry since 1981 (although some poets have previously claimed to be the first). And if we accept it, more than two hundred collections of poetry of about one hundred poets may be available. But there may be some obstacles. Some poets combine literary streams of masses, proper literary streams, subsets of poetry, progressive literary streams and they express all these both genres and publish them together in one anthology. So, controversy is possible if the anthologies are chewed nominally. Only the intention of poetry, and the concept are noted here. It is discussed elsewhere in this article.

The poems of Dalit poets’ their own language, rhythm, and intention, narrative style, way of expression, originality of imagination, combination of folk language is untraditional and unique. Each poet has a different poetic mood. They bring out from the depth. No curtains they keep. Song, gazal, Hazal, Free Verse or metered. They deal with everyone. Tried to give the best. These poets have enhanced its splendour in Gujarati language literature. The language is delightful. Raised their own distinctive impression and identity. Traditions, norms were broken in content and expression. From the last decade of the twentieth century till today, Dalit poetry has remained committed to the Dalit society.

The ‘Dalit short story’ begins to unfold around 1985. The collection ‘Gujarati Dalit Varta’ (ed. Mohan Parmar, Harish Mangalam) published in 1987 can be considered as the focal point of Gujarati Dalit short story. To publish this collection of Gujarati Dalit stories, on 13 April, 1986, a workshop was held in the vicinity of Dr. Raghuveer Chaudhary and Dr. Digish Mehta. Opinions were sought from various scholars and critics about the stories presented and written in it. As a result, the first collection of Gujarati Dalit short stories 'Gujarati Dalit Varta' (ed. Mohan Parmar, Harish Mangalam) was published in 1987. Before that in ‘Chandani’ (fortnightly magazine, editor Dr. Kanti Rami, Vishnu Pandya) from October 1, 1983 to January 15, 1983 (eight issues in total), there was a discussion in Readers’ Parliament section, "Dalit literature, such a new class in literature is necessary?" A number of readers expressed their opinions. As a result, the editor of 'Chandni', published a special issue on 7 February, 1987 under the title 'Dalit Literature and Dalit Consciousness'. It included Dalit short story, poem, interview etc. The successive issue of 21 February, 1987 was also dedicated to Dalit literature. In the editorial, ‘Our Talk’ of the special issue (Vishnu Pandya) wrote:

"Every turn of social change has come with new naming. There are many classifications such as revolutionary, thriller, Victorian, existentialist, realist, Neo-romanticism, populist, Negro literature. Dalit literature has been defined too late. But its existence is not to be overlooked in a social context.”

The first collection of 'Gujarati Dalit Short Stories’ was published in 1987 which included the stories of fifteen authors - Dalpat Chauhan (Badalo), Hari Par (Somli), Harish Mangalam (Dayan), Mohan Parmar (Naklank), Naikal Gangera (Aaghat), Arvind Vegda (Rakhopa Na Saap), Narasimha Parmar (Shilpa, Shishmahel, Shankar ane Hu), Madhukant Kalpit (Adhuro Pool), Shirish Parmar (Faraj), Pathik Parmar (Ughada Page), Yashwant Vaghela (Andh Suryanarayana), Harishkumar Makwana (Mungee Chees), Raghavji Madhad (Meli Mathravati), Raman Vaghela (Dhadho) and B.N. Vankar (Vilopan). This collection of stories became a landmark, historical one and prominent place of Dalit short story in Gujarati fiction. In this collection, articles of non-Dalit reviewer’s (Writers) articles each Dalit short story were published. Also included articles - 'Gujarati Dalit Varta - Ek Charcha' (Mohan Parmar) and 'Dalit Varta: Shesh-Vishesh' (Harish Mangalam).

‘Dalit Gujarati Varta 1995’ (ed. Ajit Thakor and Rajendra Jadeja) included Dalit short stories of thirteen Dalit authors. In this edition, Ajit Thakor published articles titled 'Potiko Awaaz Pamwani Mathaman' (Striving for one’s own voice) and Mohan Parmar published 'Short Story in Gujarati Dalit Literature'. For the first time, in this collection of Dalit short stories, Joseph Macwan's Dalit story (Ramraj) was included. ‘Pratinidhi Dalit Varta’ (1997) collection (ed. Harish Mangalam) was published. In which the stories of twelve Dalit authors were included along with review discussion by Praveen Darji on how the Gujarati Dalit short story can be achieved. Thirty-five Dalit short stories under the name 'Vanboti Vartao' (Ed. Dalpat Chauhan) published in the monthly magazine 'Samajmitra' (Editor: Rasilaben Parmar) in 2000. In 2005 ‘Dalit Vartasrishti’ (ed. Mohan Parmar) with eleven Dalit short stories and in 2008 ‘Vartalok’ (ed. Harish Mangalam, Dr. Pathik Parmar, Madhukant Kalpit, Arvind Vegda) with forty-two Dalit short stories come forward. In 2009, eighteen Dalit short stories were published in the 'Gujarati Dalit Short Stories' (ed. Dalpat Chauhan). The book was published by Sahitya Academy, Delhi and in 2016 ‘Vismay’ (ed. Mohan Parmar) published by Gujarati Sahitya Academy, Gandhinagar. Fifty-five Dalit short stories have been included here by checking out twelve hundred short stories from the total published stories of thirty-three Dalit authors in this collection (Dalit short stories of some non-Dalit authors have also been read, but not included in the collection). This ‘Vismay’ Dalit short story collection can be considered as a balance sheet of Dalit short stories published till 2016. In later times, Dhiraj Vankar, Dharamsinh Parmar, Ram Solanki, Chhagan Bajak, Jasang Jadav and Raman Madhav are promising Dalit authors.

In the ninth decade, the turning point of the modern era of Gujarati literature came. The frame of the short story changed. The postmodern era began. The flow of literature changed. And when the flow of literature changes, the writer looks at the present. Different so-called ‘-isms’ or streams come onto the surface. In postmodern period, Dalit literature feminism, rural consciousness, patriotism, rebellious literature, sophisticated literature, our literature, literature of people and progressive literature came into existence. Short story turns towards traditional / eventful plot in which, stories of Dalit realism began to be written in Dalit literature.

When the watchman’s cry of 'neo-liberalism' is called in literature, its roots are connected with ‘somewhere’ in the past. The roots of the Dalit story/ Dalit consciousness are connected with the life, tradition, environment, past reality and present condition of Dalits. Here are the distressing stories, events, sensations, sentiments, customs, abodes, experiences and aspirations of the Dalit society or group. Represents injustice, tyranny in righteous way. The desire to move forward in the pursuit of housing, economic constraints, religious ideology, political understanding and renaissance appears. Dalit short story has established a distinct identity along with standard arts of short story. The place, time, dialect, accent, style and form of composition have changed in the compositions. In Indian society, caste has different dialects, pronunciations, word differences and caste differences are measured by dialect, turban, dress, and the house. Dalit stories are the sum of Dalit ambience, dialects and events. This Dalit story represents different regions of Gujarat. Such as Joseph Macwan, Raman Macwan, Harish Makwana, Raman Madhav, Raman Nadiadi, Anil Vaghela represent the folklore of the Charotar area; Amrut Makwana, Jesang Jadav, Ram Solanki, Jasumati Parmar highlight the folklore of Bhal region and central Gujarat; B. Kesharsivam, Madhukant Kalpit, B.N. Vankar, Dasharath Parmar, Sanjay Chauhan, Harish Mangalam, Chandraben Shrimali, Vitthalarai Shrimali, Rajesh Vankar, Maulik Borija, Dalpat Chauhan, Mohan Parmar etc. represent the folklore of different areas of North Gujarat; Dharmabhai Shrimali and Dharamshi Parmar use the dialect of Palanpur area and Raghavji Madhad, Arvind Vegda, Dan Vaghela, Mahesh Dafda etc. use the dialect of Saurashtra; Vinod Gandhi uses dialect of Godhara area, Pragjibhai Bhambhi of Himmatnagar area, Mavji Maheshwari uses Kutch dialect and Surti dialect is used by Hari Par. All these authors have served Gujarati Dalit story and Gujarati literature as much as possible.

Dalit life and the sufferings of Dalit human beings, the tortures inflicted by non-Dalits, the ironies of living life are accurately portrayed by Dalit authors, in the midst of the standards of art, with the creation of new standards and new possibilities. Feminism, patriotism and Dalitism have given literary prominence to the period of postmodernism. It can be said that the Dalit story has written this period in golden letters.

The origins of the Gujarati Dalit novel go as far as the French novel via the English-Gujarati (translation) novel ‘Hindustan Madhyenu Zumpadu’ (1862). In the Gandhian era of Gujarati literature, some writers were tempted to narrate Dalit plots. The characters found a place in the novels; but did not last long. As late as 1986, the novel ‘Angaliyat’ (Joseph Macwan) was published, becoming the first Dalit novel. But before 'Angaliyat', the novel 'Thorna Dhavan' (1982) by a novelist named Suresh Baria was published, but no one paid attention to it.

In modern times, the novelist's focus has not been on social life or reality, but on the human intuition, the imaginary thing, the tense sensibilities or the transcendental experience. The focus seemed to move towards consciousness from action, expounded from the form. Somewhere in the depiction social, historical, cultural values were groomed along with plot-event, structure, realism. The Dalit community was completely absent here. The entire Gujarati society did not appear in it. Completely opposite to this, the ninth decade marked the beginning of the modern era. The novel took on new form, ignited innovations and gave rise to Dalit novels, feminist novels, rural consciousness novels and traditional novels.

What was new in the postmodern period- the grip of Brahmanical literature on Gujarati was loosened. Every writer became introverted and began to mark his life and his society. The stories of kings - Maharajas and the upper classes came to an end. The novel is known by different names.

Rural culture has a profound influence on the social life of Gujarat. The roots of social, economic, and religious inequality are very deep. Cities are also not far from its influence. Problems of Dalit life exist in different forms in cities and villages. The ugly forms of untouchability and disguised untouchability are constantly appearing here. The writers who started to write Dalit literature came from the villages, so the stories of rural life were found first. In the novels, the untouchability, inequality, oppression, deprivation, empathy, discrimination in mutual dealings, upper – lower class, hatred, disharmony along with somewhere harmony can be seen. Joseph Macwan's novel (Angaliyat, 1986) deals with the pain, suffering, empathy, exploitation, etc. of Dalit community. Subsequent novels also tell the story of the exploitation of Dalit life, inhuman hatred and abusive treatment of human beings, and pain. The compositional, artistic features of these novels are traditional. Atmosphere, ambience, dialect, accent belong to Dalit society. The actual plot lies between the village and the area. Nothing is quite easy.

Every novelist here has a distinctive identity. Giving shield to the dialect of their area, they made a new beginning. Joseph Macwan (Angaliyat, 1986), Dalpat Chauhan (Malak, 1991), Mohan Parmar (Neliyu, 1992), Harish Mangalam (Tirad, 1992), B. Kesharsivam (Shool, 1995), Raman Macwan (Swaraj Na Shamana, 1994), Ganesh Acharya (Astitva, 2000), Daksha Damodara (Shosh, 2003), Vitthalarai Shrimali (Shailabala IAS, 2003), Pragjibhai Bhambhi (Diwali Na Divaso, 2004) Harishkumar Solanki (Sangharsh, 2004), Dinu Bhadresaria (Kidi E Khonkharo Khadho, 2005), Anil Vaghela (Jnatijantu, 2007), Mavji Maheshwari (Meghadambar, 2008), Raymond Parmar (Muliya ane Pankho, 2008), Kantilal Parmar (Ghebi Timbo, 2012), Narendra Parmar (Piplo), Vinod Gandhi (Vaas, 2014), Umesh Solanki (Ferfar, 2017) etc. novelists have given appropriate and realistic Dalit novels as much as possible. These are the identical novels of the novelists, but they have enriched the Gujarati language with more than one novel.

The Dalit novel denies the current situation. Accepts the path of rebellion. Yet in the dilemma of success- failure. The atrocities of the past keep the mind restless. The problem is complex. Trying to find a way to get out of it. The whole society is rotten. People of other religions also cooperate with the Hindus in harassing Dalits and its influence is lasting in most villages. So, those people despise rural culture, disregard religion, hope for a new society, look to the east and wait for the sunrise to shake off the past. The novel gives a feeling like the dawn that has moved towards noon.

Before taking note of Gujarati drama / Dalit drama, let us talk of the Bhavai of Targala (Bhavai of Non-Dalit) and Bhavai of Turismaj (Dalit). Targala’s (Bhavaya) Bhavai was performed in the public place of a village or at the middle of the village in the temple chowk. Dalit society cannot go to see it. It was prohibited. The Bhavai of Dalits used to play in Dalit area. Bhavaya and Turi did not have the right to study, so this Bhavai was performed in the oral tradition. But Asait Brahmin proselytize and became Targala so he wrote all the plays (Veshas) and revised also. But Asait Thakar's story is nowhere to be found in writing. In 1872, Mahipatram Rooparam published a book with the help of some Bhavayas and the first time Bhavai plays became available in writing. In all these plays 'Dhedno Vesh' and 'Kansari No Vesh' were very ugly and in dirty language. That is why when Mahipatram published the second to fifth edition of this book, he excluded 'Dalit's Vesh' from the book. Kept its comments. This ‘Vesh’ was played in the presence of only men when children and women went home after midnight. It features three scenes of open rape on a Dalit woman with sexually explicit dialogues. (Although the female character was played by the male.) During this scene, the actor used to make more nasty flirtations as people shouted, making loud noises and hissed.

In these scenes, the Dalits were severely maligned and the Dalit woman was often raped as a means of enjoyment. This ‘Vesh’ was adding fuel to the fire of untouchability.

The artists of Turisamaj do not play this ‘Vesh’. Instead, they used to play the ‘Vesh’ of Virmaya's sacrifice with the ‘Vesh’ of Jasma Odhan and imitate Bhavaya-Targala in the Dalit area.

Dalit writers have written dramas, one-act plays, radio plays, street plays, and are acted, published as books, or published in magazines. It contains compositions of Dalit’s contemporary and ancient ironies, exploitation, atrocities, insults, contempt, incidents of atrocities, socio-religious problems. It contains the modern context of the characters of the Mahabharata, their new definition and depiction. Considering the lives, and deeds of the great personalities and torch-bearers who have contributed to the formation of new-society like Veeramaya, Dr. Ambedkar, Kabir, Raidas, Swami Tejanand, Havasi Degama, Mahatma Buddha and on them the plays have been composed and performed.

Srikant Sharma (One-Act Play Collection ‘Triveni Sangam’, 1977), Shivabhai N. Parmar (Manavata Ni Jyot, 1978), Alok Anand (Krantivir Ambedkar, 1990), Krishnachandra (Timpe Timpe Shonit Aapyan, 1990), Jayanti Makwana (Yugpurush,1995), Dalpat Chauhan (Anaryavarta, Drama Collection, 2000) and (Harifai- One-Act Play Collection, 2001), Mohan Parmar (Bahiskar- One-Act Play Collection, 2003), Harshad Parmar (Rashwa Suraj, 2012) etc. are available in the book form and some plays have been performed more than once. Maulikraj Shrimali's plays ‘Urfe Aa Lo' and 'Nach' have been staged more than fifty times. In addition, Dalpat Chauhan's more than twenty one-act plays 'Hu Manas' published as street plays and radio plays (Ghayal Hans Tathagata Ne Sharne). Chandu Mehria, Ramesh Chandra Parmar have written radio plays.

Raju Solanki (Brahamanavada Ni Barakhadi, 1982), Kantilal ‘Katil’ (Abhadchet, 2002), Babaldas B. Chavda (Andhkar, Krantirath), B. Kesharshivam (Ram Ni Murti, 2002), Maulik Borija (Mehfil, 2002), Raghavji Madhad (Shodh, 2002), Laxman Parmar (Angrej-2002), Vitthalarai Shrimali (Muthi Uncheri Bala-2002) Harish Mangalam (Lyo, Champ Pado, 2002) etc One-Act Plays were written and published.

Dalit ways of life is different from non-Dalit. Their eating habits, dress, conversation, and accents are different. Their folk culture, folklore, folk songs, celebration of religious traditions, Bhavai are all different. Recreational therapies are different. Bhavai, Jatar, Ramlila, folk music, Kanchaliya's ‘Vesh’, Bahurupi's ‘Vesh’ are different. The tradition of drama / Bhavai, the tradition of storytelling, the tribes that take note of the lineage exist independently here. The people of this caste knew the bare Gujarati language to write the genealogy. It seems strange that Dalits are considered a part of Hindu society.

There are some edited anthologies in Dalit essay. Gujarati Dalit Essay-2013 (Ed. Bhagirath Brahmbhatt), Gai-Jo Dero (B. Kesharsivam), Bhandariyu-2004 (Dharmabhai Shrimali), Hu, Sambharana and Safar-2017 (Dalpat Chauhan) etc. have given books of Dalit essay. Many books of characteristic Dalit essays have been given by Joseph Macwan, including 'Vyathana Vitak'. Other sketches ⁄ Characteristic essays are found in books like ‘Madi Mane Sambhare Re’ (1994) Ed. Chandu Maheriya, ‘Pitrugatha’ (2006) Ed. Balakrishna Anand, ‘Dikri Hetni Heli’ (2013) ed. Natubhai Parmar etc.

Gujarati Dalit writers have written relatively few autobiographies. But the authors of autobiographies that have been written have accurately portrayed the truth, avoiding self-aggrandizement, exaggeration or ostentation. However, if more autobiographies had been written, many more illustrations from the pre-independence and post-independence periods would have been available.

Autobiographies written include Dahyabhai Deenbandhu (Jivansangharsh, 2001), B Kesharsivam (Purnasatya, 2002), Khemchand Chavda (Atit Na Smarano, 2005), Natubhai Parmar (Manastha, 2009), Harishankar Purani (Mari Jeevansadhana, 2010), Vitthalrai Srimali (Bajta Jaye Ektara, 2012), Maheshchandra Pandya (Purusharthno Pamarat, 2014), P. K. Valera (Thor Nu Phul, 2010-11-12) etc. In addition, in the special issue of autobiographical articles in the monthly magazine 'Samajmitra', April 14, 2002, (Ed. Nirav Patel), there are stories of the lives of writers, social workers and common people of the Dalit society.

These Autobiographies ⁄ autobiographical articles give a true picture of Dalit life in different parts of Gujarat. Untouchability, exploitation suffered in childhood, atrocities, poverty, the stories of human beings who have lived a life of struggle against all these become a guide for the society. Here is a glimpse of the lives of big officials, politicians, starting from the common man.

Biographies depict the lives of Dr. Bhimrao Ambedkar, Virmaya, Ramabai Ambedkar and some social workers. No biography of a Dalit writer has been written.

Biographies are drawn in the same way as poems were written. Some of them are: Babasaheb Dr. Bhimrao Ambedkar. Dr. P. G. Jyotikar (Arshadrashta Ambedkar, 1990, Dr. Babasaheb Ambedkar Biography, 1998), Jaysingh Vyathit (Messiah of Dalits, 1991), Dr. Rameshchandra Parmar (Yugadrashta Dr. Ambedkar Part 1 to 4, 2000), Chandu Maheriya (Dr. Ambedkar, 2002) The poet Ganesh Parmar has written a lyrical biography of 'Arshadrashta Dr. Ambedkar' and the poet Vishram Solanki has written a biography of Dr. Babasaheb called 'Bhim Bharat' in ‘Ragani’ mode of music.

'Biography of Guruji Muldas Bhudardas Vaishya' by Brahmadatta Vaishya (1985), 'Hon’ble Mata Ramabai Ambedkar' by Rajan Patni (2004), biography of Ramjibhai Mevwala by Janbandhu Kausambi Dalit Aakasha Ma Ek Tarak' (2004), on the life of Dahegam’s social worker Havsibhai Degama 'Hawasi Degamo'by Narasinh Sonara and 'Veer Maya Amarcharitra' (2004) were published by Charul Chauhan.

New criteria are needed to evaluate Dalit literature. But so far, no critics have agreed to work on the new axis. Evaluating Dalit literature by the old standards of Gujarati literature, it cannot be fully explained or opened. It cannot / couldn’t point out what's new in it and where it differs in Gujarati literature. It requires proper vocabulary, a certain kind of critical language. It hasn't happened yet. How this literature differs from the original literature; what kind of development has taken place since its inception are the details that should be the subject of criticism. As a result, Dalit criticism has not been able to give due respect to Dalit literature.

Black literature has a presence in the western literary world, in the same way Dalit literature has its own existence in the Indian literary world. Dalit literature and Gujarati literature are not different from each other. Dalit literature written in the ninth-tenth decades of the twentieth century and the postmodern period of the twenty-first century to the present cannot be ignored. (Even though it happens!)

Some non-Dalit critics and writers have criticised, observed and reviewed the works of Dalit literature. In which are Deepak Mehta, Bharat Mehta, Babu Davalpura, Yoseph Macwan, Joseph Macwan, Dr. Kanti Malsatar, Dr. Satish Vyas, Silas Patelia, Prof. Jayant Joshi, Dr. Ajit Thakor, Dr. Raghuveer Chaudhary, Dr. Ramesh R. Dave, Vidyut Joshi, Mafat Ojha, Dr. Chandrakant Topiwala, Dhawal Mehta, Bhanubhai Adhvaryu, Ashok Harsh, Manishi Jani, Ramesh Parekh, Shirish Panchal, Naresh Shukla, Sarup Dhruv, Mahavir Chauhan, Avanti Dave, Sudha Pandya.

Review and critical study of Dalit literature by Dalit critics happens in ‘Granth Sanviti’, 1984 (Mohan Parmar, Harish Mangalam); ‘Vidit’, 1989 (Harish Mangalam), ‘Pratyayan’, 1994 and other books (B. N. Vankar), Gujarati Dalit Literature - Swadhyay and Samiksha, 2001 (Mohan Parmar, Harish Mangalam), Samprat Dalit Sahityapravah, 2004 (Yashwant Vaghela), Padchinh, 2004 and other books (Dalpat Chauhan), Dalit Samvedana and Sahitya-2008 and other books (Dr. Nathalal Gohel), Sahityatapas,2009 (Pragjibhai Bhambhi), Yathatath, 2011 (Natubhai Parmar), Gujarati Sahitya Ma Dalit Sahitya Nu Pragatya (Bhikhubhai Veghada) Dalit Sahitya Na Lekhanjokhan-2011 (Ed. Raman Vaghela), Pratyaksh, 2008 (Madhukant Kalpit), Niriksha, 2014 (Ed. Vasant Rohit), Anuman, 2016 and other books (Mohan Parmar).

And finally let’s say that a lot of work has been done in Dalit literature in all genres of literature. In this regard, Dalit and non-Dalit critics, scholars of Gujarati linguistics, have praised this literature through their books and articles. However, it is a fact that independent aesthetics of Dalit literature could not be produced. We are waiting for it.