Bhimayana Critical Essays On Romeo

Art: Durgabai Vyam, Subhash Vyam; story: Srividya Natarajan, S. Anand
395 Indian Rupees, 108 pages

REVIEWED BYPrajna DesaiApr 18, 2012

They have brushes for the buffalo and shears for the goat. They won’t trim a Mahar’s [untouchable’s] hair—they’d rather cut his throat.

Early in Bhimayana, a boy named Bhim experiences the world through violence. Bhim is a Mahar, an untouchable. He knows it’s no fun being one. His gentle face and Bambi eyes in the comic’s version are nobody’s idea of a kickass superhero, but when he grows up Bhim will become exactly that.

Dr. Bhimrao Ambedkar (1891-1956) was a leading champion of affirmative action, his labours anchored to the colossus of caste, though often he is only blandly credited with designing India’s constitution. Beginning in the 1920s, he became the country’s most vociferous conscience, criticising Hindu society’s oppression of women and dalits (formerly untouchables) as being inherently anti-democratic. Armed with the liberal crux of reformers such as J.S. Mill, John Dewey, and Booker T. Washington, Ambedkar developed a model of social justice that was widely vilified by nationalists and even by Gandhi, whose own esteemed mandate of freedom comes away looking like the political charter of a posh boy fraternity. Bhimayana (2011) is a graphic account of Ambedkar’s crusade to eradicate untouchability.

Frankly written and drawn in the mnemonic idiom of modern Gond art (as practiced by the central Indian tribal politic called Gond), the book ends up beautiful, punchy, and always readable. Bhimayana brings together writers Srividya Natarajan and S. Anand and Pardhan Gond artists Durgabai Vyam and Subhash Vyam. Along with dalits, the Gond and other tribal civics are India’s protected peoples called Scheduled Castes and Scheduled Tribes (SC/STs). Bhimayana was published by Navayana Publishing, a niche press founded in 2006 that focuses on the history and politics of caste in India. S. Anand, one of the book’s writers, is Navayana’s founder-editor.

Mainly two-dimensional and rich in natural motif, Gond drawing tells stories through visual aide-mémoires that artists once applied exclusively to domestic architecture. It’s vibrant in imagery but only tentatively narrative. Yet, recent exponents, like Bhimayana’s artists, owe their ken to artist Jangarh Singh Shyam (represented on the dedication page), who in the 1990s, urged to go professional, substituted multi-coloured clays with paints and ink used on canvas and single-sheet paper.

Dedication page depicting Pardhan Gond artist Jangarh Shyam Singh.

Beyond this graphic pedigree, the book is also unusually germane for being grounded in present-day journalism. Its two interlocking strands join Ambedkar’s biography with a string of thumbnails about present day caste prejudice, violently pervasive in villages, though all but invisible to most urban Indians. The barbed but seductive quality of this double narrative, the fact that yuppie ignorance is sometimes too easily mocked, makes it that much more impossible to resist second and third readings. This robust exposé about caste is not afraid to tell it like it is—that if you think caste is dead, think again.


Former untouchables were outcasts flushed outside the four-level Hindu caste structure topped by brahmins (priests) that was codified about 1500 years ago. They were described as impure and relegated to the rank of those who should not be touched. In reaction, Jotirao Phule, a 19th century anti-caste theorist and reformer, was first to refer to untouchables as ‘dalit,’ which means ‘broken people.’ Ambedkar typically used ‘Depressed Classes’. Meanwhile, Gandhi popularised ‘harijan’ or ‘children of Hari,’  Hari being is the name of a central Hindu god.

But after 1974, when a militant anti-caste movement led by the Dalit Panthers (inspired by the Black Panthers) was crushed by right-wing Hindu political parties working for the state, dalits ditched Gandhi’s benevolent jargon. For being linked to a Hindu god meant only more Hindu bondage. They went with ‘dalit’ to oppositely assert reconstitution and, presumably, also give the finger to its real meaning.

Historically, dalits were reduced to performing jobs caste Hindus found polluting. They handled dead people and animals, soil, and waste respectively as cremators, cobblers, potters, gardeners, sweepers, and scavengers. Those who farmed were landless and indentured.

Bhim’s aunt explaining to him why their family was better off than other Mahars (untouchables).

Penury was common, though Ambedkar’s family, like some others from western India drafted into the British army, managed to feint utter poverty. Yet, all untouchables were denied basic civic necessities. Grocery shops were open to limited access. Primary schooling became available only because of British law. Using wells and temples and building imperishable houses was entirely off-limits. Verbal humiliations, thrashings, and fatal threats were givens.

In seeking to reclaim what he called “human personality,” Ambedkar’s call to “educate, organize, and agitate” became a rallying point in his movement for social justice. The first big push came after 1924, when the Bombay Legislative Council’s decree requiring untouchables to be granted access to all public utilities was universally disobeyed.

Ambedkar speaking at the First Mahad Satyagraha, 1927.

Collaborating with various progressives, Ambedkar became a leading voice in slowly organising dalits until finally, in 1927, a protest march of 3000 walked peacefully to a town called Mahad where they drank from a tank so far reserved for caste Hindus. This event is known as the First Mahad Satyagraha of 1927. Symbolic but momentous, Ambedkar compared its potential to that of 1789 French National Assembly that abolished aristocracy and liberated the poor. Later that year, he led 10,000 dalits in the Second Mahad Satyagraha.  There he burned a copy of the Manusmriti (Laws of Manu), a Hindu text that apparently records the words of the universe’s founder Manu who advises torturing untouchables, forcing them into poverty, and subjugating women.

Almost instantaneously, Ambedkar’s decisive segue to dalit political representation put him out of favor with the nationalist elite who called his demands for equality divisive and thus detrimental to India’s struggle for self-rule. In 1932, Gandhi, the holy cow of the Indian freedom movement, went on an indefinite hunger strike, forcing the British to reconsider granting untouchables separate electorates. For Ambedkar, the schism exposed the nationalist Congress party’s doublespeak on caste. Gandhi, who was the Congress’s spokesperson, sought Indian freedom at the cost of silencing minorities; Ambedkar envisioned India first freed from itself, or from Brahminism, which he classed with “the negation of liberty, equality, and fraternity,” a doctrine that became a crucial punching bag in his best-selling Annihilation of Caste (1936).

Over the next fifteen years, Ambedkar spoke and published widely on various issues impacting dalits, such as water policy, agriculture, military reform, labour rights, and Buddhism. Meanwhile, his unabated resistance to the skewed politics of the freedom movement ended in a book released on the eve of India’s independence. His damning critique in What Gandhi and the Congress have done to the Untouchables (1946) leaps off the title page with a quote by Thucydides: “It may be in your interest to be our master, but how can it be ours to be your slaves?”

Despite this, Ambedkar’s polymathic abilities were sought after for the highest privilege. In 1947, the Congress party heading the new government invited him to serve as independent India’s first Law Minister. He became Chairman of the Drafting Committee of India’s constitution and later drafted the Hindu Code Bill, which sought to confer property and divorce rights on women, legalise monogamy, and introduce gender equity. For Ambedkar, it was the country’s most crucial reform, but after a long wait, the Constituent Assembly rejected the bill in a majority vote.

Ambedkar snapped. In 1951, he resigned from the Cabinet with strong words for Jawaharlal Nehru, the Prime Minister, and his peers’ perceived betrayal of comprehensive democracy. His parting speech called inequality the very soul of Hindu society that if left untouched was “to make a farce of the Constitution and to build a palace on a dung heap.”

Ambedkar’s conversion to Buddhism with his followers

Within five years, Ambedkar lived up to his old promise to reject Hinduism for an ethically sound religion. In October 1956, about six weeks before he died, he converted to Buddhism along with an approximate 500,000 followers. Considered to be the largest single conversion in human history, it inspired many dalits to voluntarily seek monotheistic faiths. They became Christians, Muslims, and Sikhs, though conversion did little to dissolve the stigma of untouchability.


Aptly, Bhimayana’s central character is not Ambedkar alone but also the degrading grind of dalit life among the 60 million in Ambedkar’s time. Both are selectively based on his speeches and the little-known Waiting for a Visa (c.1935-36), a brief autobiographical text in which Ambedkar charts his political education through a litany of life-altering episodes. Hence, the title Bhimayana, which could be a cheeky send-up on the Ramayana, a pivotal Hindu text that recounts the high-caste mythical god prince Ram’s exile from everyday royal luxuries. Bhimayana’s account of everyday expulsions from ordinary civic dignities — water, shelter, and travel — presents an alternative epic of heroism.

The opening scene of the preface.

The narrative begins with a socially-literate woman and a blinkered man discussing affirmative action in education and jobs, the most common peeve against dalits. The man finds setting quotas aside for dalits unfair. “Oh yeah?” says the woman, and instead refers him to the September 29, 2006 massacre of dalits in Khairlanji, a small village in Ambedkar’s native state of Maharashtra, an alleged bastion of contemporary dalit activism.

For two hours before being dumped into a canal, four members of a dalit family called Bhotmange were variously mutilated, raped, and bludgeoned to an audience of forty village residents. The events were suppressed for over a month. Dalits, mainly lead by women, did not break out into mass protests until a month after the event when a popular blog described the event, suggested state complicity in a cover-up, and encouraged agitation. Predictably, the government suppressed the protests under the charge of waging war against the Indian state.

In using the word Brahminism for such vicious conventions during his time Ambedkar was of course defining more than Brahmins discriminating against untouchables. For him, Brahminism was the very pathology of Indian bigotry ingrained even in non-Hindus, including Muslims, Christians, and Parsis that he foresaw migrating poisonously in low-caste Hindus who history allowing would assume the role of Brahmins. He was right. At Khairlanji, it was low-caste Hindus, not Brahmins, who lynched the dalit Bhotmanges. Note especially why the Bhotmanges were lynched: They were being punished for educating their only daughter, protecting their land from encroachers, and living with the maximum poise their finances would allow, basically exactly what Manu forbids untouchables to covet in the Manusmriti (Laws of Manu).

Bhimayana uses Khairlanji (not exceptional, but emblematic of caste in India) to set off a domino-like chain of news items about dalit lynchings that thematically intercut the three main events of the Ambedkar story and his various political feats, including the Mahad Satyagraha, Ambedkar’s differences with Gandhi, the Constitution, and the Hindu Code Bill.

Book 1: Water is set in 1901, a landmark year in Indian education as Lord Curzon, Viceroy of India, is initiating educational reforms to help Indian students find better jobs. This is fantastic news for the rich, who can afford higher education.

Bhim at school.

But back in Satara, Bhim is set apart at play and in the classroom. He’s also having a tough time just getting a glass of water. From the school water pump to the village trough, untouchables are denied access at every turn. At one point, a teacher farcically blames Bhim’s thirst on his long hair. The child himself would love a trim, but from whom exactly? Barbers won’t touch untouchables. Through such gentle ironies Bhim’s confusion at caste inequality expresses the wrench in simply being dalit: “Animals enjoy more freedom”.

Book 2: Shelter jumps to Ambedkar’s thwarted efforts to put a roof over his head. It’s 1918. He is en route to work for the Maharaja of Baroda who had sponsored his education at Columbia University, New York. In Baroda, unable to lodge at a Hindu hotel (because he might be found out and killed), Ambedkar suffers a dungeon-like room at a Parsi inn, though even this ends in threats to his life. For almost a fortnight he is compelled to hide in public spaces after work. Broken and disillusioned, Ambedkar quits his job and returns to Bombay.

Book 3: Travel is setin 1934. Ambedkar is 43 and a recognized dalit leader with various agitations behind him. Now he is on bus tour with a contingent of political workers. Initially thrilling, the journey ends disastrously when the bullock cart transporting him to his destination in the dalit village meets with a serious accident. The man driving the cart is an unskilled man because no regular driver would risk being polluted by the untouchable Ambedkar.


Pages: 1 2

Creative team
CreatorsDurgabai Vyam
Subhash Vyam
Srividya Natarajan
S. Anand
Original publication
Date of publication2011

Bhimayana: Incidents in the Life of Bhimrao Ramji Ambedkar is a graphic biography of Bhimrao Ramji Ambedkar published in 2011 by Navayana and was hailed by CNN as being among the top five political comic books. It was created by artists Durgabai Vyam, Subhash Vyam and writers Srividya Natarajan and S. Anand. It depicts the experiences of caste discrimination and resistance that Bhimrao Ambedkar recorded in his autobiographical illustrations, later compiled and edited in Babasaheb Ambedkar: Writings and Speeches by Vasant Moon under the title “Waiting for a Visa”. It is one of India’s top selling graphic books.

Bhimayana has been lauded for its use of Pardhan Gond art to signify the experiences of social discrimination faced by Ambedkar. It uses digna (images originally painted on the walls and floors of Pardhan Gonds’ houses) patterns and nature imagery. According to Jeremy Stoll, affiliate faculty at Metropolitan State University of Denver, ‘It is most remarkable for demonstrating the strength of Indian comics culture and providing a strong example of where folk and popular culture overlap’.[1]

It has been published under the title Ambedkar: The Fight for Justice in the UK and the United States by Tate Publishing in 2013.[2] The book has been translated into several languages including Malayalam, Hindi, Tamil, Marathi, Telugu, Kannada, Korean and French.


Bhimayana is based on incidents narrated in B.R. Ambedkar’s autobiographical notes. These notes were written in 1935 with the objective of disseminating information about the practice of untouchability to foreigners. He documented events from his own life and others’ to provide an idea of the caste discrimination against dalits that is sanctioned under Hinduism. Navayana published them as Ambedkar: Autobiographical Notes in 2003.

Sectional Summary[edit]

Dedication and Foreword[edit]

The book is dedicated to Jangarh Singh Shyam, a pioneer in contemporary Pardhan Gond art. He is credited by Udayan Vajpeyi to be the creator of a new school of art called Jangarh Kalam.[3] He encouraged and guided Durgabai and Subhash Vyam, along with many other members of the Pardhan Gond community, to become artists. He was also Subhash Vyam’s brother-in-law.

In the foreword, art critic John Berger, most famous for his 1972 essay “Ways of Seeing”, commends the refreshing form of story-telling that the book uses. Of it, he says, ‘No more proscenium arch. No more rectangular framing or unilinear time. No more profiled individuals. Instead, a conference of corporeal experiences across generations, full of pain and empathy, and nurtured by a complicity and endurance that can outlive the Market’. He believes that such texts will make readers more vested in the story and its message.

The graphic account begins with a frame story of an unnamed character complaining about the ‘these damn job quotas for Backward and Scheduled Castes!’ who is immediately challenged by another character leading to a conversation about the history of caste atrocities in India. He is advised to read about Ambedkar to understand what happened at Khairlanji.

The book then moves on to the narrative of Ambedkar’s life in Books I, II and III.

Book I – Water[edit]

‘Water’ sets the scene in 1901, on an ordinary day in Ambedkar’s life as a 10-year-old Mahar schoolboy. He is humiliated at the hands of the Brahmin teacher and the peon who, paranoid about the possibility of contamination, refuse him water. Young Bhim goes back home where he asks his aunt why he cannot drink from the tap like other boys, despite being cleaner than upper-caste students. The text also juxtaposes Ambedkar’s own lack of access to water at school with his father’s work in Goregaon, which entails ‘helping build a water tank for famine stricken people who would die if it weren't for his work’.

Young Bhim along with his siblings is invited to stay with his father in Masur. They get off the train to find that no one has come to receive them and seek the station master’s help. As soon as they reveal that they are Mahars, the stationmaster turns hostile. He finds them a cart-ride on the condition that they pay double. Eventually they find their father’s house. It turns out that his secretary had forgotten to inform him of their arrival.[4]

The narrative voice moves back to the frame story here, and the unnamed storyteller concludes that Ambedkar said it was because of the secretary’s mistake that he had learnt ‘the most unforgettable lesson about untouchability’. The section ends with an account of Ambedkar’s Mahad satyagraha against lack of access to water from the Chavadar Tank.

Book II – Shelter[edit]

This section is set in 1917, after Ambedkar returns from Columbia University to work for the Maharaja of Baroda who had sponsored his education. It starts with him boarding a train to Baroda and engaging in a conversation with a Brahmin. Soon Ambedkar realizes that his status as an untouchable, although forgotten by him during his stay abroad, is still an enormous issue in India.

In Baroda, he is subsequently denied entry into a Hindu hotel due to his caste status. Unable to find proper accommodation, he shifts into a decrepit Parsi inn but is thrown out after a few days. As he attempts to find shelter, his friends evade helping him citing problems at home, forcing him to wait in the Kamathi Baug public garden and subsequently, leave for Bombay.[5]

The section ends with the narrative voice of the frame story re-emerging and highlighting caste based discrimination practiced by ‘liberal’ city dwellers. An article from The Hindu titled “Dalit Siblings Thrashed by Landlord” is also put forward to illustrate the difficulties faced by dalits while trying to find shelter in urban areas as well.

Book III – Travel[edit]

This section is set in Aurangabad, 1934, wherein Ambedkar travels to Daulatabad with a group of political workers of Mahar and other untouchable castes. Ambedkar reminisces about his experience during his trip to Bombay in 1929, when the untouchables of Chalisgaon sent their nephew to drive Ambedkar to their house on a tonga because all the tonga-drivers refused to give Ambedkar, a Mahar, a ride.[6] The driver was unskilled and they meet with an accident, but receive prompt medical aid. Ambedkar then confronts the harsh truth that in a graded Indian society, a highly educated and renowned dalit will continue to be oppressed and deprived of dignity. The section mentions cases of dalits being denied medical care by hospitals. The narrative then shifts to the present, where Ambedkar and his colleagues are prevented from drinking from the water-tank at the Daulatabad fort by a mob of Muslims.

The section ends with the characters from the frame story discussing Ambedkar’s contribution to social equality and justice in India as both an agitator and an architect of the Constitution. The polemic of Gandhi versus Ambedkar towards the end brings to the reader’s attention that, unlike Gandhi, Ambedkar’s was a far more universal struggle against injustice perpetrated by home-grown casteist oppressors.[7]

Book IV – The Art of Bhimayana[edit]

This section focuses on the makers of Bhimayana through the same image-text language that has been used throughout the previous sections. This chapter is narrated through the voices of Durgabai Vyam and Subhash Vyam. They describe their own background, community, and the importance of Ambedkar in their own lives.[8]

This is followed by an afterword by S. Anand, which explores the process of making Bhimayana and the sources that were used to write the story. In the process, he points out the role of Pardhan Gond bards as the tradition-bearers of their communities in central India, arguing for their continued relevance through the cross-mediation of their performance narratives. He points out the communal nature of the Vyams’ creative process and describes the importance of recognizing traditional crafts-persons as artists in their own right. The title, Anand suggests, is a pun on Ramayana, the Hindu epic tale of Lord Rama.

Anand concludes by describing the collaborative process and how he and the Vyams constantly renegotiated the story itself, incorporating new characters and a greater presence of nature, as well as taking some small liberties with the stories’ source material for the sake of the larger narrative. This section concludes with a focus on the need to address caste and its continued presence as discrimination in India.[9]


Nature imagery is present throughout the book—fortresses are fierce beasts; trains are snakes; the road is a peacock’s long neck; the handle of a water pump turns into an elephant’s trunk. The first section of the book, which deals with the right to water, is full of water-based imagery—when the young Ambedkar is thirsty, his torso turns into a fish; and when he urges a crowd to stand up for their rights, the speakers morph into showers sprinkling water onto the audience. A section on shelter has the recurring imagery of the banyan tree and its many twisted roots. Even the speech bubbles have significance—harsh or prejudiced words are given a tail like a scorpion’s to evoke their sting. Gentle words are encased in bubbles shaped like birds, and unspoken thoughts are given an icon to denote the mind’s eye.[10]

The pages are not formally structured and digna patterns divide the story into loose frames for a khulla (open) visual imagery. Metaphors of carnivores and herbivores are used for Brahmins and dalits respectively. The speech-bubbles carry clues about narrative sympathy—the speech bubble issuing from young Bhim is in the shape of a bird, while the speech-bubble issuing from the peon is in the shape of a scorpion. This technique is used throughout the book. Anthropomorphism is also used as the train and the tap are portrayed to be live beings.


Bhimayana was reviewed widely by magazines and newspapers such as the Times Literary Supplement, the Journal of Folklore Research, CNN and The Hindu and got extremely positive response.

The Journal of Folklore Research called the fusion of a political narrative and Gond painting in Bhimayana ‘innovative and striking’, locating it in the stream of international graphic-journalism that uses the graphic medium to engage with political narratives. It also discussed the multi-layered visual language of the book, where the form of a single element on the page often becomes the site of another element, such as Ambedkar’s face on page 68 which is also the park where Ambedkar took shelter before leaving for Bombay.[11]

Journalist, curator and writer Paul Gravett has included Bhimayana in 1001 Comics You Must Read Before You Die. He was present at the Tate launch of the book in London and has discussed it in his essay on Indian comics. He discusses the art at length, saying, ‘The pages I have seen are wonderful, their figures and clothes drawn in intense patterning, faces mainly in profile with large single eyes, and their pages divided into panels by curving, decorated borders. Accusing, pointing fingers are repeated in one panel. Even the balloons have shapes and tails uniquely their own: bird-like outlines for regular speech; a scorpion’s sting as the tail for venomous dialogue; and a distinctive eye in the thought bubbles to represent the mind’s eye. What better art to retell this tale today?’[12]

According to The Hindu: ‘To call Bhimayana a “book” would amount to a trivialisation—it is a magnificent work of breathtaking art that symbolises the soul-stirring biography of an exceptional leader’.[13]

Amitava Kumar, writer and journalist, reviewing it on JJ Books, recommended the book highly, saying, ‘At the end, you feel you have gained knowledge but you need to enter, spiritually and politically, into the book’s larger world to become a participant in a new world’.[14]

In 2014, it became part of a compulsory paper in the English undergraduate degree syllabus.



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