Scar: the Magnum Opus of Voiceless

The life narratives written by Dalit authors come to light as texts of the oppressed, where the expression of one person's experiences as a witness to the oppression of a community transcends the personal and creates a connection between the self and the state of the world. In addition to emphasising the Dalit community's demand for freedom and empowerment, post-modern Dalit writers also highlight the culture of the group and examine its existential crises. To be oppressed, underprivileged, and exploited is to be a "Dalit." They were members of underprivileged groups once referred to as "untouchables" in India's caste system. They are therefore at the bottom of the social caste structure and are considered impure. Social stratifications make the economic gap quite obvious.

Many consider K.A. Gunasekaran to be the first Tamil playwright of Dalit descent. His autobiography, vadu, also known as "The Scar," is the first work of its kind to be authored by a Dalit. This essay will largely look into the fundamental problems with "Dalit poetics" and how they relate to the autobiography The Scar. The meaning-making processes and representational practises in Indian culture, particularly in Dalit culture, will be examined in this essay. It will look at the politics of marginalising the Dalit, denying his uniqueness, comparing him with foolish and unreasonable people, and designating them as the most deplorable and untouchable members of society, among other things. The life story of Gunasekaran is merely a work of resistance, but it also demonstrates Dalit cultural values.

Along with focusing on socioeconomic realities, it also discusses the oppression of art forms, which aids the reader in understanding the Dalits' way of life. The author also demonstrates religious conversion and the ostracised in society gaining acceptance. The autobiography examines the pain and plight of the underclass while simultaneously criticising Brahmins and the Hindu caste system. The book is filled with commonplace, everyday occurrences. The story demonstrates how Christianity had a direct impact on the untouchables, who are given lower and secondary status in the Hindu patriarchy.

The work of K.A. Gunasekaran appears against the backdrop of traditional dalit autobiography. His lifeup until graduation is discussed. It serves as a documentary of a certain period of time in addition to being a record of his experiences. Gunasekaran's language touches the core of one's heart without in the least evoking sympathy when discussing his father, a schoolteacher, who struggled to give him an education, or his mother, who had completed middle school even in those days but still had to work jobs like selling tickets at the movie theatre, chopping firewood, and cutting grass to support the family.

The autobiography evokes a Hindu, Islamic, and Christian fusion civilization. None of the holy writings address the rites, habits, or customs he cites. Even today, many communities still practise rituals for "possessed" Muslim women, assist illiterate women in reading and writing letters to their husbands who are stationed overseas, and pay for readings on the life of Nabi or films they are forbidden from seeing.

This autobiography teaches us that religions like Islam, Christianity, and Hinduism mix naturally in the lower economic levels of society, losing their own characteristics. Such efforts to lay open the reality are necessary at this time, when identities are fixed and differences are brought into sharp relief. Gunasekaran does not do this by acting politically correct. But he has already succeeded in this endeavour by being open about his life. 

Being a folk performer, migration is an inherent part of his existence. Hinduism uses the concept of untouchability to restrict a Dalit's movement. Both his residence and his social circle are quite well delineated. Due to this restriction, the Dalits are only familiar with their own territory. The obstacle to bringing them together politically is this restriction. This is also the reason for their lack of interest in events outside of their community. Even now, despite the fact that communication channels have greatly expanded, Dalits are unable to think about or venture outside of their own world. The Dalits in north Tamiraparani do so for that reason. Additionally, the crimes against humanity against the Dalits in the north have not in any way. The Dalits in the southern districts have likewise not been impacted in any way by the atrocities done in the north against them. Conventions are typically not a barrier for folk artists. So, they have a fair amount of freedom. Such an artist is Gunasekaran.

Midhulaj P,  Assistant Professor of English, Al Shifa College of Arts and Science, Kizhattoor, Perinthalmanna