THE CARMEL BEAT
Caste and the COVID-19: The impact of the Pandemic on the People of the Dombari Caste
-Akanksha Biradar
At the dawn of this pandemic, the true reason which kept people inside their homes was fear. The fear of a deadly virus we knew so little about. The panic only escalated with sudden unemployment, market inactivity, and curfews. This pandemic devastated the Indian economy and yet, it might as well underestimate its effect on the poorest of households. In this context, a question worth considering is ‘what happens to the families that don’t have a solid house to run?’
The media’s coverage on the immigrants issue provided a generalized picture of a crisis. It failed to highlight the magnitude of the crisis’s effect on different social backdrops and its people. What many analysts and the common masses discount are the various communities that dwell into specific employment because of the social hierarchy, discrimination and explotation. It is also noteworthy that the shift in demographics and economy is an aftermath of individuals employing themselves outside their social circles. This pattern is more palpable in places betwixt rural and urban India.
People of the Dombari community are street performers who specialize in tricks of rope walking, juggling and acrobatics. Parmesh, who was born in the Dombari caste, made and sold steel utensils with the help of his wife. He had partially withdrawn from performing tricks. However, he lost his job last summer due to a lack of c
Theapital and raw material resources. He also lost the fear of the deadly virus and decided to earn money through khel.
Chandani (left) dancing alongside her father and elder sister.
Pramesh’s daughter, Chandani used to attend school along with her sisters prior to the pandemic. However, school was not one of the defining factors of her life. Being born in a caste where the sole source of income was entertaining the social hegemony, their father taught them khel (acrobatics) from a very young age.
This community earned money by making their children dance on the streets for generations. Pramesh trained his children and held them upside down in his hands, and made it compulsory for them to stretch their bodies every morning. They were taught to balance bamboo sticks, walk on rope, cartwheel, balance their body weight on inanimate objects and their father. The children even mastered the trick of picking up needles with their eyes.
These children were trained to dance in moving trains, on bus stations and during annual fares. Chandani is 5 years old and the “star performer” of her family. It is mostly due to the appeal a small child holds when it comes to entertainment. Since her elder sisters surpassed the age of performing, they only beat drums and silently accompany their parents.
A dombari family performing.
According to THE CHILD LABOUR (PROHIBITION AND REGULATION) ACT, 1986, Part 3 Section 3-
“Provided that nothing in this section shall apply to any workshop wherein any process is carried on by the occupier with the aid of his family or to any school established by, or receiving assistance or recognition from, Government.”
This Dombari family isn’t engaged in any “unlawful” or “illegal” activity. The fact remains that these children are unintentionally a part of a “unclassified” “non-hazardous” child labour industry. During this ongoing pandemic, almost every individual on social media had an episode of self reflection, “glow up” or a short lived phase of activism. The 2020 Hathras rape and murder case,The Black Lives Matter Movement (June 2020) and the Farmer’s protest were instances of loud and open violation of rights, morality and integrity. Contrary to the quiet and continual violation of the Child Labour (Prohibition and Regulation) Act.
This could be because the masses have accepted the helplessness of parents Below Poverty Line (BPL: annual income less than 20,000 rupees) to an extent where they must use their children to earn money.
For Chandani’s parents, their children are used to it. “Lahanpana pasun khel mandala” (exhibited the game since childhood). Vaishu, the second daughter, is very afraid of needles. Chandani is most scared of heights but learned to overcome them. They were taught to exercise and practise cartwheels and somersaults.“Tumala khatarnak vaatay pan he bacchi la savay aahe””- (it looks dangerous to you but these girls are used to it.) For Chandani, dancing to Bollywood songs is the best part of her day.
An ignorant stance will miss the reason why the people of the Dombari caste have to continue performing tricks. The deep rooted and centuries old caste system that is backed by many texts ensures that capital is owned by the people of upper-castes, and that a hegemony is maintained. It is due to the rigid caste system that Pramesh makes his children perform tricks; the family is forced to perform tricks to make their ends meet.
“There were some instances when a few people misbehaved with my girl,” said their mother. Tolerating and dismissing misconduct because of helplessness and poverty is almost a natural occurrence. Catcalling, usage of foul language or suggestions and derogatory terms used against this family are sanctioned by casteism. It only multiplied during the pandemic as Pramesh’s family, like many others, had no access to a sanctuary, security or relief. During a time where ‘wants’ and ‘needs’ were defined, the primary needs and wants remained the same. Food and enough money to ensure survival.
“I want nothing more than dinner for them and money for bus tickets”.