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The article delves into the historical and contemporary significance of the color black within the Dravidian political landscape, specifically focusing on its use as a symbol of protest and grief. The recent demonstration by Dravida Munnetra Kazhagam (DMK) Members of Parliament (MPs), who donned black outfits to protest against Union Education Minister Dharmendra Pradhan’s remarks regarding the DMK-led Tamil Nadu government and the contentious National Education Policy (NEP) 2020, serves as the immediate catalyst for this exploration. This act of defiance, complete with placards bearing the slogan “Tamil Nadu educates, BJP manipulates,” is contextualized within a broader history of black as a potent visual cue within Dravidian identity and political expression. The DMK's strategy of positioning itself as a leading voice for the South on issues like the NEP and proposed population-based delimitation is highlighted. However, the core of the analysis revolves around the symbolic weight carried by the color black, a weight deeply rooted in the teachings and philosophy of E.V. Ramasamy, popularly known as Thanthai Periyar, the architect of the Dravidian movement. Periyar's advocacy for wearing black shirts and sarees as a symbol of “protest and grief” dates back to 1945. This practice, initially intended to visually represent resistance against social injustices, has evolved into a readily identifiable marker of Dravidian political affiliation. Pazha Athiyaman, a Periyar scholar, reinforces this interpretation, stating that the wearing of black signifies both protest and grief, a tradition established by Periyar as a form of resistance. Periyar's instructions to the Dravidian Volunteer Corps, as documented in his Tamil magazine “Kudi Arasu,” explicitly called for the adoption of black attire for both men and women, further solidifying its role as a symbol of solidarity and defiance. The article also explores the deeper meaning attributed to the color black by Periyar. Rajendran, a leader of the Dravidar Kazhagam, explains that black symbolizes “slavery,” reflecting Periyar’s belief that true freedom had not been attained even after Independence due to the continued enslavement by Brahminism and the casteist social hierarchy. This perspective adds a layer of complexity to the symbolism of black, transforming it from a mere expression of protest into a representation of ongoing struggle against systemic oppression. Athiyaman emphasizes that Periyar envisioned the wearing of black as a constant reminder of the need to dismantle the caste hierarchy. This practice continues to manifest in various forms, from the wearing of black badges in public offices to protest government failures to the donning of black shirts to register dissent. V Geetha, another Periyar scholar, underscores the power of black as a means of identifying one’s political leanings. The color was deliberately chosen to represent everything that Dravidians should not be, contrasting with the perceived purity of white. Periyar's speeches and editorials during the crucial 1945-46 period emphasized the importance of wearing black as a sign of determination to challenge birth-based discrimination, obscurantist beliefs, and casteist rancour. The adoption of black in the DMK flag, alongside red, further cemented its significance within Dravidian politics. Arun Nehru, a DMK MP, explains that black represents all the social injustices in the world, while red symbolizes the working class and liberation. The flag, therefore, serves as a symbol of hope and a constant reminder of the ongoing struggle for social justice. Nehru also connects the recent protest by DMK MPs to the historical context of black as a symbol of resistance, highlighting that their attire was a direct response to the Education Minister’s perceived insult and a reaffirmation of their Dravidian identity.
The strategic use of symbolism in political movements is a well-documented phenomenon. Colors, in particular, possess the ability to evoke strong emotions and convey complex ideas in a concise and easily understood manner. The Dravidian movement's adoption of black is a prime example of how a color can be imbued with profound political and social meaning. By associating black with protest, grief, and resistance against caste-based oppression, Periyar and his followers effectively created a visual language that resonated with their target audience. The consistent use of black over decades has reinforced its association with Dravidian identity and political ideology, making it a powerful tool for mobilization and communication. The DMK's continued use of black in its flag and its recent protest in Parliament demonstrates the enduring legacy of Periyar's teachings. The color serves as a constant reminder of the historical struggles faced by Dravidians and the ongoing need to fight against social injustice. The effectiveness of this symbolism lies in its ability to connect with people on an emotional level. Black, often associated with mourning and rebellion, taps into deep-seated feelings of anger and frustration, motivating individuals to take action. The DMK's strategic deployment of black in Parliament was not merely a fashion statement; it was a deliberate attempt to capture public attention and convey a message of defiance against what they perceive as the BJP's attempts to undermine Tamil Nadu's educational policies. The article effectively highlights the importance of understanding the historical and cultural context behind political symbolism. By tracing the origins of black as a symbol of protest in the Dravidian movement, the author provides valuable insights into the motivations and strategies of the DMK. The article also raises important questions about the role of symbolism in contemporary politics. In an increasingly polarized world, where misinformation and disinformation are rampant, the ability to effectively communicate through visual cues can be a powerful asset. The DMK's use of black is a reminder that political movements must be adept at crafting messages that resonate with their target audience and effectively convey their core values.
Furthermore, the article's exploration of the symbolism of black extends beyond its mere association with protest. By delving into Periyar's rationale for choosing black, the article reveals a deeper critique of the social and political structures that perpetuate inequality. Periyar's view of black as a symbol of 'slavery' highlights his belief that true freedom could not be achieved as long as Brahminism and the caste system continued to exert their influence. This interpretation of black as a representation of ongoing oppression adds a layer of complexity to its meaning, transforming it from a simple expression of dissent into a powerful indictment of systemic injustice. The article also touches upon the contrast between black and white, with white traditionally associated with purity and virtue. Periyar's deliberate rejection of white in favor of black was a conscious act of defiance against the dominant social norms and values of his time. By embracing black, Periyar challenged the prevailing notions of what was considered acceptable and respectable, signaling his commitment to radical social change. The article's analysis of the symbolism of black also has broader implications for understanding the role of visual culture in shaping political discourse. The images and symbols that circulate within a society can have a profound impact on how people perceive and interpret the world around them. By consciously manipulating these symbols, political movements can influence public opinion and mobilize support for their cause. The DMK's use of black is a testament to the power of visual culture to shape political narratives and inspire collective action. In conclusion, the article provides a compelling analysis of the symbolism of black in Dravidian politics. By tracing its origins to Periyar's teachings and examining its contemporary usage by the DMK, the article sheds light on the enduring significance of this color as a symbol of protest, resistance, and the ongoing struggle for social justice. The article's insights into the strategic use of symbolism in political movements have broader implications for understanding the role of visual culture in shaping political discourse and mobilizing public opinion. The article effectively communicates how a seemingly simple choice of color can carry profound historical and political weight, serving as a powerful tool for communication, mobilization, and the assertion of identity.
The article subtly introduces the concept of counter-symbolism, which can occur when the original meaning of a symbol is reinterpreted or challenged by opposing forces. While the Dravidian movement has successfully established black as a symbol of protest and resistance, there may be instances where this symbolism is contested or appropriated for different purposes. For example, groups with opposing ideologies might attempt to associate black with negative connotations, such as anarchy or extremism, in an effort to undermine its effectiveness as a symbol of resistance. Furthermore, the article implicitly raises questions about the potential for symbolism to become diluted or co-opted over time. As black becomes increasingly associated with Dravidian politics, there is a risk that its original meaning may be lost or diluted, particularly among younger generations who may not be fully aware of its historical context. The DMK must therefore remain vigilant in ensuring that the symbolism of black continues to resonate with its target audience and effectively convey its core values. The article also highlights the importance of adaptability and innovation in political communication. While the symbolism of black has proven to be a powerful tool for the Dravidian movement, it is essential to recognize that the political landscape is constantly evolving. The DMK must therefore be prepared to adapt its communication strategies and explore new ways of connecting with voters in order to remain relevant and effective. This might involve incorporating new symbols or messages that resonate with contemporary concerns, while still maintaining a connection to the historical roots of the movement. Finally, the article underscores the importance of authenticity in political communication. In an era of spin and manipulation, voters are increasingly skeptical of politicians and political messaging. The DMK must therefore strive to communicate with honesty and integrity, and ensure that its actions are consistent with its stated values. This means not only using symbols that are meaningful and resonant, but also demonstrating a genuine commitment to the principles that those symbols represent. By remaining true to its core values and communicating with authenticity, the DMK can build trust with voters and maintain its position as a leading force in Tamil Nadu politics. The consistent and purposeful deployment of the colour black across various platforms – from parliamentary protests to party flags – demonstrates a keen understanding of the power of visual cues in shaping political narratives.
The article's narrative could be further enhanced by exploring the limitations and potential pitfalls of relying too heavily on symbolism. While symbols can be powerful tools for communication and mobilization, they can also be easily misinterpreted or manipulated, leading to unintended consequences. For example, the association of black with protest could be misconstrued as a sign of negativity or despair, potentially alienating some segments of the population. Furthermore, a focus on symbolism could overshadow the substantive issues that the Dravidian movement is trying to address. It is important for the DMK to ensure that its focus on visual communication does not detract from its efforts to develop and implement effective policies that address the needs of the people of Tamil Nadu. The article could also benefit from a more nuanced discussion of the diversity of opinion within the Dravidian movement. While the article presents a unified view of black as a symbol of protest and resistance, it is likely that there are different interpretations and perspectives among members of the DMK and its broader support base. Exploring these different viewpoints would provide a more complete and accurate picture of the complex dynamics within the Dravidian movement. Furthermore, the article could be strengthened by comparing and contrasting the Dravidian movement's use of symbolism with that of other political movements around the world. By examining how other groups have used visual cues to communicate their message and mobilize support, the article could provide valuable insights into the broader dynamics of political communication. Finally, the article could benefit from a more critical examination of the historical context in which the Dravidian movement emerged. While the article provides a brief overview of Periyar's teachings, it could delve deeper into the social and political conditions that gave rise to the movement and its emphasis on caste-based discrimination. This would provide a more comprehensive understanding of the historical roots of the Dravidian movement and its enduring relevance in contemporary Tamil Nadu. The consistent strategic use of the colour black shows a high level of understanding of visual communication.
Source: Black as the Dravidian colour of protest: Periyar to DMK, Parliament to streets