The Unheard Story of a Banjara Warrior: With Special Reference to a Play The Banjara Warrior (2018)
https://doi.org/10.5281/zenodo.12671294
Author(s): Dr. Geeta
DOI: https://doi.org/10.5281/zenodo.12671294
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Volume 15 | Issue 3 | June 2024
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The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
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https://doi.org/10.5281/zenodo.10448030
The Unheard Story of a Banjara Warrior: With Special Reference to a Play
The Banjara Warrior (2018)
Dr. Geeta
Assistant Professor,
Department of English,
School of Languages, Linguistics & Indology,
Maulana Azad National Urdu University,
Hyderabad.
Article History: Submitted-07/06/2024, Revised-20/06/2024, Accepted-24/06/2024, Published-30/06/2024.
Abstract:
The study looks at the unheard narrative of a Banjara warrior from Shantha Naik’s play The
Banjara Warrior (2018). It was also translated into Kannada by the dramatist as Veraalu (2019).
Veraalu is a Lambani term which means “courageous”. The protagonist of the play is Bheema
Naik, a warrior from Banjara whose name has never been mentioned in history. The play centers
on the story of Bheema Naik, a caravan who provided support to Tippu Sulthan during the Fourth
Anglo-Mysore War, which took place between 1798 and 1799. He turned into Tippu’s obedient
and trustworthy soldier. The study makes the argument that Bheema Naik’s name is not well-
known in the canon of historical accounts. Why are there no records of him if he existed during
the colonial era? The Banjara community is also known as Lambanis, who do not have the written
script. Therefore, whatever information is available, it is verbally available. Few Lambani writers
have written in Kannada about Banjara culture, language, and literature. Examples of these writers
are B. T. Lalita Naik, P. K. Khandoba and D. B. Naik. It was significant documentation that an
effort was made to document the history of Banjara culture and tradition. Their endeavor to
document the history of Banjara culture and customs is noteworthy.
Keywords: Unheard, Courageous, Loyal, History, Warrior, Culture.
“The weavers weave cloth with golden threads here and there. This adds to the beauty. Similarly,
Lambanis are like the golden threads in the rich Indian heritage.”
-Smt. Indira Gandhi (Naik, D.B. 1)
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https://doi.org/10.5281/zenodo.12671294
The Unheard Story of a Banjara Warrior: With Special Reference to a Play The Banjara Warrior (2018)
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https://doi.org/10.5281/zenodo.10448030
One of India’s most colorful tribes, the Banjara are nomads distinguished by their vibrant
clothing, multicolored jewelry, bangles, and distinctive rituals, customs, and exercises. The term
‘Banjara’ is derived from the original Sanskrit word ‘Vanaj’ or ‘Banaj’ which signifies ‘trader’. It
was once believed that the Banjaras were the traditional emissaries of supplies and cereals to the
nearby army. They always had firewood, bamboos, salt, and cereals with them. They were
continually moving from one location to another, which was the cause. Essentially, the term
“Banjara” denotes not only a specific community but also their occupation of using bullocks to
move food grains and other things.
Etymology of the word Banjara:
The term Banjara is an umbrella term, that is found all over the country. They have been
described using a variety of synonyms, including Banjara, Banajara, Baladiya, Bnajari, Brajavasi,
Branjari, Gavara, Gavaria or Gouria, Gavra, Gavra or Gamalia, Kangi (Kangashiya), Laban or
Labana, Labana, Labhan, Labhana or Lobhana, Labhani, Ladenia (Ladania), Laman, Lamani or
Lambani, Lambada, Lambadi, Phanad, Shingade-Banjari, Shirkhiband, Shirkiwala, Sugali. (Naik,
D. B. 2-3)
The majority of academics believe that the Banjaras/Lambanis originated in Rajasthan and
carried business in several locations. Different states have different names for banjaras. The names
of the places also vary based on how they were settled. However, there is only one language that
the Banjara people speak in common “Goarboli,” a language that is a member of the Indo-Aryan
family. It has no script. Hence, it is oral in nature, there are no any particular written records about
the Banjaras. The community has migrated throughout out the country. It is script-free. Because
of this, it is oral in character; no specific written records exist regarding the Banjaras. The group
has dispersed across the nation. “Caravans were used to transport products throughout India. The
wells are built in such a way that the heavily laden bullocks may easily descend, drink water, and
climb back up, according to archaeologists excavating the Indus Valley Civilization. Laman, a
word related to salt, is mentioned in the text of Bana Bhatta, written in the tenth century. Banjaras
were therefore traders in salt. They also operated a larger business. Evidence has been discovered
to support the theory that Amla, Bhara, and Hara were sold in ancient India. (Naik, Shantha.
Preface)
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Banjaras during the colonial period:
Banjaras were used as independent transporters by the Sultanate, Mughal, French, British,
and Nizam troops during the colonial era. As was previously indicated, during the famines, the
community contributed food grains and played a crucial role. “The colonial market economy, trade
regulations and the growth of modern transport fractured their long-established caravan trade. The
middle of the nineteenth century, they had compelled to depend on the livelihoods such as cattle-
raising, agriculture and labor. The deployment of rules, regulations and laws based on the new
colonial political rationality badly hampered their cattle-raising and agricultural practices. The
state also prevented the Lambadas from leading a nomadic lifestyle and used various tactics to
force them to settle down as subjects of the peasantry. However, the revenue and agricultural
policies introduced by the state involved heavy exploitation and gradually reduced the Lambadas
working as labourers in the dominant peasant’s fields. During the famines and the off-season, they
resorted to dacoity. The State to brand them as a criminal community, and a range of methods were
used to curb their dacoity.” (Bhukya, 330)
There are a few well-known Banjara independence fighters whose names are not
mentioned in the majority of historical accounts. They are Bhima Naik, Reva Naik, Lakisah
Banjara, Guru Govind Giri Banjara, and Mithu Bhukya. Saint Sevalal is the Banjara people’s
cultural icon; there were several songs, tales, and narratives about him. The Seva Bhaya (Sevalal)
was the driving force behind a cultural movement that began in the 19th century. It is challenging
to determine the movement’s exact dates. He serves as the Banjaras’ spiritual and religious leader,
“preaching some new values such as vegetarianism, cleanliness, and abstinence from alcohol.”
(Bhukya, 330)
“The oral narration about the Seva Bhaya reveals some fascinating facts about his
movement and the period. The story claims that he was born in Gutti-Bellary and died in Pohar,
and that his family provided grain to the Nizam’s army during Tippu’s battle. They relocated to the
Maratha region with the soldiers of the Nizam after the Mysore war (1799), when the army was
fighting the Marathas. 1824 saw the end of this war.” (Bhukya, 336)
However, the main occupation of Banjara was transporting goods to the armies. The
honesty, bravery, and integrity of the Lambanis were well appreciated by the Moghal monarchs.
They gave Lambanis the task of providing their troop encampment with food grains. Asaf Khan
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had an agreement with Bhangi and Jungi, two leaders of the Lambani people, to furnish supplies
for his military camps. On a copper plate, the agreement is engraved as:
“Ranjan ka Pani
Chappar ka ghas
Din ke teen khoon maf
Aur Janha Asfakhan ke Ghode
Vanha Jangi-Bhangi ke bail khade.” (Naik, D. B. 12).
The specific arrangement demonstrates the Nawab’s integrity and faith in the Banjara
people. The India had witnessed many downfalls of the kings and the empires during the regime
of the Britishers. Nonetheless, the British were primarily responsible for the majority of the issues
that the nomadic Banjara people encountered. A significant impact on the community’s standard
of living was experienced when the British introduced the railway system to India for the first time
between 1860 and 1865. The abrupt adjustments have affected their means of subsistence. After
they left the city and relocated to the forest and their separate settlement is known as ‘Tanda.’
This
study
examines
the significant Banjara independence
fighters, whose
accomplishments have been missing from history and history textbooks. Nothing was recorded or
documented about them, even though they were vital in giving the troops supplies and
transportation to the nearby armies.
Banjara scholars and the scholars of other communities are trying to research the origin
and history of Banjaras. The younger generation pursuing higher education has put a lot of effort
into studying the literature and language of the Banjara people. The scholars’ primary goal is to
identify ways to maintain Lambani culture, customs, songs, stories, riddles, and proverbs in their
writings. The language used by the Banjaras is called “goarboli.” The community, however,
follows an oral tradition rather than a written one. Songs and stories are the primary means of
collecting literature. The oral literature must be transcribed in the State’s script in order to be
documented.
Banjaras in Karnataka are referred to as Lambani, Lamani, and Goarmati, and they are
classified as Scheduled Caste. The majority of Lambani settlements are located in Kalaburagi,
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Shimoga, Bijapur, Chitradurga, and Bellary. Only a handful of Kannada Lambani writers—B. T.
Lalita Naik, D. B. Naik, P. K. Khandoba, and N. Shantha Naik write about Banjara literature and
culture. One of the most well-known Lambani women writers in Kannada is B. T. Lalitha Naik.
N. Shantha Naik is a Professor of English at Vijayanagara Sri Krishndevaraya University,
Bellary Karnataka. “The Banjara Language and its Cultural Dictionary” was the subject of his
research that he discussed. His works include the novel Gormati-An Ending Journey (2015), the
English play The Banjara Warrior (2018), and the Kannada translation Veraalu (2019). The
Lambani term “Veraalu” denotes a brave “warrior.”
Shantha Naik talked about his experience in writing The Banjara Warrior and how it
motivated him to finish the play. He says,
“It also gave me inspiration because the British used Banjaras as laborers to build their
empire and business. In order to determine India’s route map, the British used Banjara’s
assistance and positioned them under the notified tribes. They had to give up on the
bullocks because of the forest act. The present railway track is undoubtedly the Banjara
route. The next generation of Banjara people should be proud of their ancestors since they
were strong patriots rather than cowards like certain traitors. (Naik, Shantha. Preface)
The historical play The Banjara Warrior is centered on the little-known Banjara warrior
Bheema Naik, who serves as the play’s protagonist. The play centers on the story of Bheema Naik,
a caravan that provided support to Tippu Sulthan during the Fourth Anglo-Mysore War, which
took place between 1798 and 1799. During this time, attempts were being made by British armies
to take over the Mysore Kingdom. Tippu Sulthan was their worst enemy, since he would do
everything to drive them out of India.
The play Act I, Scene I opens with the chorus singing a prayer to their beloved Saint Sri
Sevalal and the goddesses Mareyamma. The chorus felt that they were the community’s protectors.
Their hope is that Bheema Naik’s fame will catch on like wildfire. Bheema Naik is the main
character in the play. The chorus offers up prayers,
“We pray you Sevabhaya
Come.
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We pray you, Mariyamma
Come.
Spread the popularity of Bheema like wildfire
Listen, Banjara.” (Naik, Shantha. Act I, Scene I, 1)
For a business relationship with Tippu Sultan, Bheema Naik and his followers are heading
towards Srinrangpatanam. They headed towards Jogihalli province, loading their bullocks upon
their backs. Afzal Khan, the leader of Tippu Sulthan’s army, stopped them in the interim. Jemu
Naik and Afzal Khan begin their conversation:
Jemu Naik: “My lord, why are you stopping our bullocks? We are going for business”.
Afzal Khan: “You idiot! Badsha Tippu Sultan Hujoor is traveling in the direction of Ballari
Fort when he passes this way. Dare you continue to obstruct his path with your bullocks?
Jemu Naik: “We apologize, my lord, but we don’t know about Badsha’s travels. Please
pardon us; we are a modest business.”
Afzal Khan: “You are arguing with me? Soldiers, capture all the bullocks and take
possession of all their goods”.
Jemu Naik: “Hujoor, please listen to me. We are only business people. We are not
conspirators. If you want, I am ready to speak to my Lord, the King”. (Naik, Shantha. Act
I, Scene I, 2)
When Bheema Naik finds out that Afzal Khan has struck Jemu Naik extremely severely,
he goes to confront Afzal Khan. Afzal Khan was shocked to learn of Bheema’s fighting ability and
believes that with the right training, he has the potential to be a great warrior. Upon learning of
Afzal Khan, Bheema presents himself as:
“Yes, my Lord. My name is Bheema. My father is a small businessman. We are travelling
from Hyderabad. White folks in northern India are preventing us from doing business. As
a result of their monopolization, we suffered loss. We came to Hyderabad with a lot much
hope. Nizam is patronizing big business tycoons there. So, we have ignored him. Nanu
Naik, my father, worries a lot. Please forgive me.” (Naik, Shantha. Act I, Scene I, 3)
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The Banjara and Tippu shared common enemies with the British during the colonial era.
Without providing the British with even the slightest hint, Bheema and his people assisted Tippu
and gave him groceries. He became into Tippu’s devoted soldier and trustworthy servant. Tippu
Sulthan told Bheema Naik, during their first covert meeting, that he is having difficulties due of
Britishers and that there is a shortage of food in his realm. Bheema was a devoted Banjara who
would do everything for Tippu. Tippu and Bheema’s discussion below exemplifies how close they
are to each other. Tippu says:
Tippu Sultan: “Privacy (Meer Sadaq departs); you are aware of Bheema due to
Britishers, I am dealing with numerous issues. They are observing my every move, and I
am running short of groceries. Furthermore, any movement from our side will provoke
their ire, and they may attack. To get the stuff we need, I need your help.”
Bheema Naik: “My lord, before I came here, I also had the same wish. Whoever was
around your fort, keeping a wary eye on things. I’ll make sure your needs get to you when
you need them.” (Naik, Shantha. Act II, Scene I, 11)
Bheema, a sixteen-year-old, is an obeying son to his father, leading his people with a flock
of bullocks and having all the war skills. He is a warrior, ready and willing to defend his people at
all times. Tippu receives assurances from him on Banjaras’ loyalty, dependability, and sincerity.
He takes an oath on behalf of Sevabhaya and Mariyamma, so accepting responsibility for Tippu.
His dependability and honesty impressed Tippu. As soon as Bheema informs Tippu:
Bheema Naik: “My life’s ambition is to serve a king as brave and giving as you are. I swear
to you, Sevabhaya and Mariyamma, that I will work for you. Loyalty is a trait associated
with banjaras. I shall never turn away from my duty and oath.”
Tippu Sultan: “Bheema Naik, I am aware of your dedication, boy. I need you and other
patriots. I’ll be back from the Bellary fort as soon as possible. I think your group should
succeed. I would like to talk with you about a few crucial matters.” (Naik, Act II, Scene I,
11)
Bheema was asked to bring the weapons from the caverns of Babubudangiri. Sadly, one of
the main conspirators, Meer Sadaq, told the British about this covert gathering. Tippu says to
Bheema:
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Tippu Sultan: No, Bheema won’t work out with just willpower. Weapons are necessary
for us. Oh, and why did I call you? I stopped believing in everyone who was with me.
You are the only person in the world I truly trust. Additionally, I am aware that only you
are capable of doing this task. All of our Persian weapons are hidden away in the hill
caves of Bababudangiri. You will receive the root map from Afzal uncle. We would hold
off the British for a while if you managed to capture them.” (Naik, Shantha. Act IV,
Scene 5, 31)
Later, Bheema was apprehended by soldiers under Captain Mackey (The Britisher). In
order to get Tippu’s secret, Mackey tortures Bheema. He was subjected to horrific torture and
skinning in order to reveal the details of the covert meeting. However, he never disclosed any
secrets to them. He is well aware that he will undoubtedly be slaughtered along with his fellow
Banjaras if they are discovered. In order to prevent the opponent from understanding them,
Bheema gave them advance warning not to divulge anything and advised them to speak in
Goarboli, a Lambani dialect. He claims,
Bheema: “Listen carefully. Please don’t reveal our destination if someone manages to get
hold of us. Don’t disclose the fact that even if we may have killed. Since nobody
understands Goarboli, we must interact only in Goarboli. Remember all these carefully.”
Jatu Naik: “All right, Bheema. Whatever you order, we obey. We are all thankful to you
for including us all in this work of our motherland.” (Naik, Shantha. Act V, Scene 1. 34)
Bheema never disclosed anything, even after being tormented and peeled inch by inch, and
he was eventually slain. The play’s primary focal point is the brave and valiant fight of Bheema
Naik, a Banjara who ultimately meets a heroic end. The play goes into great detail about how
Tippu was helped by a Banjara warrior during his difficult times.
As a Banjara scholar, I understand that a large number of Banjaras are unaware of Bheema
Naik’s life. However, after reading the play, I learned that such a personality existed throughout
the colonial era. The playwright, Shantha Naik, asserts that a temple in Kudalgi taluk Chikka
Joogihalli, which was built in honor of Bhima Naik, served as inspiration for him as he was
gathering material for the play. In conclusion, a lot of unknown stories existed, and people are
unaware of historical details. Understanding the history of the Banjaras and how they contributed
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to the Indian freedom movement, whether directly or indirectly, is essential. They are not included
in the canon of history; therefore, it is crucial to preserve this kind of history.
Works Cited:
Bhukya, Bhangya. “Articulating Self: Orality, Community and Colonialism in South India”
Indigeneity: Culture and Representation. Ed. G. N. Devy, Geoffrey V Davis and K. K.
Chakravarty. New Delhi: Orient Black swan, 2009.
Naik, N. Shantha. The Banjara Warrior: A Play. Book Enclave, 2018.
Naik, D. B. Banjara-Lambanis: Origin and Culture. Udupi (Karnataka): Regional Resources
Centre for Folk Performing Arts, 2008.
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Dr. Geeta