In the 3rd and concluding performance for the Pavilion Without Pavilion, Bangkok Biennale 2018, I made an impromptu photographic action on the 3rd of September at Wat Arun. This action was premised on the conflation of two gargantuan Dravidian icons that have attained global currency, Demon King Thotsakan (Dasakantha or Ravana) and contemporary SUPERSTAR Rajinikanth. They are both unquestionably giants of global Indic culture, one from the historiographical past of Farther India and Suwannaphum, and the other from the more immediate realm of Kollywood.
As we eagerly await Kaala, Rajinikanth SUPERSTAR’s first movie after his entry into Tamil Nadu politics, it is pertinent to reflect on the messages embedded in this and his last release, Kabali. Both films are the directorial works of PA Rajinth, the rising Kollywood auteur of Dalit origins who has successfully presented critical social messages with mass commercial appeal. Rajinth is vocal on Dalit issues off the screen and here is an important document evidencing his rage and articulating his core message – TAMILS ARE DIVIDED BY CASTE … ADMIT IT! – It is a message that is steeped deep in Ambedker Blue and, incredulously, one that SUPERSTAR Rajinikanth seems to be taking upon his crisp new political mantle whose own native hue is allegedly a Hindutva Saffron.