Untouchable
Process: Human, ChatGPT.com, Meta.ai, Riffusion.com, Suno.com, Kits.ai, Moises.ai, Audacity 3.7.4, Ubuntu 24.04 LTS (Noble Numbat, Linux
“For a Dalit queer person, love is twice as risky. The violence we face isn’t just about gender; it’s about protecting caste hierarchies, about reminding us of where we ‘belong.’”
— A queer Dalit activist from Delhi (anonymous
In a time when visibility is revolution, Untouchable: A Love Beyond Measure emerges as an act of radical remembrance, beauty, and defiance. This multimedia album is not only an artistic creation but a cultural offering—centered around two queer, marginalized Indian men in 1900 who dare to love amidst the crushing weight of caste, race, and colonialism. Through this poetic, 12-track journey, the project speaks to three central subtopics: the intersection of caste and queerness in historical India, the sacredness of forbidden love, and the reclamation of identity through myth and music. More than a soundtrack, this work is a sanctuary—a deliberate reframing of the word “Untouchable” as not something shamed, but something holy. Its relevance extends far beyond art into the domains of education, justice, and social change. This is more than a story of love. It is a lesson in survival, and a celebration of those who made refuge of each other when the world gave them no safe place to exist.
To understand the power of Untouchable, one must first grapple with the painful reality that it recreates: the brutal convergence of caste-based violence and homophobia in 1900 India. The protagonists—a dark-skinned Tamil leatherworker and a half-African Siddhi potter—represent those doubly and triply marginalized, not just by caste, but by sexuality and race. In a society obsessed with purity, they are rendered impure by occupation and desire. But through their union, the album presents a counter-narrative. They do not beg for inclusion but instead transcend the systems that exclude them. Their intimacy becomes its own caste—a private universe built from exile. In this way, the album critiques both Brahmanical patriarchy and colonial imposition, offering instead a blueprint for dignity that is self-defined.
In reclaiming this history through story and sound, the creators also challenge today’s silence around Dalit queer lives. As a queer Dalit activist from Delhi noted, “For a Dalit queer person, love is twice as risky… it’s about reminding us of where we ‘belong.’” This quote frames the deep generational trauma that persists today—making this project not just historical fiction, but a mirror to modern injustice. By returning to this time and honoring these men, the album makes space for those still fighting to love openly without fear. It unearths what has been buried, and insists on memory as activism.
The intersectionality portrayed here also shatters the myth of Indian queerness being a Western import. Through traditional Indian instruments, folk motifs, and spiritually rooted themes, Untouchable reminds us that queer love has always existed in India—often hidden, often punished, but never extinguished. This project, then, is not just looking back. It is uncovering what has always been, and offering it a voice that sings back into the present. Caste and queerness are not separate battles—they’re entwined. And this work confronts them both.
At its heart, Untouchable is a love story—not of grand gestures, but of quiet, sacred connection. Each song transforms ordinary acts into rituals: sweeping streets becomes a prayer, molding clay becomes touch without shame, a monsoon becomes baptism. For a people denied temples, gods, and dignity, love itself becomes the holy space. In “Temple of No Gods,” the two lovers sit on a woven mat beneath the stars, consecrating each other without clergy, idol, or fire. These moments, stripped of external validation, carry a profound reverence. In a world where everything about them is considered impure, they sanctify each other.
This sacredness is further elevated through the album’s rich ambient sound design and poetic lyrics. The musical world is textured with field recordings—rustling leaves, monsoon rain, clay squishes, goat bells—grounding the lovers in the world even as they rise above it. The track “To Be Touched” delivers a haunting refrain: “They say we’re ghosts, but I feel you solid as stone.” Here, touch becomes protest. The touch of the untouchable, far from forbidden, is made divine. This reframing is radical—it forces listeners to question why love, in its purest, gentlest form, is punished.
It is also important to understand the cost of this sacred love. The track “Broken Bangles, Bitter Milk” shows what happens when their world is breached—one lover is beaten, their union shattered. But the album does not end there. It moves through exile, to salt roads, to the sea, and finally to the stars. This arc mirrors sacred texts in its structure: origin, betrayal, pilgrimage, transcendence. The lovers are not martyrs—they are myths. Their love becomes a constellation, passed down in secret songs. Their holiness outlives the violence.
Untouchable operates on both narrative and symbolic levels. On the surface, it is a fictionalized tale of two men in 1900 India. But at its core, it is myth-making—an intentional rewriting of what and who is considered worthy of story, song, and sanctity. In reclaiming the word “Untouchable,” the project elevates what has been debased. It transforms shame into reverence. Like all powerful myths, it carries the dual function of healing and teaching. And it does so not through spectacle, but through intimacy.
The decision to structure the album like an epic is crucial. It is not simply a playlist—it is a narrative arc. Each track is a chapter, a stanza in a long-form poem. From “Ashes of the First Fire” to “Untouchable, In the Stars,” the structure mirrors oral storytelling traditions. The couple is cast as both heroes and gods—ordinary men who, through the act of love, become something divine. The musical forms mirror this hybridity: ambient textures meet folk instrumentation, Indian classical meets African rhythms. It’s a fusion not for novelty, but to reflect the fusion of identities, pain, and place that the characters themselves embody.
Through this fusion of music, myth, and marginalized experience, the album creates a third space: one that belongs to no caste, no gender, no religion. It is a sonic utopia born of exile. And in a world that continues to erase and silence, this act of myth-making becomes a revolutionary tool. It is not just about representation—it is about recognition. And recognition, in this context, is resistance. These stories, these songs, these lives—they matter. And they will be remembered.
Untouchable: A Love Beyond Measure is more than an album. It is a curriculum of compassion, a soundscape of sanctity, a poetic revolution. Through its exploration of caste and queerness in historical India, it invites us to witness what has too often been hidden or denied. Through its sanctification of forbidden love, it calls us to rethink what holiness truly means. And through its reclamation of identity via myth and music, it builds new temples—ones we carry in our hearts. In telling the story of two untouchable men who made their own sacred world, this project reminds us: what is denied by society can still be sanctified by love. And sometimes, what the world calls untouchable is simply what it cannot yet comprehend as divine.
No one had ever called Sujanthan by his name at school. Not properly. He was “darkie,” “leather boy,” “that one.” Even the village priest, who knew his father well, wouldn’t take his hand in public. But in the folds of the mango groves where he used to disappear after temple cleanings, he made music. Not with instruments—he had none—but with a cracked tin pot and a wooden spoon. And when the monsoon came, he would hum, letting the thunder become his tabla, the wind his bansuri. His music had no audience but the clouds. Until the sky, one day, sang back.
It started with a whisper at the chai stand. Something strange, a miracle even: a group from the mountains, from far across the water, had sent a message—one of their listeners, from somewhere deep in the American South, had heard a leaked recording of Sujanthan’s field audio posted anonymously by a traveler. Not only had they heard it—they wept. And then, they reached out.
The organization was called TATANKA, and within it, a constellation of artists called Orchestra Americana. It wasn’t just an ensemble. It was a collective of the misheard, the displaced, the unwanted. A Honduran trans harpist. A Lakota jazz cellist. A Kurdish vocalist who turned the sound of loss into lullabies. They invited Sujanthan to join—not just as a token but as a voice. And when they sent the ticket, they spelled his name right. Not “Sujan.” Not “boy.” Sujanthan.
He stood at the edge of the Himalayan retreat, blinking into the light that filtered through prayer flags and apple blossoms. His leather bag contained only two things: a pair of sandals stitched by his late father, and the tin pot that had once made the crows dance. What met him there was not pity, but a chorus. Their first exercise wasn’t musical. It was silent. The conductor—a trans elder named Calyx—asked them to sit in a circle and speak their name into the wind, so that the mountains might carry it farther than any man ever had.
It was in that silence that Sujanthan first cried without shame.
As the weeks passed, the rehearsal room became temple, forge, and sanctuary. He learned to play a bowed string instrument handcrafted from goat bone and recycled copper. When he told the group that he came from a caste forbidden from temple music, Calyx simply replied, “Then we will make a new temple with your sound at the center.” For the first time in his life, Sujanthan played with others, not beneath them.
Their first performance together wasn’t in a hall—it was on a wide grassy ledge overlooking the valley, streamed live to the world. Birds joined them. A drone captured the sun slipping behind the hills as Sujanthan stepped forward with a solo composed in secret. He had no sheet music, just his memory and grief. He called it “Ashes of the First Fire,” an echo of the song from Untouchable that had first cracked open his heart.
What emerged wasn’t just music—it was revelation. The sound carried pain, yes, but also a softness that rewrote the story of his body. Of the bodies they tried to bury. And in that moment, the boy once called “leather boy” became something untouchable in a new way: not outcast, but beyond the reach of shame. Sacred.
TATANKA gave him no scripts, only space. And in that space, he built not only sound—but self. Sujanthan returned to India later that year, not to hide but to share. He brought music workshops to villages, using whatever they had—tin, thread, breath. He became a vessel, and everywhere he went, he said the same thing:
“The sky sang back. Now it’s your turn.”
Sujanthan’s story is a living metaphor for what TATANKA’s Orchestra Americana truly represents: the reclaiming of those pushed to the periphery and the radical act of placing their voices—unapologetically—at the center. In a world where caste, queerness, and rural poverty still render people invisible, platforms like TATANKA do more than “include” the marginalized. They amplify. They honor. They evolve the very architecture of belonging. This is not diversity by design—it’s divinity through difference.
What Sujanthan teaches us is this: when institutions shut their doors, build a stage in the grass. When the world does not want to hear your story, sing it anyway. Somewhere, someone is listening. And sometimes, that listener becomes the wind that carries your name farther than you ever dreamed.
“The Untouchables,” were a group of people in India who were not the lowest caste, but considered not part of the caste construct. Times have changed, and the Indian Constitution abolished untouchability in 1950, and Dalits have made huge strides, but caste-based discrimination persists. This fictional story takes place well before that, at the apex of The Untouchables’ marginalization in 1900 India.
Even the term “Untouchables” is now considered offensive, but this story and album embraces it, to touch the Untouchables. Like TATANKA, to include them, and model love and empathy toward them, by telling a story of love and empathy between two rural Untouchables. To further marginalize them, they are characterized as homosexual men, so their love and impossible, improbable, untouchable lives, together, takes place in another universe, a secret caste of their own private making, their refuge, their Utopia. A place in which together, and alone, they are transcendent, above the highest caste, Brahim, outside of the caste system itself, by choice, not exclusion, as one, as they are as Untouchables as individual, two souls united into one of the highest order.
To further marginalize them in the Indian context of the time, by race, in that races were diminished, marginalized, they are two of those prejudiced races, as a mixed, rejected couple on numerous levels.
How one extreme of prejudice can be so exclusive and dehumanizing to others, but on the other extreme, how others, our Untouchable couple, do not react as many might have, but instead respond with their basic human right to love, dignity and true happiness, even if only in the context of their sacred union.
By reclaiming and recontextualizing the term Untouchable, we propose an artistic act of radical inclusion, forging intimacy in the face of historic exclusion. Our couple becomes a mythic embodiment of marginalized love, not as victims but as alchemists of pain, transforming centuries of caste, racial, gender, and sexual discrimination into a secret cosmos of resilience and beauty. This is aligned with TATANKA’s mission to honor the outcast, to not just represent but recognize.
A poetic invocation of that which cannot be defiled, only revered. “Untouchable” here becomes divine, sacred—representing a transcendent love not bound by caste, creed, race, or time.
A 12-track concept album set in a rural Indian village in the early 1900s. The protagonists are two Dalit lovers—one dark-skinned Tamil and the other half-African Siddhi, both men. One is a leatherworker, the other a potter. Their romance—hidden, radiant—becomes a sanctuary from caste violence, British colonial cruelty, and communal bigotry. In their secret glen, they build a world not with brick or law, but with the sacredness of each other’s presence. The album traces their story through mythology, folk motifs, and inner worlds.
Track List: (Title, Theme, Lyric Prompt, Music Prompt, and Lyrics)
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: The origin—ancestral trauma, the burning of their forefathers’ huts.
Lyrics Prompt: A memory passed through soot and silence; stories whispered by grandmothers in the dark. The inheritance of fear—and the yearning to be more than that fear.
Music Prompt: Sparse ambient drone with burning wood samples, ancient tribal percussion fading into echo.
[Verse 1]
Your hand brushes mine at sunset
As we walk the dusty road
The village sleeps behind us
While time moves slow
I’ve learned to read your silence
The way you hold my gaze
Like there’s a truth between us
That no one else can name
[Pre-chorus]
They pushed us to the edges
Where no one wants to see
But in these quiet spaces
I learned to breathe
[Chorus]
In the shadows where they cast us, I found you
In the shadows where they cast us, we grew
In the shadows where they cast us, love bloomed true
In the shadows where they cast us, we made something new
[Verse 2]
My father speaks of fire
Of nights that burned away
Of homes turned into ashes
While people turned away
The marks are on our bloodline
The scars we carry still
But when I touch your fingers
The pain begins to heal
[Pre-chorus]
They pushed us to the edges
Where no one wants to go
But in these quiet spaces
Love starts to show
[Chorus]
In the shadows where they cast us, I found you
In the shadows where they cast us, we grew
In the shadows where they cast us, love bloomed true
In the shadows where they cast us, we made something new
[Bridge]
The ashes of our fathers
Float on evening wind
But here in darkness with you
New light begins
In the shadows where they cast us
In the shadows where they cast us
In the shadows where they cast us
We rise, we rise
[Solo]
[Chorus]
In the shadows where they cast us, I found you
In the shadows where they cast us, we grew
In the shadows where they cast us, love bloomed true
In the shadows where they cast us, we made something new
[Outro]
(We rise, we rise)
In the shadows where they cast us
(We rise, we rise)
We made something new
Theme: In 1900 India: Two marginalized “Untouchable” men, gay lovers, in 1900 India: Work as worship—dignity in labor, leatherworkers, that society deems “impure.”
Lyrics Prompt: The rhythm of hands on hide, a quiet devotion; stitching not sandals, but survival.
Music Prompt: Polyrhythmic tapping, traditional drum samples with low cello hums, minimalist.
In dawn’s quiet hours I sweep these streets
My broom moves like prayer beads through practiced hands
Though they turn away, I stand with pride
For in this labor, I find my grace
Between stone walls and morning air
I carry what others won’t dare to touch
They cast their eyes down as I pass by
But your glance finds mine, and I am whole
Let them mark us as beneath their world
Our love flows pure as the morning rain
In honest work we find our strength
Two hearts bound in sacred toil
Each motion blessed, each task divine
My hands shape worth from what they scorn
When we meet in evening’s gentle light
Our fingers speak of dignity gained
Through alleyways and temple yards
I walk my path with head held high
For in this work I serve the truth
That all labor lifts us toward the sky
Let them mark us as beneath their world
Our love flows pure as the morning rain
In honest work we find our strength
Two hearts bound in sacred toil
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: First meeting—innocent longing, eyes that linger too long.
Lyrics Prompt: A glance shared beneath the ancient tree. The moment stretches, unspoken but undeniable.
Music Prompt: Gentle sitar harmonics, soft flute, faint natural sounds—leaves rustling, distant goat bells.
[Verse 1]
Under the banyan’s reaching arms
Where morning prayers still linger on
Your fingers traced patterns in the dust
Like mine have done day after day
They told us not to raise our eyes
To keep our heads bowed, staying low
But there you were, across the path
And time stopped moving, soft and slow
[Chorus]
Beneath the sacred tree
Your eyes found mine
In that sweet moment free
From mankind’s lines
[Verse 2]
The air was thick with temple smoke
Your dhoti brushed against the ground
I watched you pause beside the well
Where water meets the morning sound
The world says we’re worth nothing here
But in that space between our stares
I saw a truth they’ll never know
A beauty that we’ll have to share
[Chorus]
Beneath the sacred tree
Your eyes found mine
In that sweet moment free
From mankind’s lines
[Bridge]
They push us to the village edge
They make us clean their temple steps
But they can’t stop what passes through
The space between my eyes and you
[Verse 3]
Tomorrow we’ll return again
To sweep the dust and carry loads
But now I know I’m not alone
In feeling more than what we’re told
Each morning by the banyan tree
I’ll wait to catch your passing glance
And in those seconds, we’ll be free
To share this silent, sacred dance
[Chorus]
Beneath the sacred tree
Your eyes found mine
In that sweet moment free
From mankind’s lines
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Mixed heritage—Siddhi’s African ancestry and the prejudice he bears.
Lyrics Prompt: The rhythm of the drum inside him, different from the village’s tune. Neither here nor there, he hums his mother’s lullaby to forget.
Music Prompt: African-Indian fusion beat: djembe and tabla with layered vocals in a minor scale.
[Verse 1]
Half-prayers in the dirt where they won’t let me kneel
My father’s land spits me out like a curse
Through narrow streets where children point and stare
At skin that tells two tales, I walk
[Chorus]
When the drums speak, they can’t silence me
When the drums speak, our love breaks free
(Our love breaks free)
[Verse 2]
His fingers trace the scars across my back
While village women turn their faces, clutch their shawls
We meet where no one dares to look too close
Behind the temple walls, I sing
[Chorus]
When the drums speak, they can’t silence me
When the drums speak, our love breaks free
(Our love breaks free)
[Bridge]
Mama’s song flows like water through my blood
African rain on Indian earth
Her voice carries me through their hell
Through their hell
[Verse 3]
They call us dirt but can’t wash away our touch
His hands drum rhythms on my skin at night
We dance between two worlds that cast us out
I am
[Chorus]
When the drums speak, they can’t silence me
When the drums speak, our love breaks free
(Our love breaks free)
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Erotic, spiritual intimacy—making pots, making love. Hands that mold, press, and shape—neither dominance nor shame. Clay becomes holy as they sculpt one another.
Music Prompt: Warm ambient textures, wet clay squish samples, gentle melodic build with men harmonic chanting.
[Verse 1]
Morning sun warms the workshop floor
Your hands next to mine
Working this earth between us
The world falls away
When you shape the clay with me
[Chorus]
Like the clay beneath our fingers
You take the shape of my love
In this quiet space together
We touch earth, we touch love
(We touch love, we touch love)
[Verse 2]
They say we’re not worthy
Of temple or prayer
But every vessel we craft
Holds something divine
When I watch you work the wheel
[Pre-chorus]
Your fingers trace circles
Mine follow yours
The clay rises, spinning
Just like my heart
[Chorus]
Like the clay beneath our fingers
You take the shape of my love
In this quiet space together
We touch earth, we touch love
(We touch love, we touch love)
[Bridge]
Let them stand outside
Let them point and stare
In here we’re creating
Something pure and rare
Your hands on mine
Teaching me to trust
That love can transform
Simple earth to us
[Verse 3]
Each pot holds our story
Each bowl bears our touch
When darkness surrounds us
I remember your hands
Molding beauty from dust
[Chorus]
Like the clay beneath our fingers
You take the shape of my love
In this quiet space together
We touch earth, we touch love
(We touch love, we touch love)
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Social horror of touch—contrast with private tenderness.
Lyrics Prompt: They are called untouchable, but they touch each other with reverence the world will never know.
Music Prompt: Repetitive, glitchy beats with interruptions; resolved by a lush harmonic chorus.
[Verse 1]
Their rules declare
We fade like air
Through crowds unseeing
Past eyes averting
But in this space
Between heartbeats
Your fingertips prove
We’re more than ghosts
[Pre-chorus]
They say we’re nothing
(We’re nothing, nothing)
But I feel everything
When you’re close
[Chorus]
Their rules make us ghosts
But I feel you solid as stone
Oooh, solid as stone
(Solid as stone)
[Vocalization: Aaaaah-ooooh]
[Verse 2]
In darkened rooms
Where truth unveils
Your gentle touch
Makes atoms real
They cast us out
Beyond their walls
But we create
Our sacred halls
[Pre-chorus]
They say we’re broken
(We’re broken, broken)
But we’re unfolding
Into whole
[Chorus]
Their rules make us ghosts
But I feel you solid as stone
Oooh, solid as stone
(Solid as stone)
[Vocalization: Aaaaah-ooooh]
[Bridge]
In this moment
Time dissolves
(Time dissolves)
All their boundaries
Fall away
(Fall away)
What they deny
We sanctify
With reverent hands
We defy
[Final Chorus]
Their rules make us ghosts
But I feel you solid as stone
More real than their world
More true than their laws
Oooh, solid as stone
(Solid as stone)
[Vocalization: Aaaaah-ooooh]
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Shelter in their secret place, natural baptism.
Lyrics Prompt: Rain washes away names, castes, curses. The world outside floods, but inside their glen is dry and warm.
Music Prompt: Layered rain samples, synth pads, water droplets as percussion.
[Chorus]
The rain dissolves the world away
Nothing matters but today
The rain dissolves the world away
In our hidden place we’ll stay
(The rain dissolves the world away)
[Verse 1]
Come sit with me here
Away from their stares
The sky opens wide
And washes the air
Your hand in mine now
As water falls down
(The rain dissolves the world away)
[Chorus]
The rain dissolves the world away
Nothing matters but today
The rain dissolves the world away
In our hidden place we’ll stay
[Verse 2]
The leaves shelter us
Like wings from above
The mud on our feet
But pure is our love
Your smile breaks through clouds
No judgment allowed
(The rain dissolves the world away)
[Chorus]
The rain dissolves the world away
Nothing matters but today
The rain dissolves the world away
In our hidden place we’ll stay
[Bridge]
[Rain intensifies]
Their words can’t reach us
Their rules can’t bind us
Nature accepts us
The storm reminds us
(The rain dissolves it all)
(The rain dissolves it all)
(The rain dissolves it all)
[Final Verse]
Your eyes meet with mine
Through curtains of rain
Two souls intertwined
No sorrow, no shame
The water runs clean
And makes us unseen
(The rain dissolves the world away)
[Chorus]
The rain dissolves the world away
Nothing matters but today
The rain dissolves the world away
In our hidden place we’ll stay
(The rain dissolves the world away)
[Whispered]
Come sit with me here
Away from their stares
The sky opens wide
And washes the air
Your hand in mine now
As water falls down
(The rain dissolves the world away)
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: A sacred space they build without religion—only love.
Lyrics Prompt: No idol, no fire, no scripture. Just two men on a woven mat under starlight, inventing holiness.
Music Prompt: A celestial drone, distant temple bells slowed, human breath recorded and stretched.
[Intro – Spoken softly]
Tonight we make this ground pure
With nothing but our touch
No prayers but our breath
No shrine but us
[Chorus]
Tonight we are holy
Just you and me slowly
Dancing beneath stars
No gods where we are
(We are holy, we are pure)
(We are holy, that’s for sure)
[Verse 1]
In darkness deep
I watch you sleep
Your head on stone
We’re here alone
Far from their stares
And temple stairs
We built our space
In this wild place
[Chorus]
Tonight we are holy
Just you and me slowly
Dancing beneath stars
No gods where we are
(We are holy, we are pure)
(We are holy, that’s for sure)
[Verse 2]
Your simple mat
Is where we sat
And shared our bread
No words were said
Your gentle hands
They understand
What can’t be shown
In carved stone
[Chorus]
Tonight we are holy
Just you and me slowly
Dancing beneath stars
No gods where we are
(We are holy, we are pure)
(We are holy, that’s for sure)
[Bridge]
Listen close to what I’m saying
No more hiding, no more praying
To the ones who’d see us falling
This is love and it’s calling
Pure as rain and strong as stone
This ain’t sin, this here’s our home
They can keep their temple high
We got stars for you and I
[Chorus]
Tonight we are holy
Just you and me slowly
Dancing beneath stars
No gods where we are
(We are holy, we are pure)
(We are holy, that’s for sure)
[Outro]
Just breath and skin
That’s where we begin
Our temple stands
In joined hands
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Violence erupts—one is beaten after discovery.
Lyrics Prompt: The taste of betrayal. Milk soured by shame. Bangles shattered where they kissed.
Music Prompt: Harsh, glitchy rhythms, dissonant sitar, abrupt silences, mournful vocals.
[Verse 1]
Sweet milk on your lips that night
Your touch against forbidden skin
They saw us through the window pane
Everything we built, destroyed again
[Chorus]
Milk turns fucking sour now
Your taste mixed with blood in my mouth
They dragged you through the dirt
And I couldn’t stop the hurt
Milk turns fucking sour now
(Everything we had burns down)
[Pre-chorus]
(La-la-la, oh-oh)
Blood on the floor
Can’t wash it clean anymore
Your bangles scattered everywhere
[Sound: Glass shattering]
[Chorus]
Milk turns fucking sour now
Your taste mixed with blood in my mouth
They dragged you through the dirt
And I couldn’t stop the hurt
Milk turns fucking sour now
(Everything we had burns down)
[Verse 2]
Hidden touches, temple steps
Your prayers mixed with mine
Thought we found something pure
Till they made you pay the price
[Pre-chorus]
(La-la-la, oh-oh)
Pieces of glass
Cutting deep as I pass
Your bangles scattered everywhere
[Sound: Distorted sitar rise]
[Chorus]
Milk turns fucking sour now
Your taste mixed with blood in my mouth
They dragged you through the dirt
And I couldn’t stop the hurt
Milk turns fucking sour now
(Everything we had burns down)
[Bridge]
[Sound: Processed vocals/glitch beats]
Can’t drink from your cup no more
Can’t feel your skin no more
They broke us apart
They broke us apart
(Oh-oh-oh)
[Chorus]
Milk turns fucking sour now
Your taste mixed with blood in my mouth
They dragged you through the dirt
And I couldn’t stop the hurt
Milk turns fucking sour now
(Everything we had burns down)
[Verse 3]
Sweet milk turned to poison here
Your blood stains my hands
Empty temple, empty bed
Nothing pure remains
[Chorus]
Milk turns fucking sour now
Your taste mixed with blood in my mouth
They dragged you through the dirt
And I couldn’t stop the hurt
Milk turns fucking sour now
(Everything we had burns down)
[Chorus – Outro]
Milk turns fucking sour now
(La-la-la turns to screams)
Your taste mixed with blood in my mouth
They dragged you through the dirt
And I couldn’t stop the hurt
Milk turns fucking sour now
(Everything we had burns down)
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Exile—on the run, walking barefoot to a new place.
Lyrics Prompt: Each step leaves behind one rule, one cruelty. They head to the sea, to salt and sky.
Music Prompt: Footstep rhythm, wind harmonics, seagulls, harmonium swells.
[Verse 1]
I see your tired feet leave marks in the sand
Each step we take leaves another world behind
Your hand in mine as we run from their brand
Breaking free from the chains they tried to bind
I’ll carry you when your strength starts to fade
On this path where the salt winds guide the way
[Pre-chorus]
We walk to where sky meets sea
We walk to where sky meets sea
Nothing else but you and me
Nothing else but being free
[Chorus]
We walk to where sky meets sea (where sky meets sea)
Every footprint washes clean (washes clean)
No more walls to hold us back
Just the endless ocean track
We walk to where sky meets sea
[Verse 2]
The morning sun burns away all their stares
Your smile shines brighter than yesterday’s pain
Let them talk, let them point, we don’t care
Their rules dissolve like salt in the rain
I hear your voice carried high on the breeze
Singing hope as we walk towards the sea
[Pre-chorus]
We walk to where sky meets sea
We walk to where sky meets sea
Nothing else but you and me
Nothing else but being free
[Chorus]
We walk to where sky meets sea (where sky meets sea)
Every footprint washes clean (washes clean)
No more walls to hold us back
Just the endless ocean track
We walk to where sky meets sea
[Bridge]
[Wind harmonics]
Ohhhhh, ohhhhh, ayyyyyy
Let the wind take their words away
Ohhhhh, ohhhhh, ayyyyyy
Let the sea wash our past away
[Chorus]
We walk to where sky meets sea (where sky meets sea)
Every footprint washes clean (washes clean)
No more walls to hold us back
Just the endless ocean track
We walk to where sky meets sea
[Solo]
[Harmonium and seabird calls]
[Chorus]
We walk to where sky meets sea (where sky meets sea)
Every footprint washes clean (washes clean)
No more walls to hold us back
Just the endless ocean track
We walk to where sky meets sea
[Final Chorus]
We walk to where sky meets sea (where sky meets sea)
Every footprint washes clean (washes clean)
No more walls to hold us back
Just the endless ocean track
We walk to where sky meets sea
We walk to where we are free
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Liberation in nature—ritual immersion, rebirth.
Lyrics Prompt: The ocean opens its arms. No priest needed. They baptize each other with laughter.
Music Prompt: Ambient ocean field recording layered with tanpura and ambient chimes.
[Whispered]
Tonight we are holy, by water and will
Tonight we are holy, time standing still
The sea sees no standing, no rank and no name
Tonight we are holy, no guilt and no shame
[Intro – Spoken softly with ocean waves]
Brother of salt and sun, come here with me
Where waves wash worlds away
[Verse 1]
Bare feet in burning sand
Walking where we’re not allowed
Your fingers find mine in fading light
Sacred by our own rights
[Pre-chorus]
They say we’re less than dust
But tonight the tide turns trust
Into something pure and true
[Chorus]
Tonight we are holy, by water and will
Tonight we are holy, time standing still
The sea sees no standing, no rank and no name
Tonight we are holy, no guilt and no shame
[Verse 2]
Pearls pale beside your smile
As salt scrubs clean our scars
Breaking bonds that bind us down
Making prayers from splash and sound
[Pre-chorus]
They say we’re less than dust
But tonight the tide turns trust
Into something pure and true
[Chorus]
Tonight we are holy, by water and will
Tonight we are holy, time standing still
The sea sees no standing, no rank and no name
Tonight we are holy, no guilt and no shame
[Bridge]
(Let the water welcome us)
(Let the waves wash clean)
Standing strong in surging seas
Making our own ceremony
[Pre-chorus]
They say we’re less than dust
But tonight the tide turns trust
Into something pure and true
[Chorus]
Tonight we are holy, by water and will
Tonight we are holy, time standing still
The sea sees no standing, no rank and no name
Tonight we are holy, no guilt and no shame
[Chorus]
Tonight we are holy, by water and will
Tonight we are holy, time standing still
The sea sees no standing, no rank and no name
Tonight we are holy, no guilt and no shame
[Outro]
[Ocean sounds rise]
(Brother of salt and sun…)
Theme: Two marginalized “Untouchable” men, lovers, in 1900 India: Transcendence—death, or ascension. Their story survives, passed down in secret songs.
Lyrics Prompt: They became a myth. A constellation. A lesson for those who listen: love survives even untouchability.
Music Prompt: Ethereal ambient Indian musicand instrumentation with Lakshmi veena, layered chants, and cosmic synthesizers.
[Intro]
(soft veena and chant rise like dawn)
Whispers travel on the wind,
Names erased, but never gone.
Two shadows folded into flame,
Now constellations carry on…
[Verse 1]
They met where no one dares to look,
By moonlit well, by burning book.
Hands like prayer in secret night,
Hearts defied the castes of spite.
[Pre-Chorus]
And though the world would call them sin,
The sky wrote songs beneath their skin.
[Chorus]
Now they shine—
Untouchable, in the stars.
Love outlives the bars, the scars.
In every hush, in every psalm,
They rise above where pain was calm.
Untouchable… but never far.
They live in us. In who we are.
[Verse 2]
The temple bells refused to chime,
But stars kept time outside of time.
A sari torn, a turban shed,
They danced where angels fear to tread.
[Pre-Chorus]
And though the world would call them sin,
The sky wrote songs beneath their skin.
[Chorus]
Now they shine—
Untouchable, in the stars.
Love outlives the bars, the scars.
In every hush, in every psalm,
They rise above where pain was calm.
Untouchable… but never far.
They live in us. In who we are.
[Verse 3]
One bled red, one wept in white,
Their souls took flight into the night.
Ashes hidden in the trees,
Names intoned on monsoon breeze.
[Pre-Chorus]
And though the world would call them sin,
The sky wrote songs beneath their skin.
[Chorus]
Now they shine—
Untouchable, in the stars.
Love outlives the bars, the scars.
In every hush, in every psalm,
They rise above where pain was calm.
Untouchable… but never far.
They live in us. In who we are.
[Verse 4]
Villagers say, on quiet days,
You’ll hear their song in temple haze.
A veena weeps, the thunder sighs—
The myth returns when justice cries.
[Pre-Chorus]
And though they fell, they never broke—
Their vow, the stars themselves evoked.
[Chorus]
Now they shine—
Untouchable, in the stars.
Love outlives the bars, the scars.
In every hush, in every psalm,
They rise above where pain was calm.
Untouchable… but never far.
They live in us. In who we are.
[Bridge]
(chant and synth rise)
Can you see them, just before dawn?
Their fingers clasped, their bodies gone.
But love—love burns where eyes can’t see.
They became what we might be.
[Pre-Chorus]
And though the world would call them sin,
The sky wrote songs beneath their skin.
[Chorus]
Now they shine—
Untouchable, in the stars.
Love outlives the bars, the scars.
In every hush, in every psalm,
They rise above where pain was calm.
Untouchable… but never far.
They live in us. In who we are.
[Pre-Chorus]
And though the world would call them sin,
The sky wrote songs beneath their skin.
[Chorus]
Now they shine—
Untouchable, in the stars.
Love outlives the bars, the scars.
In every hush, in every psalm,
They rise above where pain was calm.
Untouchable… but never far.
They live in us. In who we are.
[Outro]
(fading veena, wind and chant)
So light a lamp, and sing it low—
The stars remember what we know.
They loved beyond the world’s decree…
Untouchable.
Eternal.
Free.
In India’s vast and complex social fabric, the caste system has long defined the contours of privilege, labor, and oppression. At the very bottom of this hierarchy lies a group historically labeled as “Untouchables”—a term now widely replaced by Dalits, meaning “the broken” or “oppressed” in Sanskrit. Despite centuries of resilience and social reform, Dalits still face deep-rooted discrimination, violence, and systemic exclusion in many parts of India and the diaspora.
This article explores the origins of the “Untouchable” caste, the historical injustices they’ve endured, ongoing social and political struggles, and the powerful movements of resistance and transformation led by Dalits themselves.
The caste system, or varna hierarchy, is an ancient social order originating in Vedic texts, with four principal classes: Brahmins (priests), Kshatriyas (warriors), Vaishyas (traders), and Shudras (laborers). Dalits were excluded entirely from this system and categorized as Avarna—outside the caste system. They were assigned tasks considered polluting, such as cleaning latrines, disposing of dead animals, tanning leather, or sweeping streets.
These tasks led to their designation as “Untouchables,” with upper castes believing that physical contact or even a Dalit’s shadow could defile them.
For centuries, untouchability dictated nearly every aspect of a Dalit’s life:
Untouchability was not just practiced in Hindu society—it extended, to varying degrees, into Sikhism, Christianity, and Islam in the subcontinent as well, despite these religions’ official rejection of caste.
During British colonial rule, caste divisions were codified and institutionalized in census categories and administrative roles. Yet this period also saw the rise of Dalit resistance and social reform movements:
The most radical and influential figure was Dr. B.R. Ambedkar, a Dalit scholar, lawyer, and architect of the Indian Constitution. Ambedkar converted to Buddhism in 1956 with thousands of followers, rejecting Hinduism’s caste hierarchy.
The Indian Constitution, adopted in 1950, abolished untouchability (Article 17) and guaranteed affirmative action (reservations) in education, government jobs, and legislatures for Scheduled Castes (SCs).
Yet legal protections have not translated into social equality:
Dalits have responded not only with protest but with rich cultural expression:
The rise of Dalit icons like Rohith Vemula, Gogu Shyamala, and Kancha Ilaiah has energized a new generation.
Dalits constitute about 16–17% of India’s population, yet political representation remains limited or tokenized. Key developments include:
Yet caste-based discrimination in politics often takes subtle, systemic forms, and mainstream parties rarely prioritize Dalit issues.
Caste discrimination isn’t confined to India:
Dalit movements now connect globally, using platforms like Equality Labs and Dalit History Month to amplify awareness and solidarity.
Dalit liberation is no longer only about protection from violence—it’s a movement toward dignity, self-determination, and structural transformation.
Key to this are:
Dalit youth are at the vanguard of this revolution, wielding the internet, art, and activism as tools of change.
“The Untouchable” is not a fixed identity—it is a label imposed by an unjust system. Yet the Dalit community has refused to be defined by victimhood. They are scholars, artists, politicians, workers, spiritual leaders, and warriors of dignity.
As India and the world confront systemic inequalities, the story of Dalits serves as a mirror—and a call to action. To recognize the depth of this history is to reckon with caste, privilege, and the possibility of collective liberation.
Further Reading & Resources:
Annihilation of Caste by Dr. B.R. Ambedkar
The Persistence of Caste by Anand Teltumbde
The provided text centers around TATANKA, an organization dedicated to amplifying marginalized voices through art, particularly music. It introduces “Untouchable: A Love Beyond Measure,” an AI-generated multimedia album and concept that reimagines the lives of two queer, marginalized Indian men in 1900, using their forbidden love as a metaphor for resilience against caste, racial, and colonial oppression. The album aims to reclaim the term “Untouchable” as sacred and explores themes of intersectionality, sacred love, and identity reclamation through myth and music. Additionally, the source provides an in-depth historical overview of India’s Dalit community, explaining the origins and ongoing challenges of untouchability, underscoring the social and political context that gives meaning to TATANKA’s artistic and humanitarian mission.
This briefing synthesizes information from “Untouchable: A Love Beyond Measure (AI Gen) – TATANKA” and “The Untouchable: History, Reality, and Resistance of India’s Dalit Community” to provide a detailed overview of the TATANKA project and the broader context of Dalit identity and struggles.
Untouchable: A Love Beyond Measure is a multimedia album and cultural offering by TATANKA that serves as “an act of radical remembrance, beauty, and defiance.” It centers on a fictional love story between “two queer, marginalized Indian men in 1900 who dare to love amidst the crushing weight of caste, race, and colonialism.” The project leverages AI generation tools in its creation process (Human, ChatGPT.com, Meta.ai, Riffusion.com, Suno.com, Kits.ai, Moises.ai, Audacity, Ubuntu).
The project explores three central subtopics:
The story features two protagonists: “a dark-skinned Tamil leatherworker and a half-African Siddhi potter.” They represent those “doubly and triply marginalized, not just by caste, but by sexuality and race.” Their union forms “its own caste—a private universe built from exile.” The album’s 12 tracks trace their journey from ancestral trauma (“Ashes of the First Fire”) to transcendence (“Untouchable, In the Stars”).
Untouchable is more than art; it’s a “curriculum of compassion” and a “poetic revolution.” It aims to “make space for those still fighting to love openly without fear,” making “memory as activism.” It emphasizes that “what is denied by society can still be sanctified by love.”
The provided text includes a short story about Sujanthan, a young Indian leatherworker, whose music, created in secret, is discovered by TATANKA. He is invited to join their “Orchestra Americana,” described as “a collective of the misheard, the displaced, the unwanted.” This narrative mirrors the core themes of Untouchable, illustrating TATANKA’s mission to “reclaim[] those pushed to the periphery and the radical act of placing their voices—unapologetically—at the center.” Sujanthan’s journey from being called “darkie,” “leather boy,” “that one” to playing his music on a stage streamed live to the world demonstrates the project’s goal of amplifying, honoring, and evolving “the very architecture of belonging.”
This source provides critical historical and social context for the Untouchable project by detailing the origins, struggles, and resistance of India’s Dalit community.
The Untouchable album directly addresses the historical context and ongoing struggles detailed in the “History, Reality, and Resistance” source. By setting its narrative in 1900 India, it focuses on the “apex of The Untouchables’ marginalization,” before constitutional abolition. The project’s emphasis on queer Dalit lives highlights the intersectional nature of oppression, echoing the “queer Dalit activist from Delhi” who states, “For a Dalit queer person, love is twice as risky. The violence we face isn’t just about gender; it’s about protecting caste hierarchies, about reminding us of where we ‘belong.’”
Both sources underscore the concept of reclaiming identity and building self-defined dignity in the face of systemic dehumanization. Untouchable acts as a powerful artistic manifestation of the “rich cultural expression” and “resistance” described in the historical overview, proving that “what the world calls untouchable is simply what it cannot yet comprehend as divine.”
“Untouchable: A Love Beyond Measure” is a multimedia album that centers on the forbidden love between two queer, marginalized Indian men in 1900. Its central theme is the sacredness of their love and the radical redefinition of “Untouchable.” The project challenges the traditional, derogatory meaning of “Untouchable” (referring to those outside the caste system in India, considered impure) by reframing it as something holy and divine. Instead of a label of shame, “Untouchable” becomes an invocation of that which cannot be defiled, only revered. The love between the protagonists, in its purity and defiance of societal norms, transcends the very systems of caste, race, and colonialism that seek to define and devalue them. Their intimacy creates a “secret caste” or “private universe,” a “utopia” where they are transcendent and “above the highest caste,” ultimately transforming “shame into reverence.”
The album powerfully explores the brutal convergence of caste-based violence and homophobia in 1900 India. The protagonists, a dark-skinned Tamil leatherworker and a half-African Siddhi potter, represent individuals doubly and triply marginalized by caste, sexuality, and race. Their union is presented as a counter-narrative, where they do not seek inclusion but rather transcend the systems that exclude them. The project uses traditional Indian instruments, folk motifs, and spiritually rooted themes to shatter the myth that Indian queerness is a Western import, emphasizing that queer love has always existed in India, often hidden but never extinguished. By honoring these historical figures, the album also serves as a mirror to modern injustice, highlighting the persistent generational trauma faced by Dalit queer individuals today, for whom love remains “twice as risky.”
“Untouchable” portrays forbidden love as a sacred connection, transforming ordinary acts into rituals. For the protagonists, who are denied access to temples, gods, and dignity by society, love itself becomes the holy space. Songs like “Temple of No Gods” depict the lovers consecrating each other without external validation, creating their own “temple” where their intimacy is revered. The album’s rich ambient sound design and poetic lyrics, such as the haunting refrain “They say we’re ghosts, but I feel you solid as stone” in “To Be Touched,” emphasize that their touch, far from being forbidden, is made divine. This radical reframing forces listeners to question why pure love is punished, asserting that “what is denied by society can still be sanctified by love.”
TATANKA, through initiatives like “Orchestra Americana,” serves as a platform for reclaiming and amplifying the voices of those pushed to the periphery. The story of Sujanthan, a “darkie,” “leather boy” denied his name and identity, exemplifies this mission. Invited to join Orchestra Americana, Sujanthan, a Dalit, is given space to create music without shame or societal constraints. The collective, composed of “the misheard, the displaced, the unwanted” from diverse marginalized backgrounds, intentionally places these voices at the center. By providing a “sanctuary” where individuals can “evolve the very architecture of belonging,” TATANKA fosters “divinity through difference,” proving that when institutions shut their doors, one can “build a stage in the grass” and “sing anyway.”
Historically, “Untouchables” were a group in India considered entirely outside the traditional four-tiered caste system (Brahmin, Kshatriya, Vaishya, Shudra), thus categorized as Avarna. They were assigned tasks deemed “polluting,” such as cleaning latrines, disposing of dead animals, and tanning leather. Physical contact or even their shadow was believed to defile upper castes, leading to centuries of segregated housing, denial of access to public resources like temples and wells, and violent punishment for violating caste boundaries. While the Indian Constitution abolished untouchability in 1950, and the term “Dalits” (meaning “the broken” or “oppressed”) is now widely used, caste-based discrimination, violence, and economic exclusion persist in India and among the diaspora.
Dr. B.R. Ambedkar was a pivotal and influential figure in the Dalit liberation movement. A Dalit scholar, lawyer, and the chief architect of the Indian Constitution, he was instrumental in legally abolishing untouchability (Article 17) and guaranteeing affirmative action (reservations) for Scheduled Castes in education, government jobs, and legislatures. Ambedkar rejected Hinduism’s caste hierarchy, notably converting to Buddhism in 1956 with thousands of followers as a symbolic act of liberation. His intellectual contributions, legal reforms, and activism laid the groundwork for modern Dalit rights, making him a central icon for the community’s ongoing struggle for dignity and self-determination.
Despite legal abolition, Dalits continue to face severe challenges. Caste-based violence remains prevalent, with Dalit women disproportionately targeted in sexual violence and communities experiencing social boycotts, arson, and lynching. Occupations like manual scavenging, though banned, persist. Economic exclusion is widespread, characterized by landlessness, limited access to capital, and employment discrimination. Globally, in the South Asian diaspora, caste bias is reported in various sectors like universities, tech firms, and religious institutions. While international recognition is growing, with cases like California’s Cisco case highlighting caste discrimination, the struggle for true social equality and the dismantling of the caste system continues.
“Untouchable: A Love Beyond Measure” contributes to the Dalit movement by engaging in “myth-making” and “radical remembrance.” It intentionally rewrites who and what is considered worthy of story, song, and sanctity, transforming the word “Untouchable” from a label of shame into one of reverence. By depicting a fictional story set in 1900 India, it unearths a history of queer Dalit love that has been hidden and punished, providing a voice to those still fighting to love openly today. The album’s structure, blending ambient textures with folk instrumentation and Indian classical with African rhythms, creates a “third space” that defies traditional caste, gender, and religious boundaries, becoming a “revolutionary tool” for recognition and resistance. It serves as a “curriculum of compassion” and a “soundscape of sanctity,” reinforcing the idea that “what is denied by society can still be sanctified by love.”
This study guide is designed to help you review and deepen your understanding of the provided source material, “Untouchable: A Love Beyond Measure (AI Gen) – TATANKA” and “The Untouchable: History, Reality, and Resistance of India’s Dalit Community.”
Answer each question in 2-3 sentences.
Vedic texts: A large body of religious texts originating in ancient India, which form the earliest layers of Sanskrit literature and the sacred texts of Hinduism, establishing the basis for the varna system.
AudAI™Music: An AI-generated music platform or technology associated with TATANKA.
Avarna: A term used in the Vedic caste system to denote those outside the four principal classes (Brahmins, Kshatriyas, Vaishyas, Shudras). Dalits were categorized as Avarna.
B.R. Ambedkar: Dr. Bhimrao Ramji Ambedkar (1891-1956) was a prominent Indian jurist, economist, social reformer, and political leader. He was a key figure in the Dalit rights movement and the principal architect of the Constitution of India.
Bansuri: A side-blown flute originating from the Indian subcontinent.
Brahmanical patriarchy: A social structure and ideology rooted in Brahminical traditions that promotes hierarchical power dynamics, often leading to the subjugation of lower castes and women.
Caste System (Varna): An ancient hierarchical social order in India, traditionally comprising four main classes: Brahmins (priests), Kshatriyas (warriors), Vaishyas (traders), and Shudras (laborers). Dalits were outside this system.
Dalits: A term meaning “the broken” or “oppressed” in Sanskrit, now widely used to refer to the community historically known as “Untouchables” in India.
Dhoti: A traditional garment worn by men in India, resembling a loincloth or skirt.
Djembe: A rope-tuned goblet drum with a skin head, originating from West Africa.
Endogamy: The practice of marrying only within a specific ethnic group, class, or social group; in the context of caste, it ensured individuals married within their caste.
Equality Labs: A Dalit civil rights organization based in the United States that works on issues of caste equity and discrimination globally.
Harijan: A term meaning “children of God” coined by Mahatma Gandhi to refer to Dalits; however, it was criticized by many Dalits as patronizing.
Harmonium: A free-standing keyboard instrument similar to a reed organ, often used in Indian classical music.
Kshatriyas: The second highest varna in the Hindu caste system, traditionally associated with warriors, rulers, and administrators.
Lakshmi veena: A type of stringed musical instrument, specifically a variant of the veena, used in Indian classical music.
Manual scavenging: A banned but still-practiced occupation in India involving the manual cleaning, carrying, and disposal of untreated human excreta from dry latrines and sewers without protective gear.
Monsoon: A seasonal prevailing wind in the region of South and Southeast Asia, blowing from the southwest in summer and bringing heavy rains.
Orchestra Americana: A collective of diverse, often marginalized artists within the TATANKA organization, aimed at amplifying their voices and stories through music.
Siddhis: An ethnic group in India and Pakistan, descended from Bantu peoples of Southeast Africa, brought to the Indian subcontinent as slaves, merchants, or sailors.
Sitar: A plucked stringed instrument used mainly in Hindustani classical music and Indian classical music.
Sujathan: The individual featured in “When the Sky Sang Back,” whose personal story of marginalization and musical discovery embodies TATANKA’s mission.
Tabla: A pair of small hand drums, one tuned to a specific pitch and the other acting as a bass drum, used in Hindustani classical music.
Tamil: Referring to the Tamil people, an ethnic group native to Tamil Nadu state in southern India and Sri Lanka.
Tanpura: A long-necked plucked string instrument, providing a continuous harmonic drone in Indian classical music.
TATANKA: An organization or platform that focuses on music, AI, and social change, dedicated to amplifying marginalized voices and creating new forms of artistic expression.
“The Broken” / “Oppressed”: Meanings of the Sanskrit word “Dalit.”
“The Untouchables”: The historical and now offensive term for the Dalit community in India, who were considered outside the caste system due to their association with “polluting” tasks.
Varna: The Sanskrit term for the four principal classes of the Hindu caste system (Brahmins, Kshatriyas, Vaishyas, Shudras).
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