Exploring Tribal Resistance and Indigenous Epistemologies in Indian Cinema through Kantara and Joram

Abstract

Indian cinema is emerging as a powerful tool for telling stories that not only challenge the dominant discourse of development and modern progress but also highlight the tribal struggle for resistance. This paper compares two films: Kantara (2022) and Joram (2023), both of which portray the struggle of tribal people to resist forced displacement and the loss of their culture. Kantara portrays the struggle of tribal people using myths and spiritual relationships with nature to highlight the strength of tribal thought as a form of resistance. The film blends myths with divine concepts to highlight the weakness of modern law and the legitimacy of tribal thought. Conversely, Joram portrays the harsh reality of forced displacement and the violence of development using realistic narrative techniques to make the struggle of tribal people visible. Through an in-depth analysis of both films, the paper will demonstrate that they highlight the strength of tribal people’s voices in resistance. Although the films have different narrative styles, they both highlight the power of tribal people’s voices in resistance. The research paper is based on the theories of Subaltern Studies and those of diversity and plurality of knowledge. It is also informed by other important research works on tribal displacement (Pattnaik, 2013; Joseph & Beegom, 2017), tribal life depicted in cinema (Kumar, 2024; Varughese & Mukherjee, 2024), etc. The research argues that both Kantara and Joram are highly effective counter-narratives that challenge the conventional, state-endorsed notion of development.