Dalit Christian P. K. Rosy was from Pevad, Thiruvanathapuram, Kerala, India. She is renowned for being Vigathakumaran, the first Malayalam movie’s first heroine.
Was the film’s director. Daniel C. It was established in 1928 and has been a major source of conflict in the Keralan film industry. Many movies have attempted to tell the story of her life, including Kamal’s Celluloid, which is based on J. Daniel C. The novel Nashta Naayika by Vinu Abraham, which tells the story of Rosy, who starred in his debut movie, served as the inspiration for the movie. The Lost Child and This Is Rosy’s have also been released as other movies that are loosely based on her life.
A well-known journalist and Dalit activist named Kunnukuzhi Mani spent years visiting Rosy’s relatives to piece together a complete account of her background. He wrote about Rosy in several Malayalam journals, including Chithrabhumi, Chandrika, Tejas, and Samakalina Masika.
There have been numerous attempts to reestablish P.K. Rosy as a significant Dalit actress in Malayalam cinema, such as the P K Rosy Smaraka Samithi, which was established in P.K. Rosy’s honor by Kerala’s Minister of Cinema, Thiruvanchoor Radhakrishnan.
Similarly to that, Jenny Rowena presided over the inaugural P.K. Rosy Memorial Lecture, which was presented in 2013 at Jamia Millia Islamia.
The talk concentrated on the politics of caste-based oppression that Dalit women experienced in Malayalam cinema. It explores the idea that Dalit actresses face caste-based discrimination and class politics in the entertainment business.
K. Rosy was born to a Pulaya family in Trivandrum in 1903. When she was quite young, her father passed suddenly, leaving her in charge of caring for her ailing mother and younger brother.
She then relocated to Kavalur to live with her uncles, where she and the rest of her family continued to worklaborersrers. She was from a family of lawnmowers which is a subcaste of Dalits in the Indian caste system (or untouchables).
She had an early interest in and aptitude for theatre. She enjoyed appearing in plays and insisted on attending practice sessions at the traditional performing arts school where she attended Kakkarashi (folk dance and drama).
P.K. Rosy carried on with this despite her grandfather’s wishes and stayed in Thycaud, Thiruvananthapuram, where she joined a theatrical company. At a period when there were significant barriers preventing women from entering the theatre and the film industry, Rosy pursued her passion for theatre.
There have been arguments over whether P. K. Rosy converted to Christianity, with many of her family members stating that it was her stepfather who did so to get her accepted into a local Christian missionary school. However, her sons acknowledge that their mother came from a Nair household, the same caste as they do. She is recognized as the first female Dalit actor.
K. Rosy gained prominence as a figure who questioned the accepted views, making it difficult for women from different classes to participate in theatre. It was common to practice to only allow actresses from the upper caste admittance into theatres and movie theatres. This existed in the Malayalam film business, which was P.K. Rosy’s field of work.
Her biography provides insight into the constraints of the upper-caste-dominated industry and provides context for the politics of gender, caste, society, and Indian cinema.
Life after movies
When Kesava Pillai’s vehicle, traveling to Tamil Nadu, arrived, Rosy was able to flee. He decided to load her onto the truck that was returning to Nagercoil. She was transported back to his house after the incident was reported to the Nagercoil Police Station.
Tsignaledlled Rosy’s departure from the movie industry. She got married to the truck driver, a Nair family member. Many people find this tale odd considering that she played a Nair woman in her only acting role in Vigathakumaran. After that, she wed Nair Kesava Pillai.
Death and Legacy
After the movie’s release, Rosy never achieved major popularity but instead chose to live a quiet life away from acting.
We didn’t know about her until Dalit activists told the tale of her life through politicizationtion and underrepresentation of Dalit women in mainstream media.
Numerous Dalit activists, like Jenny Rowena, have discussed the systemic exclusion of Dalit women from Kerala’s public life. She continues by talking about caste and gender myths and the parts they play in current business politics.