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Abstract

What happens when a commitment to collaborative ethnographic filmmaking runs up against a community’s ambivalence toward its own history? This work provides an ethnohistorical account of the making of the film Please Don’t Beat Me, Sir!, exploring how colonial-era “police ethnographies” and contemporary communal politics shape the collaborative endeavor. The film was made in collaboration with Budhan Theatre, an activist theater troupe from the Chhara community in the Indian city of Ahmedabad, Gujarat. The Chhara are one of more than 198 communities labeled as “Criminal Tribes” by the British, a colonial legacy that still informs their interactions with the police. Inspired by the work of Jean Rouch, the film makes use of experimental ethnographic and cinematic techniques. These participation frameworks allowed the members of Budhan Theatre and their families to shape the structure and content of the film itself, a process sometimes at odds with the film’s ethnographic intent.

Keywords

Collaborative ethnography ethnographic film DNTs criminal tribes India Jean Rouch

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