“And, more importantly, could one situate oneself at the centre of caste politics in India even when at the periphery or vice versa without losing sight of either? Within this spectrum of dialogue, art survives as Sunil Awachar, Prabhakar Kamble, Sajan Mani and Rajyashri Goody showed us. In all their works you find that when something is viewed from the inside, it radiates out through every window, door, crack and crevice, till you cannot delineate where it really began. Till you realise, it does not matter. ”

— Praveena Shivram (source : artsIllustrated.com)

“This forms parallels with the work of Sajan Mani, an art activist who insists that history increasingly contains “so much fake information” and is troubled by the way it is built within the structure of the caste system. Mani uses old police reports, visual encyclopedias and current media portrayals as a backdrop for his performances, focusing on knowledge production and caste politics..”

— Cleo Roberts (source: theconversation.com)

“ It questions the relationship of food with the body and its identity. He is clad in just a loin cloth, his body and hair painted with a greenish blue fruity colour. A pile of eggs are arranged in a circle, with two chickens cut in half placed around the eggs, dipped in the green. Three eggs at the top are white in colour. He lies immobile through Bisaji’s performance, and when he moves, someone in the audience gasps, “I thought it was a statue!”

He gazes at the eggs and chicken, rubs a white egg against his neck and face, climbs into a small tin tub and pours water over his body. Then he climbs out, takes a white egg again and rubs it on his forearm. He seems to be wondering if his skin has whitened. It hasn’t. He continues washing until all the paint washes out.”

— goastreets.com (source: goastreets.com)