“Lalu Has Put the Smallest Castes on a Pedestal”: An Untold 1991 Story of Music, Politics and Social Change at 1 Anne Marg

An untold and evocative chapter from RJD supremo Lalu Prasad Yadav’s political life, dating back to 1991, sheds light on how grassroots politics, cultural assertion and social symbolism shaped his rise—and how that rise was celebrated in an unconventional manner at his official residence, 1 Anne Marg.

In his autobiography “Gopalganj to Raisina: My Political Journey”, Lalu Prasad Yadav reflects on the 1991 Lok Sabha election victory, offering rare insights into how the marginalized sections of society became the backbone of his political success. He candidly acknowledges that his politics of confronting entrenched elites—upper castes and bureaucratic power structures—resonated deeply with the poor and the socially oppressed.

Politics of the Marginalised

Lalu writes that political analysts attributed his 1991 success to various factors—candidate selection, mass connect, Muslim–Backward Class consolidation, and even his humor. However, he admits that provoking the powerless to challenge feudal dominance, even at the cost of being labeled populist, played a decisive role.

One poignant anecdote in the book revolves around Laxminiya, a woman from the Musahar community in a village near Punpun in the Barh parliamentary constituency. Lalu recounts meeting her during the campaign, embracing her children, ensuring financial help, and urging her to educate them. He notes that he had known her since his early days living in a peon’s quarters at the Veterinary College campus, where he regularly interacted with Musahar families, sharing their hardships and offering whatever support he could.

Reflecting on the election results, Lalu says Laxminiya’s face repeatedly came to his mind. He realized that thousands of women like her—symbolizing the most deprived—had voted decisively, sidelining the traditional elites in one stroke. “They saw in me an elder brother,” he writes, adding that this emotional bond translated into electoral strength.

‘Jinn’ from the Ballot Box

To explain this phenomenon, Lalu popularized the metaphor of the “jinn coming out of the ballot box”, a phrase he often used after elections to indicate the unexpected power of the marginalized vote. He argues that his political opponents failed to understand this social undercurrent, wrongly alleging vote manipulation, even as the Janata Dal performed poorly in other parts of the country.

“Yes, I Uplifted the Small Castes”

Lalu acknowledges criticism from leaders with an RSS-BJP mindset, who accused him of “putting the smallest castes on his head”—a charge he accepts without regret. “They were right in a way,” he writes, “because I was happy that the oppressed were finally speaking against feudalism.”

A Night of Folk Music at 1 Anne Marg

Perhaps the most striking episode is how Lalu chose to celebrate his victory. Instead of elite gatherings, he invited folk singers of Chaita, Birha, Sorathi, Birijabhar and Saranga–Sadbaj traditions—artists from remote and marginalized backgrounds—to 1 Anne Marg. Lalu spent the entire night immersed in their music.

He notes that no chief minister before him had invited such grassroots folk artists to the official residence, calling it both a celebration and a statement of social transformation. For years, he marked his electoral victories in a similar manner—through cultural assertion rather than ceremonial grandeur.

Policy Follow-Through

Lalu also links symbolism with policy. After 1991, he decided to open 300 special schools for Musahar children, starting with one in Punpun Mushari, where Laxminiya lived. In the 1993–94 state budget, his government allocated a substantial share to primary education, a trend that continued throughout his tenure.

The narrative paints a portrait of a leader who blended politics, culture and social justice, celebrating electoral success not just as personal triumph, but as a collective assertion of the voiceless—through music, memory and movement.