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Adivasi Committee Calls for Removal of Tribal-Stereotyping Language from Ram Charans Peddi
On 16 June 2026, Tummi Appala Raju Dora, president of the Adivasi Joint Action Committee for Tribal Rights in Vizianagaram district, filed a formal request with the Central Board of Film Certification (CBFC) to excise the phrase “Kondana Kodaka” from the Telugu film Peddi. The committee said the wording was offensive to tribal communities in the region and could expose the filmmakers to legal action under the Scheduled Castes and Scheduled Tribes (Prevention of Atrocities) Act, 1989.
The petition, submitted to Vizianagaram Superintendent of Police A.R. Damodar, cites the CBFC’s mandate to ensure that film content does not incite hatred or discrimination against protected groups. According to the committee, the term “Kondana Kodaka” is a derogatory label historically used against tribal people. The committee’s statement also warned that the CBFC could be compelled to remove the phrase or face potential litigation.
Dora accused director Buchi Babu Sana of “crossing all limits” in depicting tribal life under the pretext of creative freedom. He urged filmmakers to consult tribal experts before producing content that could be interpreted as offensive. The committee’s appeal follows a series of complaints that have already reached the CBFC regarding Peddi.
Peddi premiered on 4 June 2026 and quickly became the highest‑grossing Telugu film of the year. The film follows a daily wager in a remote hamlet who turns to sport to assert his identity. It stars Ram Charan in the title role, with supporting performances from Shivarajkumar, Jagapathi Babu, Divyenndu and Boman Irani. A.R. Rahman composed the original score, while cinematographer Rathnavelu handled the visual presentation.
The film’s release was not without controversy. Earlier in the month, director Sana faced criticism over a romantic scene involving Janhvi Kapoor and allegations that her character was objectified. Sana issued a statement on X, acknowledging the feedback and promising to revise the contentious portions. He added that the film should “entertain, inspire, and connect with audiences” and that he had not intended to disrespect any female character.
The CBFC’s involvement in Peddi is part of a broader trend of the board reviewing content that may contravene the Prevention of Atrocities Act. The act, enacted in 1989, prohibits the use of slurs and derogatory language against scheduled castes and tribes. While the CBFC has previously removed references to protected groups in other films, the current request is the first instance of a tribal rights group directly petitioning the board over a specific phrase.
Industry observers note that the request could set a precedent for future film certification reviews. The Adivasi committee’s appeal highlights the growing sensitivity around representation of marginalized communities in mainstream cinema. The committee’s statement also reflects a broader push for greater accountability among filmmakers regarding cultural stereotypes.
In response to the petition, the CBFC has not yet issued a public statement. The board typically reviews complaints within 30 days, after which it may order edits or refuse certification. If the CBFC removes the phrase, it would be the first time a film’s certification has been altered on the basis of tribal‑rights concerns.
The controversy surrounding Peddi underscores the tension between artistic expression and social responsibility in Indian cinema. While the film’s commercial success demonstrates strong audience reception, the legal and ethical questions raised by the Adivasi committee may influence future productions. The CBFC’s decision will be closely watched by filmmakers, distributors, and advocacy groups alike.
As of now, Peddi remains in theatres across India and in select international markets. No official timeline has been announced for a potential re‑release with the requested edits. The CBFC’s forthcoming decision will determine whether the film’s certification is altered or whether the committee’s concerns are addressed through a revised cut.
The situation remains fluid, with the CBFC expected to respond in the coming weeks. Stakeholders will be monitoring the outcome for its implications on film certification, representation of tribal communities, and the broader dialogue about cultural sensitivity in Indian cinema.
The petition, submitted to Vizianagaram Superintendent of Police A.R. Damodar, cites the CBFC’s mandate to ensure that film content does not incite hatred or discrimination against protected groups. According to the committee, the term “Kondana Kodaka” is a derogatory label historically used against tribal people. The committee’s statement also warned that the CBFC could be compelled to remove the phrase or face potential litigation.
Dora accused director Buchi Babu Sana of “crossing all limits” in depicting tribal life under the pretext of creative freedom. He urged filmmakers to consult tribal experts before producing content that could be interpreted as offensive. The committee’s appeal follows a series of complaints that have already reached the CBFC regarding Peddi.
Peddi premiered on 4 June 2026 and quickly became the highest‑grossing Telugu film of the year. The film follows a daily wager in a remote hamlet who turns to sport to assert his identity. It stars Ram Charan in the title role, with supporting performances from Shivarajkumar, Jagapathi Babu, Divyenndu and Boman Irani. A.R. Rahman composed the original score, while cinematographer Rathnavelu handled the visual presentation.
The film’s release was not without controversy. Earlier in the month, director Sana faced criticism over a romantic scene involving Janhvi Kapoor and allegations that her character was objectified. Sana issued a statement on X, acknowledging the feedback and promising to revise the contentious portions. He added that the film should “entertain, inspire, and connect with audiences” and that he had not intended to disrespect any female character.
The CBFC’s involvement in Peddi is part of a broader trend of the board reviewing content that may contravene the Prevention of Atrocities Act. The act, enacted in 1989, prohibits the use of slurs and derogatory language against scheduled castes and tribes. While the CBFC has previously removed references to protected groups in other films, the current request is the first instance of a tribal rights group directly petitioning the board over a specific phrase.
Industry observers note that the request could set a precedent for future film certification reviews. The Adivasi committee’s appeal highlights the growing sensitivity around representation of marginalized communities in mainstream cinema. The committee’s statement also reflects a broader push for greater accountability among filmmakers regarding cultural stereotypes.
In response to the petition, the CBFC has not yet issued a public statement. The board typically reviews complaints within 30 days, after which it may order edits or refuse certification. If the CBFC removes the phrase, it would be the first time a film’s certification has been altered on the basis of tribal‑rights concerns.
The controversy surrounding Peddi underscores the tension between artistic expression and social responsibility in Indian cinema. While the film’s commercial success demonstrates strong audience reception, the legal and ethical questions raised by the Adivasi committee may influence future productions. The CBFC’s decision will be closely watched by filmmakers, distributors, and advocacy groups alike.
As of now, Peddi remains in theatres across India and in select international markets. No official timeline has been announced for a potential re‑release with the requested edits. The CBFC’s forthcoming decision will determine whether the film’s certification is altered or whether the committee’s concerns are addressed through a revised cut.
The situation remains fluid, with the CBFC expected to respond in the coming weeks. Stakeholders will be monitoring the outcome for its implications on film certification, representation of tribal communities, and the broader dialogue about cultural sensitivity in Indian cinema.
