Can a creative self encompass a community’s celebration, troubles, hunger, pain, despair, desire, and sense of abandonment, as well as its numerous ancestral memories? And if it is possible that all this can be encompassed, what kind of expressive form does this creative self take? While searching for these answers, I encountered K.B. Siddaiah’s poetry that challenged me to journey playfully with it. This is how Dakladevi Devikavya began to take shape. The poetry initially felt combative and stood stubborn. But the more I played with it, it started revealing its vibrancy, tempo, rhythm, colour, and scent, as well as its limitless pain, amusement, and hunger. In the process of sculpting this poetry for stage, it was a wonder to witness how the use of the instruments, areye and tamte- as ancient as the oldest inhabitants of the land- lent a primordial resonance to the stage and embraced the actors’ bodies that played along to its beats. This process returned us to our cultural memories and made us witness its infinite life-affirming compassion and wisdom. I believe that some of these experiences will touch the audiences and make them resonate with the world of untouchability.