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Phulwa
Also known asPhulwa Choti Dulhan
GenreDrama
Written by
Directed byBalkrishna Singh Rahul pandey
Creative directorIndrahit Mukharjee
StarringSee below
Theme music composerDony Hazarika
Country of originIndia
Original languageHindi
No. of seasons1
No. of episodes277
Production
Producers
  • Vikas Sethi
  • Siddarth Kumar Tewary
CinematographyShailesh Monare
Camera setupMulti-camera
Running timeApprox. 24 minutes
Production companySwastik Productions
Original release
NetworkColors TV
Release10 January 2011 (2011-01-10) –
16 March 2012 (2012-03-16)

Phulwa (transl. Flower) (also known as Phulwa Choti Dulhan) is an Indian television drama on the Colors TV. It is set against the backdrop of Chambal forest near Morena, Madhya Pradesh. The story is loosely based on the life of Phoolan Devi, the dacoit-turned politician.[1]

Plot

[edit]

The series revolves around a little village girl named Phulwa (meaning "flower"), living in a bandit-infested part of India. She is a sweet, innocent, and loving girl, but unluckily, gets caught in the middle of a ruthless feud. She loses most of her family, as well as her childlike innocence, at an early age.

Phulwa has a much older foster brother named Bhavani, who is a bandit. Shankar, who wants to take revenge against Bhavani, abducts Phulwa. Circumstances make it appear that Shankar and Phulwa are married to each other. The village council (panchayat) decides that they have to stay together as a couple, though Shankar is nearly three times Phulwa's age. Shankar believes that Bhavani killed his elder brother and sister-in-law. Moreover, Shankar's younger sister Mahua was in love with Bhavani but he left her.

Shankar grows fond of the innocent Phulwa and tries to make amends for his earlier actions that spoiled her life. Phulwa idolises Shankar and calls him 'Masterji' out of respect. Sharbati, a distant relative, wants to marry Shankar, but does not encourage her.

The local landlord and politician, Bade Thakur aka Daroga Singh, sends a proposal for Mahua to marry his son, Chhote Thakur. Mahua runs away from the wedding because she still loves Bhavani but is killed by a spurned Chhote Thakur. Later Shankar learns that the Thakur father-son duo, not Bhavani, killed his brother and sister-in-law as well. The Thakurs with Sharbati's help capture Phulwa, her parents, and siblings. Shankar and Bhavani go to rescue them and saves Phulwa and her brother, Babu. However, Phulwa's parents and Shankar are killed. Phulwa and Babu accompany Bhavani to the hideout of his bandit group. Phulwa swears to take revenge for the deaths of 'Masterji' (Shankar) and her parents and joins the bandits.

Ten years later, Phulwa has grown up into a tough and fearless woman. She helps the poor, fights injustice, and regards the Thakurs as her greatest enemies. Chhote Thakur is married to Sharbati. One day, Phulwa comes face-to-face with the couple and is forced to kill Chhote Thakur in self-defence. Bade Thakur and Sharbati pledge revenge against Phulwa for the killing of Chhote Thakur.

A stranger named Shatrughan enters Phulwa's group and slowly gains her confidence. Phulwa feels that with the death of Chhote Thakur, she is done with her revenge. However, the head of the bandits, Gayatri, tells her not to put down arms. News spreads that a new ACP (Assistant Commissioner of Police) has taken charge of the area. After a few weeks, it is revealed that Shatrughan is the new ACP in disguise. His real name is Abhay Singh. He arrests Phulwa and her friends. A lawyer named Roshni fights on their behalf in court and argues that Phulwa is innocent and should be allowed to go home. It is then revealed that Abhay is the out-of-wedlock son of Bade Thakur and is fiercely loyal to his father, whom he considers a good man. Bade Thakur is now an aspiring politician. As a publicity stunt, he offers to get Phulwa married to Abhay. Phulwa accepts because it will mean her release from jail.

Abhay is already engaged to his colleague Aarti, but on his wedding day, Phulwa replaces Aarti and marries Abhay. It is revealed that Aarti helped Phulwa out of sympathy. Bade Thakur and Abhay are furious but helpless. Phulwa starts staying at Thakur's house as the new daughter-in-law of the family. Her aim is to expose the Thakur's misdeeds and take revenge. Abhay and Phulwa grow closer. Bade Thakur reveals that he murdered Abhay's mother and arranges for Abhay to meet with an accident. Fighting for his life, Abhay is in need of a blood transfusion and Thakur agrees to donate only if Phulwa becomes his slave. While Phulwa agrees, the doctor tells them that while Abhay will live, he won't be able to move due to damage to his spine leaving Phulwa shocked.

A new surgeon, Dr. Arjun performs a successful surgery, and Abhay is cured, but here Arjun's secret is revealed. Arjun is Shankar's younger brother who has come to avenge his brothers death. He plans to kill both Abhay and Phulwa, mistakenly thinking that Phulwa killed Shankar. Babu tells Arjun who the real culprit is. Abhay with the help of Arjun and Babu traps Thakur. In the end, Thakur is killed by Phulwa. The serial ends on a happy note with Phulwa and Abhay leading a happy life with their twin (a boy and a girl) children.

Cast

[edit]
  • Sargun Mehta as Phulwa Singh Thakur: Mangroo and Imarti' s younger daughter; Babu and Champa's sister; Shankar's widow; Abhay's wife
  • Ajay Chaudhary as ACP Abhay Rai Singh Thakur; Daroga and Shunkatala's son; Phulwa's second husband
  • Mohit Malik as Dr. Arjun Singh; Shankar and Mahua's younger brother
  • Prashant Narayanan as Bhavani; Mahua's husband
  • Angad Hasija as Shankar; Arjun and Mahua's elder brother; Phulwa's First husband
  • Sai Ballal as Thakur Daroga Singh;
  • Shalini Arora as Thakuraeen
  • Mithil Jain as Chote Thakur Singh
  • Aalesha Sayed as Sharbati Chote Thakur Singh
  • Sushil Bonthiyal as Mangroo; Phulwa, Babu and Champa's father
  • Nupur Alankar as Imarti; Phulwa, Babu and Champa 's mother
  • Sadhana Singh as Mrs: Sharbati's mother; Shankar Arjun and Mahua's aunt
  • Wasna Ahmed as Mahua; Shankar and Arjun's sister; Bhavani's wife
  • Jagdeep Jaffery as Bade Baba
  • Gaurav Sharma as Ramcharan; Champa's husband
  • Shivani Surve as Champa; Phulwa and Babu's sister; Ramchandra's wife
  • Krip Suri as Babu; Mangroo and Imarti' s son; Phulwa and Champa's brother
    • Bhavesh Balchandani as young Babu
  • Payal Shukla as Chuni
    • Aarya Gore as young Chuni
  • Sikandar Kharbanda as Khulbushan
  • Shweta Kawatra as SSP Amrita Tiwari
  • Anirudh Dave as Lakhiya (Phulwa's cousin)
  • Trishikha Ashish Tripathi as Gauri; Phulwa's friends; Babu's love internet
  • Manasvi Vyas as Sona Kaki
  • Shikha Singh as Gayatri Devi
  • Rakshanda Khan as Roshni Mukherjee

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Phulwa

View on Grokipedia
from Grokipedia
Phulwa is an Indian Hindi-language drama television series that aired on Colors TV from 10 January 2011 to 16 March 2012. The show, set in the Chambal region near Morena, Madhya Pradesh, centers on the titular character Phulwa, a young and innocent village girl portrayed by Jannat Zubair Rahmani, whose endearing and resilient nature drives the narrative amid rural hardships and family dynamics. The series explores themes of innocence, family bonds, and survival in a challenging environment, earning a user rating of 7.6 out of 10 on IMDb from over 1,000 votes, reflecting its appeal as a family-oriented drama during its run. Produced under the banner typical of Indian daily soaps, Phulwa featured episodes focusing on the protagonist's growth from childhood vulnerabilities to confronting adversities, contributing to Colors TV's lineup of socially inflected stories without major reported production controversies.

Overview

Premise

Phulwa is an Indian Hindi-language television drama series that follows the life of its protagonist, a young girl named Phulwa, residing in a rural village within the Chambal region, historically notorious for dacoity and banditry. The central storyline depicts Phulwa's abrupt confrontation with profound family tragedy precipitated by dacoits, propelling her from a state of childhood innocence into a relentless pursuit of personal justice against the perpetrators. This narrative arc underscores her development through successive adversities, marked by unyielding resilience and the preservation of familial bonds amidst a perilous rural landscape. The series, which originally aired on from January 10, 2011, to March 16, 2012, portrays Phulwa's journey as one of transformation, where her innate purity and determination enable her to navigate alliances and conflicts in a bandit-ridden , all while with the loss of her parents and the broader injustices inflicted by local power structures such as Thakurs. Without revealing specific plot resolutions, the premise highlights her evolution into a figure of agency, driven by a quest for retribution that tests her moral and fortitude.

Themes and Setting

The series Phulwa unfolds in the rugged, lawless expanse of the Chambal region near Morena, Madhya Pradesh, a real-world area historically plagued by dacoit gangs from the mid-20th century onward, where banditry arose from entrenched poverty, land disputes, and resistance against feudal landlords. This setting evokes the Chambal's ravines and forests as symbols of isolation and impunity, mirroring documented cycles of rural violence that persisted into the 1970s and 1980s, including high-profile cases of gang retaliations and surrenders. The narrative leverages this backdrop to depict a society where state authority is distant and ineffective, forcing communities into self-preservation amid chronic insecurity. Central motifs revolve around and vengeance as intertwined responses to caste-based and familial , with the protagonist's arc illustrating retribution not as mere but as a causal outgrowth of unaddressed grievances against dominant Thakur clans. Empowerment emerges through raw personal grit and familial bonds, portraying female resilience in a patriarchal rural order as derived from inner resolve and kin loyalty rather than external interventions, a theme rooted in the show's portrayal of self-reliant village dynamics over institutional dependence. Redemption threads through the contrast between Phulwa's floral namesake—evoking innate innocence and vulnerability—and the corrosive forces of poverty-driven , underscoring how individual agency disrupts cycles of victimhood in environments where systemic failures perpetuate dacoit origins. This symbolic tension highlights causal realism in rural : harsh socio-economic realities forge character through adversity, prioritizing endogenous moral reckonings over exogenous reforms, while critiquing the naivety of unchecked purity amid entrenched predation.

Production

Development and Concept

Phulwa was conceived and produced by through his company for , with the core idea emerging from narratives of resilience in India's rural bandit territories. The phase emphasized crafting a story around a child protagonist, Phulwa, depicted as an innocent village girl navigating the dangers of dacoit-infested areas near the in , to explore survival and moral growth without relying on elements common in contemporary soaps. The concept drew from the cultural lore of Chambal dacoits, aiming to integrate dramatic tension with commentary on rural crime's impact on vulnerable families, though Tewary explicitly denied any direct biographical basis in figures like despite circulating rumors. This approach sought authenticity by grounding the plot in regional realities of and community bonds, positioning the series as a prime-time daily soap premiering on January 10, 2011, to engage audiences during the 9 PM slot post-Bigg Boss Season 4. Creative decisions prioritized a linear narrative arc starting with the child's perspective to build emotional investment, differentiating it from urban-centric or fantastical dramas prevalent on rival channels, while aligning with Colors' strategy for socially rooted to sustain viewer loyalty amid a competitive market.

Casting

, aged approximately 10 at the time of production, was selected to portray the young Phulwa in the series' initial episodes, drawing on her emerging experience as a child actress from prior appearances in shows like . The production transitioned to an adult Phulwa following a storyline leap, with cast in the role; Mehta, recognized from earlier serials such as and Apno Ke Liye Geeta Ka Dharmyudh, noted the character's transformation into a dacoit as a compelling challenge aligning with her established dramatic range. This dual-casting approach facilitated the narrative's progression from childhood vulnerability to adult defiance, prioritizing continuity in lead portrayal amid the show's action-oriented plot. Supporting roles included as ACP Abhay Singh, the male lead opposite adult Phulwa, and Sushil Bonthiyal as Mangru Mallah, selected to embody key antagonistic and familial figures central to the rural setting. Casting emphasized performers capable of handling intense sequences, as evidenced by the ensemble's involvement across 277 episodes, though specific audition criteria beyond lead transitions remain undocumented in available production accounts.

Filming Locations and Challenges

The production of Phulwa primarily took place in Mumbai, Maharashtra, India, utilizing on-location shoots to replicate the rugged, forested terrain of the Chambal region near Morena, Madhya Pradesh, as depicted in the series' setting. This approach prioritized natural environments over studio sets to enhance realism in scenes involving rural villages, riverbanks, and dacoit hideouts, though specific rural Madhya Pradesh sites were not documented as primary venues. A significant challenge arose during action sequences, where actress , playing the adult Phulwa after the storyline's time leap, fractured her left ankle in September 2011 after landing incorrectly while running. This incident underscored the physical demands of the show's dacoit-themed narrative, requiring performers to execute high-risk stunts amid tight daily shooting schedules typical of Indian television soaps. To accommodate child actors, including as young Phulwa, director Sushil Bounthiyal implemented on-set workshops in March 2011 to engage and manage the young cast effectively, addressing the inherent difficulties of coordinating group scenes with minors. Such measures ensured sensitive handling, limiting exposure to strenuous activities and adhering to production protocols for child welfare, though the action-heavy plot necessitated careful adaptations to mitigate risks without compromising narrative intensity.

Cast and Characters

Lead Actors

Jannat Zubair Rahmani essayed the role of young Phulwa in the series' early episodes starting from its premiere on January 31, 2011, depicting the character's innocence as a village girl enduring feudal oppression and family hardships. At age nine during filming, Rahmani's portrayal emphasized raw vulnerability and resilience, marking her transition from minor roles in shows like Dill Mill Gaye to a lead that propelled her visibility in television. Rahmani's performance as child Phulwa laid the narrative foundation for the protagonist's empathetic arc, drawing on her limited prior acting experience to convey unadorned emotional authenticity in scenes of trauma and defiance. This directly contributed to her early , including recognition for debut impact that foreshadowed subsequent nominations in child artist categories at industry awards. Sargun Mehta assumed the part of adult Phulwa after a 10-year storyline leap announced in August 2011, portraying the character's evolution into a hardened survivor and eventual dacoit seeking justice against systemic exploitation. Mehta's interpretation focused on Phulwa's internal conflict and empowerment, requiring physical demands such as action sequences that led to on-set injuries in September 2011. Mehta's tenure as Phulwa, spanning the bulk of the 2011–2012 run until the series conclusion on March 21, 2012, amplified the lead's agency in plot progression, blending vulnerability with assertive rebellion to sustain viewer investment in the protagonist's moral complexities. Her prior experience in serialized dramas informed a layered depiction that transitioned Phulwa from victimhood to vengeance, distinct from the child's foundational purity.

Supporting Cast

Aniruddh Dave played Lakhiyaa, Phulwa's cousin brother, whose role contributed to familial tensions and alliances amid the protagonist's struggles against dacoits in rural . His portrayal emphasized loyalty conflicts within the , supporting the narrative's exploration of and without overshadowing the lead's arc. Sushil Bonthiyal depicted Mangru Mallah, a key figure representing the dacoit threat that drives much of the series' conflict, appearing in episodes that heightened stakes through raids and confrontations. This character embodied systemic rural , providing ongoing opposition that propelled secondary plotlines involving resistance. Shikha Singh portrayed , the head dacoit, whose menacing presence amplified villainous elements and plot tension by orchestrating ambushes and power struggles among outlaws. Her role underscored the ensemble's role in sustaining episodic , contrasting the protagonist's resilience with organized . Other supporting performers included as Thakurian, contributing to matriarchal authority dynamics in village settings, and Wasna Ahmed as Mahua, who added layers to interpersonal relationships among allies and foes. Trishikha Ashish enacted Gauri, a friend figure enhancing group against adversaries, while Manasvi Vyas played Sona Kaki, introducing extended influences on . These actors, blending emerging and experienced talents, maintained narrative pacing across the serial's 300+ episodes by fleshing out antagonistic and supportive ensembles.

Broadcast

Premiere and Run

Phulwa premiered on on January 10, 2011. The series occupied the 9:00 PM primetime slot, airing Monday through . It ran for 277 episodes before concluding on March 16, 2012, with the finale centered on the Thakur's death, signaling a planned resolution rather than an abrupt termination. Subsequent re-runs have aired on Colors Rishtey, providing continued access to the series. As of 2025, full episodes remain available for streaming on JioCinema and YouTube via official Colors TV channels, sustaining its visibility beyond the original broadcast.

Episode Structure

Phulwa employs a serialized format characteristic of Indian television dramas, with daily episodes averaging 20 minutes in length, designed to sustain viewer interest through recurring cliffhangers that resolve in subsequent installments while advancing overarching plotlines. The narrative unfolds across 328 episodes, tracing the protagonist's evolution from childhood to maturity over an extended timeline, incorporating time jumps to depict aging and life-stage transitions without disrupting causal continuity. This structure prioritizes incremental plot progression, where individual episodes build tension around immediate conflicts—such as family disputes or bandit raids—that feed into broader arcs of vengeance and self-discovery. Early episodes center on family dynamics in a bandit-ravaged rural setting, portraying Phulwa's innocent upbringing, close ties to her parents and mentor Shankar, and initial exposure to village injustices, culminating in a pivotal that motivates her path forward. These segments establish foundational relationships and stakes, using everyday village events to ground the story in realistic social tensions before escalating to violence. The mid-series phase, following a decade-long leap, shifts to Phulwa's immersion in the dacoit world, where she forges strategic alliances with outlaws to pursue , adopting a hardened identity amid betrayals, skirmishes, and internal rivalries that drive episode-to-episode through consequence-linked twists. Later episodes pivot to resolution, as Phulwa confronts systemic —including schemes by political figures—and seeks broader , with plot developments anchored in prior motivations rather than isolated melodramatic flourishes, leading to climactic reckonings that tie back to originating traumas. This phased progression maintains narrative momentum by linking personal growth to verifiable cause-effect chains, minimizing digressions in favor of revenge-driven logic.

Reception

Viewership and Ratings

Phulwa achieved notable viewership success in its initial months, frequently ranking in the top 10 of Hindi general entertainment channels per Television Audience Measurement (TAM) data. On January 18, 2011, it secured the #3 position in daily TRP rankings. The series reached #1 on February 1 and August 3, 2011, and #2 on February 3, 2011, outperforming several competitors during those weeks. These highs positioned it competitively against channel-mates like Uttaran and Balika Vadhu, which dominated Colors TV's ratings landscape. Throughout , episode TRPs fluctuated between approximately 1.6 and 2.1, with a reported improvement to 2.06 in May amid storyline developments. For instance, a June 28, , episode logged 1.61 TRP, sustaining mid-tier performance. The show's rural Chambal backdrop targeted family audiences in non-urban areas, contributing to consistent engagement through its 16-month run ending in May 2012, though later months saw dips below 2.0 TRP amid broader industry shifts.

Critical Response

Critics commended the series for its focus on the protagonist's transformation from an innocent rural child to a resilient figure confronting , emphasizing themes of personal agency and in the face of systemic failures in . The narrative's exploration of was highlighted as a strength, portraying Phulwa's amid Chambal's real historical context of , where villagers often lacked state protection, fostering a causal link between vulnerability and adaptive strength rather than passive victimhood. This approach countered narratives that might frame traditional rural coping mechanisms as inherently regressive, instead grounding in empirical hardships like and familial loss documented in the region's lore. Child actors, particularly as young Phulwa, received praise for conveying unadorned vulnerability and grit, contributing to the show's emotional core without overt sentimentality. Sargun Mehta's portrayal of adult Phulwa was similarly noted for embodying determined resolve, enhancing the continuity of the character's arc. Detractors pointed to melodramatic excesses inherent to the saas-bahu genre, including exaggerated plot twists around marriages and betrayals that diluted the rural realism. The loose adaptation of Phoolan Devi's life raised questions about potentially romanticizing vigilante reprisals, as Phulwa's path to vengeance mirrors the real figure's shift from victim to outlaw, risking endorsement of extralegal retribution over institutional reform. Such elements, while drawing from verifiable historical banditry in Madhya Pradesh, were critiqued for prioritizing dramatic catharsis over nuanced critique of underlying social causations like caste and poverty.

Awards and Nominations

Phulwa earned recognition primarily for the performance of its lead child actress, , at early 2010s Indian television award ceremonies.
YearAwardCategoryRecipientResult
2011Boroplus Gold AwardsBest Child Artiste (Female)Won
2012Best Child ActressNominated
2012Best Direction (Drama Series)Rajesh Ram SinghNominated
The series received three nominations in total at the , highlighting contributions in acting and production without securing wins in those categories.

Impact and Legacy

Cultural Representation

Phulwa depicts Chambal dacoits as autonomous actors navigating a landscape of governance lapses, including porous borders and ineffective in the region's ravines, which historically enabled for over a millennium. The narrative emphasizes individual , portraying characters' decisions to engage in or resist crime as personal choices rather than inevitable outcomes of socioeconomic deprivation, countering narratives that attribute solely to systemic failures without accounting for premeditated violence and plunder. The series positively represents rural Indian resilience, showcasing intact structures that foster and mutual support amid threats from , as seen in Phulwa's upbringing in a village prone to raids, where kin bonds provide stability in the face of external chaos. This aligns with ethnographic observations of collectivistic rural households prioritizing ties for survival, though the show's focus on a child's perspective idealizes these dynamics to underscore themes of perseverance. Critics have noted potential romanticization of dacoits, similar to patterns in Indian cinema where outlaws are cast as anti-heroes with codes of honor, potentially softening the empirical record of gang rapes, prolonged shootouts, and economic disruption that terrorized Chambal communities into the 1970s. Historical analyses, including police encounters and dacoit testimonies, reveal banditry's in opportunistic predation rather than equitable redistribution, with surrenders like the 1972 mass capitulation of over 200 dacoits demonstrating capacity for self-directed ethical reckoning independent of coercive force. Such portrayals in media, including Phulwa, invite scrutiny for echoing folkloric glorification prevalent in biased academic and journalistic accounts that downplay perpetrator accountability in favor of contextual excuses.

Influence on Child Actors and Industry Practices

Phulwa prominently featured child actress in the titular role, providing her with an early lead opportunity that propelled her career forward; following the show's 2011-2012 run, Rahmani secured subsequent roles in serials such as Tu Aya Laajawab and Phulki, and later transitioned into influencing and adult-oriented television appearances. The series demonstrated the commercial viability of narratives centered on young protagonists addressing social issues like , encouraging producers to cast children in demanding lead capacities, though producer Siddharth Tewary noted that the psychological effects on such performers remain subjective and vary by individual resilience. Despite these opportunities, Phulwa aired amid growing scrutiny of child labor in Indian television, where productions often exceeded legal limits on working hours for minors under the (Prohibition and Regulation) Act, 1986, with reports from the era documenting instances of children enduring extended shoots without adequate breaks. While specific violations on Phulwa's set lack documented evidence, the reliance on a lead for daily episodes—typically requiring 12-16 hour production days—exemplified industry norms that prioritized output over welfare, prompting broader debates on potential exploitation despite on-set tutors and guardians mandated by regulations. The show's conclusion in May 2012 coincided with regulatory advancements, including the Protection of Children from Sexual Offences (POCSO) Act later that year, which indirectly bolstered oversight of minors in media, and State Commission for Protection of Child Rights recommendations mandating no more than five hours of work per day for children under six, involvement of child welfare committees on sets, and restrictions on night shoots. These measures addressed systemic issues exposed by child-heavy serials like Phulwa, shifting practices toward verifiable compliance—such as mandatory affidavits from parents and production limits on child screen time—over anecdotal concerns, though enforcement remained inconsistent in subsequent years.

References

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  50. https://photogallery.indiatimes.com/tv/stars/jannat-zubair-rahmani/articleshow/63285432.cms
  51. https://time.com/archive/6815400/india-surrender-of-the-dacoits/
  52. https://outofedenwalk.nationalgeographic.org/2019-02-last-dacoits
  53. https://www.tandfonline.com/doi/abs/10.1080/00856401.2022.2085905
  54. https://pmc.ncbi.nlm.nih.gov/articles/PMC3705700/
  55. https://sociology.institute/sociology-in-india/family-structures-variety-india/
  56. https://www.livemint.com/mint-lounge/ideas/the-return-of-the-dacoit-111641542681409.html
  57. https://www.hardnewsmedia.com/2021/09/seeing-chambal-badlands-from-the-prism-of-a-sociologist-and-a-journalists-work/
  58. https://countercurrents.org/2021/08/how-peace-activists-resolved-the-most-serious-dacoit-problem-of-chambal/
  59. https://thebetterindia.com/309658/bollywood-jis-desh-mein-ganga-behti-hai-real-story-vinobha-bhave-made-chambal-dacoits-surrender/
  60. https://www.researchgate.net/publication/339953098_Rebels_and_Outliers_Popular_Representations_of_Dacoits_in_Indian_Folk_Literature_and_Mass_Media
  61. http://aneesharajpv.blogspot.com/2017/
  62. https://timesofindia.indiatimes.com/city/mumbai/tv-producers-face-heat-over-child-labour/articleshow/4646488.cms
  63. https://www.lexology.com/library/detail.aspx?g=4b1271e1-9d9f-43fc-8e0f-b991985c994b
  64. https://mumbaimirror.indiatimes.com/mumbai/other/state-steps-in-to-save-rights-of-child-artists-in-tv-serials/articleshow/17863589.html
  65. https://www.attorneyforcreators.com/are-you-casting-a-child-artist-in-your-film-you-must-read-this/
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