Is the paradigm of the universal/particular or the politics of inclusion/exclusion adequate to conceptualize the cultural citizenship that the secular state grants to communities marginalized through sociopolitical hierarchies such as caste? Or does the framing of this question in these terms mask a more primary metaphor, that of the condition of the ban or exile that forms the counterpart of secular citizenship? When the secular state lays the foundation for special citizenship based on forms of cultural marginality, it creates a certain relationship between the part and the whole, the particular and the universal. Integral to this is the constant effort to present the state itself in universal terms in order to fulfill its own representational promise. Yet, as Slavoj Zizek points out, the paradox between the particular and the universal is such that the more particular or special interests the state accepts into its fold on the grounds of their particularity, the more particularized and depoliticized do such communities feel. Cultural citizenship thus results in a curious paradox where, as Zizek puts it, "the African American single lesbian mother" is forever denied the possibility of the "metaphoric elevation" of her wrong as the universal wrong.1 In this essay, I focus on the visual imagery of exile created by a particular, marginalized community in India to argue that this seemingly inessential particular- in the visual staging of its condition of banishment-points to the symbolic violence inherent in the public, secular, narrative of sovereign power. The community whose visual interventions I analyze here are the traditional "outcastes" of sweepers and sanitation workers of New Delhi, India, the Balmikis. Constitutionally classified as Scheduled Castes, the Balmikis, who are primarily waste workers, have long occupied the lowest rungs of the Hindu caste hierarchy.2 The visual metaphors of banishment projected by this community, I contend, are not simply an assertion of "particular" community/caste identity. On the contrary, the enactment of exile and its visual staging script a scenario in which banishment actually precedes citizenship; it signifies the critical impossibility of the "particular minority" as a viable form of secular citizenship. Giorgio Agamben's work takes us to the biopolitical power relations between sovereign power and bare life that precede or are foundational to the state-citizen contract. "All representations of the originary political act as a contract or convention marking the passage from nature to the State in a discrete and definite way must be left behind," he writes. The primary relation is not a civil contract, but a ban, also corresponding to the ancient mythologeme of exile. "What has been banned is delivered over to its own separateness and, at the same time, consigned to the mercy of one who abandons it-at once excluded and included, removed and at the same time captured."3 The life of the exile, he writes, borders on the life of homo sacer, bare life, who may be killed at the will of sovereign power without being sacrificed. Yet the mythic philosophical context from which Agamben constructs his logic cannot be so quickly translated into the Indian context; instead, it must be carefully worked through in the context of specific tropes of sovereignty, bare life, and banishment.4 The Ramayana, the epic southeast Asian mythological text from which the Balmiki community draws its own cultural identity and images of exile and banishment, is striking in its mythical-philosophical theorization of sovereignty and exile (as does the Mahabharata and a host of other mythological tales regarding kingly power).5 Traveling between the spaces of the kingdom and the forest, the epic tells the story of a prince, Rama, his wife Sita, and the karmic web through which sovereign power must assert itself. In both kingdom and forest, Rama has the exclusive righteous authority to kill or to take the life of anyone deemed to violate a contingently defined dharma, the path of right action. The phenomenally popular telecast of the Ramayana myth in India during 1987-88 made possible, for the first time on a national scale, an entire new vision and visual imagery of sovereign power through the religious idealization of the figure of Rama who combined secular ethos, Hindu divine authority, and righteous violence. The new Ramayana was a moment of rupture and a moment of suture in visual culture. Despite its cardboard sets, it reterritorialized the social semiotic of visual culture, public religios- ity, and state power in ways that seamlessly blended post-Nehruvian Congress secularism with the oncoming tide of the Hindutva movement The Rama of the 1987-88 telecast visually resembled the then Congress prime minister Rajiv Gandhi in his aura of inherited absolute authority even as he foreshadowed the symbolic elements of the righteous violence of anti-Muslim Rama of the Hindutva movement in the 1990s. The scenes of banishment and the figures of the exiles projected by the Balmiki community, which I focus on, can be framed against the shadow of this new vision of righteous sovereign power. The Balmiki communities' version of the Ramayana drew on portions of the text excluded by the telecast to question the narrative of sovereignty that eulogized Rama. Their performative versions of the text counterposed the figures of exiles: That of the lower-caste ascetic, Valmiki, who is the patron-guru of the community, and that of the abandoned wife of the sovereign, Sita, and her "illegitimate" children, Lava and Kusha, who were brought up by the sage. Drawing from Agamben, again, the Balmikis' foregrounding of the figures of exile show how we may imagine the "structure of the ban" or the tropes of exile in "political relations and public spaces" as a counterpart to the tropes of sovereignty.6 I explore the tropes of exile at two moments that interrupt the semiotic coherence of the visual domain of hegemonic secular culture in India. By hegemonic secular culture, I mean the forging of a national-popular culture that persuasively represents itself as "universal" rather than "particular," and thus vests in itself the power to define the "secularity," or lack thereof, of publicly displayed symbols.7 Thus, for instance, the anticolonial nationalist movement in India, the postcolonial national culture that was built on the ground of anticolonialism, or Hindutva (the political movement to assert a specific version of Hinduism as national essence) in the 1990s created different scripts and languages of the secular that gained national hegemony. Rather than a reassuring national constant whose parameters were closely secured through the civil mediation of religion, state, and citizenship (both of communities and individuals), secularism after the 1990s in India appears as a shifting ideological terrain that reveals the irreducible violence of religion, state, and citizenship. The images of the exiles evoked by the Balmikis-the pregnant queen abandoned by the suspicious king, the children who symbolize the illicit of the nation, the guru whose power resides in renunciation rather than rule-suggest the symbolic violence of sovereign power. I deconstruct two moments-archival and ethnographic-in the Balmiki community's contemporary history where the "visions" of exile appear. Thomas B. Hansen points out that the intellectual debate on secular- ism in India has "rarely touched on the secular practices of the Indian state, what secularism means to ordinary people in India, how it is practiced on the ground."8 Rather than seek to define secularism in its positive meaning, the two moments explored here signify its failure in ways that unravel the relations between visual culture, marginalized community interests, and hegemonic secularism. Since the 1990s, visual media, including television and video, have played a critical role in redefining public cultures and national politics in India. Both Purnima Mankekar9 and Arvind Rajagopal10 have shown how television narratives of the 1990s restructured the discourses of nation, community, and religious affinity, propelling the growth of Hindutva, or Hindu nationalistic ethos in the public sphere. However, neither writer considers the television Ramayana as a text that also restructures the imaginaries of secularism. First, I draw on the telecast of the southeast Asian epic mythological text, Ramayana, and the reaction of the "audience" community of the Balmikis, to argue that coextensive with a new religiosity, the epic telecast also inaugurates a new sensibility of secularism. This new sensibility falls in line with Hindutva's "end of pluralist secularism" narrative, and it silently acknowledges the centrality or political mainstreaming of Hindu religious symbolism in public visual culture as a common national ("universal") point of discursive reference.