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The novels of Bama, the Tamil - Dalit writer, challenge the hegemony of the narratives of oppression as the default frame of reference in dalit-feminist discourses. They articulate the lived experience of caste and explore the new dimensions of the battles of the Dalit woman.
Bama’s Sangati analyses Dalits women's oppression by double patriarchies –the covert patriarchal stance subsumed within the gender relations of their own community and the overt patriarchal system of the upper castes. Absolute power rests with men in the community and in the institutions led by them - the caste courts, the Church, the panchayats. Domestic violence is one of the major issues foregrounded. The text simultaneously brings forth the patriarchal attitude of the upper castes who equate the visibility of the dalit woman with availability. But Sangati is not merely yet another tale of the pain of the oppressed Dalit woman. Bama highlights the "difference" of Dalit women from the privileged upper caste women and, more importantly, celebrates their "identity" in their strength, labour and resilience. Though the Dalit women are oppressed, subjugated and looked down upon as inconsequential creatures both by the upper-class people and by their own men, these women exhibit an amazing strength of resistance and survival potential.
Karukku (1992) depictes the sufferings of an individual Dalit woman, whereas Sangati (1994) transcends from the individual to the community. Sangati means news, and the book is full of interconnected events, the everyday happenings in the Dalit community. Lakshmi Holmstrome,who translated Sangati into English, describes it as the autobiography of a community.It portrays the collective struggle of the Dalit women ag...
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... Sangati thus celebrates the fortitude of the Dalit women who can actualize their potential even as they are oppressed by the male dominated and caste ridden society. The feminine ideals of fear, shyness, innocence and modesty are replaced by the womanist ideals of courage, fearlessness, independence and self esteem in the Dalit woman’s ultimate quest for identity.
Works Cited
Bama. Sangati: Events. Trans. Lakshmi Holmstrom. New Delhi: OUP, 2005. Print.
Ghosh, Anita. “ Dalit Feminism: A Psycho-Social Analysis of Indian English
Literature.” Dalit Literature: A Critical Exploration. Eds. Amarnath Prasad and Gaijan. New Delhi: Sarup and sons, 2007. 47-59. Print.
Patel,MF. Indian Women Writings in English. Jaipur: Mark, 2011. Print.
Sekhar, Ajay S. Representing the Margin: Caste and Gender in Indian Fiction.
New Delhi: Kalpaz, 2008. Print.
A few upper caste youths, hiding behind parapet of the building in an opposite auction place, stoned the pot. “C-r-a-ash” a sound Teeha heard. The youths struck Methi’s pot and her whole body became drenched completely. It is her caste that is her flaw. By the time, Teeha moved towards Methi as soon as the pot shattered. Methi’s companions stood at some distance from them. Mathi was wet from head to feet. She stood rooted to the ground. The upper caste youths’ eyes roved over Methi’s breast and navel visible through her wet clothes, because the woman was an untouchable’s community in that village. So the upper caste youths wanted to humiliate her in public place. Look at this caste that became a weak and means of under-estimation. Teeha, a Dalit and an outsider, has openly hit a Patel youth that is a burning issue. But a low-caste girl was assaulted which is considered as sign of upper caste
There is a story of “two school friends, Angie and Bogge, who spend the whole day together”. They eat together and have lots of fun shopping and watching movies. But when Angie goes home, her parents beat her because they think that the person she was spending time with was not right for her because Bogge doesn’t belong to Angie’s class of caste system” (Luitel,1). India’s caste system deprives some individuals, the ones who don’t want to conform, from thinking and feeling like an individual, and individuals who can make one’s own choices. So, not all people fit into their role in a caste system that is meant to create a stable and utopian society.
Women chose to Sati voluntarily because they want to bring competence to their clan. Also it is one of way to show the death of heroism is instructive. But, there are some different from Sati, the Brahmin women should join with husband and should die on his pyre. On the other hand, Julia Leslie emphasizes that understanding and judging. Understanding how Sati importance is in women and men’s mind. Furthermore, judging how patriarchal society and women persecute themselves.She divides the definition of Sati in two ways, victim and victor. She figured out the conclusion is that “A strategy for dignity in a demeaning world”. Normally, Sati is an only chance for women to confer a posthumous title and increase the level of status in Hindu society. The issue is due to values and gender ranking in Indian
As we compare the traditional women versus modern women, we perceive differences and similarities. Prachi fights for a belief system that controls her meanwhile Ruhi struggles with self-identity and depends on the beauty pageant to empower her as an Indian woman. Prachi defends Hinduism but at the same time, is Hinduism that restrains her from becoming “modern.” Ruhi on the other hand considers herself a very modern girl and she values freedom therefor the pageant is a road to liberation for her. Both girls struggle in distinct ways but their goal is similar, to shape their countries future.
Singh, Hira. 2008. “The real world of caste in India,” The Journal of Peasant Studies 35 (1):
The opening of the poem the woman is explaining why painting her nails red is sophisticated “Because a bit of colour is a public service”(1). In line two Satyamurti calls attention to the role of women in the society and in the family- that while they are not being paid for work they do everyday of their lives, it should not be neglected. She acknowledges by “Because I am proud of my hands”, she is explaining that women ar...
Recent years have witnessed a large number of Indian English fiction writers who have stunned the literary world with their works. The topics dealt with are contemporary and populist and the English is functional, communicative and unpretentious. Novels have always served as a guide, a beacon in a conflicting, chaotic world and continue to do so. A careful study of Indian English fiction writers show that there are two kinds of writers who contribute to the genre of novels: The first group of writers include those who are global Indians, the diasporic writers, who are Indians by birth but have lived abroad, so they see Indian problems and reality objectively. The second group of writers are those born and brought up in India, exposed to the attitudes, morale and values of the society. Hence their works focus on the various social problems of India like the plight of women, unemployment, poverty, class discrimination, social dogmas, rigid religious norms, inter caste marriages, breakdown of relationships etc.
Sandhu, Sarbjit K. The Image of Woman in the Novels of Shashi Deshpande. New Delhi: Prestige, 1991.
Kamala Das has the distinction of being one of the best known Indian women writers in the twentieth century writing in two Indian languages, English and Malayalam. Mrs. Das is the author of many autobiographical works and novels in both languages, several highly regarded collections of poetry in English, numerous collections of short stories, as well as essays on a wide range of topics. Her work in English has been widely anthologized in the Indian subcontinent, Australia, and the West; and she has won numerous awards for her writing, including the Sahitya Akademi Award in 1985 and the nomination for the Nobel Prize in literature in 1984. From the 1970s when her career was at its peak, to late 1990s, India –based, English -language literary critics have written extensively on Kamala Das. Yet, in this criticism all the non hetero normative protests and pleasures in My Story were straightened out. This state of affairs emerges in part because, as elsewhere, many India – based, English
Of the themes which dominate the representative writings of the forth world literatures include the theme of resistance, rebellion, opposition, assertion, challenge, sacrifice, suffering and displacement. All these general ideas are interconnected with the common concept of ‘freedom’ and an aspiration for which is truly a driving force for the indigenous people. In this paper an attempt has been made to look into the theme of resistance and how it contributes to the development of the spirit of self-determinism as it is reflected and re-presented in the Fourth World literatures with special reference to dalits’ writings in India in order to appreciate and advance the common cause of freedom in the larger interest of Humanity.
Mahasweta Devi, always writes for deprived section of people. She is a loving daughter, a clerk, a lecturer, a journalist, an editor, a novelist, a dramatist and above all an ardent social activist. Her stories bring to the surface not only the misery of the completely ignored tribal people, but also articulate the oppression of w...
Dalit movement began in Maharastra during the seventies of the twentieth century, witnessed the emergence of Dalit literature. The translation of such literature proclaims the problems of Dalits, the voiceless to the world. The first wave Dalit writers have shown Dalit women characters as victims not as fighters, whereas the second wave, attempted to portray women as real: heroic, audacious and self-respecting, began placing them in the battle field for fighting against atrocities. One such Dalit writer is Bama, well-known for her novels Karruku (1992), Sangati (1994) and Vanmam (2002), belongs to paraya community. Holmstrom commends in the introduction of Sangati that, “Bama was already formulating a ‘Dalit feminism’ which redefined ‘woman’
Human right is a dynamic concept and endeavours to adapt itself to the needs of the day. The Dalit human rights have to be taken to the center stage of any political and social movement in the country. Dalits have to spearhead this human right movement and all progressive forces should join their hands with them. In this 21st century it is absolutely necessary that common people need to be sensitized about the prevailing atrocities against Dalits. Education and enlightenment can go a long way to break the social, economic and cultural shackles that have bound Dalits. Capacity building, awareness generation and developing leadership skills among women can help them gain confidence to raise a voice against violence and assert their rights. Dalit organizations, NGOs and Human Rights bodies could play a vital role in the above identified areas. Dalit is a social force, a cultural symbol and has a historical background. Dalit women are estimated to contribute eighty per cent of total labour to strengthen the national economy. Ambedkar rightly said “Rights are protected not by laws but by the social and moral conscience of society”. Dalits are not voiceless, and capable to raise their voice. To conclude, there is a growing need to capture violence of Human Rights of Dalits so that talent and potential of Dalits can be used for development of the nation. Dalits need to be empowered with their basic rights. So, voice of the voiceless is voiced here and that should be heard by society and the mainstream as
Susan Bayly. (1999). Caste, Society and Politics in India: from the Eighteenth Century to the Modern Age. Cambridge University Press
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