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The early years of childhood engrain what we are told as unalterable, hard facts. Some of these facts find their way into our conscious and subconscious minds through the many stories that are narrated to us, especially by our families, schools, and other immediate groups.
Illustration by The Geostrata
These stories follow a norm, a cultural follow-up, that somewhere seeks to homogenise our beliefs and ideas about the exterior world. Such a homogenisation suppresses the possibility of the sprouting of a natural string of questions, questions that “should not” and “need not” be brought up, questions that essentially seek to challenge a well-set, and well-marinated status quo of any society.
THE WESTERN FAIRY TALE: THE BLUEPRINT FOR PATRIARCHY
One such tried-and-true concept is that of the Western fairy tale, where the princess acts as the protagonist only for the title, and not so much the story.
Narrated to every next girl or perhaps, every child, early years on, this manifestation brings with itself the unquestionable narrative of not just what an ideal “fairy tale” should look like, but also various concepts, which further play a crucial role in defining the child's characteristics and beliefs of the world.
A fable narrated so dearly inculcates the impressions that go on to become world views. In most cases we follow the sad norm of a damsel in distress, with which every reiteration of Cinderella, Sleeping Beauty, Snow White, or Rapunzel, subtly fosters the quintessential image of, dare I say, who a woman should be, and what a woman should want, all orchestrated by the universally prevailing patriarchal consciousness.
THE LEXICON OF GENDERED DEFINITIONS
The propaganda of generalisation that this patriarchy has carefully constructed is subtle in ways one cannot imagine. The echoes of the correct ways of working the gender roles reach our ears as soon as we are born, however, the instructions programme us to not question the manual.
When looked up on the internet, the words that define a woman are sought to be feminine, curvaceous, sissy, ladylike, ample, and so on, all falling into the same chain of thought.
The definitions for man however never seem to fall short, from the umbrella of “all things glorious”, bold, courageous, brave, noble are just a few of the tributes accorded to men, purely for the virtue of their Y chromosome.
FOLK TALES AS COUNTER-NARRATIVES
Close to home, however, is a pool of indigenous tales that are no less mystical in nature or in any other aspect. Small villages and towns narrate a different fashion of stories that are not so often brought forward in the national or international light. The genre of Indian folk tales poses a challenge to the western cluster of fairy tales through their regionally unique, India-centric, and woman oriented subject matters.
One can find, in the most authentic subtexts, stories that span essentially the entirety of the subcontinent. These indigenous set of stories remain untouched by the universal patriarchal parameters of the world, offering a refreshingly progressive take on the adamant concept of the correct blueprint of the stories. Passed on like generational wealth, the intricately knit fables hold within themselves gold in its purest form ( an unfiltered depiction of Indian culture, and heritage ).
Starting with Karnataka, the state is home to the tale of the warrior Onake Obavva, who in the 18th century successfully battled against the forces of Hyder Ali, who had invaded the Chitradurga fort. The pinnacle of Kannada pride, Obavva is celebrated as a symbol of bravery and heroism throughout the state.
Meanwhile, Kerala has its lore of the Dalit woman who rebelled against Mulakkaram, which was a type of breast tax, imposed on Dalit women who chose to wear clothing to cover their breasts. Her defiance is believed to have given impetus to the beginning of the rebellion in the princely state of Travancore.
Rajasthan, on the other hand, talks of the valiant tale of Panna Dhai. A nursemaid to Rani Karnavai, who committed Jauhar, Panna Dhai was entrusted by the queen to protect her son, Udai Singh II’s life. Staying loyal to her word, Panna courageously saved Udai Singh’s life, by making the great sacrifice of her own child’s life.
The bold act gracefully narrates how a nursemaid to a royal family displayed peak heroism and courage. Panna Dhai’s story is a testament to the legacy of Rajasthan’s commitment to their honor and promises.
Our history is filled with examples where the woman, at first sight, would be aptly defined in traits that are considered conventionally masculine. Mahabharata’s Draupadi is one such prominent figure, considered the first feminist by many, Draupadi lends her virtues and characteristics to modern-day examples extending its roots from Indian mythological history.
In the epic Mahabharata, it's noteworthy that Draupadi in any light cannot be cast as merely a heroine, but a symbol of strength and resilience. With over 1200 versions of the epic in existence, and with a plot that essentially revolves around the battle between Kauravas and Pandavas, Draupadi found her ground as the epitome of feminism throughout the subcontinent in arguably every regional variation of the tale.
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DECODING INDIA'S FIRST FEMINIST: DRAUPADI
The degree of significance that Draupadi’s character holds is not just reiterated regionally by the epic but also is voiced using different perspectives while staying true to the theme and plot of the protagonist. The Padma Vibushan winner Mahasweta Deva channelled this idea in the composition of her take on Draupadi.
The story is centred around a tribal woman named Dopdi Mejhan, who undergoes similar tribulations but rises above them as she denies being threatened by her oppressors and corners them with a display of her strength, autonomy and femininity.
Another instance where the account of Draupadi is highlighted in the contemporary setting is in the work “Palace of Illusions”, where a beautiful depiction can be found by Chitra Banerjee Divakaruni.
The novel is narrated through the not-so-often-thought-of perspective of Draupadi, who is referred to as Panchalli throughout the text, giving us thought-provoking insights into the epic and answers to the questions that we might have not asked when we were first familiarised with the epic.
If heard carefully, every state has a story to tell, however conventionally insignificant they may be deemed. From the hills of Kashmir to the backwaters of Kerala, we’re all knit together by such stories. These lores travel through space and time literally to encapsulate the essence of Indian culture and heritage as a whole.
BY TAMANNA ARORA
TEAM GEOSTRATA
Revisiting the Feminism from unexplored lens
So aptly put!