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patriarchy

Srinivas Rayappa

The Samburu are a Nilotic people of north-central Kenya. Samburu are semi-nomadic pastoralists who herd mainly cattle but also keep sheep, goats and camels. Rooted deeply in patriarchy, the Samburu people are semi-nomadic, largely polygamist and closely related to the Maasai tribe. Women in the tribe have been living under a harsh patriarchal system for as long as they can remember. For generations, female genital mutilation is one of the most important rituals among the Samburu tribe. Once circumcised the girl can be given away in arranged marriage to a man who is old enough to be her grandfather. The Samburu tribe has a tradition of repressing women and treating women as second class citizens. Women are not allowed to own land or other types of property, such as livestock and are considered property of their husbands.

In accordance to their culture, the father chooses an older “warrior” male with which the daughter will enter into a temporary marriage. Pregnancy is forbidden, but contraceptives are unavailable. If the child becomes pregnant, she is forced into an abortion, conducted by other women in the village. Since the girl is married at an early age, she cannot be a competent parent. While giving birth they face a lot of challenges: they rupture, they bleed, because they are young and don’t have access to healthcare facilities.

Even performing their duties and chores, is very hard for them. They are often left to take care of animals.

Some of the harrowing experiences endured by the women in the tribe include the story of a 11 year old girl who was traded for cows by her father. Her husband was 57 years old. Another young lady has five children, all with different fathers. Girls are married off to men, the age of their grandfathers. Women have little or no say in matters pertaining to the Samburu community. At village meetings men sit in an inner circle to discuss important village issues, while the women sit on the outside, only occasionally allowed to express an opinion.

If the repression and harrassment meted out to women in the Sambaru community by local men were not enough, during the 1980’s there was an “epidemic of rape” on Sambaru women by British troops on exercise in central Kenya. Since, 500-600 women from the Samburu tribe in Kenya have fought for decades to prove that they were raped by British soldiers who, under an arrangement with the Kenyan government, train regularly in the nearby countryside. Those impregnated by their rapists and who gave birth to children that are of a lighter colour than native children have been shunned, abandoned by husbands and families and forced to leave their villages. On August 14th 2003, a hundred Masai women trekked to the British High Commission in Nairobi, to lodge a complaint that they had been raped by British soldiers. Another 800 women, mostly from the Masai tribe or their Samburu cousins, have made similar claims. The matter is being investigated by Britain’s Ministry of Defence at snail’s pace. More incidents of sexual assault are coming to light with the most recent being 30 women from the Samburu tribe alleging that they were raped by Gurkhas based at Archers Post in 1997.

Distraught at being subjugated to domestic violence, child marriage, female genital mutilation and rape from men, both within and outside the community, a group of 15 brave women under the able leadership of Rebecca Lolosoli, took matters into their own hands and setout to start their own village, devoid of men. Thus, in 1990, was born Umoja Uaso (“unity” in Swahili, the Uaso Nyiro is a nearby river), an all female matriarch village located near the town of Archers Post in Samburu County, 380 km (240 mi) from the capital, Nairobi. Umoja Uaso is one of the world’s first “All-Women” communities where men are not allowed to reside nor are they allowed to dictate their views or opinions on matters pertaining to the community.

What started as a sanctuary for 15 women, who survived sexual assault and rape by British soldiers, has today grown to give shelter, livelihood and a future to any and all women trying to escape harrassment, repression and rape.

Rebecca Lolosoli, who started this movement recollects, “As a woman you have no right. If the husband wants to kill you, he has the right to kill you anytime because women are like a property. Men wanted to destroy our village but we resisted. We are not going to move an inch even if it means they kills us. Let them kill us all and make history of killing all the women in the village.”

Rebecca is the matriarch of Umoja women’s village and an advocate for women’s rights. Growing up as a member of the Samburu tribe she was married off at the age of 18. Deeply moved by the suffering of women all around her, she began speaking up about helping women who were victims of rape by British soldiers. Angered by her vocalism, the men in her neighborhood beat her up till she was hospitalized. To make things worse, her husband did not protest when she was being beaten and hence she left him. Along with her other victims of violence, she established the women-only village of Umoja Uaso. Umoja which was once a safe heaven for women has now become a globally known example of a successful matriarchy.

Even to this day, the men in the Samburu tribe consider Rebecca as a threat because they firmly believe that she is ruining the age old culture and tradition. She has faced repeated threats and attacks from local men since she set up the “women-only” village, but she remains undeterred.

What began as a refuge for survivors of sexual violence and torture, Umoja has grown to provide a safe habitat and nutures 47 women and 200 children. One would imagine that these communities would only have older women, but there are plenty of young women as well, who left their homes because they did not wish to be subjugated to torture from their husbands.

Although the inhabitants live extremely frugally, these enterprising women earn a regular income that provides food, clothing and shelter for all. Village leaders run a campsite, a kilometre away by the river, where groups of safari tourists stay. Many of these tourists, and others passing through nearby nature reserves, also visit Umoja. The women charge a modest entrance fee and hope that, once in the village, the visitors will buy jewellery made by the women in the craft centre.

Intimidated by their self-sustenance model, the insecure men from neighboring villages began beating the women and snatching away their hard earned money. The men felt threatened with the gaining independence of women. Since, Umoja has now been barricaded by thorns and women stand guard all night to protect their community. Over the years, women have grown in strength and are enjoying their freedom. There are no bells and whistles to their lifestyle but the women and children earn a regular income to take care of their basic needs.

The women of the village have been taught how to construct their own houses where they can live peacefully. With the hand crafted jewellery that they make and sell by the roadside, they have attained financial independence. With their savings, they have now started a school for the children in the village because they now understand the importance of education. Rebecca firmls believes that the children should not be handicapped because of lack of knowledge and that they should see light in their life by having good education and have an understanding of what’s going on in this world. As if setting an example, Rebecca’s daughter now studies in Germany. The self-sufficiency and freedom has inculcated a ray of hope among the distraught women which has inspired them to give a better future for their children.

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On occasions, men are allowed to meet the women of the community. However, who comes in and who goes out is dictated by Rebecca. The rules of the village are crafted solely by the women. The young girls are allowed to meet their boyfriends but outside the village. When they get pregnant, their children can live in the village but the male must leave the village once they are eighteen years of age. All decisions are collectively made by the women of the community under the “tree of speech”, a place where they gather for discussions on issues plaguing their community.

The internet has put Umoja firmly on the global map and now people travel far and wide to come and see how the land of “no-men” thrives in the region of Samburu. Rebecca has been able to interact with powerful women across the globe and is now friends with the former First Lady of the United States, Hillary Clinton. Thanks to Rebecca’s every growing international clout, the elaborate beaded jewellery produced by the women of Umoja has found a worldwide marketplace. Also, Umoja Uaso has turned into a tourist destination visited by people across the globe.

Inspired by the success of Umoja Uaso, several all-feamle societies have cropped up across Kenya. While some villages forbid men completely, others allow men to be part of the community but it is the women who have an overriding say in all matters pertaining to their community.

Gender inequality is the blemish of the 21st century, a remnant of the past that the tide of time should have long washed away. It’s easier for girls in urban places to fight for equal rights but for a tribal women like Rebecca Lolosoli to raise her voice in a patriarchal society and highlight that misogyny is not normal, is indeed a rare achievement and ofcourse commendable.

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By Intekhab Hassan

It is always said that Indian cinema is a male dominated industry where movies are made keeping in mind the role of male actors. They are considered as revenue grossers. To be brute honest I agree with this prevailing perception because ultimately cinema is made for the viewers and these viewers themselves come from the patriarchic society. These viewers are in general influenced by the politics, economic structure, the culture and the wide perception about the women in the society. But aforesaid facts or perception cannot undermine the contribution of women’s participation in the evolution of Indian cinema. 

 At a time when women working in the cinema was considered no less than a sin or taboo, actresses like Devika Rani, Shobhna Samarth, Zubaida in early 1930’s entered into movie business and changed its face forever. It was the legendary Devika Rani, co-founder of famous Bombay Talkies and a powerful actress herself who gave India’s own Marlon Brando to Bollywood in the form of Dilip Kumar. It may be unbelievable for some to know that she gave Hindi cinema’s first kissing scene way back in 1931. Zubaida the daughter of an affluent nawab family gave Hindi cinema its first talkative film “Alam Ara”. These actresses paved the way for young generation females to enter into the world of  Cinema to showcase their powerhouse talent.

As a result  new generation actresses like Meena Kumari, Suraiya, Madhubala, Waheeda Rahman, Nargis got an opportunity to redefine the Indian cinema by marking the importance of women in the movies. Time and again these actresses have seldom let down the audience, the society  and the cinema industry whenever movies are made keeping in mind the women centric roles. After viewing many movies here is my pick of  top 10 Hindi Movies where the leading actresses have set a benchmark for the otherwise male dominated film industry by their powerful performances and made these movies as forever Classics.

1) Mother India (1957) : This movie is no 1 in my list. Mother India is a path breaking classic  film of Indian cinema coming from very early years of Bollywood. Nargis Dutt as Radha did an iconic performance that would be remembered by generations after generations. It’s a story of Radha’s sacrifice for integrity, her fight against all odds in the society, her firm believe in truth, justice and equity. Mother India was nominated for the Academy Award for best International film in 1958 thus becoming first Indian film to be nominated for Oscars.

2) Sahib Bibi Aur Ghulam (1962) :  Undoubtedly one of the best classic movie of Indian cinema. Expertly-crafted, aesthetically breath-taking and profoundly disturbing. It was way ahead of its time. The movie  exposed the ugly reality, hypocrisy and degeneration prevalent in the patriarchic Zamindar Families of pre-independence Bengal. Mina kumari  as an alcoholic ‘Choti Bahu’ has literally immortalized her role, which till today remains one of the best performances in the Indian Cinema. All that the lonely, sad choti bahu wants is to be loved and cherished which was against the set norms of patriarchal feudal society. 

3)  Bandini (1963) : Another classic movie by the legendary Bimal Roy. Like most of the Bimal Roy movies, Bandini is a women-centric, feminist one,  based on a Bengali novel. Nutan as Kalyani is a jilted lover who murders her lover’s wife and is subsequently wracked with guilt, remorse and anger. With a broken heart, she gets ready to face any punishment to achieve atonement. Nutan dominates the film with her elegant, demure powerful performance. Bandini is the story of travesty of many shades of a suffering woman that can have resonance with most of the women in our Society.

4) Pakeezah ( 1972) : I call this movie a magnum-opus, a movie whose making started in mid 1950’s and was finally released in 1972. The legendary tragedy queen Meena Kumari has made this film an ever classic. There are some movies whose name instantly brings to mind just one  actor of that movie who becomes synonym with it, and Meena Kumari in  Pakeezah is among those league of extraordinary actors. The tragic story of a courtesen Mehjbeen has been immortalized by the Meena Kumari. Ironically just one month after the release of Pakeezah Meena Kumari died a tragic death.

5) Sujata (1959): Sujata is another classic master-piece by Bimal Roy along with Nutan. Nutan as Sujata is an un-touchable orphan brought up by an educated middle  class Brahmin Family. While growing up Sujata falls in love with Aseer, a brahmin boy. Sujata depicts the prevailing rigid caste system in the society, B.R Ambedkar’s fight against untouchability and the social dogmas for an upper caste boy to love a lower caste girl. Nutan with her powerful performance has kept alive the character of Sujata still relevant in the Indian Society.

6) Aandhi (1975) : Loosely inspired from the life of  India’s former prime minister Indira Gandhi, Aandhi is considered as a classic movie. Legendary bengali actress Suchitra Sen essayed the role of Aarti Devi a leading politician of the country. The plot of the movie  is about love story of a hotel manager and the daughter of a prominent politician. They got married  and later on they get separated due to their mutual differences. Years later they meet again when she is an established politician. The film looks at the life of Suchitra Sen as  Aarti Devi a career minded women in the political arena, which is largely dominated by men.

7) Umrao Jaan (1981) : Just like Meena Kumari in Pakeezah, Rekha in Umarao Jaan is synonym to this movie. Rekha as Umarao Jaan personified the role and brought this movie into the list of classic cinema.

8) Arth (1982) : The Story of  a husband, a wife and the ‘other woman’ have been explored earlier too in the Indian cinema but what sets Arth apart is the layered, complex characterisation of the three principal characters, Shabana Azmi as Pooja, Kulbhushan Kharbanda as Inder Malhotra  and  Smita Patil as Kavita.  Both Shabana Azmi and Smita Patil are phenomenal in the movie but there’s one person who owns Arth and makes it the memorable picture it is today. Yes,  it is  Pooja as Shabana Azmi, who delivers one of the finest performances of the Indian cinema.

9) Mirch Masala ( 1987) :  It tells the story of a beautiful confident woman – Sonbai played by Smita Patil who is sought after by a subedar, the tax collector. She continuously resists his advances and ends up hiding in a spice factory as the subedar doesn’t intend to take her rejection of him. Thematically, the film deals with resistance to colonial oppression, with the subedar serving as the symbol of British colonialism and Sonbai representing the ordinary Indian woman who has the courage to stand against the oppression. She is an inspiration for every women to fight against injustice and to save their modesty.  On the centenary of Indian cinema in April 2013, Forbes included Smita Patil’s performance in the film on its list, “25 Greatest Acting Performances of Indian Cinema”.

10) Chandini Bar (2001) : The Story of Mumtaz, a bar dancer  played by Tabbu depicts the lives of several women who either  due to the poverty or other compulsions join this underbelly profession. The performance of Tabbu in the movie gives a reality check about the sufferings and apathy of women in the society. The  acting of Tabu has set a benchmark for next generation of actresses.

It was very difficult for me to pick up top 10 out of several good movies. The list doesn’t end here. But these are my favourite movies where actresses have outshined all male actors with their sheer performance.  With their excellent crafty acting these movies are among the league of Classical Cinema.

  • Writer is a lawyer by profession and an avid movie watcher by passion. 
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By Dr. Elsa Lycias Joel

Kalaignar’s political ambitions have trickled down to the third generation for good.

Tamil Nadu knows of Muthuvel Karunanidhi (popularly referred to as ‘Kalaignar’ – Artist), as a leader who established himself as a screenplay writer, scriptwriter, actor, writer and poet with more than 100 books to his credit, an enormous intellect of our times and above all elected as chief minister for five times. Dr. Karunanidhi, more than most others, knew what it’s like to come up the hard way.

In a sense Karunanidhi’s fame was first cemented with his participation in the anti-hindu agitations at the age of 14 followed by his maiden attempt as founder and editor of ‘Manavar Nesan’ (friend of students), a handwritten newspaper circulated among members. A penchant for classic literature motivated Dr. Karunanidhi,  to write screen plays for five epics marked by a caustic wit and elegant script that demeaned primitive ideas that subjugated women in particular. Through his writings, this stalwart implored a change in public values in favour of supporting everything from arts and literature to better living for the poor, and he compelled the governments at the centre to pay heed. He had the guts to call the mother organization of the ruling party at the centre as a controversial organization based on religion.

Tamil Nadu celebrates this man, as he uniquely focused on the issues of Indian widow and untouchability, considered taboo topics, through his screenplays, thereby ushering in widespread social reforms. Thanks to him, Tamil Nadu does not any longer accept the custom of breaking of bangles by women on the death of their husbands, or dis-figuration and maltreatment of such women and does not accept any abuse of widows by conjoining the cultural, caste and property imperatives that were tolerated in this state of India, for so long. 

Tamilians have reasons to be grateful for his life. DMK Patriarch renounced religion and fought religious patriarchy tooth and nail because it worked as a means to coerce women into accepting gender oppression through religion.Even after being reformed, Hindu personal laws denied women of co-guardianship rights over her children, right to ancestral property and wealth. Movies like ‘Panam’ and ‘Thangarethnam’ conveyed strong ideas of him as a screenwriter. In 1952 through the movie ‘parasakthi’ he vindicated illiteracy, early marriage, social inequality, casteism, social dependency and stigma of widowhood. In Tamil Nadu, Dr. Karunanidhi is still seen as greater than God by many. For countless, the fact that they can boast of a lifestyle that was earlier considered a prerogative of the rich and privileged, is a matter of considerable satisfaction and pride and they owe it to Dr. Karunanidhi.

To appreciate Dr. Karunanidhi’s role as champion of the oppressed, one needs to take a glance at the holy city of Vrindavan near Mathura and Varanasi. The sight of abandoned widows begging, in addition to tolerating the cruel slings of societal indifference is pathetic. Can a widower survive on a dole of a handful of rice and Rs.8/ day by singing bhajans? How widows are treated in our country is an open refutation of the belief that in our culture a mother occupies a higher position than anybody – Matru devo bhava, Guru dev bhava. These ostracized widows are living symbols of the failure of our already inadequate systems.

Not only was a woman’s legal protection within a family made true under the Tamil Nadu Marriages Act in 2009 but bearing the expenses of inter-caste marriages by the DMK was another move to weaken the casteist forces. The first big move that the DMK made under the leadership of Karunanidhi was to pass a law calling for the legalization of self-respect marriages in 1967,  which is also reflective of the man’s premeditated attempt to banish religious hierarchy. This paved the way for Hindu marriages minus the presence of a Brahmin priest. Social reforms in the eyes of DMK chief centered on the secluded downtrodden people and widows. Social equality was DMK’s flagship. The two dozen and odd welfare boards set up during the DMK’s regime aimed at equality. Reservations and quotas created were so sensitive to the plight of the suffering lot who are segregated in other parts of India on the basis of the  Dharmaśāstras of Hinduism. By introducing the Women Entrepreneurs scheme and Women’s Small Trade Loan with saving scheme, he ensured to promote social capital, equality and social justice. 

As first among equals, he secured a precious right for all the Chief Ministers and on August 15, 1974, Mr. Karunanidhi became the first Chief Minister of Tamil Nadu to unfurl the national flag at the historic Fort St. George. The highest point of his “avatar” as a proponent of the Tamil language was marked by the Union government’s declaration of Tamil as a classical language in October 2004. The idea of State autonomy was perceived by him and it still flourishes for the good of all the State governments, and not to any particular party. 

With such a strong leader as Dr. Karunanidhi, whose focus was also on demolishing the caste hegemony over society, it remains to be seen if other states have understood Tamil Nadu’s political dynamics. In whatever he did, there was a sense of social justice. Kalaignar’s atheism never conflicted with his ideology and he stood by his credo, that,  discriminating against fellow beings in the name of religion and caste is inhuman. There are no questions or doubts as to how he presented himself as the savior of the oppressed and downtrodden and how he set a precedent for the future.

Twelve years after the Tamil Nadu government’s order, a person belonging to the so called non-creamy layer was posted as ‘Archaka’ at the famous Meenakshi Amman temple in Madurai. The war has just begun and Dr. Karunanidh’s legacy will live on. 

“May every sunrise hold more promises “

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