Contemporary Voice of Dalit, Ahead of Print.
There is a mainstream glorified image of motherhood. But is this the reality of every mother? An intersectional study of the play Labour Room by Sreeja K. V. is done to get an answer to this question. The play portrays three women from different backgrounds, their journey to motherhood, and their idea of being a mother. A Dalit feminist study of the play, focusing on the character woman three, can be employed to understand that being a mother is not always majestic and is a different experience for every mother. Does a Dalit woman lack motherly feelings, or do their circumstances mute those feelings? Through the character of a woman three, this article attempts to address this question using the theory of intersectionality. The article also tries to shift the focus from the conventional depiction of motherhood.
Author Archives: Sinu James
Subversion of Casteism in Sajitha Madathil’s Kali Natakam: A Dalit Feminist Study
Contemporary Voice of Dalit, Volume 15, Issue 1_suppl, Page S67-S74, August 2023.
The feminist play Kali Natakam by Sajitha Madathil explores the injustices encountered by women in a ‘progressive society’ through Mudiyettu, a ritual dance performed in Kali Temples in Central Kerala. But is gender inequality the only visible problem in the play? Do mainstream feminist studies overshadow the issue of caste discrimination? Madathil’s play, Kali Natakam, is studied using the framework of Dalit feminism to understand the triple oppression Dalit women experience based on their caste, gender and race differences. Through an amalgamation of the myth of Kali and Darika, and a portrayal of contemporary society, the play complicates the notion of gender and caste discrimination. This article uses the concept of ‘intersectionality,’ introduced by Kimberlé Crenshaw in 1989, to understand the play in the dimensions of gender, caste and race. The basis of Dalit feminism is the testimonies given by Dalit women revealing how their everyday lives differed from those of non-Dalit women. First-person narratives lead in building the canvas of feminist thought in connection with caste identity. And how monopolizing gender by sideling race and caste differences ends in shunning some of the significant concerns and problems of women of different communities, especially Dalits. Considering the gender and caste element, a Dalit feminist analysis becomes the most appropriate way to study the play instead of doing separate studies. Recognizing the intersectionality in the play leads to comprehending the complexities of discrimination operating at multiple levels.
The feminist play Kali Natakam by Sajitha Madathil explores the injustices encountered by women in a ‘progressive society’ through Mudiyettu, a ritual dance performed in Kali Temples in Central Kerala. But is gender inequality the only visible problem in the play? Do mainstream feminist studies overshadow the issue of caste discrimination? Madathil’s play, Kali Natakam, is studied using the framework of Dalit feminism to understand the triple oppression Dalit women experience based on their caste, gender and race differences. Through an amalgamation of the myth of Kali and Darika, and a portrayal of contemporary society, the play complicates the notion of gender and caste discrimination. This article uses the concept of ‘intersectionality,’ introduced by Kimberlé Crenshaw in 1989, to understand the play in the dimensions of gender, caste and race. The basis of Dalit feminism is the testimonies given by Dalit women revealing how their everyday lives differed from those of non-Dalit women. First-person narratives lead in building the canvas of feminist thought in connection with caste identity. And how monopolizing gender by sideling race and caste differences ends in shunning some of the significant concerns and problems of women of different communities, especially Dalits. Considering the gender and caste element, a Dalit feminist analysis becomes the most appropriate way to study the play instead of doing separate studies. Recognizing the intersectionality in the play leads to comprehending the complexities of discrimination operating at multiple levels.