GRSJ224/ModernSouthAsianFeminism
Introduction
Feminism has had a historical presence as a political movement and ideology in India. Defined as the belief in the equality of the sexes, feminism gained traction beginning in the late 1800’s, as traditionally sexist practices were called into question by the colonists from Britain. Feminism was first perceived as demands to rid India of its cultures and traditions, rather than a movement which looked to level the playing field for men and women. It was first perceived as a colonial tool which was going to be used to detach Indians from their traditional values. Soon, the movement was intertwined within the movement for independence, and women were given a chance to enter historically male dominated spheres. From here, feminism became engrained within activism movements across India, and took various forms on the political spectrum.
Historical South Asian Feminism
First Wave of Feminism (1850-1915)
Feminism was first introduced as a movement in India by men, and was later joined by women. Despite this introduction, it was put into practice and recognized as an important tool in gaining equality by women. Reforms were seen as necessary in addressing traditional Indian practices, such as Sati, which required the death of a woman after her husband had passed. The British attempted to bring into practice many of their cultural traditions, and by doing so, wished to phase out traditionally patriarchal ones. While they did not look to rid India of the patriarchy, they attempted to establish a system of hierarchy similar to the one that existed in Britain.
Second Wave of Feminism (1915-1947)
Women were recruited across the country to join the fight for independence from the British colonizers. Women were given the chance to attend protests and work outside the home, and were given the opportunity to create localized women’s associations. Women became an important part of the independence movement and this further pushed many women to search for avenues to enter male dominated spheres. While men participated across the country in hunger strikes, resulting in their inability to work, women took over in both the domestic and social spheres, working countless hours as to not take away from the unified look of the hunger strikers. Women were given positions of power in organizing and carrying out strategic methods of resistance during the Quit India movement, and were later recognized for their efforts by the newly formed government- who in turn promised more opportunity outside of the home for women.
Third Wave of Feminism (1947- present)
Feminism took on new faces as the struggle to be seen by Indian society as equals continued. Women fought to have a place in the labor force- and prove their capability of performing skilled labor. Women’s involvement in social circles increased, their enrollment in high education increased, and more women began to leave home for work than ever before. This was reasoning behind the rising belief that women leaving the home was going to signal a loss of culture and identity, and result in a society where social norms and religious traditions are no longer relevant, leading to a lot of backlash against women who desired independence as well as those who supported them. In today's globalized world, India continues to be one of the technological leaders, employing thousands of individuals within the industry. While the industry itself is very competitive, women find themselves fighting harder than their male counterparts for senior management positions, on the basis of deep seated sexism within the Indian fabric.
Modern Day South Asian Feminism
Modern Day South Asian feminism is defined by the need to recognize women’s autonomy as beings within society. While feminism has long been present in India, there continues to be a long standing notion of women being inferior to men. While many religions and cultures intersect, increasing globalization has only furthered the divide- as women have been split into categories based on professions, living style and more. Women who work outside the home have been seen as women who have lost their nurturing touch, unable to be adequate mothers, daughter in laws, or wives. Women who pursue higher education are seen as women who no longer are able to uphold traditions and practices that are passed down through generations. As the number of South Asians in the West continues to grow, there seems to be a disconnect between where you belong- and is even more complicated as a woman. This disconnect, combined with the intersections of South Asian feminism as well as western feminism, are seen through the works of many influential artists.
Hate Copy
Maria Qamar is a Pakistani artist who creates eye-catching pop art style paintings in with Urdu/English captions. She draws on ridiculous traditional South Asian beliefs. She also brings into the light many hypocritical pieces of the culture, such as the constant uplifting of male children and constant badgering of female children. She draws attention to cultural stereotypes as well, and when seen through an artistic lens, reveal their absurdity. Maria teamed up with another modern day feminist artist, Babbu the Painter- and brought the series “Bad Beti” to life. “Bad Beti” which translates to “bad daughter” focused on breaking out of the mold that has been set for many young Indian women, considering their families fear assimilation and loss of culture. Feminism in the eyes of Maria as well as through her work have been about confrontation. It is time to confront our cultural biases and stereotypes- and learn to bridge the gap between the East and the West. South Asian women in the West are not inherently damaged, and artists like Maria are bringing this to the forefront for discussion. https://hatecopy.com/
Rupi Kaur
Rupi Kaur has gained a lot of media attention with the international popularity of her book of poems titled, Milk and Honey. She addresses many taboo themes in South Asian culture in her work, including domestic abuse, love, and heartbreak. Her TedTalk, which included a spoken word of her own encounter with sexual abuse- gave rise to discussions around conversations not often had in immigrant South Asian families. Further, through her writing she chronicled ways of being “never enough for here- and never enough for there” which resonated with many young South Asian children of immigrants. South Asian families have been marked by their loss of home, and feelings of being visitors to the West, where they settle their families. By putting these thoughts into writing, Rupi Kaur has opened dialogue around finding our true selves- and creating a sense of belonging in our new homes. By engaging with seemingly difficult topics, artists like Rupi continue to break barriers that have been built on basis of toxic beliefs of emotions as damaging, and have looked to treat emotions as reflective and important. https://rupikaur.com/
References
1. Chaudhuri, Maitrayee. Feminism in India (Issues in Contemporary Indian Feminism) New York: Zed, 2005.
2. Kalpana Misra (1997) Indian Feminism and the Post-Colonial State, Women & Politics, 17:4, 25-43, DOI: 10.1300/J014v17n04_02 http://dx.doi.org/10.1300/J014v17n04_02
3.. Tejaswini Niranjana (2007) FEMINISM AND CULTURAL STUDIES IN ASIA, Interventions, 9:2, 209-218, DOI: 10.1080/13698010701409152 http://dx.doi.org/10.1080/13698010701409152