Tag: Vibha Shetiya

Mindful of the Bond We Share in these Trying Times by Vibha Shetiya

vibpicI’m sitting in my parents’ balcony in Pune, India, on a quiet morning. Well, this being a bustling Indian city of six million, it can’t really be quiet. As I sit with cup of tea in hand, I try and meditate – I’ve been practicing mindful meditation of late, and so, rather than block out the noises, I embrace the various sounds that make up this Monday morning.

I count the variety – sparrows gently chirping away while a noisy crow tries to outdo them in a contest he easily wins, a street hawker starting his day (and ours) on a rather cacophonous note, the sweeper from the neighbouring complex pouring his heart and soul into cleaning the grounds that will need re-sweeping in an hour or two, the put-putting rickshaw carrying squawking kids to the school down the alley, chirping chipmonks that temporarily develop wings as they fly from branch to branch in a cheerful chase, the honking car warning of its over-the-limit speed (reaffirming the fact there are two things we Indians especially love: honking for no reason, and breaking traffic rules), my mother’s footsteps as she peers out to see what I’m doing by myself…nine in all.

In the past I would have tried hard to block these out, straining to keep my mind on my breathing, worrying I’ll never find a quiet enough spot to help me master (hah!) the art of meditation. But today, I am grateful. Grateful that I am a part of a larger picture. And as I scan my body from head to toe, feeling the tension most in my shoulders while the cold mosaic tiles below keep me momentarily grounded to the fullness of living, I remind myself that I am just a speck in this montage called life. Continue reading “Mindful of the Bond We Share in these Trying Times by Vibha Shetiya”

The Chandravati Ramayana: A Story of Two Women by Vibha Shetiya

vibpicAlthough “the” Ramayana is a fluid narrative, scholarship has traditionally recognized the Sanskrit Valmiki Ramayana as the most authoritative of Ramayanas. But recent studies have brought to light the hundreds of regional stories of Rama and Sita which are more popular with the masses. These would include Krittibasa’s Ramayana in Bengal, Kamban’s Tamil Iramavataram in South India, notably in the state of Tamil Nadu, Tulsidas’s Ramcharitamanas among the Hindi-speaking belt of northern India, and so on. But even here, a pattern seems to emerge; all the above-mentioned authors are male. Within this scenario, a rather unique text stands out, and that is Chandravati’s sixteenth century Bengali Ramayana, for its author was a woman. Even more fascinating is the double-toned nature of the narrative – through Chandravati’s own voice and through the voice of its tragic heroine, Sita.

Chandravati (ca.1550-1600) was born in a village in eastern Bengal, today in Bangladesh. It is impossible to ignore the tragedy of her own life which perhaps played a role in her re-fashioning a well-loved epic; her Ramayana is built on a recurring theme that defines women’s lives – the theme of sorrow. Born the daughter of a poor fisherman, legend has it that on the eve of her wedding, her fiancé ditched her for another woman. A devastated Chandravati vows to never marry, instead becoming a devotee of Shiva, and at the urging of her father, takes to re-writing the Ramayana. But rather than simply recount the traditional tale, Chandravati, through the Ramayana – that symbol of Hindu patriarchy – turns the story into one lamenting the pitiful lives of women by centering it on Sita. That it is a story by a woman and for women is evident in the fact that Chandravati addresses her narrative with the vocative, “Suno Sakhijana!” or “Listen, my girlfriends!” rather than to members of the court as was the traditional salutation for stories involving mythological characters. Continue reading “The Chandravati Ramayana: A Story of Two Women by Vibha Shetiya”

First Time But *Definitely* Not the Last by Vibha Shetiya

vibpicLike many others, I too have been thinking of this election the past month or so. A lot has been said about the repercussions a Trump presidency will have on immigrants, women, the LGBTQ community, non-Whites…the list is endless. But in this post, I would like to talk about personal matters, and what it meant for a first-time voter like me to vote in the US elections. I have been living in the United States for over seventeen years, but only recently – in April this year – did I apply for citizenship.

I’ll be honest. I didn’t know much about Hillary Clinton or American politics. But the good thing that has come out of this cycle is that it has made me want to learn more about governance, elected representatives and what they are doing (or not) for the people they claim to represent. It has made me want to learn about why people hate Hillary so much. I don’t understand the refrain, “She’s a liar”; why she has been singled out for so much hatred when clearly the opposition isn’t exactly a paragon of virtue.

Despite being relatively apolitical prior to this election season, however, there was one thing I was really excited about – the fact that, for the first time in American history, a woman was running for president as a candidate of a major party, that too with a good chance of winning. Now, of course, being from India I was cautious about what this could actually mean for the ordinary American woman. After all, did Prime Minister Indira Gandhi’s rise to power necessarily create a dent in the patriarchal nature of Indian culture and society? Continue reading “First Time But *Definitely* Not the Last by Vibha Shetiya”

Sex, Death and the Gods (Part II) by Vibha Shetiya

IMG_20160112_101035This continues my reflections on the Devidasis in Part 1.

The overall picture that emerged from the documentary “Sex, Death and the Gods” was that, in its current form, there were many layers to the Devadasi system. For one, the most heartbreaking of all, there were the helpless, underage girls protesting such an existence, pleading that they would rather be in school, instead of being trapped in what was essentially a form of sexual slavery. But then we also see the older Devadasis, women who had been dedicated as children themselves.

Within this latter bracket, there were two groups.Those that viewed the practice as evil, and those that saw it as empowering – they earned their own income and they didn’t have a man or mother-in-law to lord over them; in short, they were in-charge of their own households. To them, married life was akin to a life of servitude, sex was something they enjoyed, and they may have shared a more or less equal relationship with the men who were their customers, men who enjoyed their company and preferred being with a Devadasi rather than with spouses they never chose or couldn’t get along with. In the words of one Devadasi – “I am the boss.” Continue reading “Sex, Death and the Gods (Part II) by Vibha Shetiya”

Sex, Death and the Gods (Part I) by Vibha Shetiya

Vibha I recently re-watched a BBC documentary my students and I had discussed in class last Fall. “Sex, Death and the Gods,” directed by Beeban Kidron, takes a close and rather intimate look at the Devadasi system as currently practiced in Karnataka, a state in southern India. In its ancient form, young girls were dedicated to temples, and their duties included dancing and singing to the deities, a form of worship in itself. Delivering on its provocative title – one that describes how prostitution and sexually-transmitted diseases such as AIDS intersect with the realm of the divine – the film sheds light on how a practice once sanctioned by religion came to offend public sensibilities because of changing mores regarding sexuality, ultimately leading to its being outlawed in twentieth century India.

Despite the ban and denials by government officials, however, the practice continues to exist in some villages and towns, albeit watered-down from its historical form. In the first part of this post, I present the background of the system; in the second, I discuss how “Sex, Death and the Gods” problematizes the concept of women’s agency, a thorny matter especially when issues of morality enter the picture, as it almost always does with “problematic” professions that involve an exchange of money for sex. Continue reading “Sex, Death and the Gods (Part I) by Vibha Shetiya”

Naked and Unafraid: Mahasveta Devi (1926-2016) by Vibha Shetiya

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Photo credit: The New York Times

Mahasveta Devi died last month at the age of 90 in Kolkata, India. A widely acclaimed Bengali writer, she identified as an activist first, clearly evident in her meticulously researched “fiction.” Most of her stories champion the cause of those living on the margins of society, particularly the Adivasis or original inhabitants of India; poor, unemployed and itinerant, they traditionally subsisted off the land, and continue to struggle against exploitative upper caste landowners.

I cannot claim to be an expert on Devi or her activism, but there is a story I read a few years ago, which never fails to haunt me, whether because of the rawness with which she describes the harsh reality faced by tribal people or because of what can be seen as the violent but ultimate triumph of its female protagonist, I cannot tell. Perhaps because of both, or because of more complex emotions which are hard to capture as they manifest in goose-bumps and a deep pain in the inner recesses of the chest when reading it for the seventh or eighth or twentieth time. Continue reading “Naked and Unafraid: Mahasveta Devi (1926-2016) by Vibha Shetiya”

I’m Every (Bit A) Woman by Vibha Shetiya

IMG_20160112_101035I often recall the time many years ago when a relative sympathized with the fact that my kittie had been spayed. Pigou was one of five girl cats we had and rather than face the difficult task of having to find homes for all of their offspring, or worse, put their lives in danger for lack of adequate care, we decided to get Mama Cat along with her four daughters fixed. My aunt’s words still resonate in my ears: “That is so sad. After all, every woman nurtures a desire to be a mother.” I remember feeling terrible. My parents and I had just committed the grave sin of severing Pigou (along with her sisters) from her identity – her natural role of mother. As I have gotten older, my views on Pigou and her lack of choice in the whole matter have changed, although I acknowledge that it may remain an ethical issue for some. Much as I empathize, however, Pigou and animal rights are not the center of this post, although a related topic is – that of motherhood.[1]

I don’t have children. It is out of choice. I’m not sure when exactly I consciously decided to forego being a parent, but I suspect the seeds were sown sometime during my teenage years, the result of looking at the world around me. In particular, the memories of my mother turning from the self-assured, even independent woman I knew as a child to someone who was forced to limit herself to home and family later in life and get nothing in return; a picture which probably made me think that was what motherhood was really all about. Continue reading “I’m Every (Bit A) Woman by Vibha Shetiya”

The Self is Not the Territory by Vibha Shetiya

VibhaAs a teenager, I grew up wondering where exactly I belonged. Aside from the confusion resulting from straddling two entirely different, perhaps even opposing, cultures, my main concern seemed to center on which country was I from – India or Zambia? Or was I inherently British because of an education and upbringing enveloped by things English – values, books, magazines, not to mention people? Was I American because I grew up on TV shows like Charlie’s Angles, Wonder Woman, Six Million Dollar Man and Dallas that played a major role in fashioning my idea of the world around me? Perhaps I was Zambian because I had been living in that part of the world since the age of one. Or maybe I was from India because that was after all the land of my birth, to where I returned as an utterly confused and disjointed teenager who believed she now had to be “Indian” even though I could not relate so much as an iota to my immediate surroundings.

Looking back, I realize I felt the need to identify my sense of self with nationality. Ultimately, I reasoned, I had to be Indian due to many factors. For one, I looked Indian; I was brown-skinned with black hair and dark brown eyes. I now lived in India amid Indian people, Indian values (oh, so confusing), Indian music and Indian TV shows. And I was “born” a Hindu. So there I was – an Indian Hindu and so had jolly well behave like one. Of course none of this came with a manual on what exactly being Indian or Hindu meant. And so I looked to people around me, people I loved and whose approval my teenage mind so craved, and decided being Indian meant being who they wanted me to be. After all, how many times had I heard the phrase – “You’re in India now, so be Indian.”  And then as an adult, I came to America accompanied by even more potential for confusion; at times I felt the need to cling to my “Indianness,” at other times, I wanted to jettison it for fear of being denied entry into the great melting pot. Continue reading “The Self is Not the Territory by Vibha Shetiya”

Two Lives, a Marriage and a Plate of Samosas by Vibha Shetiya

VibahRecently, a commercial made by the clothing line, BIBA, hit the Indian market. Its significance lay in its “Change the Convention, Change is Beautiful” tag. The message was straightforward – we need to change Indian attitudes regarding gender roles. At the outset, let me say there are many things wrong with the ad, especially when one stops to think how it could possibly bring about a change when the young woman in question is voiceless. In fact, when I first watched it, my own reaction was: “And just what change are we talking about here?” Upon deeper reflection, however, I realized why the commercial may indeed be a step forward, albeit a tiny one. Continue reading “Two Lives, a Marriage and a Plate of Samosas by Vibha Shetiya”

Women First, Rivals Later by Vibha Shetiya

VibahSita, as many know, is the tragic heroine of the Ramayana who gets discarded by her husband Rama because he doubted she had remained chaste while in his arch enemy Ravana’s captivity. Moreover, she is the “ideal Indian woman” in popular imagination because she remains loyal to Rama no matter how unfair his treatment of her. But there is another female character in the epic who meets perhaps a far more violent fate.

Unlike Sita, however, Shurpanakha gets little sympathy from the readers because she does not stick to her socially assigned roles. I would like to talk about Shurpanakha and how she comes to symbolize all women who transgress societal boundaries, while also stressing the fact that although she is often presented as Sita’s opposite, the two share far more in common as women; both Sita and Shurpanakha deserve our compassion and empathy.

In the traditional Sanskrit text, Valmiki describes Shurpanakha as “maddened with desire” when she first beholds Rama’s beauty. The poet then goes into a rather lengthy description of what she is not by comparing her “unsightly” presence with Rama’s exemplary beauty, thereby affirming the fact that she does not deserve to be visible because of the physicality of her body. Upon his enquiring, Shurpanakha tells Rama that she, who roams the forest alone and according to her own will, is the sister of Ravana (who later kidnaps Sita), and she makes it a point to add that she is more powerful than all her brothers. She then declares her undying love for Rama and asks him to be her husband, after which the two of them could seek adventure amid the forest together. Continue reading “Women First, Rivals Later by Vibha Shetiya”