Trapped in Patriarchy

Shantanu Tilak Gender, Culture and Society Dr. Poonam Gandhi
Trapped in Patriarchy: Looking at Gender Stereotypes and Male Domination Using Popular Indian Media and Scholarly Discourse
The notion of patriarchy still prevails, despite the cultural advancements that have taken place over the past century. We are trapped in it, whether the context is fractured or not. In this research paper, I aim to look at the chronology of development of gender stereotypes and the concept of patriarchy as a parallel with historical data regarding the progression of human life. Drawing deductions from ethnographic and biographical data using Veena Das' ethnographical research, I would like to also draw out how socialization and psychological factors within family life also affect the type of schemas and idea patterns developed in relation to 'the gender issue'. Examples from Indian popular media (the movies 'Mrutyudand' and 'Astitva') are used as a form of primary text to analyse the depiction of female stereotypes. All in all, this research paper aims to look at the causal factors of patriarchy and our long embroilment in constructs that limit the freedom and equality of women.
Stereotypes are widely held but oversimplified views about a group of persons or things. (Oxford Dicitonary)We tend to develop stereotypes depending on the way we are socialized since birth, and it is often considered that stereotypes are necessary to maintain a sort of stability, a safely generalized view. Societies thus inherently perpetuate certain stereotypes in order to ensure their sustenance. (Naffziger 252) However, it is not safe to assume that stereotypes are only instrumental in bringing about social stability. They can often lead to a particular group being severely offended regarding the views held about them. This arises from the vast generalizations that stereotypes tend to make when they put forth the ideology behind them. Stereotypes have inherently existed since the origin of man. They only came to be known as stereotypes when social science and psychology emerged as well-defined fields of study. The actual origin of the word stereotype itself comes from the printing blocks developed by Didot, a French printer. (Naffziger 251) The development of these notions based on the roles played by men and women have led to the formation of 'gender stereotypes' and notions about both women and men that are generalized on a vast scale.
The transition of human life from the nomadic lifestyle to a sedentary one led to the development of the concept of property and ownership. As hunter gatherers, the effort required by both men and women was almost equal, and Brahmanical artistic depictions show women capturing small animals, and carrying baskets and nets to collect food. (Chakravarti 580) As the scenario shifted to sedentary settlements, men were required to conduct physical labour and irrigation while women and children helped around the home. The concept of monogamy was developed almost as a by-product of the concept of ownership, and men began to consider their wives and children as their own property. This was the main focal point for the development of a male-dominated society, trapped within the bounds of patriarchy. In the most basic sense, patriarchy is defined as a social system in which family members are related through their fathers. (Merriam Webster Dictionary)But it is much more than just this simple relational analogy. Patriarchy grants power to the male. Sex stereotypes and the concept of patriarchy within society are inseparably interlinked. Sex stereotypes that generalize and dictate what is required for the 'ideal' man and woman have fuelled the fire and let patriarchy grow as a social system and as a cause of gender bias. Men are often associated with aggression and dominance, and women with being demure and the subservient. Men are assigned the 'alpha' position in most spaces, and it has been seen that there are a lot more men occupying higher positions in the corporate environment. Sex stereotypes exist all around us. They exist at home, at school, even in the workplace. We cannot help but accept them as a product of ideology that has developed and changed over the years, but there is definitely a need for deeper analysis before assigning these stereotypes. For example, when male and female toddlers were made to play with toys considered 'appropriate' for each gender, some tended to show a questioning attitude. When some boys were asked to play with a nurse's kit, they declined saying that they were meant for girls, but some experimented with it. Older boys made good use of the nurse's kit, using it as a doctor's kit as well. This shows how the formation of stereotypes largely depends on the way we are socialized. (Naffziger 255) Socialization helps us to configure how we are initiated into society and the idea patterns and notions we develop. When a child is taught about gender in a neutral, objective way, in the home and external environments, there is a higher chance that he/she would have relatively transparent views regarding gender roles and stereotypes. This roots back to the notion of 'gender' being a concept created by cultural notions as well as simple biological differences (These biological differences are obviously, set in stone). The concept of a 'gender-neutral socialization' is extremely idealistic, but it is possible to reach a compromise in order to establish equality of the genders.
Looking at sex differences from a biogenetic or anthropological perspective alone is not holistic enough to understand all the differences that exist between the male and female, both biologically and as a function of society. A more holistic approach is required to have a fuller understanding of these differences from both biological and psychological perspectives. These individual theories need to be combined in order to have a good overall view that encompasses all the aspects of these sex differences. Looking at socialization itself, one needs to keep in mind that a neutral attitude towards sex differences during the socialization of a child helps in the development of rational and generally accepting ideology towards the sensitive topic of gender.
The Indian cultural context is fraught with stereotypes and constricting gender and caste roles. From the Brahmanical standpoint, it is undeniable that gender and caste differences and hierarchy within these two spheres formed the basis of the fragmentation within society. One can trace the emergence of patriarchal customs by analysing the beliefs and the practices of the upper class, as studied from an anthropological viewpoint. Studies show that there are higher concerns within Brahmanical societies about female sexuality. This is because there is a tripartite structure within the patriarchal societies involving women, property and ritual quality. In order to maintain the stability of this structure, it is apparently necessary to stringently regulate female sexuality. Women form the pivot of this tripartite structure, and in order to maintain ritual quality and purity of caste, it is necessary to exercise control over the woman. Thus, the purity of men was said to rest on their woman, in such hierarchical societies.
There has always been an anxiety in these hierarchical society of the pollution of caste. This 'mixing of blood' is said to compromise the idea of racial purity. Women are said to be a guide of a point of entrance into the complications of the caste system. Hence, the movement of women was restricted, and they were even secluded in order to prevent lower caste men from having access to women of higher caste. Archaeological data from the Harappan civilization does not show a lot of data relating to gender roles and differences, but show the emergence of social stratification and division of society in some way. (Chakravarti 581)
Data from the Rig Veda highlights a lot about the myths and customs associated with female sexuality. Demoniac women and supernatural beings such as apsaras were given a large amount of sexual control over men, as depicted in myths. They are often shown as alluring and cunning. However, a polar opposite to such depictions of female autonomy is the image of the sedentary human woman. Her role in the home was recognized, but practices such as Niyoga, which granted privilege to 'affinal male kinsmen', establish limits on the power of sexual freedom of a woman. From the standpoint of Niyoga, the woman is regarded as a sort of 'grail of procreation' in my opinion. Her main role is to procreate. On the loss of her husband, she is shamed, but must fulfil her role as a procreator through sexual interaction with these affinal kinsmen.
The management of female sexuality underwent a total makeover with the emergence of the sedentary lifestyle. The role of women was restricted to the household, since irrigation required intense physical labour. The idea of ownership also posed a limit to the identity of women. The image of the adulterous woman in the Mahabharata who will 'embrace whatever is beside them' highlights how the sexuality of women is something that is not very easy to control. This control, as mentioned earlier, is necessary to maintain a balance between land, the woman and ritual purity. (Chakravarti 582)

In the contemporary cultural scenario, there are still limitations associated with the image of the woman. Veena Das, in her essay which looks at fragments of the ethnographic documentation of a particular family and their individual past experiences, looks at the conception of the image of the woman from a confounding ethnographic perspective. Radha, the subject of this fragmented study, has three sisters, a brother who passed away from high fever, and her parents to live with. In her family, there is a fragmentation of cultural identity. Her mother seems to have a more' advanced' outlook to gender stereotypes, and encourages her four daughters to strive and do their best. She is the breadwinner of the family, and does a number of odd-jobs to support her family. Her husband, is an unemployed alcoholic who holds traditionally patriarchal views regarding the position of women. On one hand, he is 'emasculated' by his wife who is a working woman. On the other hand, he constantly berates his daughters for the death of his son, saying they are 'inauspicious'. His views are orthodox and traditional, and he is also suffering an inferiority complex. This shows how the loss of self-esteem is something that harms the ego of the man, which is often considered to be fragile. These biographical fragments show how socialization and the familial scenario are often predictors of the views developed by a person. In the contemporary scenario, a fractured familial situation with several opposing views can often lead to the development of strong gender biases. The conflict between traditional male and contemporary female views leads to an extremely unfavourable family environment. The psychological aspect of displacement is covered through the presentation of biographical data. Probing into the mind of Radha's father, in particular, provides valuable insights regarding the psychological context.
Radha's father is emasculated by his working wife who supports the family. He displaces his inferiorities and insecurities as anger on his daughters. His desire to assert his patriarchal dominance comes from his suppression by his wife. His anger towards his daughters is a by-product of probably how he was brought up as well as his complex of inferiority to his wife. Thus, the development of misogynistic thoughts and idea patterns is also associated with the cultural context of upbringing as well as familial power games. This deduction helps us to look at mechanics of a fractured cultural identity within a family. (Das 57-61)Ethnographic and biographical data gives us a direct view of the image of men and women within society, and the psychology behind it as well. Looking at popular media is another good way to analyse the images of men and women from different sociological settings.
In Prakash Jha's 1997 film, 'Mrityudand' (the literal translation of which is 'Death Penalty'), the image of the post-colonial Indian woman shines through, with the absurdity of the question 'Yeh baccha kiska hai?' being raised. Such a statement highlights the obsession and compulsion the post-colonial Indian subcontinent felt towards taking a patriarchal bend. The movie is set in the badlands of Bihar, which were known for their extremely conservative treatment of women. Chandravati (played by Shabana Azmi) is falsely accused of being incapable of reproduction to mask her husband's impotency. Her transgressions in the city with Rambharam (an acquaintance from a lower caste) lead to the birth of a child, which she decides to defiantly keep as her own. She and her brash sister in law Ketaki (played by Madhuri Dixit) are left alone, and pregnant, hoping for a good future. It is remarkable to see that at the end of the film, it seems as though both women have been forgiven for their transgressions. They are portrayed in an almost ethereal state, hoping for the best. This hopeful note shows how the movie transgresses the 'traditional' and constricted image of the Indian woman on one hand. On the other hand, however, the stereotypes still prevail. The notions of caste and gender, the manipulation of these notions by the women within the story shows how the movie takes an interesting twist on the Indian gender issue. But the questions raised and the scenarios depicted highlight the stereotypes and stigmas within post-colonial Indian society. Abhay Singh (Chandravati's husband), is the culprit who is impotent, as we have discussed before. He is traumatized by his childless (sonless) condition and takes a more spiritual route with his life. This disappointment at the lack of a child, is something that is so patriarchal in nature. The role of the woman is to procreate, and when the male is the one who is unable to engage in conjugal acts, it compromises his fragile ego. The husband's spiritual bend comes from his trauma and insecurity. (Bharucha) The interesting twist that the movie takes on the gender issue, by portraying women as rebellious and self-aware can probably be contextualized to feminism in parallel Indian cinema. (Erndl 25)
Mahesh Manjrekar's 'Astitva' makes bold statements about female empowerment as well. It talks about the basic need for love and nurture that drives a woman to transgress the holy bounds of her emotionally fractured marriage. The husband is revealed to have had extramarital interactions as well, at the end of the movie, but discounts it as okay because of his 'male' status as being the dominant. The movie highlights the hypocrisy within Indian society regarding what is allowed and disallowed for women and men in Indian society.The husband is equally hurt by his wife's transgressions, and it obviously fractures his ego. This 'death of ego' is what led to his rage against his wife. We often cannot agree with Aditi's (played by Tabu) submissive stance and her peacefully coming to terms with her marital situation, because she is perceived as having had no choice. What can a woman do when she is in a loveless marriage? The desire for love and nurture is inherent to all human beings. The freedom for intimacy is something that should not be given preferentially to men. Marital ethics is not even the main topic that this movie discusses. It uses the ethics of marriage to empower the woman, to show us what our inherent mental thought patterns in times of despair are. (Fultoo) The contemporary scenario has seen a change in the way women are looked at, but are we really even free from patriarchy, which has omnisciently lurked above the sociological sphere for so long? Has there really been a change in the system of patriarchy, or are we still trapped in this system that has perpetuated for so long within human society?

All in all, the transition from traditional to modern views has only changed the perspective of viewing patriarchy. The modern female is definitely more aware of the constructs of patriarchy, and thus tries to combat it by simply being aware. That is all that has changed. Men, like myself, are unknowingly absorbed into the vortex of patriarchy and female suppression, and hence cannot react to something that is not experienced first-hand. In order to look at the concept of patriarchy, we need look at where it originated, and why it has persisted. Saying that patriarchy originated from matriarchy, and from the concept of the woman as the creator, but transformed with the change in human lifestyle and subsistence patterns. Mythology and oral culture also talk of the dominance of the man over the woman, as well as racial purity. The pivotal role of the woman in maintaining a stable balance between property ownership and ritual quality. We need to look at how the progression of human life has led to development of certain gender stereotypes that perpetuate within society as a result of sociological factors. The perpetuation is a result of the way we have lived and progressed to live, the way we are socialized, the way we interact with one another. We need to be aware about what patriarchy is in the now, in order to understand where it came from. This knowledge of the past and present will enable us to understand how to suppress it, and establish the pure meaning of feminism, free from all its misconstrued aliases. (Johnson 133-137)The notion of male and female equality is something that is achievable through thorough awareness of not only the notion of patriarchy itself, but the ways to ensure neutral socialization and the development of relatively open ideas towards 'the gender issue'.
Works Cited
Bharucha, Niloufer. "Of Devis, Devdaasis and Daayins: The Image of Women in Postcolonial Indian Cinema." 2002. Gender Forum- Mediating Gender. Web. 1 September 2015.
Chakravarti, Uma. "Conceptualising Brahmanical Patriarchy in Early India: Gender, Caste, Class and State ." Economic and Political Weekly, Vol. 28, No. 14 ( 1993): 580. Digital.
Das, Veena. "Modernity and Biography: Women's Lives in Contemporary India." Thesis Eleven (1994): 57-61. Digital.
Erndl, Kathleen. "Woman Becomes Goddess in Bollywood: Justice,Violence, and the Feminine in Popular Hindi Film." Journal of Religion & Film Issue 2 Vol.1 (2013): 1-30. Digital.
Fultoo. "Review of the Week- Astitva." 2000. The Idle Brain. Web. 1 September 2015.
Johnson, Allan. "Patriarchy: War, Sex and Work." Johnson, Allan. Gender Knot. Temple University Press, 2005. 133-137. Print.
Merriam Webster Dictionary. "Definition of Patriarchy." 2015. Merriam Webster Onlne. Web. 1 September 2015.
Naffziger, Claudeen Cline Naffziger and Ken. "Development of Sex Role Stereotypes." The Family Coordinator, Vol. 23, No. 3 (1974): 251-259.
Oxford Dicitonary. Definition of Feminism. 2015. Web. 1 September 2015.