Monday, 19 June 2023

Understanding Sologamy in Indian context





Last year the first incident of solo gamy was reported from India wherein 24 years old woman name Kshama Bindu from Gujarat tied the knot with herself. It has been projected and celebrated as the idea of self-love and liberation from the oppressive patriarchal social setup. The practice of solo gamy or self-marriage can be defined as the act of marrying oneself. However, it does not have any social/legal/religious validity. The act of solo gamy can be examined from different perspectives, for example psychological, legal, theological etc. But herein, I am interested to look at solo gamy from a sociological and anthropological perspective.

Family is considered one of the major social institutions along with polity, economy, and religion in the discipline of anthropology/sociology. In fact, students of sociology and anthropology are familiar with the concept of family as more often an entire paper is dedicated to understanding Family, Marriage, and Kinship. The basic idea of the family comprises a group of individuals sharing relationships based on blood (consanguineal kinship) and relationship based on marriage (affinal kinship). Marriage and family are the two sides of the same coin. Marriage provides the sanctity to the conjugal relationship of husband and wife. The website of Encyclopaedia Britannica[1] defines marriage as:

 “a legally and socially sanctioned union, usually between a man and a woman, that is regulated by laws, rules, customs, beliefs, and attitudes that prescribe the rights and duties of the partners and accords status to their offspring (if any)”

The most common form of marriage observed in our society is monogamy, in which generally a union between a man and woman takes place. But it is important to note that it is not the only form of marriage that exists in our diverse society. On the basis of the number of spouses, marriage can be of two types- monogamy and polygamy. Polygamy is again can be of two types- polygyny (a man marrying multiple women) and polyandry (a woman marrying multiple men) and even fraternal polyandry (a woman marrying all the sons in a family). There exist different reasons to justify these kinds of marriage practices but to explain all that is beyond the scope of this article[2].

Marriage is an important life cycle event that marks the transition of an individual from one stage to the next stage of life. It is one of the ‘rites of passage’ along with birth, puberty, and death (refer to ven Gennep’s work).

Consider a scenario where it is not accompanied by any change per se in the social and cultural life of any individual.  One continues to stay with one’s own family post-solo gamy. There will be no change in the life of the individual per se ‘post-marriage’. The question arises in such a scenario is that will society function in the case of solo gamy?

In my opinion, it will still function as not all individuals are going to opt for solo gamy. We have the concept of ‘swayamvar’ in ancient times in India where the princes were called upon for the marriage of the princess. The princes or the suitors had to undergo tough competition in order to qualify to be the husband of the princess. We have heard many interesting stories of the swayamvar of Sita (from Ramayan), swayamvar of Draupadi (from Mahabharat), and swayamvar of Rani Sanyogita (wife of King Prithvi Raj Chauhan from Rajasthan).  Interestingly, the princesses were free to choose their own husbands in the case of this swayamvar.  Moreover, if we look at the word swayamvar, its loose Hindi translation will be that princess will choose her own husband but there is also a hidden meaning. The word Swayamvar is made up of two words- swayam + var which implies ‘kanya ne swayam ko var liya hai’ (English translation- the bride has married herself first).

As per the Alliance theory of Levi-Strauss, the institution of marriage is required for the well-functioning of society as the alliance of different groups forms through the exchange of women. But that was applicable in the case of traditional societies and not in the case of modern societies when we have all forms of networking and exchange.

In my opinion, one or two random cases of solo gamy are not going to affect the foundation of kinship and marriage practices in Indian society.                                                                           


https://www.aljazeera.com/features/2022/7/20/the-indian-woman-who-married-herself#:~:text=Inspired%20by%20a%20Netflix%20show,of%20'sologamy'%20in%20India.&text=New%20Delhi%2C%20India%20%E2%80%93%20Though%20she,woman%20%E2%80%93%20she%20has%20married%20herself. 

Thursday, 9 February 2023

Decoding Kantara: Nature-Man-Spirit Complex

 

                                            

Kantara, a Kannada movie that was released last year became a blockbuster hit. It is of interest to the viewers as it depicts the nature-human conflict and critiques the mainstream narratives of development and crony capitalism.

It is a visual treat to anthropologists and sociologists as it beautifully weaves together the elements of traditional folklore, mythology, and legends. The concept of the Nature-Man-Spirit Complex is extremely helpful to understand the plot of this movie. This concept was propounded by famous anthropologist L.P. Vidyarthi for the study of Sauria Paharia tribe (also known as Maler), residing in the hilly and forested areas of Bihar. He analysed the complex interaction between Maler and their natural habitat (i.e., hills and forests) and the role of the different spirits (called Gossaiyan) to regulate their lifeworld in his book The Maler: Nature-Man-Spirit Complex in a Hill Tribe of Bihar (1963).

Malers are dependent on their hills and forests for various reasons. Their livelihood is forest-based as they practice shifting/ Jhum cultivation and collect different forest products like fruits, berries, and herbal medicines. Even their different spirits reside in the forests and hills. They worship different spirits like Beru Gossaiyan/ Sun, Belpu Gossaiyan/ Moon, Bindke Gossaiyan/ Stars, and many more. Apart from these, they worship three village deities – Chal Gossaiyan. Raksi Gossaiyan and Kando Gossaiyan.

Coming back to the plot of the movie, the storyline unfolds over two centuries. It begins in 1847 with the granting of land to the villagers by the King in exchange for taking up their deity’s stone with him as it provided immense happiness to the King. His successors are forbidden by Daiva to take back the land from the villagers otherwise they must face the wrath of Daiva.

There are two deities- Panjurli Daiva and Guliga Daiva that are shown in the movie. Panjurli Daiva meant Boar Guardian spirit which is the ruler of the land. Guliga Daiva is the Kshetrpaal/ protector of the boundaries of the land ruled by Panjurli Daiva. Guliga Daiva is more violent in comparison to the Panjurli Daiva and his spirit resides in the stone which is invoked only at times of perceived danger by the people. To worship both deities, Bhoota Kola is performed annually during which the performer’s body is possessed. Villagers perform Bhoota Kola to appease the Boar guardian spirit or Panjurli Daiva as in ancient times the crops were destroyed by the wild boars.

Fast forwarding to the 1960s, the king’s successor becomes greedy for the land and coerces the Bhoota Kola performer to convince the villagers to hand over the land to him. However, when challenged to prove that he is truly possessed by the Daiva, the performer vanishes in the forest and the King’s successor dies outside the court while vomiting blood.

Later in 1990, three main players emerge in the storyline. Murali is the government forest officer who is assigned the task to convert the villagers’ land into a forest reserve. Devendra Sutturu is the landlord of the village and son of the King’s successor family who died in front of the court. Shiva, the protagonist is the son of the disappeared Bhoota Kola performer. The storyline moves ahead with the feud between Murali and Shiva and the manipulation of Shiva by Devendra Sutturu (landlord) for securing his claim on the villager’s land. It is interesting to watch the unfolding of these events and how in the end Murali and Shiva join hands against the landlord to fight for saving the innocent villagers. Shiva is chosen by destiny and Daiva to avenge the death of his cousin Guruva (Bhoota Kola Performer in the current generation) who is murdered by the landlord. The most powerful and fascinating part of the movie is the climax scene where Shiva enters a trance and is possessed by Daiva to fight against the landlord. The viewers feel mesmerized by the divine energy put in this scene by Shiva (the lead actor Rishabh Shetty).


Just like Malers described by Vidyarthi, this movie depicts the interdependence of villagers on their Jungle and Jameen. Their deities or Daivas are regarded as the powerful protectors of people and land. The supernatural phenomenon depicted in the movie can be analysed by using another concept of Vidyarthi (1961) - the sacred complex. It comprises three aspects- sacred geography, sacred specialist, and sacred performance. If you have watched the movie, you will be able to figure out these three aspects of the Sacred complex in the movie. The villagers’ land becomes sacred land as it was granted to them by the King on the order of Daiva who agrees to accompany the King on this condition only. King’s descendants must face the wrath of Daiva when they challenge the authority and existence of Daiva. Shiva is destined to become a Kola performer like his disappeared father as the practice of becoming the ritual specialist (like a Shaman) is continued within the same family over the generations. The performance of Bhoota Kola and possession of Daiva is a sacred performance when the divine powers enter the body of a specialist.  Various offerings of food items are made to please and pacify the Daiva. During the climax scene, Shiva takes out the sword from the land and touched it to a stone smeared with blood and engraved with a trident symbol. This was the same sword dropped by the King and now the landlord/ his descendant is killed by the same sword as he breaks the promise of the King.  Kantara means mystical or enchanted forest that is in between the realms or connects this ordinary world to the supernatural world. So mysteriously Shiva, like his father during the Kola performance disappears into the forest in the last scene of the movie. 

 

 

The movie tries to answer the underlying question that is to whom the land belongs- whether the government, which aims to protect the land by declaring it a forest reserve and evicting the villagers, the landlord who claims his ownership over the land, or the local villagers who depend on the forests for multiple reasons. In this movie, we see the complex interaction of the social and spiritual world of villagers to ensure and protect their land and forest rights.