Indian adult females voices have been silenced for ages due to assorted grounds. The modern-day Indian adult females are bold and knowing. They are thoroughly cognizant with their rights and responsibilities. They need to distribute their voices in order to beef up the female position. Through memoir genre. they are able to compose from a female position and make a strong voice for feminism. By sharing the world of the female experience. the memoirist finally reveals truth about her ain life. When adult females communicate personal. they break the silence of subjugation and make a powerful force. Urmila Pawar is a celebrated Dalit author and women’s rightist. Her memoir “Aaydan” ( The Wave of my life: Dalit woman’s memoir ) is originally written in Marathi linguistic communication and subsequently translated in English by Dr. Maya Pandit and Urmilatai become an international personality. In this bold and intimate memoir Pawar portion her personal calamity including interpersonal and inter communal relational clangs and tolerance. It problematizes major issues of dramatis personae. category and gender in the Indian context.
Dalit in India are unvoiced and marginalized. Even in this scientific new epoch most of the Dalits are still lasting under incompatible and hostile ambiance like subjection. caste based subjugation and favoritisms. It is said that Marathi Literature is the precursor of all modern Dalit Literature in India because of the bequest of Mahatma Jyotiba Govind Phule and Bhim Rao Ambedkar. Under the influence of these great personalities. many Dalit authors have been consciously lending to distribute of Dalit Literary Movement. They have written about the societal reformation motions and motions for the upliftment of Dalit. Through their authorship. they have proved themselves as a reformist of Dalit caste.
The present twenty-four hours. Dalit literature is a literature of the down laden and suppressed people of India. and such it is one of the most important developments in modern Indian literature. 1 “Still today it is frequently asked. who is Dalit? And what is Dalitness? Can these be a Dalit literature? A few old ages back the word ‘Dalit’ was non accepted even by some of the taking Dalit authors themselves. They preferred to utilize the term ‘protest literature’ . But now the term ‘Dalit’ is accepted with pride and really construct of ‘Dalit Literature’ is besides recognized in the university course of study. ”
In 80s and 90s most of the Dalit autobiographical authors emerged on literary scene and raised large Rebel and protest against the upper dramatis personae communities. Dalit autobiographies were written as an emergent manner of Dalit Discourses with the corporate consciousness of their averments and perceptual experiences about the developments. It is good assumed fact that this agony is due to the age old ‘Varna System’ that created dramatis personaes based hierarchy in the modern-day society. The system was responsible to coerce the lower dramatis personae people to undergo great humiliation and development. Therefore. fundamentally. Dalit literature contains seeds of rebellion and protest against such awful and cold pattern.
In Dalit literature many Dalit bookmans he/she have written their autobiographies. Through women’s autobiographies one can easy understand that still a immense part of the society are contending against all kinds of development. gender favoritism and want by upper dramatis personae. The state of affairs of Dalit adult female comparative to Dalit male seems to be more tragic as they are double subjugated. They become victims of the development and operation of upper category every bit good as they own. The autobiographies of Shantabai Kamble. Babytai Kamble. Kumud Pavade and Urmila Pawar unwrap the worse living status and development of the Dalit adult females in the modern-day state of affairs. They narrate Dalit adult females as debauched. demoralized. exploited and least educated in our society. They have been socially and culturally. economically and politically subjugated and marginalized. 2According to Dr. S. K. Paul. “Dalit literature is finally. a declaration of independency. It is impossible to understand the radical quality of Dalit literature without understanding the people to whom it is addressed. ”
We are basking the new millenary era though in our society. Dalit adult females are the worst affected and endure the three signifiers operation – caste. category and gender. The caste system disgusts Dalit adult females. This is a complete misdemeanor of women’s human right. The fundamental law of India besides guarantees the equality of rights of work forces and adult females. However. in the domain of women’s human rights in India. there is a large spread between theory and pattern. The fundamental law of India has granted equal rights to the work forces and adult females. Harmonizing to Article 14 – “The province shall non deny to any individual equality before jurisprudence or the equal protection of Torahs within the district of India. ” And Article 15 provinces – “State shall non know apart against any citizens on land merely of faith. race. caste. sex. topographic point of birth. or any of them. ”
But today. it seems that there is a large spread between theory and pattern. The Dalit adult females in India have ever been considered subsidiary and treated as Harijans. as castawaies. due to their caste. Harmonizing to the Hindu caste hierarchy. there are four castes viz. the Brahimins ( priestly cast ) . the Kshatriya ( warriors ) . the Vaishyas ( bargainers ) and the Shudras ( humble undertaking workers ) . Below these four grades caste leader is another phase. who is called the Harijans. ( panchamas ) . It has been repeatedly said these yearss that all adult females are basking right of equality. But in world. the Dalit adult females ( panchamas ) have been the sick persons from yesteryear. Not merely in earlier clip s but even now yearss besides. Dalit adult females have to confront favoritism. unfairness and dishonour.
M. K. Gandhi battles against British with two great arms viz. Truth and Non-violence and give us independency. The approaching coevalss of Dalit adult females authors have chosen self-narrative genre – autobiography to contend against the inequality and autonomy for their experiential claims like the individuality of ego and individualism. These autobiographies carve a new image of Dalit adult females far different from the elect category adult females. Among the published women’s autobiographies the most acclaimed and outstanding is. viz. Shantabai Kamle’s ‘Majya Jalmachi Chittarakatha’ ( Kaleidoscopic Story of My Life ) . Babytai Kamble’s ‘Jinne Amuche’ ( The Prisons We Broke ) . Kumud Pawade’s ‘Antaspot’ ( Thoughtful Outburst ) . Janabai Girhe’s ‘Marankala’ ( Deathly Pains ) and Urmila Pawar’s ‘Aayadan’ ( The Wave of My Life: Dalit Women’s Memoir ) .
Largely all these lifes narrates the immoralities of subjugations and developments. They tried a batch to make full autobiography with individualistic feelings subjection and development. P. P. Ajay Kumar comments. “Autobiographies have ever been a popular signifier of authorship because the alone experience of an person has teaching values. The full Dalit literature pretends to be autobiographical because Dalit composing garbages to surge on the wings of imaginativeness. Yet Dalit autobiographies retain their significance as a genre because they add to the growing and development of Dalit literature as a whole” . ( 2009. 33 ) Discussion
Urmila Pawar is a literary personality. known for her short narrative Hagiographas in Marathi literature. She was born and brought up in Kokan part of Maharastra province. She was born in the twelvemonth May 1945 at Adgaon small town of Ratnagiri District. Today. she is known as a feminist author and leader of Women’s lib motion. As a Dalit author. she has established herself after Daya Pawar. Baby Kamble and Shantabai Gokhale as the outstanding voice of Dalit literature. Her memoir ‘Aaydan’ . which was published in the twelvemonth 2003 and was translated by Dr. Maya Pandit as The Weave of my life: A Dalit woman’s Memoir’ . ‘Aaydan’ means weaving of cane baskets. It was the chief economic activity of the mahar community. whom. she belongs. There is another significance to the word Aaydan ; it is utensils used by them. Pawar writes. “My female parent used to weave “aaydans. ” the Marathi generic term for all things made from bamboo. I find that her act of weaving and my act of composing are organically linked. The weave is similar. It is the weave of hurting. agony. and torment that links us. ”
In May 2004. the Maharastra Sahitya Parishad ( Marathy Literary Conference ) awarded the Laxmibai Tilak award for the best published autobiography to Urmila Pawar ‘Aayadan’ . Urmilatai refused to accept the award and wrote to the Parishad to explicate her political base therefore. 3 “The metaphors. images and symbols in Marathi Literature have remained tradition edge. fundamentalist and go on to emerge from phantasy. seldom of all time bring forthing in human existences a religion in their ain agency…… In the devotional offering to goddess Saraswati. what does the goddess Saraswati symbolize? Is Saraswati another river like Ganga and Sindhu? Is the girl of Bhrama the alleged Godhead Born of the umbilicus of Godhead Vishnu? Or. is she the adult female character in the Puranas. the 1 who drowned Vadnaval the devil of fire? How is she related to literature and creative activity? These and other inquiries problem me…… . . I believe that there issues have to take the signifier of a motion in Marathi literature……I hope for societal transmutation and so this missive clear uping my place. ”
Pawar has given really infinitesimal inside informations of subjugation and developments of miss kid and adult females. Sometimes the humiliation is so much that it is seize with teething to the reader with his/her esthesia. Pawar describes in this undermentioned citation both the abuse and hungriness of the miss kid. Whenever they get good dish or complete nutrient. it is hard for them to command. As Pawar narrates the incident. “Once. I went to go to nuptials at my sister-in-law’s topographic point. along with two of my nieces. However. when we three spout misss set down to eat and begun inquiring rice repeatedly. the cook got angry. ‘Whose girls are these anyhow? ‘He explosion out. ‘They are eating like monsters’ so person answered ‘they are from our’’ Sushi’s household! Daughters of Arjun maestro! ’ On hearing this. the host came frontward. ‘Oh! Are they? All right. all right allow them eat every bit much as they want! Serve them good! ’ The cook returned with more rice but being called monster was non easy to digest and we courteously declined. ’’ She has narrated her experiences of sexual development at her early maturity and about her classmates.
This narrative and incidents of sexual development are apparent in her memoir. “My maternal uncle dramas dolls with me and pretends to be my hubby drags me into an bay and imperativenesss me difficult. ’’ Pawar shows the differentiation of male female places and rubrics awarded to them. She says when any adult male is promoted he would go a ’Bhaushaeb’ or ‘Raosaheb’ but a adult female officer will remained merely a ‘Bai ’without the rubric of Sahib. As a Dalit author. she felt much as it is an abuse to her place and caste. Due to English linguistic communication. today all adult females are called ‘Madam’ irrespective of their place. This has generated the inquiry of dignity among the adult females. Pawar besides accepts the rough world of family work done by the hubby in the presence of the invitees. whether with understanding or merely for the interest of pretention. It was hard for her to judge her husband’s purposes. “Once. both of us were at a map. Mr. Pawar had been was really loath to go to it and I had literally dragged him at that place.
When it was clip for imbibing session. he got up to travel. A sensitive creative person sitting at that place asked him. why you are go forthing. Oh yes. Mr. Pawar answered easy we have to go forth. This is the clip we get H2O in the house. So I have to travel make full it up. ’’ After some yearss. that creative person was narrating the narrative to person. “The hapless hubby was traveling to hive away H2O at place and this unblushing adult female was express joying. How easy. work forces appeared hapless and adult females shameless. ’’ In the reasoning paragraphs of her Memoir Urmila Pawar writes. “Life has taught me many things. showed me so such. It has besides lashed it me till I bled. I don’t cognize how much longer I am traveling to populate. nor do I cognize in what form life is traveling to face me allow it came in any signifier ; I am ready to confront it stoically. This is what my life has taught me. This is my life and that is me. ”
Decision:In decision. it may be stated that this autobiography has emerged as incarnation of protest and Rebel. The feminist discourse may promote to originate a new feministic motion of Dalit consciousness and to convey societal transmutation. In this respect Sharankumar Limbale argues. 4“Dalit consciousness is an of import seed for Dalit literature. it is separate and distinguishable from the consciousness of the other authors. Dalit literature is the demarked as alone because of these consciousness. ” ( 2004. 32 )
1. Pawar. Urmilla. Aayadan ( tran. ) Maya Pandit. The moving ridge of My Life: Dalit Woman’s Memoir. Colambia University Press. 2009 2. Sodhi Meena. Indian English Writing – The Autobiographical Mode. New Delhi: Creative Books. 2004 3. Reghe. Sharmila. Writing Caste/Writing Gender: Reading Dalit Women’s Testimonies’ . Zubban: An Imprint of Kali for Women. New Delhi. 2006. 4. Limbale. Sharankumar. ( tran. and ed. ) Mukharjee Alok. Towards an Aesthetic of Dalit literature: History. Controversies and Considerations. Hydrabad:Orient Longman. 2004. 5. Kumar. Raj. Dalit Personal Narratives: Reading Cast. State and Identity. New Delhi: Orient Black Swan. 2010. 6. Sinha. P. C. Women and Psychology. Jaipur: Prism Books. 2011.