Suchergebnisse

Several popular Hindi movies feature attempted rapes and gang rapes, reinforcing the rape culture, which must be problematized. The study analyses selected movies and demonstrates that the caste and gendered form of sexual violence carries multiple levels, the nature of gang rape, rape as erotic entertainment, and an embodiment of caste honour with rape as an element of revenge. These elements are unique to Indian movies as they incite caste honours, and normalize sexual assaults, supporting and glorifying Indian rape culture. The study illustrates the awareness of the culture of caste and gendered honour-based dominant caste ideologies in selected movies and demonstrates how these can legitimize and encourage rape. This could lead to a better-integrated understanding of this rural rape culture. The study argues that the Indian mainstream film industry has mainly portrayed Dalit women's rape and suggests Savarna filmmakers' obedience to such portrayals has consequently intensified the hype and reproduction of rape culture in Indian society. Significantly, the last decade has witnessed noticeable accumulations in sexual violence against the subaltern Dalit women aggregated.

The present paper explores how the practice of street theatre by staging resistance not only exercises the right to resist but strengthens the democratic values and institutions. India's independence and the acceptance of democracy were the results of simultaneous resistance against colonial power and the undemocratic, hierarchical, caste-class-ridden social structure. However, it didn't end the phase of resistance. Values, such as resistance to injustice, anarchy, dominance and assertion of newly gained rights make democracy meaningful. Over the years the natures, aims, means, and modes of such values also change. Occasionally, it appears that the resistance has become unethical, technical, and ritualistic. Such developments however undermine the genuine and concerned articulations of resistance. The need is to strengthen the ethical, pragmatic, and representative deliverability of resistance. Thirst(2005), a street play by Telugu playwright Vinodini, stresses how street theatre could demonstrate resistance as a right and ethical duty.It puts rigours to show that resistance is not incidental, haphazard, and episodic but a sustained activity to achieve a durable goal of a democratic society as against the immediately bargained temporary goals. It argues constructively for distributive justice and decentralization in an organized, focused, and principled manner.