IMAGES OF WOMEN IN THE FOLKLORE OF KUCHCH

Author(s): Maitree Vaidya

Source: Proceedings of the Indian History Congress, Vol. 60, DIAMOND JUBILEE (1999), pp.
885-892
Published by: Indian History Congress
Stable URL: https://www.jstor.org/stable/44144160
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 IMAGES OF WOMEN IN THE FOLKLORE
OF KUCHCH
Maitree Vaidya

Various aspects of history such as social, political, economic, ecological

etc. have been studied through numerous parameters such as class,
caste, race and demography. But one important parameter i.e. gender1
has been left out, because history has generally been written by men
so far.

It is very difficult to write women's history as enough sources are

not avilable. In order to write a history of women, historians2 have
sometimes taken the help of a nonconventional source-folklore. The
authenticity of folklore cannot be ascertained by using the conventional
sources, i.e. that history should be based on facts and facts alone.3 But
a Gujarati literateur Keshavram Shastri gives us a different insight
into the study of folklore. He says "We believe that the folklore has
come down to us through the word of mouth and is still oral. It is
something which is old i.e. carried down from generations. But its
moral is still new and fresh. Though there is no fixed origin of it, but
when we pick it up from the mouth of people in a certain region or
regions to use - then it is as much true as any other source."4
According to Richard. A. Waterman, "Folklore is the generic term
to designate the customs, beliefs, traditions, magical practices,
proverbs, songs etc. in short, it is the accumulated knowledge of
homogenous unsophisticated people."5 The common ideas present in
a folklore are those a tradition handed over from one person to another,
preserved either by memory or practice rather than by written record.
It involves song and dance, tales and legends, beliefs and superstitions,
and the proverbial sayings of men everywhere. Here with the help of
folklore I have made an attempt to reconstruct the women's position
in the society.
Women have played an important part in the creation and
preservation of folklore. Some branches of folklore have exclusively
been composed by women. In Kuchch different roles of women have
been presented in varied folklores like folktales, folksongs, folksayings,
ballads, and to some extent riddles. Though the images of women
presented by the Kuchchi folklore is not different from the general
image of women India, yet it has a peculiar character of its own. A
survey of the Kuchchi folklore shows that there are certain tales which
are prevalent in the neighbouring areas of Sindh, Rajasthan and

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886 IHC: Proceedings, 60th Session , 1999

Punjab.6 Inspite of this one cannot emphatically generalize the

condition of women.

There are various stages in a women's life, i.e. a baby, a child, a

teenager, an adult. She plays different roles in phases or simultaneously
like for example daughter, sister, wife, mother, aunt, mother-in-law,
grand mother etc. She even plays other not so generalized roles like
that of a lover, co-wife and at times of a mistress. Folklore in its various
forms depicts each of these images explicity or implicity. In this study
1 have tried to analyze these images undertaking three major types of
folklore i.e. folktales, folksongs and folksayings.
FOLKTALES

The different folktales present both women's subordinati

and her comparative independent nature. They bring out both
and the lighter shade of her life. For example the image of
in folktales is that of an independent person. One who is
move freely, and usually choosing her husband by th
challenge.7 The daughter is also imaged as being loved by
though the constant concern of her father is to get her marrie
choice or by hers. In none of the folktales (studied so far) t
have asked for a daughter in blessing. This may be indicati
fact that the birth of a daughter is not welcomed, but it is not
either.

The role of a sister in the folktales has been portrayed in

parts. She is shown as ruling in the absence of male heir. Fo
in the folktale of Bheruo Garudi.8 Sagai was ruling Shesha
(Modern day Pacchambet) and Taghai of Sanghar tribe was h
and associate. Both the sisters are depicted as intelligent and
But when Sagai falls in love, Taghai takes over the kingdom. In
folktale of Jam Ful and Jasma Odan,9 the sister is depicted as
and taunting the sister-in-law. There are also folktales wh
sisters have steadfastedly stood by their brother's side thro
thick and thin. For example in the case of Jam Lakho when he
mad, his sister supports him.10
Similarly contrasting images of the sister-in-law are pre
the varied folktales. In the legendry folktale of Jesal and T
sister-in-law successfully reforms the bandit brother-in-law
another folktale of Hothal Padmini and Jam Odho, the Ja
younger brother) is forced to become a wanderer because of
in-law's amorous overtures towards him.12

The role of a wife has been discussed more explicity and widely.
Generally the love tales aim towards a happy matrimonial union. A

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 Modern India 887

woman is generály presented as

treatment being meted out to h
Jesal treats Toral as a reward for
her being given as a reward and ev
him into a saint.13 In case of Ho
falls in love with Hothal and ful
he fails to comply with her wishe
state in Gujarat.14 In another folk
the Rani after pleasing the Deda
that he will not marry again and
depicts that though polygamy w
not like it, and the constant fea
polygamy in the best way possi
Though the mother held a very
of Kuchch, but in the folktales
to her principles along with her
even in spite of being a moth
separate state for herself claimi
benefit of her children and husb
and Kapuri Sanghar,17 the mother
insanity than appreciating the b
FOLK SONGS

Women's contribution to the evolution of folksongs is grea

that of men. She has songs for all the major events of her l
child she sings while playing with her dolls, as a teenager sh
tease her friends about their future husbands and in-laws. There are
songs for the occasion of marriage which expresses overwhelming
feelings of joys and sorrow. The new bride sings while waiting
impatiently for the night to fall for a union with her husband. There
are nupital songs, she sings longing for her parents. She also sings
with pain when her in-laws ill treat her. These feelings are aptly
expressed in various types of folksongs like (a) garba or rasa which
are sung at night (b) wedding songs which include salokas 19 (a type of
a playful riddle for the groom's side), (c) Ballads are usually sung by
a special tribe of bhats and charans 20 (d) lullabies and (e) duhas.
Folk songs also gave a mirror image of the society by constantly
drilling into her daughter that she is a 'parku dhan ' (other's property)
and instilling in her extreme tolerance, endurance and adjustability.
At the time of her marriage, she is blessed by saubhagyavati (the
married ones) through various songs. Thereby transforming her into a
loyal and devoted wife. After marriage through folksongs she
complains of her loneliness, ill treatment and her subordination, to

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888 I HC: Proceedings, 60th Session , 1 999

her brother and sometimes to the almighty.

Baiji mari, Baiji mari, maro bandhav ane ayo re
Maro viro ji ane ayo re, Have piryeriyo Melo ne ...
In the above folksongs called Ana21 (to Fetch), the brother comes
to take his sister for a visit to her parents but he is not welcomed by
his sister's mother-in-law. She permits her daughter-in-law to go only
after completing all the daily chores. By the time they'are leaving it
starts raining heavily and on their way home they are drowned.
Another folk song is a very pathetic portrayal of the societal
pressures on a woman. Here the daugher-in-law commits suicide
because of a small matter being blown out of proportion by mother-
in-law. While she was cooking brinjal sees her tasting it, he goes and
complaints to the mother-in-law he says,
Ma, Ma, Re !

Kunade Kayo Suns at Munji, Vataki Mein Likh paye ,

Chakheo Re Amma !22

(Mother, the sister-in-law is eating the brinjal from the bowl, she
is giving us ainthan). Inspite of her husbands support the mother-in-
law throws her out of the house and the only alternative left for her is
to die. This confirms the general practice in India of ill treatment of
the daughter-in-law.
Another high profile image which emerges from the folksongs is
that of the mother-in-law. She is depicted as a tyrant who is very
possessive of her son. She gives the daugher-in-law difficult tasks and
finds faults with her though she loves her own daughter very much. In
leashing out the terror, she does not even spare her son if he comes in
the way.
Another prominent image is that of a mother which emerges from
lullabies. Most of the lullabies which I came across were the ones
which were sung to the son rather than to the daughter. In all the
lullabies the mother wishes her son good health and long life.
' Allah munjho jandhudho jiye,
jandhudho jiye vangad vado thiye 23

(God ! may my son live long, may my son

FOLKSAYINGS

Folksayings are the result of situations experienced in a similar

by men and women over a period of time in a given society
words, proverbs are the soul of experience and knowl
proclaimed by Kanihyalal Saha.24 According to another lit

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 Modem India 889

Kunjbehari Das, "A proverb disp

strong common sense, power
knowledge of life and the livin
proverbs are the mirror of the so
feel the pulse of the people's life,
and values.

Kuchchi society with patriarchial organisation places greater

importance on the birth of a son. From childhood, a woman is socialised
to be subordinate to the man. As a daugher she is expected to obey
family members. This trend is clearly reflected in the sayings and other
contents of folklore. The following proverbs reveal some attitudes
towards the female child in the society. The proverbial expression.
'Bet i te inj i gardan henthV

(The one who has a daughter has to look down).

makes the birth of a daughter an unwelcomed event. This could be
justified by the prevailing dowry system in Kuchch which caused a
burden on her parents. Another folksaying illustrates the differetiation
between man and women i.e. the body and a girl.
4 Senth putraein ķe, dhikaku dhiren ke21
(The son to be rewarded, the daughters are to be beaten).
Thus perpetuating the importance of a male child. The daughter is
shown to be struggling for her mere existence, in comparison with her
brother.

' Chariyp puttar ne, daahi dhi dhi chaye, ne puttar ghi'2*
(The son is mad, the daughter is wise. But, the son is fed with butter
and the daughter is given butter milk.
Another folksaying says
Vir putrein, jo dhani aiyen, khota ma kuchej2<)
(You are the owner of milk and cows please do not lie).

The image of a wife in the folksayings does not do justice to her.

Her status is further degraded when she becomes a wife. She is
compared with a pair of clothes which can be replaced when worn
out. This is evident from the following folksaying.
4 Baidi mui ane jedo phatiyo 30
(the death of wife is like tearing of a pair of clothes).
more importance is relative to her giving birth to male heirs of the
family. She is also considered to be possessing an inferior intellect.
''Aur at ji mati panime'il

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890 I HC: Proceedings , 60th Session, 1999

(the brain of a woman is in drain).

In many folksayings she is also depicted as an aimless constant
canniving person.
The mother images are varied. Firstly she is elevated to the position
of a goddess and worshipped. She is the one who can show her wrath
on kith and kin. Secondly she is presented as a loving humane mother
who loves her children inspite of their failings. For exemple
4 Dukal ni ma ne dukal pan valo 32
(The mother of famine loves even him).
Thirdly she is represented as being accepted even white possessing
a strong in the following folksayings even while a mother practices
black magic, her son is proud of her.
4 Tenji ma tedi munji ma.n
(My mother is like your mother).
Fourthly she is shown as a person giving priority to the well being
of the society than to her family for example
4 Mehuda varsya bhala 34
(At last is rained !)

In Kuchch sati was a prevalent practice which was glorified.

Justifications were given for this horrendous act an many folk sayings.
In the folksaying they say
Jo satiya kant he na chadhe, badjabri thi sati chita per na chadhe 35
(Nobody can force her to become sati except her ownself).
In the final summation folklore has made us understand the beauty
of the creativity of the village folk. Folklore also gives us as insight
into the past and to understand its traditions and cumstoms. It throws
critical light on the images of women which emerge at times
conforming with the Brahmanical texts and sometimes diverging from
them. For example the hymns of the Rig Veda do not consider the
birth of a daugher as inauspicious but neither do they exhibit a desire
for a female child.36 Similarly in the folktales the daughters are not
unwelcome but they are definitely not asked for, in blessing. The
marriageable age for girls was between fourteen to seventeen,37 and
both men and women had considerable freedom in selecting their
partners, this is common to both the Rig Vedic texts and the folktales
prevalent in Kuchch. Though the marriageable age decreased
considerably, in later history, in the folklore (so far studied), it
continued to remain static.

The folklore presents two opposing images of a wife-one of the

equal status and the other of a subordinate being. In the post vedic era

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 Modem India 891

the position of the wife was lo

infact they were compared with
of folklore common with the
depending on her male counter
At times the Kuchchi folklore
by relatively going against th
women. The heroines in the lovelores do not wait for societal sanctions
to fall in love or get married. They are depicted as having an identity
of their own. They are practical and independent enough to set out on
their own, yet surrendering themselves to their lovers when they choose
to. They are not depicted in purdah or staying behind the four walls of
the house, but moving out freely conscious of their beauty and impact
it has on men. That is why they do not hesitate to challenge their suitors
and marry the best person. She is represented as helping her father
with his work, avenging his death, and even ruling the kingdom. The
folksongs and the proverbs give an ample evidence of sacrifice by
women specially in the role of a wife, but they also provide the image
of a daring mother who at times diverges from the set path of an
emotional motherhood. For example when a mother rejoices the coming
of rains instead mourning the loss of her loved ones and property.
Through this study we get glimpses of varied images of Kuchchi
women which at times confirms to the images of women in the Indian
society, thereby helping us to understand the actual position and
contribution of women in the society.

NOTES AND REFERENCES

1 . Socially constructed identity.

2. Ajay Skaria, Hybrid Histories, Delhi, Oxford University Press, 1999, p.
3. In the presidential address R.C. Majumdar in (ed) S P. Sen, Histori
Historiography in Modern India , Calcutta, East End Press, 1973, p. XVIII.
4. As translated from Lok Gurjari : Vol. II, No. 2, March 1964, p. 67.
5. Boggs Relph Steele, Folklore: Material, Science and Art, Folklore Ame
No. I (June 1943).
6. For example the legendry love of Sohini Mahewal is prevalent in Punjab.
lore in Kuchch is known as Suhani Mehar.

7. Dylerai Marani, Kuchchi Loksahitya Ma Premkathao , 1984.

8. Chandulal Shukl, Pathik Vol. XIII, Part II, Jan. 1973, p. 49.
9. Dulerai Karani, op. cit, p. 92.
10. Ram Singh Rathod, Kuchch Nu Sanskritik Darshan, Ahmedabad, Kumar Karyalaya,
1959, p. 42.
1 1 . Markand Rai Mehta, Kuchch Na Nari Ratno, Akshwarbharti, 1998, p. 14.

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892 I HC: Proceedings, 60th Session, 1999
12. Ram Singh Rathod, op. cit., p. 259.
13. Markand Rai Mehta, op. cit., p. 6.
14. The name of the State has not been given.
15. Dulerai Karani, op. cit., p. 147.
16. Ram Singh Rathod, op. cit., p. 258.
17. Dulerai Karani, op. cit., p. 72.
1 8. Vinjhan, the son cuts his fathers head to save the honour the family, who was trapped
while stealing the treasure of an autocratic ruler.
1 9. Though it is not prevalent any more but it still forms a very important part of Kuchchi
folksong.
20. Bombay Presidency Gazetteer Vol. IX, Parti: Gujarat Population., Hindus, 1901,
p. 39.

21. Niranjan Sarkar, Gujarati Loksahity amala, Ahmedabad, Diamond Jubilee Press,
Vol VII, 1964, p. 35.
22. Kanhaiyalal Joshi, Gujarati Loksahityamala op. cit., p. 72.
23. Dulerai Karani, Kuchch Nu Vividhluxi Loksahitya , 1973, p. 153.
24. (ed) Kanhiyalal Saha, Rajasthani Kehvatein, A study, 1983, p. 17.
25. Cited by A. P. Radhakrishna in 'Women in folksayings of Andhra Pradesh in (ed)
Shankar Sen Gupta Women in India' Folklore, Calcutta, India Publications, 1969,
p. 224.
26. Govardhan Sharma and Bhavna Mehta, Kuchchi Lok Sahitya - Ek Adhyayan ,
Ahmedabad, Gyan Lok Prakashan, 1991, p. 52.
27. Ibid., p. 32. 28. Ibid., p. 33.
29. Dulerai Karani, Kuchchi Kehvato, 1977, p. 12.
30. Ibid., p.15.
31. Ibid., p. 19.
32. Dulerai Karani, Kuchch Nu Vividhluxi Loksahitya, op.cit., p. 73.
33. Ibid., p. 75.
34. Ibid., p. 76.
35. Ibid.

36. Upadhyaya, Women in Rigveda, New Delhi, S. Chand and Company, 1974, p
37. Ibid , p 41
38. As popular about Tulsidas's Ramayana " Dhoar ; Shudra aur Nari, Ye sab tad
adhikari

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