International Journal of English Literature and Social Sciences

Vol-8, Issue-3; May-Jun, 2023

Journal Home Page Available: https://ijels.com/

Journal DOI: 10.22161/ijels

Breaking the Caste Ceiling: Dalit Feminism in Bollywood

Jyoti Mehta1, Dr. Anil Adagale2
1Research Scholar, MA English, Symbiosis College of Arts and Commerce, S B Road, Pune, Maharashtra, India
2Associate Professor, Department of English, Symbiosis College of Arts and Commerce, S.B Road, Pune, Maharashtra, India

Received: 18 Apr 2023; Received in revised form: 12 May 2023; Accepted: 19 May 2023; Available online: 26 May 2023
©2023 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license
(https://creativecommons.org/licenses/by/4.0/).

"Dalits are not a problem to be solved, but they are a people to be embraced." - Kancha Ilaiah Shepherd, " Kancha Illiah
Abstract— Given that the use of Dalit feminist theory in Bollywood films is a relatively new area of study,
an article on this topic may have significant implications for both academics and the Indian film industry.
Growing the intersectionality dialogue: Intersectionality, which recognises how many forms of oppression,
such as caste, gender, class, and race, interact and have an impact on people's lives, is a central concept in
feminist theory. By utilising Dalit feminist theory in Bollywood films, it may be possible to better understand
caste and gender intersections in the Indian setting and how they emerge in the film business. This research
could deepen feminist theory and broaden the intersectionality debate. It is important to highlight that Dalits
are disproportionately underrepresented in both on-screen and behind-the-scenes professions in the film
industry.
Keywords— Dalit, Feminism, Dalit Feminism, Dalit Feminist Theory, Exploitation, Bollywood feminism
and Dalit Bollywood

I. INTRODUCTION feminism is depicted in Bollywood films. An outline of

The caste system in India constitutes one among oldest and Dalit feminist theory and its applicability to the Indian
tightest social stratification systems in the world, and it has context will be presented at the start of the article . After
resulted in the marginalization and subjugation of some that, a brief history of Bollywood and its influence on Indian
groups of people, mainly Dalits. The aim of Dalit feminism culture will be given.
is to combat caste and gender intersectionality, as well as Masaan, Gulaal, Sadgati, Parched, and Article 15 are
the difficulties Dalit women face in a patriarchal and casteist among the five Bollywood films examined in this article for
culture. Dalit Feminism, a theoretical framework intended their use of Dalit feminist ideology. In both rural and urban
to combat caste- and gender-based oppression in India, has settings, the experiences of Dalit women are shown in each
emerged as a result of the feminist theory's application to of these films. This article examines how the use of Dalit
Dalit realities. feminist theory might lead to a more complex and inclusive
This research examines how Dalit feminist theory may be depiction of Dalit women in Bollywood through a thorough
applied to Bollywood films, with an emphasis on how Dalit examination of these films. The connection of caste, gender,
women are portrayed. The project will examine how Dalit and class is highlighted by feminism, and Dalit women's
women are portrayed and explore how they are portrayed in particular experiences in Indian society are acknowledged.
relation to the junction of caste and gender in a few recent
Bollywood films. The study aims to advance our knowledge II. CENTRAL ANALYSIS
of how Bollywood films uphold or subvert repressive
An article on this subject might have important
standards through this methodology. The article aims to
ramifications for both academics and the Indian film
contribute to the body of information currently accessible
industry because Dalit feminist theory use in Bollywood
on the topic by providing a critical analysis of how Dalit
films is a relatively new field of research. The following are

IJELS-2023, 8(3), (ISSN: 2456-7620) (Int. J of Eng. Lit. and Soc. Sci.)
https://dx.doi.org/10.22161/ijels.83.21 131
Mehta and Adagale Breaking the Caste Ceiling: Dalit Feminism in Bollywood.

some possible implications of this study: Developing the and Shalu's friends and family members understand their
intersectionality conversation: A key idea in feminist theory problems and stand by them in their battle for justice, giving
is intersectionality, which acknowledges how several types Devi and Shalu's characters encouragement and support.
of oppression, including caste, gender, class, and race, Critique of dominant cultural narratives: Analysis of the
interact and influence people's lives. Caste and gender prevailing cultural narratives
intersections in the Indian setting and how they appear in
The film criticizes the prevalent gender and caste tropes in
the film industry may be better understood by using Dalit
culture that uphold Dalit systematic injustice. The film, for
feminist theory in Bollywood films. This study may expand
instance, demonstrates how upper-caste males participate in
the conversation on intersectionality and strengthen
caste violence and how the police force likewise participates
feminist theory.
by ignoring or covering up such violence.
In conclusion, article on how Dalit feminist philosophy is In conclusion, "Masaan" utilizes Dalit feminist theory by
applied in Bollywood films may have huge ramifications for stressing the interconnectedness of
both Indian academics and the film business. This study
caste, gender, and sexuality, criticizing prevalent
might promote the conversation on intersectionality,
stereotypes about Dalit women, emphasizing the
address the underrepresentation of Dalits in the film
significance of allyship and solidarity, and opposing caste-
business, draw attention to Bollywood's influence on public
and gender-specific prevailing cultural narratives.
image, help Dalit feminism gain ground, and offer useful
advice for the film industry. GULAAL, NOT A COLOR OF HAPPINESS FOR
ALL- GULAAL
INTRODUCTION
Anurag Kashyap's "Gulaal" is a Bollywood film that
A DALIT DEVI - MASAAN
examines caste, politics, and power in contemporary India.
A highly praised Bollywood film called "Masaan" Although there isn't a major female character in the film,
examines how caste, gender, and sexuality connect in Dalit feminist theory may be used to examine it since it
modern India. Two ladies from different caste origins who emphasizes how caste and gender are intertwined in the
experience prejudice and persecution in various ways are lives of Dalit women. Here are a few instances where the
shown in the movie. Through the lens of Dalit feminist film employs Dalit feminist theory:
theory, which focuses on the experiences of Dalit women
1. Intersectionality of caste and gender: The film
and emphasizes the interconnectedness of caste and gender
emphasizes how Dalit women experience particular types of
in their lives, the movie may be examined. Here are a few
oppression as a result of the intersection of caste and gender.
instances where the film employs Dalit feminist theory:
For example, the Dalit girl Kiran is raped by an upper-caste
1. Intersectionality of caste, gender, and sexuality: The film guy who exploits his position and authority to avoid
emphasizes how Dalit women experience particular types of punishment. When she tries to pursue justice, she is also the
oppression as a result of the confluence of caste, gender, and target of more abuse and humiliation.
sexuality. Devi, a young woman from a low-caste
Critique of dominant cultural narratives:
household, for instance, experiences prejudice. And stigma
as a result of her marriage to an upper-caste man. She is The film criticizes the caste and power-based dominant
made to go through an embarrassing questioning and is the cultural narratives that uphold Dalit systematic inequality.
target of moral policing by the police and the general public. The film, for instance, depicts how individuals from the
upper caste manipulate and take advantage of those from the
Representation of Dalit women as complex and empowered
lower castes, which results in murder and violence.
individuals: The film challenges the widespread perception
of Dalit women as helpless victims of oppression by Importance of allyship and solidarity: The movie places a
portraying them as sophisticated, independent people. The strong emphasis on the value of unity and allyship in the
movie's female protagonists are shown as unique people struggle against injustice. A student leader named Prithvi
with agency and the capacity to challenge tyranny in their advocates for the rights of marginalized groups like Dalits,
own ways. For instance, Shalu, a young woman from a low- and he gains backing and solidarity from other like-minded
caste household, defies the expectations of her family and people.
society by going to school and following her dreams of a Representation of Dalit women as complex individuals:
better life. Although there isn't a dominant female character in the film,
Importance of allyship and solidarity: The movie places a the female characters are presented as multidimensional
strong emphasis on the need of cooperation and camaraderie people who have their own goals and agencies. One such
in the struggle against oppression. It is depicted that Devi

IJELS-2023, 8(3), (ISSN: 2456-7620) (Int. J of Eng. Lit. and Soc. Sci.)
https://dx.doi.org/10.22161/ijels.83.21 132
Mehta and Adagale Breaking the Caste Ceiling: Dalit Feminism in Bollywood.

example is the portrayal of Kiran's mother as a strong, In conclusion, "Sadgati" implements Dalit feminist theory
resolute lady who strives for justice for her daughter. by emphasizing the intersectionality of caste, class, and
In conclusion, "Gulaal" implements Dalit feminist theory by gender, portraying Dalit women as complex individuals,
emphasizing the intersections of caste and gender, challenging prevailing cultural narratives of power and
challenging prevalent cultural narratives of power and caste, caste, highlighting the significance of solidarity and
underlining the significance of allyship and solidarity, and resistance, and criticizing patriarchy. The film depicts the
portraying female characters as multifaceted people. The difficult realities of life for Dalit women in rural India and
film depicts the intricate realities of politics and power in demonstrates how these realities are influenced by several
contemporary India and demonstrates how these realities overlapping types of oppression
impact various groups in various ways. A STORY OF A DALIT SEX WORKER(BIJLI) AND
DUKHI DALIT WIFE’S LAST RITES - SADGATI A DALIT YOUNG BRIDE(RANI) - PARCHED

The Satyajit Ray-directed movie "Sadgati" explores issues The subject matter of Leena Yadav's film "Parched"
of caste and class discrimination in rural India. Dalit concerns caste, gender, and sexual persecution in rural
feminist theory, which emphasizes the interconnectedness India. Dalit feminist theory, which emphasizes the
of caste, class, and gender in the lives of Dalit women, may interconnectedness of caste, class, and gender in the lives of
be used to analyze the movie. Here are a few instances Dalit women, may be used to analyze the film. Here are a
where the film employs Dalit feminist theory: few instances where the film employs Dalit feminist theory:

Intersectionality of caste, class, and gender: In the lives of Intersectionality of caste, class, and gender: In the lives of
Dalit women, caste, class, and gender are all intertwined. Dalit women, the interplay of caste, class, and gender is
Due to her caste, gender, and socioeconomic standing, the depicted in the film. Due to their gender and caste, the
Dalit lady who plays the role of Dukhi experiences several characters of Rani, Lajjo, and Bijli, who come from various
sorts of discrimination. Her husband is portrayed as a harsh castes, experience various sorts of discrimination. They are
and domineering person, and she is used as slave labor by denied access to fundamental human rights and subjected to
the upper caste people. sexual assault and discrimination.

Representation of Dalit women as complex individuals: The Representation of Dalit women as complex individuals: The
film shows Dalit women as complicated people with film shows Dalit women as complicated people with
independent wills and goals. Dukhi is shown as someone independent wills and goals. Rani, Lajjo, and Bijli are
who is working to better her situation and secure a better depicted as women who, despite the terrible reality of their
future for her children despite the hard reality of her existence, are working to change their situation and express
existence. their agency in a patriarchal culture.

Critique of dominant cultural narratives: Movie critique of Critique of dominant cultural narratives: The film criticizes
dominant cultural narratives: The film criticizes the caste the gender and caste stereotypes that continue to
and class-based dominant cultural narratives that uphold systematize oppression against Dalits. The characters are
Dalit systematic inequality. The upper-caste villagers are depicted facing their own biases and prejudices as well as
shown to be exploitative and hypocritical, utilizing their challenging the societal standards that restrict their
position of authority and influence to uphold the status quo. autonomy.

Importance of solidarity and resistance: Solidarity and Importance of solidarity and resistance: Solidarity and
resistance are important in the face of persecution, and this resistance are important in the face of persecution, and this
is something that the film emphasizes. A loving Brahmin is something that the film emphasizes. The three women
priest learns of Dukhi's suffering and attempts to assist her unite to oppose the current quo and fight for their rights,
in his own manner. But in the end, it is Dukhi who takes forging a close relationship and mutual support network.
charge and makes an impactful and surprising claim about Critique of patriarchy: The film also criticizes patriarchy,
her autonomy. which is another kind of discrimination experienced by
Critique of patriarchy: The film also criticizes patriarchy, Dalit women. The male characters in the film are portrayed
which is another kind of discrimination experienced by as abusive patriarchal individuals who support violence and
Dalit women. The husband of Dukhi is portrayed as a prejudice against women. These conventions are depicted
patriarchal man who mistreats his wife and kids. It is as being resisted and challenged by the women, who also
demonstrated that the larger cultural and societal systems affirm their own autonomy and agency.
that promote patriarchal norms are what led to his toxic The film also criticizes patriarchy, which is another kind of
masculinity. discrimination experienced by Dalit women. The male

IJELS-2023, 8(3), (ISSN: 2456-7620) (Int. J of Eng. Lit. and Soc. Sci.)
https://dx.doi.org/10.22161/ijels.83.21 133
Mehta and Adagale Breaking the Caste Ceiling: Dalit Feminism in Bollywood.

characters in the film are portrayed as abusive patriarchal significance of allyship and solidarity, and challenging
individuals who support violence and prejudice against prevalent cultural narratives of caste and gender.
women. These conventions are depicted as being resisted
and challenged by the women, who also affirm their own
III. CONCLUSION
autonomy and agency.
A greater understanding of the intersections of caste and
SEXUAL EXPLOITATION? BUT THEY
gender in India has been made possible by the application
BELONGED TO DALIT CASTE -ARTICLE 15
of Dalit feminist theory to the analysis of Bollywood films.
The Bollywood film "Article 15" received high marks for "Masaan," "Gulaal," "Parched," "Sadgati," and "Article 15,"
its complex portrayal of caste and its links with gender, which are among the films this articlehas examined, have
class, and other oppressions. The film follows a young IPS brought to light the ways in which Dalit women are
officer when he is sent to a rural area in Uttar Pradesh, frequently the targets of violence and persecution because
where he is confronted with the reality of caste of their caste and gender identities. The films have also
discrimination and brutality against Dalit women. Here are shown the fortitude and tenacity of Dalit women, who still
a few instances where the film employs Dalit feminist struggle against prejudice and ostracism.
theory:
It is evident from the examination of these films that the
Intersectionality of caste and gender: The film emphasizes caste system supports violence and injustice against Dalit
how Dalit women experience particular types of oppression women. The films have shown the terrible reality of caste
as a result of the intersection of caste and gender. For prejudice and how it affects Dalits' daily lives. Dalit
instance, the Dalit laborer Jyoti is depicted as being Feminist theory has offered a lens through which to evaluate
mistreated not only because of her caste but also because Dalit women's experiences, stressing the ways in which they
she is a woman. Her spouse is powerless to defend her due are frequently denied access to positions of authority, are
to his low caste standing as her male boss harasses her sexually assaulted and exploited, and are compelled to do
sexually. physical labour. The films have also shown the manner in
Representation of Dalit women as complex and empowered which caste and patriarchy interact to perpetuate oppression
individuals: The film challenges the widespread perception and violence against Dalit men and women. Patriarchal
of Dalit women as helpless victims of oppression by standards limit women's agency, access to resources, and
portraying them as sophisticated, independent people. The ability to make decisions. This is especially clear in the
movie's female protagonists are shown as unique people movie "Parched," which shows the challenges of caste- and
with agency and the capacity to challenge tyranny in their patriarchy-bound women in rural Rajasthan. While the films
own ways. Gaura, a Dalit girl who is raped and killed, for have emphasized the brutal realities of caste- and gender-
example, is not just a victim but also a representation of based violence, they have also shown the Dalit women's
resistance to caste violence. tenacity and power. For instance, Devi's character in
Importance of allyship and solidarity: The movie places a "Masaan" finally takes charge of her life and pursues justice.
strong emphasis on the value of unity and allyship in the Similar to this, the ladies in "Parched" band together to
struggle against injustice. Ayushman Khurrana portrays the support one another and resist sexism. These depictions of
lead character, an upper caste man who at first has a limited tenacity and toughness are crucial in displacing the
awareness of the systemic prejudice experienced by Dalits. victimization narrative frequently attached to Dalit women.
However, he learns the value of allyship and unity in the Overall, a greater knowledge of the interconnectedness of
battle against oppression from his experiences with the Dalit caste and gender in India has resulted from the application
characters in the movie. of Dalit feminist theory to the examination of Bollywood
Critique of dominant cultural narratives: The film criticizes films. In addition to highlighting the ways that the caste
the gender and caste stereotypes that continue to system supports violence and discrimination against Dalit
systematize oppression against Dalits. The film, for women
instance, demonstrates how upper-caste males participate in In conclusion, this research examined how Dalit feminist
caste violence and how the police force likewise participates theory can be applied in relation to Bollywood films. It has
by ignoring or covering up such violence. been shown that Dalit feminist theory offers a helpful
The "Article 15" summarizes Dalit feminist ideology. In framework for comprehending the ways in which gender,
conclusion, "Article 15" employs Dalit feminist theory by caste, and class interact in Indian society and the ways in
emphasizing the experiences of Dalit women, underlining which these intersections are mirrored in popular culture
the interconnectedness of caste and gender, highlighting the through a critical examination of a number of films.
According to the research, Bollywood movies frequently

IJELS-2023, 8(3), (ISSN: 2456-7620) (Int. J of Eng. Lit. and Soc. Sci.)
https://dx.doi.org/10.22161/ijels.83.21 134
Mehta and Adagale Breaking the Caste Ceiling: Dalit Feminism in Bollywood.

mimic dominant caste and gender narratives, reinforcing

stereotypes and repressive institutions. There are, however,
other films that contradict these stories and depict different
images of Dalit women. We may better comprehend the
complexity of caste and gender dynamics by analyzing
these films through the prism of Dalit feminist theory.

REFERENCES
[1] Ghaywan, Neeraj, director. Masaan. Netflix, 2015,
www.netflix.com/in/title/80059331.
[2] Kashyap,Anurag,director.Gulaal.YouTube,ZeeStudios,2009,
www.youtube.com/watch?v=KCRjpslHfng&ab_channel=Cr
imeMasterGOGO.
[3] Sinha, Anubhav, director. Article15. Netflix, ZeeStudios,
2019, 1981, Yadav, Leena, director. Parched.
AmazonPrime2016,
www.youtube.com/watch?v=rRpaPV3QayY&ab_channel=P
rasarBharatiArchives.www.netflix.com/in/title/81154455.
[4] Ray,
Satyajit,director.Sadgati.YouTube,www.primevideo.com/det
ail/Parched/0HX3D3LEJK2NO46F31M9RZBSWC.
[5] Arya, Sunaina, and Aakash Singh Rathore, editors. Dalit
Feminist Theory: A Reader. Routledge, 2020. Accessed 19
March 2023.
[6] Deshpande, anirudh. “Indian Cinema and the Bourgeois
Nation State.” Economic and Political Weekly, vol. 42, 2007,
pp. 95-103.
[7] Gopal Guru. “Dalit Women Talk Differently.” Economic and
Political Weekly, vol. 30, no. 41/42, 1995, pp. 2548–50.
JSTOR, http://www.jstor.org/stable/4403327. Accessed 24
Apr. 2023.
[8] K.N., roopa. “)Politics of identity formation, a case study of
Dr Rajkumar's movies.” 2015.
http://hdl.handle.net/10603/92014.
[9] Raghavendra, M. K. The Politics of Hindi Cinema in the New
Millennium: Bollywood and the Anglophone Indian Nation.
Oxford University Press, USA, 2014. Accessed 19 March
2023.
[10] Shaji, jeena. “Being and Becoming Women: A study of Select
Bollywood Movies by Women Directors.” 2019.
http://hdl.handle.net/10603/448268.
[11] Sundar, Pavitra. “Meri Awaaz Suno: Women, Vocality, and
Nation in Hindi Cinema.” vol. Vol. 8, No. 1, Representin':
Women, Hip-Hop, and Popular Music (2008),, pp. 144-179.

IJELS-2023, 8(3), (ISSN: 2456-7620) (Int. J of Eng. Lit. and Soc. Sci.)
https://dx.doi.org/10.22161/ijels.83.21 135