The Unsafe Spaces of Theatre and Feminism in India

Extract

In April 2011, after thirty-five years in power, the left-oriented progressive rule in Bengal, India, was brought down. Masterminding the overthrow was Mamata Banerjee. Banerjee has enjoyed a political career spanning over twenty years, during which time she has succeeded in maintaining a high public profile in the media and public sphere to become Bengal's first ‘woman’ chief minister. Surprisingly, during her campaign Banerjee neither asserted her identity as a woman nor as the non-feminine, monstrous presence of the public woman (à la Indira Ghandi's media presence in the 1970s), but rather performed a non-threatening, gender-neutral didi (elder sister in Bengali). I attribute this ‘smooth’ identity construction to a comfortable entente between a Western globalized visual culture, indigenous images commodified and circulating on the periphery, and the sudden expansion of electronic media. The convergence of all these factors served to create a non-dialectical identity construction which stood against all feminist politics or, as I would call it, feminism with a political imagination.