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Rs 100 VOLUME. XLII NUMBER. 3 MARCH 2018 Listening To The Song Of Singamma Shefali Jha Interpreting ‘Doubleness’ Bewitchingly Beguiling Himadri Roy Simi Malhotra Of Urban Planning and Capitalist Transformation Raphael Susewind Life-Telling in New Terms Anne Murphy A Roadmap For Reforms Sarthak Bagchi Efficacy of Quotas Ashwini Deshpande Enigma of Voting Patterns K K Kailash In Search of Secularization of Civil Society and Alternative Politics Kamal Nayan Choubey Panjab: Whetstone Of India’s Democracy Amandeep Sandhu The Book Review /March 2018 1 2 The Book Review / March 2018 C o n t e n t s Shefali Jha Death, Beauty, Struggle: Untouchable Women Create the World Editors by Margaret Trawick 4 Chandra Chari Uma Iyengar Mahuya Bandyopadhyay Honour Unmasked: Gender Violence, Law and Power in Pakistan Consultant Editor Adnan Farooqui by Nafisa Shah 5 Editorial Advisory Board Simi Malhotra The Witch: A History of Fear, From Ancient Times to the Present Romila Thapar by Ronald Hutton 6 Girish Karnad Navneetha Moikkil Performance and the Political: Power and Pleasure in Contemporary Kerala Ritu Menon Chitra Narayanan by Ameet Parameswaran 7 T.C.A. 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Printed at National Printers, B-56, Naraina Industrial Area Phase-II, New Delhi 110028 The Book Review /March 2018 3 Listening To The Song Of Singamma Shefali Jha DEATH, BEAUTY, STRUGGLE: UNTOUCHABLE WOMEN CREATE THE WORLD By Margaret Trawick University of Pennsylvania Press, Philadelphia, 2017, pp.304, $69.95 nclosures and boundaries have a art of oppressed communities in Tamil Nadu, conflicted meaning for women. enables her to illuminate their world to us. EEnclosures are often not safe spaces This Indian world contains enormous and for them and women have to constantly resist unnecessary poverty and is marked by boundaries in order to live their lives. The exclusion. The women from these excluded book under review looks at how ‘conventional groups of Hindu society sing not only of Tamil symbols—unbroken enclosures like being barred from shops and temples, but bangles, pots, wedding halls, the kolam or also of their own promise which is allowed doorstep design—signifying auspiciousness’ to go waste. They sing that they are like (p. 104), are reinterpreted in the songs of ‘clusters and clusters of eggplants,…With Tamil Paraiyar women as signs of deprivation no one to join and embrace us, We poor girls and restriction. How do Tamil Dalit women rot with the plant’ (p. 96). Faced with gain their insights into the real meaning of constant denigration and condescension— women’s lives? Trawick tells us the origin they are poor, dirty, uneducated, rough, another example of the creative response of story of the Tamil goddess, Mariamman, a worthless—these women still create a world lower caste women to their oppression. Sevi Brahman woman named Renuka Paramesh- with their songs in which they are not mere is a married Paraiyar woman who sings about wari, who in trying to escape her husband’s objects to be looked at, but are also subjects Singamma, a young girl belonging to the command to kill her, ran into a Dalit hut who look back at those gazing at them. As community of the Kuravars. The Kuravars, and clung to the Dalit woman living there. Trawick puts it, ‘When you look at another originally forest dwellers, are now seen as Her axe wielding son beheaded both women; person, they in turn look at you…One must wandering gypsies who hunt crows, and sell when he was granted a boon for obeying his recognize that other person to be, like birds and trinkets at fairs; they are looked father, he asked for his mother back; the oneself, not just an object in the down upon even by the ‘untouchable’ Brahman woman was reborn with a Dalit environment but a maker, a builder of it, Paraiyars. Singamma of Melur was a body and the Dalit woman with a Brahman someone for whom creation may be even Narikuravar girl ‘who was gang raped when body (p. 40). Is this story trying to tell us more important than survival’ (p. 164) she went out to the market, then murdered that in patriarchal societies, all women share If the lower castes face the brunt of by her brothers to protect the honour of their a caste, irrespective of their class and actual oppression, the women of these castes can caste. Her body was cut into pieces and caste status? It is this status of domination, be seen as the most oppressed. They express buried in the floor of their hut. Singamma experienced similarly by all women, that their pain and suffering in their songs; but a returned as a ghost, demanding honour for Dalit women in Tamil Nadu lament in their song is more than a cry of pain. It presents herself as well. A shrine was built for her songs. us with layers of meanings. The ‘crying’ near the place she was killed’(p. 195) Trawick’s book seeks to make us enter songs or laments traditionally sung by In Hindu society, are Dalits and women the world of Dalit castes and Adivasi groups Paraiyar women at the death of an upper seen as leftovers, remainders to be cast away, in Tamil Nadu through the songs sung by caste person or about the mother (‘O mother not really part of the whole, things to be their women. The book describes and who bore me’, p. 78) or elder brother leaving discarded? A leftover, a remainder must be analyses the ‘crying’ songs, and the work and or abandoning the younger daughter/ kept in its place. When women forget their love songs of the Paraiyars, the stories of the younger sister. Trawick interprets these songs place, when they transgress their boundaries, Arunthathiyars, and the ‘song of Singamma’ as indirectly protesting the maltreatment of by thinking an unbidden thought or taking of the Kuravars. Many Arunthathiyars or the upper castes: ‘some nonliterate female a forbidden step, they are punished Chakkiliyars still have to work as manual rural members of the Paraiyar caste question egregiously. In both the Mariamman and scavengers, the Paraiyars are predominantly not only their status in the social hierarchy the Singamma stories, when doubts about agricultural labourers, and the Kuravars, like but some of the assumptions upon which the chastity and the purity of the women the Irulars/Villiyars belong to the Scheduled that hierarchy is based…the abandoned concerned arise, they are themselves held Tribes. Trawick argues that through their younger sister becomes metaphorically guilty of the transgression and punished songs, the illiterate women of these groups linked with the untouchable woman…’ (p.