Research Paper: From Tradition to Animation: A Critical Examination of Gender in Indian Folklore and Disney Films

From Tradition to Animation: A Critical Examination of 

Gender in Indian Folklore and Disney Films

(National Seminar- Coimbture- Blended mode)

On August 4, 2023, I presented my research paper titled 'From Tradition to Animation: A Critical Examination of Gender in Indian Folklore and Disney Films' at the National Seminar 'Confluence of Tales, Myths, and Culture in Literature, organized in a blended mode by PSG College of Arts and Science, Coimbatore. The paper delved into the deep-seated gender bias within Indian society, tracing its origins from ancient mythologies, and critically analyzing the representation of gender in Disney films. The study revealed how both contexts reinforce traditional stereotypes, contributing to the shaping of societal norms.

Abstract: 

Gender bias is a pervasive issue deeply ingrained in societal structures, with women often being misunderstood and misrepresented. In patriarchal societies like India, this bias is reflected in religious texts, mythologies, and traditional beliefs, where women are relegated to subordinate roles and restricted in their aspirations and contributions. This research paper aims to shed light on the entrenched position of women in Indian society, focusing on how mythologies contribute to the degradation of their status. It traces the roots of gender inequality back to the Aryan civilization, emphasizing the longstanding nature of the problem. Children's understanding of relationships and gender can be influenced by TV representations, which might not readily accept new information that challenges existing beliefs. Disney, a major animation company, has tried to avoid direct objectification or dependency of female characters on males. However, it still exhibits discriminatory attitudes towards men and often portrays limitations on female characters' pursuits of dreams, overshadowing their aspirations with an emphasis on marriage and domesticity. While Disney heroines gain a stronger sense of self, they perpetuate the image of an unattainable ‘perfect girl’, reinforcing traditional stereotypes. Additionally, female characters in Disney films rely heavily on support from others, reinforcing the notion that women need constant help and undermining efforts to promote gender equality. This paper delves into the portrayal of gender behaviors and appearances in both Indian folklore and Disney films, critically analyzing the perpetuation of traditional stereotypes. By examining the narratives and character representations in these two distinct cultural contexts, it seeks to draw parallels and identify the impact of gender bias on shaping societal norms and expectations.

Keywords: Gender bias, Indian Folklore, Disney Movies, ideal women,

Introduction

Gender discrimination in patriarchal India remains a pressing issue, with men holding property ownership and women facing subordinate roles. The birth of male children is celebrated, while girl childbirths are often devalued, leading to a limited emphasis on girls' education. Women endure household violence and sacrifice in critical situations, facing unequal access to education and limited employment opportunities. Challenging prevailing norms, empowering women through education, and promoting equal opportunities are essential for achieving gender equality.

Gender biases are ingrained societal constructs, impact perceptions, treatment, and worth based on gender. These biases, explicit or subtle, influence decisions, opportunities, and relationships. Recognizing their origins and outcomes is vital for fostering equality and inclusivity. Often rooted in cultural, historical, and institutional norms, tackling gender biases is essential for progress. According to the prominent feminist scholar Simone de Beauvoir, "One is not born, but rather becomes a woman" (De Beauvoir). De Beauvoir argues that gender is a social construct, not an inherent trait and that societal expectations shape the roles and behaviors assigned to men and women.

The status of women in Indian society has undergone significant changes over the centuries, particularly within the realm of religion. Wendy Doniger points out, “The female sex has never found favor with any of the world’s religions, or with their priests and prophets” (Doniger).

Women in Indian Myths/ Folklore

Looking back to the Early Vedic period which marks the composition of Rigved it provides valuable insights into the status of women during that era. Despite living within a patriarchal society, women held significant importance as joint owners of property alongside their husbands. They exercised authority over bipeds (slaves) and quadrupeds (cattle), signifying their active involvement in household economy and societal affairs. Unlike later periods, chastity did not carry excessive value during the Early Vedic Period, allowing women a degree of personal agency. Education played a vital role for women in this era. Many high-class women received education and actively engaged in intellectual and philosophical discourses. Remarkable female composers, known as ‘Brahmavadinis’, such as Gosha, Apala, Lopamudra, Maitreyi, Gargi, Indrani, Mudgalini, and Vishvara, are mentioned throughout the Rig Veda. Lopamudra, for instance, is credited with six verses in Book 1 Hymn 179, showcasing women's literary achievements (Doniger).

In ancient India, women went beyond household duties, engaging in various careers like teaching, music, dance, and even martial pursuits. Historical records highlight female warriors such as Shashiyasi, Vadhrimati, and others, showcasing their multifaceted roles. Some women, like Amajur, opted for unmarried lives. However, while the Early Vedic Period showcased women's empowerment, it wasn't universally accessible. Limited mentions of female scholars and unequal religious roles indicate constraints on women's freedoms. Male dominance persisted, seen in minor female deity roles and limited religious authority for women.

Women in Ramayana

The Ramayana, a major Indian epic, occupies a crucial role in Hindu mythology and literature. While Valmiki's rendition from the 2nd century BCE to the 2nd century CE is widely acknowledged, the epic encompasses various versions across religious beliefs and geographical regions. (Vālmīki).

In Rama's infancy, women like Kausalya, Kaikeyi, Sumitra, Manthara, and Ahalya exemplify Dharma through obedience as daughters, sisters, and wives. Deviations lead to tragedy — Sita's abduction and Ahalya's petrification. Rama's heroic rescues define the narrative. In his adulthood, the focus shifts to Sita, Urmila, Mandavi, and Shrutakirti. They embody loyalty as wives and sisters, supporting husbands. Deviation brings consequences. The forest exile introduces ambitious women like Anasuya, Surpanakha, and Shabri, challenging norms. Kaikeyi's ambition banishes Rama, and Surpanakha's assertiveness angers men, implying defiance shames women.

Goddesses like Sita, Sati, and Savitri are revered among Hindu women as embodiments of devotion, sacrifice, and loyalty to husbands. Traditional ideals spotlight women's dedication to spouses, seen in Ramayana and Mahabharata. Sita, devoted to Rama, personifies this ideal. Despite being abducted during Rama's forest exile, she overcomes challenges and reunites. Doubts about her fidelity lead to a trial by fire, vindicating her innocence. However, skepticism persists, causing Rama to send her to the forest, where she gives birth to their twin sons.

Hole highlights that Sita is revered as a paragon of virtue, offering a model for young girls to follow. Her steadfast devotion to her husband becomes an inspiration for Hindu women, fortifying traditional gender roles and cultural expectations. However, it's crucial to acknowledge that these narratives, although ingrained in Hindu culture, might not encompass the diverse viewpoints and aspirations of modern women. Depicting women solely as self-sacrificing and devoted to husbands can reinforce certain gender norms, potentially curbing opportunities for women's empowerment and agency (Hedman).

Women in Mahabharata

In contrast to the Ramayana, the Mahabharata offers a wealth of intricate female characters that defy simple categorization. While traces of patriarchy persist, they hold less sway, permitting diverse and courageous portrayals. The epic mirrors sexual liberation with varying conjugal dynamics. Women break traditional molds, revealing intellect, political sway, and martial prowess. Despite extolling devoted wives, instances like Draupadi's use as a gambling prize expose underlying mistreatment and misogyny. Remarkably, the Mahabharata's narrative features women, particularly Draupadi, questioning their husbands' choices, influencing politics, and taking charge for justice—an aspect less apparent in the Ramayana. (Arnold).

In the Mahabharata, women embrace greater sexual freedom, participating in polygamous and polyandrous relationships. Pandu's multiple wives and Draupadi's five husbands exemplify intricate conjugal dynamics. Unlike Ramayana's archetypes, Mahabharata's women exhibit diverse personalities and skills. Draupadi's mastery of 36 arts underscores her intellectual prowess. Hidimba and Amba challenge gender norms through martial abilities. Crucially, Draupadi defies tradition by questioning husbands' decisions and shaping politics, contrasting with Ramayana's submissive women. Her assertiveness marks a significant shift in female portrayal.

In the Mahabharata, obedient and self-sacrificing wives are venerated, alongside liberated depictions. Draupadi's disrobing exposes mistreatment and misogyny. Similar to Ramayana, threats to a woman's honor challenge her husband's masculinity, sparking conflict. Mahabharata's women break norms, displaying diverse roles and skills. Despite lingering patriarchy, it differs from Ramayana, presenting nuanced and varied ancient Indian female representation.

In the Puranas, goddesses exhibit two fundamental qualities: Shakti (active and creative) and Prakriti (material essence). These qualities are deemed positive when guided by masculine forces. Male gods oversee the attributes of protective and creative goddesses. Deities like Lakshmi, Sita, and Parvati honor and heed their husbands. Conversely, goddesses like Kali and Shitala are seen as potent and independent, not bound by male control.

In the article ‘Hindu Goddesses as role models for Women?’ by Hanna Hedman. Hole aligns with Hellman's view that femininity should be under male control. She notes a power dynamic where Prakriti symbolizes wildness. Women, perceived with more Prakriti, are seen as needing control to prevent overpowering. Goddess Kali exemplifies this—her consort Shiva curbs her violence. Purusa defeating Prakriti restores order, fostering harmony. (Hedman).

Women in Disney Movies

In 1937, with the release of its first animated film, Disney embarked on a journey that has spanned generations. However, despite the advancement of feminism over the years, the portrayal of female characters in Disney films has often been criticized for reinforcing passive, idealized stereotypes that cater to male characters. Throughout Disney's history, female characters have been depicted as white-skinned, slim, and dressed in a manner deemed ‘decent’. Additionally, they are frequently portrayed as relying on male characters to achieve their goals, perpetuating a gender dynamic that could have potentially negative consequences for young female audiences exposed to these films during their formative years (Ji).

Bell, Haas, and Sells note, "If Disney corpus can be seen as peddling a pedagogy of innocence, perhaps one of the most telling lessons it sells us is that of gender ---of bodies, sexuality. and desire" (Bell et al. 155-156). Disney princess films, including Beauty and the Beast, exemplify entrenched gender stereotypes through characters adhering to traditional roles. Despite targeting a female audience, Disney maintains a male-centric character-creation approach. Male interests, power, and leadership overshadow female counterparts, resulting in female characters deferring to male guidance and relying on them for rescue and salvation.

Corsaro refers to the term childhood symbolic culture to explain the various representations or expressive symbols of children's beliefs, concerns, and values. Three primary sources of childhood symbolic culture are children's media (e.g., cartoons and films), children's literature (e.g., fairy tales), and mythical figures (e.g., Santa Clause). Simply put, children often make use of popular stories, myths, and fairy tales to make sense of themselves and their surroundings (Corsaro). Examining the broader scope, Disney films consistently center on significant themes: marriage/love as the ultimate goal for heroines; equating beauty with femininity; constraining females at puberty; suppressing women's voices; depicting females succeeding or being rescued solely by men's aid. Hence, ‘the Disney heroine survives to find happiness thanks solely to the heroism and sacrifice of male characters and without experiencing personal growth or self-empowerment (O'Brien).

Snow White, Ariel, and Cinderella epitomize this trend. Snow White's wish is for her true love to find her, Ariel forsakes her voice and independence to win Prince Eric, and Cinderella is granted a mere few hours to enchant the prince before her return to her humble life. In Disney's depiction of Cinderella, her contrast with her stepsisters emphasizes beauty, charm, and homemaking as marriage prerequisites. Snow White and Sleeping Beauty confront grim outcomes while their male counterparts seek freedom. These constraints reflect emerging female sexuality and rivalry fears. Likely preserving purity or appeasing male concerns, control emerges during crucial life stages. In The Little Mermaid, Ariel gives up her voice for a man's love, and Belle in Beauty and the Beast sacrifices her freedom for castle life. This pattern of silencing heroines mirrors the historical suppression of women's voices in fairy tales. Male characters save princesses—Cinderella's companions orchestrate her rescue, and Ariel's friends defeat the sea witch for her prince.

Downey argues Disney fairy tales ideologically saturate their audiences with "archetypal myths...symbols...[and] values derived from a distinctly American cultural context" (Downey 187). Because the context historically is rooted in patriarchy, Disney tales can be interpreted as reaffirming the status quo, and depicting the feminine as a "paradigm of powerlessness" (Downey 185). Researchers like O'Brien claim the female characters in Cinderella and The Little Mermaid represent a continuation of the practice of creating characters that enact female oppression and embrace patriarchal values (O'Brien).

Conclusion

This paper explores the interplay between Indian folklore and Disney films, uncovering persistent gender biases across cultures. These mediums uphold traditional norms, limiting female characters' agency. Religious texts, mythologies, and animations highlight the challenge of misrepresentation and restricted roles for women. Ancient narratives shape modern gender perceptions, perpetuating discrimination.

Media, notably animation, holds transformative power. While Disney addresses objectification, subtler biases remain. Recent films like Frozen and Moana depict women navigating societal expectations while caring for others. The research stresses media literacy and responsible storytelling, urging stereotype-challenging dialogues. Moving from tradition to animation should prioritize equity, sidestepping regressive norms. In today's media-driven world, storytellers, educators, parents, and society must shape narratives. The study calls for bias-dismantling storytelling, fostering empowerment regardless of tradition. The aim is a future where ancient heritage and modern animation join to create a fairer global landscape.

Works Cited:

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Arnold, Edwin. Indian Idylls - from the Sanskrit of the Mahabharata. Read Books, 2010.

Bell, Elizabeth, et al., editors. From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Indiana University Press, 1995. Accessed 7 August 2023.

Branagh, Kenneth, director. Cinderella (2015 American FIlm). Walt Disney Pictures, Kinberg Genre, Allison Shearmur Productions, Beagle Pug Films, 2015.

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Hedman, Hanna. “Hindu-goddesses as role models for women.” DiVA portal, 2007, https://www.diva-portal.org/smash/get/diva2:145363/FULLTEXT01.pdf. Accessed 6 August 2023.

Holmes, Peggy, director. The Little Mermaid: Ariel's Beginning. DisneyToon Studios, Walt Disney Pictures, 2008.

Jayan, Jayasree, and K. C. Sankarnarayanan. “Divine Gender Inequality: A Study of Mythological Degradation of Hindu Women in India.” SSRN, 2017, p. 12, http://dx.doi.org/10.2139/ssrn.2949781.

Ji, Jiaxin. “Analysis of Gender Stereotypes in Disney Female Characters.” Advances in Social Science, Education and Humanities Research, vol. 594, 2021.

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O'Brien, Pamela Colby. The Happiest Films on Earth: A Textual and Contextual Analysis of how and why Walt Disney Altered the Fairy Tales and Legends of Snow White, Cinderella, The Little Mermaid, and Pocahontas. Indiana University, 2003.

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