A Tradition of Poverty

David Brown
Professor Tejada
English 1102 F
21 April 2009
A Tradition of Poverty
Every culture has its own set of traditions and customs. One usually considers these customs to be beneficial to the society, but this is not necessarily so. Tradition can mire a country and prevent progress. While it is good to retain some traditions because they add to the character of a nation, others need to be truncated because all they do is detract from the nation as a whole. Some of these traditions include racism and social economic class systems. A foremost example of a social economic class system in modern times is the caste system in India. Many films have made critical remarks about the caste system’s enduring effects including the films Swades by director Ashutosh Gowariker, and Vanaja by director Rajnesh Domalpalli.
Swades comments on many subjects in its 210 run time, but the most relevant issues are those about the caste system and the traditions that keep rural India in poverty. The caste system is a sort of hierarchical social ranking system. The lower castes are usually socially and politically discriminated against. Each child has the same caste as his or her parents. It is a very difficult thing to change ones caste. Much of discrimination through the caste system that once took place has been eliminated in modern India, but it is still very prevalent. “It is in many of these areas that the caste system remains strong and a normal part of everyday life…” (Ninian 186). Since the caste system is still so relevant of an issue it is the topic of many films from India.
There are several scenes and references in the movie Swades to the caste system and how it keeps the citizens of the village in poverty. The most notable scene is when Mohan travels to the family’s land to collect rent from the tenants. Once there, he listens to the story of how the family who lives on the land is not even capable of putting food on the table for their children yet alone paying the rent. The root of the problem was the caste system. Since the father of the family’s job was lost to a machine he switched professions. The father says this to Mohan “By taking up farming, I had changed my profession. The village elders did not accept this and looked upon me as an outcast. They felt a weaver should remain a weaver, even if it meant, that he had to go hungry. I cried, pleaded… but no one listened to me! Nobody offered a drop of water to irrigate my land. Entire crops dried up and whatever survived, the villagers refused to buy” (Swades). Scenes like these are a sort of call for change to those watching the movie and in fact it is this scene that convinces the main character to act. “Mohan tries to heal the caste divisions that he sees as holding back progress” (Elley 8). The majority of the film has a bright and colorful pallet of colors ranging from the bright colors in Gita’s dress to the earthen colors of the village. The film also has bright full lighting because most of it is shot outdoors. This scene, however, is shot in a tight, cramped space of the family’s hut. The only lighting comes from one source so much of the room is enveloped in darkness. The colors of this scene are also muted in comparison to the rest of the film. This dramatic change in the mis-en-scene adds a special importance and soberness to the scene that emphasizes the significance of the issue being discussed.
Another scene in the film that accentuates the problems with the caste system is when Mohan approaches a family about enrolling their children in the local school. Even though he explains that it is ok, the people decide against it. They fear breaking tradition even if it means it means withholding an education from their children, one of the few things that could better their situation in life. The director of the film actually mentions the importance of education in an interview. “Every time I leave the theatre after a movie, there're questions in my mind. I don't want questions any longer. Let's have some solutions. Each one of us is an expert on the problems faced by our country. But where are the solutions? To me the country's main issue should be education. And it should be pushed as hard as possible” (Jha par. 20). The caste system is a tradition that contributes to poverty in Indian culture as shown in the film Swades through denying the solutions that will help progress in these poverty stricken rural areas.
Swades has many references to the caste system and other traditions that are keeping the villagers rooted in their current economic situation. A scene in the film that comments on this social barrier is the film screening scene towards the middle of the film. The villagers of a higher caste sit on the correct side of the projection screen, but when Mohan and Mela Ram go to sit down at the screening Mela Ram sits on the reverse side of the screen presumably because he is of a lower caste. During this scene a musical number breaks out where Mohan has the whole village united as one entity despite any prejudiced biases about caste and social rank. Mohan tries to break down the barriers of the caste system. During the musical number he lowers the screen and suddenly the villagers of higher caste are suddenly eye to eye and face to face with those of the lower caste. This valuable face time helps unite the village and begins to break the tradition of the caste system. It is events like this that lead to the eventual bettering of the village through self sustainable electricity and a high school program in the village. Another movie that shows the influence of the caste system on a people is the movie Vanaja.
Vanaja is a film about a 14 year old girl who has dreams of becoming a famous dancer. She is originally barred from her dreams because of her lower caste. After finally convincing her landlady to teach her the Kuchipudi dance style she is quickly on her way to the top (Kaufman par. 3). The film Vanaja has a strong message about the tradition of the caste system in India. “It's a touching, believable, often funny but ultimately sad tale of how one’s class can take advantage of another, even in the guise of patronizing benevolence” (Smith par. 4). One of the examples in the film of how one of the higher castes takes advantage of the lower involves Vanaja and the landlord lady’s son. They both have a mutual attraction to each other which eventually ends up with the son raping Vanaja. In other cultures the son would be the one at fault, but sadly this is not how it progresses in the film. The son ends up scorning Vanaja because she is of a lower caste and because this would bring disgrace on his family of a higher caste. “That Cinderella tale is abruptly interrupted by the return of the landlady's son (Karan Singh), a dumb but handsome would-be politician who rapes Vanaja, unleashing a series of dismal developments and the birth of a baby boy” (Smith par. 5). This leaves Vanaja alone with a child and no support from the father, with her dreams of becoming a famous dancer permanently dashed. This poignant tale of how ones caste can be ones downfall illustrates the unfairness of the caste system and how it hurts those already in poverty.
While traditions are essential to the culture of a nation they are not always beneficial. Traditions such as the caste system, that may be culturally acceptable, are hurtful to the overall economy and stagnates those already in poverty. Many movies in India have tried to shed light on the continued influence of the caste system on modern India. Among these movies are Swades and Vanaja and they make a strong argument about the negative influence traditions can have on a people.
Works Cited
Elley, Derek. "SWADES: WE, THE PEOPLE (SWADES). " Variety 27 Dec. 2004: 17-18. Research Library. ProQuest. Georgia Tech Library, Atlanta Georgia. 21 Apr. 2009 .
Jha, Subhash K. “Swades revisits old world values: Gowariker (Interview).” bollywood.com. 27 Dec. 2007. 20 April 2009. .
Kaufman, Sarah. "Dancing to a Downfall :[FINAL Edition]. " The Washington Post [Washington, D.C.] 5 Oct. 2007,WW.39. ProQuest National Newspapers Core. ProQuest. Georgia Tech Library, Atlanta Georgia. 21 Apr. 2009 .
Ninian, Alex. "INDIA'S UNTOUCHABLES: THE DALITS. " Contemporary Review 1 Jul 2008: 186-192. Research Library. ProQuest. Georgia Tech Library, Atlanta Georgia. 21 Apr. 2009 .
Smith, Sid. "MOVIE REVIEW; 'Vanaja': Cinderella of the caste system; A director's student project recalls Charles Dickens as well as Western fairy- tale lore :[HOME EDITION]. " Los Angeles Times [Los Angeles, Calif.] 14 Sep. 2007,E.17. Los Angeles Times. ProQuest. Georgia Tech Library, Atlanta Georgia. 21 Apr. 2009 .