Enacted Identity as Nation – State Dislocating Organic State: A
Partition of Marginalised Female in Srijit Mukherjee’s Rajkahini
Sujit Malick,
Assistant
Professor,
Department
of English,
TDB
College, Raniganj,
Paschim Bardhaman,
West Bengal, India.
Abstract: The concept of a
nation is fundamentally and intrinsically rooted in the doctrine of nativity,
undergoing a complex evolution shortly after the nation's inception. This paper
seeks to examine how the enacted identity, in its various interpretations,
mirrors the nation-state and suppresses individual expression. The film
Rajkahini, released in 2015, scrutinizes the Enacted Identity prompted by the
Radcliffe Line, which resulted in the creation of two nation-states: India and
Pakistan. The trauma of partition reveals its malevolent aspect through the
words of two distinct characters, Ilias and Prafulla, yet it does not challenge
the concept of the nation-state. Conversely, Begum Jaan and her companions
exhibit defiance by questioning the legitimacy of the nation-state, represented
here as the partition's demarcating line. They assert their individual
identities, which Hecht theorizes as Organic Identity, and maintain it until
death. However, the nation-state, through the deployment of state machinery,
displaces the organic identity of marginalized voices within society.
Keywords: Identity,
Partition, Defiant, Nation.
The genesis of the nation or nation-state in contemporary historiography involves a critical examination and re-examination of various heterogeneous social and cultural axioms, thereby problematizing the fundamental concept of statehood. The nation, in its primordial stage, inherent capacity, and objective purpose, demonstrates a strong affinity with the nativity of an individual. The hypothesis of a nation posits that its formation is an overt byproduct of the enthusiastic discoveries initiated in the fifteenth century, characterized by a relentless quest undertaken by indefatigable scholars. Further elaboration on the development of nationhood can be traced back to the Renaissance period, when the discovery of the New World at a critical juncture exalted rulers to maintain the sovereign order of the nation. Methodological nationalism since the Renaissance posits that the nation and society ascertain a reverse order. In Shakespeare's Henry V (III.ii.121), a Scottish Officer inquires, "What is my nation?" Similarly, in the twentieth century, James Joyce, in Ulysses, poses the same question through a Dublin citizen who queries Leopold Bloom: "What is your nation?" The answer to these questions lies within the brackets of European nations and the world at large. The identity of an individual is contingent upon the pursuit of technological, military, political, and commercial advancement, which does not always align with the spirit of the nation. In this context, the concept of land as an independent homeland plays a crucial role in shaping cultural identity. National identity comprises a set of ideas and notions manifested, created, and sustained through symbols, myths, and actions. Globalization, as articulated by George Modelski, has become commonplace in recent times. High-speed technologies serve as the fountain of numerous references in intellectual discourses, initiating the process of annihilating distance. Organic nationalism emerged in Europe during a period when the Enlightenment exerted significant influence over intellectual discourse. This form of nationalism, akin to romantic nationalism, arises from the intrinsic development of culture and tradition, and notably, it fosters resistance against the dominance of the nation-state. A fundamental aspect of organic nationalism is the emphasis on the "self-determination" of individuals within a shared framework. Three pre-genetic concepts have historically supported two distinct claims, which continue to uphold the contemporary assertion of the primacy of the inalienable rights of individuals. In the first half of the twentieth century, the British imperial power recognized that its colonies had become a 'white man’s burden,' leading to the liberation of numerous colonies. However, the colonial power orchestrated a complex scheme, culminating in the partition of the Indian Subcontinent, particularly the creation of Pakistan, which had profound socio-political repercussions. Michael Hecht, a professor of communication, has developed a unique theory of identity through effective communication, challenging the notion of 'enacted identity.' Hecht and his colleagues introduced the 'layer perspective' theory of identity in the early 1990s, which conceptualizes identity within a personal framework and as 'enacted identity' shaped by political ideologies. He posits that identity is, to some extent, constructed through social interaction, often resulting in a counter-concept. Alienation occurs when marginalized groups, particularly marginalized women, are denied the right to assert their identity, leading to a conflict between their aspirations and the interests of the nation-state.
In contemporary artistic discourse, the
theme of partition is not a novel concept, particularly within the realm of
performing arts. Postcolonial Indian novelists such as Amitav Ghosh, Vikram
Seth, and Salman Rushdie frequently incorporate the theme of partition in their
works. Srijit Mukherjee, a prominent director in Indian cinema, addresses
diverse social issues across his films, with Rajkahini centering on the partition between India and Pakistan.
Influenced by the narratives of Sadat Hasan Manto, Ismat Chughtai, and Aban
Thakur, Mukherjee critically re-evaluates the legitimacy of partition and
explores its historical consequences. The British imperial power, prior to its
departure from the subcontinent, divided the Indian subcontinent by
establishing an arbitrary boundary line under the direction of Radcliffe.
Consequently, a civilization with a history spanning five millennia was thrust
into a dire situation, as state mechanisms prioritized political
considerations. The backdrop of the movie is near the present Indo-Bangla
border. In the beginning, through voice over, a proposal of partition is
proclaimed between Hindustan and Pakistan.
Coincidentally, the proposed line passes through a brothel that
problematises and anticipates the proposed partition plan. Begum Jaan, the
madam of the brothel, proves defiant as she denies giving up before the
pressure of state machinery; other residents of whorehouse also identify
themselves with the existence of Begum Jaan.
Her ruthless yet caring treatment of her girls, mostly from the
downtrodden class and abandoned by their respective families, her vulnerable
womanhood before love, and her craving for freedom in her own terms are attributed
to a cult figure of a marginalised female voice of society. Even the male
members of the whorehouse seem docile in front of the other female
members. It is Begum Jaan who flaunts
the freedom of the country as a mere incoherent, oblique, and ceremonial - that
is exposed before the audience while she interacts with a pseudo teacher turned
social worker. The aspirations of Golap, one of the young women residing in the
brothel, are thwarted as her pursuit of freedom remains unfulfilled, even after
her escape. Consequently, the concept of freedom emerges as an enigmatic
phenomenon within this institution, particularly for those with marginalized
voices. Begum Jaan and her companions can be considered marginalized in two distinct
respects: firstly, as women, they embody the essence of marginality; secondly,
as sex workers, they are further relegated to the periphery of society.
Regardless of whether they encounter a ruthless patriarchal figure or a
marginalized male, the women of the brothel are consistently subjected to
subjugation. Nevertheless, they are prepared to confront their downfall with
dignity. Prafulla, a representative of the state apparatus, is profoundly
affected by the trauma of the Partition, which once led to the devastation of
his family. Illias, formerly a friend of Prafulla, reflects on the trauma of
the Partition, as his wife was brutally raped and murdered during a communal
riot—a riot that, according to the British narrative, necessitated the painful
process of separation. The fictional and cinematic portrayal of the brutal rape
and murder of Prafulla’s wife serves as a poignant reminder of the profound
agony and suffering endured by women during and after the Partition.
“Out of
which 14.5 million were documented, the remaining 2.2 million people went ‘missing’,
especially along the western part of the Indian border. Thousands of women,
with estimates ranging from 25,000 to 29,000 Hindu and Sikh women and 12,000 to
15,000 Muslim women, were abducted, raped, forced into marriage, forced to
convert, and killed on both sides of the border” (Roy, 2012).
The
precise information on Violence against women does not a rudimentary witness of
brutality that encrypted in the history. However,
these two individuals present themselves as a state apparatus, which appears to
be merely an "enacted identity" constructed on the foundation of
political homogeneity, yet it disrupts radical humanity. Prafulla, Illias, and
the police force repeatedly approach Begum Jaan to persuade her to vacate the
brothel, but they consistently fail to convince her, as she asserts her freedom
on her own terms. She declares, "She will die like a queen in my
haveli." This statement reflects a profound sense of belonging and
integrity in her every action. The shameless and brutal nature of the state
apparatus seeks to displace the marginal yet defiant entity; both Prafulla and
Illias, along with the government officer responsible for executing the
completion of the line, engage a henchman, Kabir, who lives a dual identity and
assures them of the brothel's destruction without further complications. The
entire process of covertly uprooting the defiant in the film occurs under the
supervision of the state's administration, reinforcing the supremacy of enacted
identity. The state machinery appears to be a manifestation of patriarchy,
represented by Prafulla and Illias, who are divided by religion but united by
patriarchal hegemony. This ruthless approach subjugates and eliminates
marginalized women. The resistance of Begum Jaan and other members of the
brothel poses a threat to the entrenched and pervasive state, which is merely
an indirect presence of a male-dominated world.
In her speeches, Begum Jaan consistently asserts her right to self-determination, emphasizing the crucial aspect of organic nationalism. When the nation-state is perceived as an 'enacted identity' resolute in executing and maintaining its norms, Begum Jaan repeatedly challenges it, resulting in an unequal conflict that culminates in the anticipated outcome: the large-scale collapse of self-determination. She resists the significant pressure exerted on her during the eviction of the brothel, yet ultimately succumbs to the forces of the nation-state. Begun Jaan embodies an institution that dares to negotiate with the world that always looks down upon. However, an ephemeral yet aggressive resistance of maginalised woman is conspicuous in the movie and a sense of liberation prevails and ascertains against all odds of society. This paper seeks to demonstrate how the nation-state employs all its mechanisms, including unlawful agents, to suppress the right to self-determination. Mukherjee references two women-centric films—Shyam Benegal’s Mandi and Ketan Mehta’s Mirch Masala—which depict the struggles of a group of women, led by a brothel madam (Smita Patil), who resist police brutality. A film review in News18 noted: "The women whose daily sustenance depended on trading their bodies fought back fearlessly to protect themselves in unison; only one woman faltered, becoming lost in a world that is uncertain and unknown." Finally, the matriarch of the brothel recites Rajkahini, written by Abanindranath Thakur, which narrates the sacrifice of Padmini of Chittor, who maintained her integrity until her last breath. While the state may overpower the individual, the cultural legacy remains immortal. The righteousness and purity of the female body are often constructed by a male-dominated society, a notion that the analogy drawn from Padmini of Chittor seeks to dismantle.
Works Cited
Hecht , M. L. Communicating Prejudice. Sage, 1998 .
Iyo , Roth. The Eritrean Strange for Independence,
Domination, Resistance, Nationalism, and Self- Determination in the Horn of
Africa. Ithaca Press, 1995.
Roy, Haimanti. “Partitioned
Lives: Migrants, Refugees, Citizens in India and Pakistan, 1947-65.” History
Faculty Publications, 2012. p. 21.
http://ecommons.udayton.edu/hst_fac_pub/21. Accessed 1st July 2025.
Smith , Anthony. National Identity. Penguin Book, 1991.
www.m. youtube.com/movie–rajkahini/ Accessed on 29/06/2025
www.news18/news/movies/srijitmukherjee
– rajkahini – body and mind / 1162492 html . Accessed on 5/ 06/ 2025.