Terraces as Liminal Spaces: A Gendered Analysis in the
Indian Context
Dr. Vidya Hariharan,
Assistant Professor,
Department of English,
SIES College of Arts, Science and Commerce,
Sion West, Mumbai, India.
Abstract: Terraces are a feature of Indian buildings
which are neither within a house nor outside it. They are architectural
features which are the sites of daily activities. Men engage in kite flying,
smoking, outdoor gatherings with friends or sleep out on summer nights. Women
talk to neighbours, make papads or pickles, dry clothes or escape to rest for a
few moments from their domestic duties. There are certain times of the day when
women would absent themselves from the terrace or restrict themselves from acting
freely as the open nature of the space lends itself to societal surveillance.
Men’s actions are more autonomous. The terrace thus is a gendered space and by
its positioning a liminal one. This paper intends to study the portrayal of the
terrace in select Indian films and novels in order to reveal the gendered and
liminal character of these spaces and their transformative potential.
Keywords: Gendered,
Liminal, Space, Terrace, Women.
Terraces in India are not just architectural features; they are sites of everyday life. The way men and women use these spaces varies significantly due to society’s surveillance, domestic responsibilities and cultural expectations. For men, terraces are spaces of relaxation, smoking, evening gatherings, mobile phone use or sleeping under the stars in the summer, these are activities that signify autonomy. These uses are less scrutinized, as men are seen as naturally entitled to visibility and mobility. In some contexts, men use the terrace as a place to survey their surroundings, symbolizing ownership or control over what they consider their territory. According to feminist geographer Gillian Rose, how people claim space is a reflection of how privileged individuals are socially and economically, and this can be understood as a representation of their place in society (Rose 27).
For many women, especially homemakers, the terrace serves as an extension of domestic labour—used for drying clothes, pickling or supervising children. At the same time, the terrace can offer brief moments of solitude and escape from the interior domestic space dominated by responsibilities and familial hierarchical structures. Women may use terraces to interact with female neighbours, exchange gossip, dry clothes or observe street life, thus creating networks of informal communication. Women's access is often time-bound, such as early mornings or late evenings, to avoid the male gaze or accusations of impropriety. For young girls, terraces may be one of the few open-air spaces they are allowed to occupy alone, and thus become spaces of dreaming, reflection and self-discovery, but also surveillance.
Feminist geographers have extensively examined how spatial arrangements reflect and reinforce gendered power dynamics. Terraces in Indian homes, as depicted in Indian-English literature and Indian films, can be analysed through this lens to understand their role as liminal spaces where traditional gender norms are both upheld and contested. Jacqueline Coutras, the French feminist geographer, has highlighted how urban spaces are often designed in ways that limit women's access and mobility. She notes that while women have expanded their spatial reach through increased participation in public life, they still face constraints due to lingering patriarchal structures, “beyond the unequal distribution of tasks, women’s experiences differed from those of men, and the social logics involved in spatial frequentation varied from one to the other” (Coutras 115). Terraces, as semi-private spaces, exemplify this tension offering a semblance of freedom while still being subject to societal surveillance. Doreen Massey, in Space, Place, and Gender, argues that space is not a static backdrop but is actively produced through social interactions and power relations. She emphasizes that places are constructed through the intersection of multiple social relations, which are themselves imbued with power dynamics. She says in Space, Place, and Gender, a “place” is created by a precise set of social relations that interact at a specific location, and as a result, it is fluid, established through power relations, and it is also constructed out of specific social ties (Massey 168). Applying this to terraces, these spaces can be seen as sites where domestic (private) and societal (public) spheres intersect, often reflecting and challenging prevailing gender norms. Gillian Rose, in Feminism & Geography: The Limits of Geographical Knowledge, emphasizes the significance of positionality in understanding spatial experiences. She argues that one's social position, including gender, influences how spaces are perceived and utilized. In literature, terraces may serve different functions for characters based on their gender, class and cultural background, highlighting the intersectionality of spatial experiences. Using feminist spatial theory to analyse terrace use reveals the hidden geographies of power, agency and resistance embedded in everyday domestic life.
In many Indian households, the terrace
is not merely an architectural feature, but a space imbued with cultural and
gendered significance. While men might freely use terraces for leisure or social
gatherings, women's access is frequently mediated by concerns over propriety
and honour. This dynamic is rooted in broader societal structures that dictate
women's visibility and mobility, often relegating them to the domestic sphere.
The design and utilization of terraces often reflect these gendered norms. For
instance, in traditional homes, terraces might be enclosed or shielded to
prevent women from being seen by outsiders, reinforcing the notion of female
seclusion. Even in contemporary settings, women might avoid terraces during
certain times of the day to escape the male gaze or neighbourhood scrutiny.
Such practices underscore how architectural spaces can perpetuate gender
hierarchies, limiting women's freedom within their own homes. Elina Lindeborg,
in her study of feminist geographic information systems (GIS), “Gendered
spatial realities”, in 2017, writes, “This divide and understanding of private
spaces as women’s places and public spaces as men’s places exists still today,
and women who spend too much time or attend public spaces at the “wrong time” are questioned” (7).
In the architectural landscape of
Indian homes, terraces, including rooftops, balconies, and verandas, serve as
transitional spaces that blur the boundaries between private and public areas.
These areas, often situated between the enclosed domestic interior and the
external environment, can be understood through the lens of spatial theory as
liminal spaces. The concept of liminality, originating from anthropological
studies, refers to the in-between phases of rituals where participants are no
longer in their previous state but have not yet transitioned to the next.
Applied to spatial contexts, liminal spaces are those that exist between
defined zones, embodying characteristics of both yet belonging fully to
neither. Terraces in Indian homes exemplify this liminality. They are
extensions of the private sphere, accessible primarily to household members,
yet they are open to the sky and often visible to neighbours and passersby, introducing
elements of the public domain. This duality creates a unique spatial
experience, particularly for women, whose movement and visibility are often
regulated by societal norms. The terrace becomes a space where traditional
boundaries can be both enforced and subtly challenged.
From a gendered perspective, terraces
offer a complex interplay of surveillance and autonomy. While they provide
women with a space to engage in activities such as drying clothes, socializing
or simply enjoying the outdoors, these actions are often performed under the
watchful eyes of neighbours and community members. This constant visibility can
reinforce societal expectations and norms, limiting the freedom that the
terrace ostensibly offers. However, the very nature of the terrace as a liminal
space allows for moments of resistance and self-expression within these
constraints. The architectural design of terraces further influences their role
as liminal spaces. Elements such as parapet walls, screens and overhangs can
either enhance privacy or increase exposure, thereby affecting how these spaces
are utilized and perceived. In some traditional Indian homes, design features
are intentionally incorporated to allow women to observe street activities
without being seen, reflecting cultural practices that navigate the balance
between seclusion and engagement with the outside world.
The terrace can also be seen as a site
of potential transformation. Its position between the domestic interior and the
public exterior allows for the negotiation of identities and roles. For
instance, women may use the terrace to engage in economic activities, such as
home-based enterprises, thereby extending their influence beyond the household.
In this way, the terrace becomes a space where traditional gender roles can be
redefined and expanded.
There are many Indian films which use
the terrace as a central location to depict the duality of the space to
underscore the vulnerability of women in such spaces. In Puthiya Niyamam, a
Malayalam movie released in 2016, the terrace becomes a site of trauma for the
protagonist, Vasuki, portrayed by Nayanthara. A seemingly mundane act of
retrieving items from the terrace leads to a harrowing experience of assault,
underscoring how spaces within the domestic sphere can harbour unexpected
dangers for women. The film uses this incident to explore themes of justice,
resilience and the complexities of dealing with personal trauma within social
constraints.
Indrani Chakraborti's Bengali film Chaad
released in 2023, which means "terrace" delves into the lives of
women in a Kolkata neighbourhood, using the terrace as a central motif. The
film portrays the terrace as a space of both confinement and liberation, where
women gather to share stories, confront societal norms, and find moments of
solace away from patriarchal scrutiny. Through its nuanced depiction, Chaad
highlights how terraces can serve as arenas for female camaraderie and subtle
resistance.
In Hindi films like Ritesh Batra's The
Lunchbox, the female protagonist uses the terrace for brief moments of
connection and introspection. The film captures how such spaces can facilitate
emotional expression, especially for women whose lives are otherwise
constrained. Similarly, in Kapoor & Sons, the terrace serves as an
emotionally dynamic space, accommodating generational dialogue, tension and
family bonding.
In the 2009 film Delhi-6,
directed by Rakeysh Omprakash Mehra, the terrace emerges as a central spatial
motif that captures the contradictions, intimacies, and transformations within
Old Delhi’s community life. As with many Indian homes, terraces in Delhi-6
are not just architectural elements, they are crucial social and emotional
terrains, deeply embedded in the film's exploration of belonging, tradition and
identity. One of the most compelling uses of the terrace is through the
character of Bittu, portrayed by Sonam Kapoor, who aspires to break free from
the conservative confines of her middle-class, patriarchal household. She often
retreats to the terrace to practice dance moves and dream of participating in Indian
Idol. This private-public space allows her to engage in acts of
self-expression that would be frowned upon in more surveilled parts of the
house. The terrace becomes her liminal space, between tradition and modernity,
domestic duty and personal freedom. From a feminist spatial perspective, the
terrace allows Bittu to temporarily transcend the restrictions of gendered
domesticity and reimagine herself in a different socio-cultural world. In Delhi-6,
the terrace is also a place of togetherness. Rooftops connect homes in the
congested, maze-like alleys of Old Delhi, facilitating interactions across
religious and class lines. Children fly kites, neighbours shout across
terraces, and festivals like Ram Leela are experienced communally from these
elevated spaces. However, as the film progresses and communal tensions rise,
the once-connected terraces become sites of suspicion and division. This shift
underscores how space is not static but reflects the emotional and political
atmospheres of the time. In Feminism and Geography: The Limits of
Geographical Knowledge, Gillian Rose discusses the existence of
“paradoxical space”-“a sense of space which refuses to be a claim to territory
and thus allows for radical difference” (150). In the same text she goes on to
assert that “the project of the subject of feminism is to comprehend the
‘positivity of othernesses’ ” (Rose 150).
Terraces have also been represented in
Indian English literature as gendered spaces. In Anita Desai's Clear Light
of Day, the terrace is a site of reflection and emotional memory,
particularly for Bim and Tara, embodying the complexities of female
interiority. In Chitra Banerjee Divakaruni’s Sister of My Heart, the
terrace becomes a shared refuge for Anju and Sudha, a space removed from the
patriarchal gaze of the household.
Inside the Haveli by Rama Mehta explores the life of
Geeta, a modern, educated woman who marries into a traditional Rajasthani
family and moves into their ancestral haveli. The haveli's architecture,
with its enclosed courtyards and terraces reflects the gendered division of
space. Women occupy the inner quarters, while the terraces offer a semi-private
space where they can interact, observe the outside world and momentarily escape
the confines of domesticity. The terrace becomes a site of negotiation between
tradition and modernity, as Geeta grapples with her new role and identity as a
new bride.
In Tara Lane by Shama Futehally
the terrace of a Bombay household becomes a metaphorical and literal space of
transition. As the protagonist, Tara, navigates the decline of feudal family
values and the constraints of her upper-class upbringing, the terrace symbolizes
her liminal position between tradition and modernity. It is a space where she
contemplates her identity and the evolving roles of women in post-independence
India.
The Tailor's Needle by Lakshmi Raj Sharma the terrace
serves as a backdrop to the life of Maneka, a woman who challenges traditional
norms in pre-independence India. The narrative explores her relationships and
experiences, with the terrace symbolizing spaces of personal reflection and
defiance against societal expectations. Maneka's interactions in these spaces
underscore her quest for identity and agency in a changing world.
Feminist spatial theory interrogates
the ways in which space is gendered, highlighting how built environments
reflect and reinforce societal power structures. Feminist geographers argue
that spaces are not neutral; they are socially constructed and imbued with
meanings that can either constrain or liberate individuals based on their
gender. Liminal spaces, as defined by Victor Turner, are transitional zones
that exist "betwixt and between" established structures, offering
opportunities for transformation and resistance (Turner 341).Terraces as
liminal spaces in these narratives become arenas for the negotiation of
identity and autonomy. They are spaces where characters can express desires,
confront societal expectations and redefine their roles. The act of occupying
the terrace, whether to engage in conversation, observe the surroundings or
partake in leisure activities, becomes an assertion of presence and agency.
Recent discussions around urban
planning and gender-sensitive architecture have begun to acknowledge the
significance of terraces in women's lives. Designing terraces that prioritize
privacy without enforcing seclusion can empower women to utilize these spaces
more freely. Incorporating elements like higher parapet walls or green screens
can provide the necessary seclusion while still allowing women to engage with
the outdoors. The design and accessibility of terraces further underscore their
gendered dimensions. In many traditional Indian homes, terraces are designed
with considerations of privacy and modesty, often featuring high parapet walls
or secluded corners. These architectural elements reflect societal norms
regarding women's visibility and movement, dictating how and when women can
occupy these spaces.
Feminist urbanism critiques such
designs for perpetuating gendered inequalities, advocating for spaces that
promote inclusivity and freedom. By reimagining the design and use of terraces,
there is potential to create environments that empower women and challenge
patriarchal structures.
Moreover, community initiatives that
encourage women to use terraces for collective activities, like rooftop
gardening or fitness sessions can further democratize these spaces. Such
endeavours not only enhance women's access to semi-public spaces but also
foster a sense of community and shared purpose.
Terraces in Indian homes function as
liminal spaces that encapsulate the complexities of spatial and gender
dynamics. They are spaces of transition and negotiation, where the private and
public intersect and where traditional norms can be both upheld and subtly
contested. Understanding terraces through the framework of spatial theory and
liminality offers valuable insights into the ways in which architecture and
design influence social interactions and cultural practices.
Works Cited
Coutras, Jacqueline. “Les pratiques spatiales des sexes : quelles problématiques ?” Espace, Populations, Sociétés, vol. 7, no. 1, 1989, pp. 111–115. doi:10.3406/espos.1989.1364.
Lindeborg, Elina. “Gendered Spatial Realities: Exploring the Complexity of Gendered Space and Place in Rosengård through a Feminist Application of GIS.” Master’s thesis, Lund University, 2017. Lund University Publications (LUP), CORE, core.ac.uk/download/pdf/289960226.pdf. Accessed 2 Mar. 2023.
Massey, Doreen. Space, Place, and Gender. University of Minnesota Press, 1994.
Rose, Gillian. Feminism and Geography: The Limits of Geographical Knowledge. University of Minnesota Press, 1993.
Turner, Victor. “Betwixt and Between: The Liminal Period in Rites de Passage.” The Forest of Symbols: Aspects of Ndembu Ritual, Cornell University Press, 1967, pp. 338–347.