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Siva 1s FATIMA AND Faria 1s Srra
Performing Sita and Fatima in a Muslim Public Ritual’
: Afsar Mohammad
Abstract
ion of sita and Fatima ina public
speaking andiva Prades of south
‘month ofthe Islamic calendar, ad the fis ten days
are known for their Sh Islamic religious ident in
ne history of Isla, However, i a local publ religicus performance of Muharram
in Analha, this event becomes a paint of ritual and narrative interface between
and various non-Muslim enste groups in Andhra, In several Muharrant
artes, Sta, the consr of Rama and Fatima, che mather ofthe Karbala martyrs
Imetamarphose into single charactr—as a mother of martyrs The characterization
and both ofthese
Introduction
“These women tell their own stories in the name of Sita, Fatima and
whatever. They are telling their ow Ramayan (sorta rémyanama). Don't
take them seriously. They're nat even worth listening to, We barely listen
to them and never allow them to tell the story atthe village public square
1B
[rr ssssss—‘“C—_Journal of Vaishnava Studies
(raccabarida). What do they kr tory (tk kath)
of Karbala? They just listen to id make up 2
fabricated thing calling it a story (Katha), which is not even a story at all
Ofcourse, they find lot of mental peace—sent, manassanti—in
stories and dancing te them. Thats it! Nothing morel”
note of the narratives as sung by a local women's
“just ignore it!” and gave the above statem
ld properly heed their words, the emotionality of the songs had
completely'drawn me to the women's performing group. This paper is about
the emotionality of this performance.
‘As mentioned in the Abstract of this focus on the narrativiza-
tion of Sita and Fatima in a public Muslim ritual of Muharram in
speaking Andhra Pradesh of South India, Muharram is the
us performance of Muharram in Andhra, this event
becomes a point of ritual and narrative interface
non-Muslim caste groups in Andhra, In several of these Muharram natratives,
the consort of Rama, and Fatima, the mother ofthe Karbala martyrs merge
into a single character—as the mother of martyrs. in these |
characterization of Sita and Fatima transgresses the boundaries of domesti
and both ofthese characters are portrayed as public figures in these local na
tives, This paper discusses how these two characters, drawn from two di
; the performative element, which mak
the focus of this paper,
following the Islamic calen-
ig the metal battle standards—the hand-shaped images—wiich sym
martyrdom of the grandsons of the Prophet Muhammad, However, most
is month is the performances of the women story:
lers who narrate the stories about the grandsons of the Prophet in both
Sita is Fatima and Fatima is Sita
Telugu and Urdu. The public event of Muharram is also popularly called“
2 local devotional tradition. Muharra
memory of Islam in forging a distinctive Islamic identity for the
e dispute over the legacy of the prophet. Each year in
sectarian religious boundaries. Though these practices and
performances reflect aspects of devotion to the family of the Prophet, this
paper focuses on the role of women performers who blend various cultural
and folklore practices to tell the story of Sita and Fatima,
us take a close look atthe statement
hmayyya, They have both used a set
ly the context of the performances of these
them, these are “worthless, fabricated stories” (pani
jth of them were so disenchanted with my idea of record-
il the end of the recording
the “minds” (buddhi) of the women and they were al
(striavesan). To put it in their words, “these stories tell more
and more about these women, and not about those mythical and greatest
wonten from the asl erik (original history)
The term sorita rémayanamu, which means “self-Ramayanay" particularizes a
type of story or anecdote that women sing with active pe
into the story. This term is actual
ever, when men use it in the context of a publ
the dominant narrative tradition by relegating
the feminine stories to a realm of subjective or self driven practice. The second
e .quare ofthe village. It is characteristcally
women are not allowed to perform their stories orJournal of Vaishnava Studies
‘otherwise express themselves in or in the vicinity ofthis square, The third term,
tarikhu kath, isa blend of Urdu and Telugu terms. The term, tritha, Urdu for
recording these performances and the publ
repeatedly told that these stories help women to obtain mental peace in every
‘way: by narrating these stories, the women are able to release their emotions
and achieve a state of mental and physical calm? Even the women narr
themselves single out this psychological effect a one ofthe primary functions
their performance.
From bring up issues of
gender, narrative
issue of “original
hhow the characters of Si
the public ritual of Muharram, The new, local characterization,
of these epic characters represents intersections of rel
roles and most importantly highlights the emergence of a paral
tive by/of/for woman,
Using one long narrative and a few short narratives on Sita and Fatima will
‘argue that these public manifestations of epic/ classical characters are endowed
with a new subjectivity during their ritual performance. They are so endowed
articulation of the performers’
own personal narratives. These narrat
fering. One of the most important objectives ofthis essay isto be
igious narratives and the shared memory bet
ims and non-Muslim women.
Focusing on strategies of alternative characterization of the epic women, 1
will ask two quest what makes these performers change th
ter” ofthe epic characters? And, 2) why do some local traditional
groups reject these re-shaped characters outright and try to suppress
2? While responding to these two questions,
Sita is Fatima and Fatima is Sita
of Sita and Fatima in this paper, the complete discussion ofthese intersections
‘must remain in background,
essay has four sections: the first section discusses
epic characters,
changing “charac-
{introduces and presents the Telugu narratives that
re-cast Sita and Fatima in a single narrative; the third section discusses specific
iges made by these Telugu women narratives and, finally, the fourth sec-
jon focuses on the aspect of performativity that introduces a parallel meaning
entire renarrativization of Sita and Fatima,
1. Revisiting and Re-presenting the Epic Characters
‘As observed in several studies, epic characters are the key components of any
religious narrative as they becom
‘ative aitns to teach } Recent scholarship both
ratives has already opened up a dis
new manifestations in contemporary rel
Black and Jonathan Green
hat performatvity be added tothe list of features already ident
by Black and Green. Moreover, by discussing two characters from two discrete
in and Hinduism we can gain fresh insights into am
commitity. This moment of shared devot
ln Haley observed, “has nw Begun to give way to buildings that are sup-
posed to look different from each other—and even from thems:
cul
differences as indications of o
ing, our image-making, and our
‘munity lead us necessarily and appropriately in different dire
of women ding, symbolizing, and forming a common-
ality of suffering and oppressed community of women, to use Havley’s words
these narratives show a "genuinely multicultural moment”
‘As we will observe in this essay, when performed in a shared ritual cot
the characters in a South Asian religious narrative transcend the boundaries of
therreal “character” ofthe epic ina way that is similar to the way in which they
Fractional Differential Equations: An Introduction to Fractional Derivatives, Fractional Differential Equations, to Methods of Their Solution and Some of Their Applications