Why YRKKH season 3 is a classic? Chapter 7: Jadi Bhutiyan- Page 19 - Page 13

Ahhh that amazing dramatics part, How lovely you penned it❤️

I do feel bad seeing the situation they are in now.

But I agree, this is getting too draggy for my liking too.

Too much drama is not good for my health😔

Originally posted by: Nyxigniflex

Ok no problem.

Wasn't trying to offend you though. It actually was a jock.

Arey, don't fuss over it. 🤗 I was just giving you free pass to criticise me even if you weren't joking. 🥰

So, even if you wanna criticise, go ahead. This is to everyone by the way. I might give rebuttals if I am in the mood, okay. 🤪

I just wanted to say I can take what you throw at me. I am not gonna be upset over some criticism/rudeness I get on an anonymous platform that too over a stupid show. ☺

PS: This is all the mushy I can get to reassure you. 😅

they were "BACKSTAGE" while "FRONTSTAGE" 🤪

Originally posted by: Ekahriz

Chapter 6

Theatrics And Dance With The Self;

The Curtain Finally Fell Or Has it?

"All the world's a stage, and all men and women merely players" - Shakespeare.

Ervin Goffman expands this idea into a dramaturgical approach to studying the minutiae of everyday face to face interactions of people. He used the imagery of the theatre to portray the importance of human and social action. All actions, Goffman urged are social performances that aims to give and maintain certain desired impressions of oneself to others. In social interactions, humans are actors on a stage giving a performance for an audience.

Isn't this what Abhimanyu and majorly Akshara has been doing? Both of them are performing an act that they are happy with their circumstances on a daily basis. They are doing this in order to elicit certain impressions from the people around them. For Akshara, she wants Aarohi to see her sisterly love, and for Abhimanyu, he wants his mother to see him as happy and moving forward. Thus, they are constantly putting up a theatrical performance on the Goenka and Birla stages respectively.

However, applying Freudian psychology here, we can see that Abhimanyu's id is stronger than his ego or super-ego when it comes to Akshara. So the taking over of id makes him act out of character causing cracks in his act and his self visible. Whereas in, Akshara is a tough nut to crack and hence is a master in impression management.

Goffman discusses that the only time individuals can be themselves and get rid of their role or identity in society is the backstage, i.e. where no audience is present. This is what happens during the curtain dance. For all the exhaustion from their performance, when they see the curtains, they visualize the ends of their act and their real self tends to come out. So, they engage in a dance off between their real self and their social self. Abhimanyu is successful in binding the curtain and creating visibility for his self in the end, but Akshara is still shown as trying to find a way out of the curtains because she is the queen of drama as Abhimanyu would say. It's not that easy to break her act since her theatrics have been going for a while.

PS: Hope this is sufficient enough. Coz I am getting bored of this show.

Wow you have really decided the psychology of the characters. In short Abhimanyu is an open book whereas Akshara has put herself in a bottle with a very tight cork.

Both are in an imaginary world far from reality and that is why they hallucinate. They tend to run away from actual real time situations.

I'm still catching up on these brilliant essays! Aarohi is definitely Machiavellian (I have referred to Mahima as Machiavellian but her actions are so vague at this point, it's really just an impression). But as you describe so perfectly, Aarohi fits the attributes of a successful Prince (lacking in ethics but adept at strategic amorality).
What to say about your toilet paper analogy except Brava! The only thing I might add is that many layered toilet paper doesnt just have increased tensile strength but also improved ability to absorb and sequester excrement 🤣 The more the people that laud this show, the more shit the makers can get away with...right? 😉

The box as you aptly say constrains Akshara through heteronormative gender-based social constructs but Abhimanyu occupying the same space is a nod to the post-modern feminist man who takes on the same constraints to break these norms😆

And what to say of this latest masterful analysis - truly Abhimanyu puts the id in idiocy... I'm sure there's more I'll want to add as I re-read your masterful treatise. Are you sure you don't want to ascend the ivory tower of academia? Because I can see you as the reigning queen of postmodern sociopsychological deconstruction of entertainment tropes in a few short years!

A final thought - this show could use an incisive take on apocryphal feminist frames of reference. The one that comes to mind is the Margaret Atwood quote "Men are afraid women will reject them, women are afraid men will kill them."

(ok now my cheek hurts from my tongue being stuck in it for so long🤣)

But seriously, your treatise is a masterpiece! Take a bow and then take another!👏👏👏

Originally posted by: Ekahriz

Aapka mein kya karoon? I am writing PhD worthy thesis here and you are doing superhero nursery rhymes in my page instead of some valuable contribution? 🙄

I have made another thread for it. "Poetry Collections for one dimensional jija". Please take this there. 🤨

Mujhe seriously lo...😂

aapke Poetry Collections for one dimensional jija" wale dhaage per maine apni creativity darshaane ki puri kishish ki hai...per aap ne nazar bhi na daali unper shayad...warna aise na kahti...😂

Omg..... Finally finished reading all the six chapters.... Mindblowing yaar.....how do u come up with all these?totally awestruck ..... I had to repeat read to get a grip.....But once its read the essence is amazing....

And super different approach... Loving it..... 🤗

Chapter 7

Jadi Butiyan And Nature;

A Study Of YRKKH Through An Environmental Lens

The relationship between the earthy subdued women of YRKKH and the nature is an ode to eco feminism. Akshara is an extremely feminine, down to earth woman and also a victim of harrassment by her own sister, similar to the 'nature' that is always giving but is at the receiving end of exploitation and modernity. Aarohi is brash, modern and materialistic and constantly exploits Akshara, similar to the technologic advancements that reaps destruction on our environment on a daily basis, as Vandana Shiva argues. This parallel is obvious in the sisters' choice of profession as well. Akshara is a music therapist and believes in the healing power of nature through its jadi bhutiyan whereas Aarohi is a modern doctor whose faith is in big pharma that exploits and pollutes water resources all over the world.

This is hardly one reference to the importance of environment and ecology in the show. We all are well aware that tribal communities, and especially their languages are a repository of environmental and ecological knowledge. With the increasing extinction of tribal languages, we are losing centuries of accumulated knowledge about medicines and biodiversity. Akshara, however is the savarna savior who has accessed these from the tribes of Rajastan, ensuring they are cataloged well. As I mentioned in the first chapter, she is a subaltern as well as Gramsci's organic intellectual. She is a token subaltern because she is an ally to the subaltern cause (tribes in this scenario) and simultaneously gate keeping their knowledge, helping them break out of their shackles and exploitation, by empowering them and bringing these gharelu nuskas back into the mainstream. The modern surgeon Abhimanyu will be assisting her in this, especially by providing these nuskas with credibility.

Additionally, the family mansions of YRKKH are not just concrete structures. Apart for the culture that imbues the homely space, they have vast gardens rich with biodiversity emphasizing on a holistic living intermingling with nature.

Moreover YRKKH families are made of ritual purity. They can never think of depending on the market for those essentials that are core to their traditions and rituals. Hence, the beautiful gardens serve one another purpose. As you can see, the families always utilise mehendi leaves from their gardens and grind it in the traditional way for the mehendi ritual since it can't be "impure". Similarly, Manjari on her own dug out the turmeric which she grew in the Birla gardens and grinded it for the Haldi function to ensure "purity".

Therefore, I would like to conclude this chapter by arguing that nature plays a major role in the everyday lives of YRKKH women in ensuring their physical, spiritual as well as ritual purities. Though it took climate change to hit us hard on our faces to make us realise the immediate need for environmental conservation, the women of YRKKH have been the flag bearers of India's environmental movements since the early days.

Note: Akshara has proved her "subalternness" with the muteness she depicted in the last few days and finally spoke today with the help of her male savior.

PS: I am back. I had a major academic's block, but the forum gifted me with much inspiration today. Read and leave your comments please. And forgive me if it is not upto the mark.

Originally posted by: Ekahriz

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I had to react as soon as I saw your tag. Knew it'll be a witty and entertaining piece of writing even before reading! 🤗👍🏼

even when the GOENKAS use copious amounts toilet paper in family functions for the TOILET PAPER DANCE they are sending an important message about sustainability as the toilet paper was sourced from trees in the GOENKA garden🤪