Monolithic Modes of Oppression: An Intersectional Approach to Class and Gender in Tendulkar’s Kamala

Abstract

The study aims to answer critical issues concerning the nuanced interplay of gender, class, and silence in shaping the experiences of South Asian women, as well as different layers of oppression that become the cause of multilayered identities. Through an in-depth analysis of Vijay Tendulkar's play Kamala, the study challenges monolithic conventions regarding Indian womanhood, concentrating on the traditional institution of marriage and illustrating its role in women's enslavement. This study critically evaluates the differential experiences of women of color, illustrating that shared identities do not equate to monolithic realities, by utilizing a methodology of close textual analysis and drawing upon Crenshaw's (1991) intersectionality theory. The pronounced disparity between Kamala and Sarita in the play highlights the complex and context-dependent intersections of class and gender that influence various feminine identities. Furthermore, it recognizes the potential of theatrical performance as a tool for empowering underrepresented communities to articulate their lived experiences. This research paper argues for the necessity of an intersectional approach to understand social justice in Pakistan, indicating the limitations of singular frameworks in addressing the interwoven oppressions faced by Pakistani women due to their multiple identities.

Conflict of Interest: The author declares that there are no conflicts of interest related to the research, authorship, and/or publication of this article, and that the data presented have not been fabricated or falsified.

Funding: This research did not receive any specific grant or financial support from public, commercial, or not-for profit funding agencies.

Participant Consent:  The author confirms that Informed consent was obtained from all participants, and confidentiality was duly maintained.

Data Fabrication/Falsification Statement: The author declares that no data have been fabricated, falsified, or manipulated in this study.

Copyright: Copyright (c) 2025 Ayesha Izhar Chaudhri, Salma Khatoon, Asma Khatoon