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IMPACT: International Journal of Research in 
Humanities, Arts and Literature (IMPACT: IJRHAL) 
ISSN (P): 2347-4564; ISSN (E): 2321-8878 
Vol. 6, Issue 11, Nov 2018,151-154 
© Impact Journals 



GENDER DISCRIMINATION IN MAHESH DATTANI’S DANCE LIKE A MAN AND TARA 

S. Lavanya 1 & M. Shobana 2 

1 Research Scholar, Department of English, Selvamm Arts and Science College, Namakkal, Tamil Nadu, India 
2 Assistant Professor, Department of English, Selvamm Arts and Science College, Namakkal, Tamil Nadu, India 


Received: 17 Nov 2018 Accepted: 21 Nov 2018 Published: 24 Nov 2018 

ABSTRACT 

Mahesh Dattani is one of the eminent Indian English playwrights, who mainly deals with the contemporary Indian 
society. He considers gender bias unnatural and ethical and brings out complex and multidimensional nature of the issue. 
His plays Tara and Dance like a Man deal with the theme of gender bias in society. The play Tara touches on the issue of 
gender-based division of labor and how this division creates barriers in the way of creativity and talent for both genders. 
Though, both Tara and Chandan are differently abled only Tara has to face double marginalization being a girl. In his play 
Dance like a Man his character struggle for some kind of freedom and happiness under the weight of tradition and cultural 
constructions of gender. In this play, the theme of gender runs in a pathetic way in which the whole identity of the character 
Jairaj seems to be in a crisis. He feels like his wife has ruined him and has taken away his self-esteem. This paper attempts 
to highlight the gender discrimination seen in the novel Dance like a Man and Tara. 

KEYWORDS: Gender Discrimination, Transgender, Gender Politics, Gender Bias and Patriarchy 

INTRODUCTION 

Literary studies encompass film studies, cultural studies, and Gender studies. Each has its own uniqueness and 
significance. Gender studies are a brilliant study of patriarchal culture. It is a part of social studies that examine the affinity 
between men and women in the gender system of patriarchy. Patriarchy is of paramount important in the domain of gender 
studies. Gender bias, gender politics, gender discrimination, gender status, transgender and gender identity come under the 
rubrics of gender studies. 

Dance like a Man and Tara are considered to be the best examples of gender discrimination. While Tara talks about 
gender bias in a family. Dance like a Man talks about gender discrimination in the family. Gender discrimination is a kind of 
discrimination which eventually shows someone is biased. It is invariably found in India culture. It shows how man tries to 
show his upper hand in a family. Since he is the breadwinner of the family, he has a conviction inside that he is a bit superior 
to others in a family which is a microcosm of society. Hence, he cannot help thinking that he is the main pillar of the family. 
He strongly imposes his unreasonable restrictions. In other words, he looms large over in all spheres of life. In the realm 
of Literature, there are ever so many writers who present the concept of gender discrimination in the dynamics of writings. 
Mahesh Dattani is one such example. Inspired by the writings of Edward Albee, he showcases his creative acumen in the 

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| 152 S.Lavanya & M. shobana 

form of his writings. Speaking generally, his plays address gender issues such as Gender culture. Gender status, and Gender 
bias. 

Mahesh Dattani is one of the most dominant voices in the present Indian English Dramatic world. He throws a 
considerable amount of light on the burning issues of the modern urban Indian society ranking from communal tension, 
homosexuality and child sexual abuse, gender discrimination, marriage and career, a conflict between tradition and modernity, 
patriarchal social system, constraints of eunuchs, women, and children. He masters his courage to touch upon some of the 
taboo issues like homosexuality in his plays. 

Here, Amrit Lai, the freedom fighter, who is known to conduct secret meetings with his fellow freedom fighters in his 
own house in the British regime, could not digest the breakage of masculinity. His basic understanding of Gender limitation 
does not allow a man to have long hair. Since Keeping long Hair is meant for women alone. 

Sometimes his understanding of masculine limitation tells him the style of walking of a man. It should be straight 
like a soldier walks in an army parade. A mere change of walking style will check male one’s own masculinity. Thus, Amrit 
Lai suspects the masculinity of his son’s dance master and he substantiates his point by posing two masculine limitations, i.e. 
normal men do not keep their hair so long and the way the master walks. 

In Act - 2, Jairaj and Ratna who went out of the house quarreling with Amrit Lai. Out of sheer helplessness return 
to Amrit Lai parekh’s house within two days, their helplessness is exploited by Amrit Lai parekh who imposes a certain 
restriction on them. He tells Jairaj not to grow his hair any longer and asks Ratna not to learn any dance from anyone else 
he future informs Ratna that man’s happiness lies in being a man. He assures Ratna that she would be allowed to dance if 
she helps him in making Jairaj an adult who would be worthy of a woman after this kind of agreement with Ratna. Ambition 
overtakes Ratna. In order to prove herself to be a dancer, she destroys Jairaj by undermining his masculinity by talking his 
profession dancing that does not profit them all. She knows well if she has to be a dancer. She deserves her husband, not as a 
dancer, but a mere spectator of dance and who does not arrange for his wife’s dance programmes 

The second part of Dance like a Man talks about a man in the women’s world. The struggle of Jairaj does not end 
with Amrit Lai death. Even he enters the world where he has to struggle for each and everything. He slowly loses all that 
he has to Ratna. Ratna has snatched Jairaj’s dream from him gradually. She makes him dance his weakest items. With the 
passage of time, Ratna gets an invitation to dance. Jairaj, on the other hand, does not get invitations to dance. He fails to 
support her family. It is she who feels and takes care of the need of the family. It is Ratna who supports her family with her 
earnings. Jairaj is living a miserable life in the woman’s world. He has neither importance nor value in Ratna’s world. He is 
of no use to her. 

Tara is the most touching two-act play by Mahesh Dattani. It is a story about conjoined twins. Tara and Chandan 
who are surgically separated and yet remain entwined. Gender bias is the theme of the play. It also revolves around the theme 
of favoring the boy and depriving the girl with the exceptional originality of conception. The play begins with the mindset 
of Chandan. He changed his name to Dan. He actually narrates the story. Mahesh Dattani calls this kind of activity contests 
heteronormative sexual politics and expresses through the problematic of the body which bears the scourging letterings of the 
multipart dynamics of the urban middle-class Indian society. 


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Chandan and Tara are conjoined twins, joined at the hip with three lower limbs. It clearly shows the discrimination 
against the girl child in contemporary urban society. Both conjoined twins are an extremely rare phenomenon. In many cases, 
when they are surgically separated. Only one of the two survives. Chandan and Tara carry with them the promise of living as 
two separate individuals. They have very good chances of surviving after surgery, with each important organ present in each 
body. In a cruel judgement, the mother of the twins, with the help of her father, convinces Dr. Thekkar to graft the leg onto 
Chandan’s body, where it does not survive for long. The decision that was taken to give the third leg to the boy between the 
two conjoined twins has shown unethical decision is taken by Barathi, the mother and their powerful grandfather that leaves 
Tara crippled, though Bharati’s guilt later drives her to insanity that does not lessen the crime that was committed on Tara. 

Mahesh Dattani wants to say that even scientific considerations are not free from social stereotypes. Parents and 
their views of gender led to beingthe death of her own daughter and it is also the reason why Chandan flees to London to 
escape the harsh and crude memories that burdened him in also be held responsible as he gave into the decision of his wife. 

The play is in a broader sense, a story for the injustice done to a woman by the patriarchal society. Inspite of 
technological advancement in the human field, one has remained the same at the root of our mind. The play has revealed how 
the devil of gender discrimination kills all other bonds of familial relationship and how socio-cultural myths and conventions 
control and construct the cause of human life. Bharati’s love for Tara is pure and unceasing, but her maternal love is marginal 
as a woman and her sub altering compels her to sacrifice her maternal love to cope up with social expectations. The patriarchal 
code pushes a mother-daughter relationship on the periphery. 

One could see Tara as a play about the male self and female self. The male self is being preferred in all cultures. The 
play is about the separation of self and the resultant angst. Tara is revealing in nature. Dan feels the pressure of the past. He is 
weighed down with the pressuring tension resulting from past deeds. At the time of the gruesome decision of giving the third 
leg to Chandan, the doctors opined no chances of survival of leg were move with Tara then Chandan. Gender hierarchization 
comes in the way of science. Bharati and her politically powerful father without takes Mr.Patel in confidence decided to give 
to the third leg to Chandan. 

Bharati realizes her sin and stigmatizing motherhood by doing injustice with her daughter. She suffered nervous 
breakdown and metamorphosis. She developed compassion for Tara in an effort to seek salvation from unforgivable sin. 
She exhibited sympathy towards Tara and did all attempts to bring ill for Patel in the eyes of her daughter. Females are 
discriminated not only biologically but also culturally. The biological difference has been more or less created by nature but 
cultural difference is solely manipulated by patriarchal society. Such an atmosphere is created for them so that they could do 
nothing other than quenching the thirst of husbands, children, and youngsters. For Dattani, a biological difference is bearable 
for time being but the cultural difference are totally fabricate and can be curtailed, curtained and averted. 

Bharati’s excessive love for Tara results from her past guilt; she feels the pangs of her past guilt. Allying with her 
father, she did great injustice of Tara. Now she wants to give more and more love and comforts to Tara. It is because of 
this she wants to give her own kidney to Tara when there is a donator available. She wants to give part of her and cruses 
satisfaction. She shows her concern to the expert that she loves Tara. 


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| 154 S.Lavanya & M. shobana 

But Patel disapproves her idea of giving her kidney to Tara. So, she pretends that it will involve expenses. Mr.Patel 
disapproves her view saying that her father’s wealth has always been her strength against him. Bharati tries to assert her moral 
superiority over her husband. She struggles hard to come out of her space in the family. Bharati’s final decision of giving her 
kidney to Tara may be seen as an act of expectation. Bharati said that her deceased father is responsible for the inhuman act 
of denying the third leg to Tara. After her father’s death, Bharati’s condition grows worse. She tries to make up by taking 
excessive care and immense exposure to Tara. This is also the result of her past blunder. She is quite conscious of her past 
blunder. She is quite conscious of her past wrong deed and feels full pressure and this ultimately leads her to the mental 
breakdown. Thus, Bharati keeps striving to construct her maternal love until she undergoes mental breakdown. 

Her guilt feeling makes her mentally disturbed. The quarrel between husband and wife also creates unnecessary 
tension in the family. She tries to lessen her guilt by transferring blame to her husband and proving that she loves Tara more 
than he does. 

Tara, the unlucky-girl who has not been given enough opportunities like her brother, finally dies. Chandan attempts 
to repress the guilt he feels over Tara’s death, his sense of trauma and anguish is so intense at the end of the play. Chandan 
explores his psyche over his sister’s death. Tara dies in a shock when she learns that it is her mother Bharati (whom Tara 
trusts more) who involved in the conspiracy of her unfair separation from Chandan. Though Chandan physically survives 
this trauma, he can never lead a peaceful life. He migrates to the suburbs of London, changes his name and attempts to 
create a new identity. He also tries to write his autobiographical play, though a futile attempt. In the end, Mahesh Dattani 
brilliantly points out the theme of gender discrimination in the play. To look son and daughter with biased and discriminating 
eyes has been traditional and age-old custom in India and Tara is a victim of this social system which controls the minds of 
the people. In Indian society, a woman is expected to play various roles such as mother, wife and daughter and sister even 
goddess. Ironically, in the patriarchal structure of Indian family, women and girls are trained to remain confined to the kitchen 
and courtyard. Be it daughter, wife, daughter-in-law, all are dependent on man for financial and physical security. Thus, 
everywhere women are considered to be the secondary position in all walks of life. 

REFERENCES 

1. Agam’al, B. (2016). Mahesh Dattani’s Tara, A Critical Perspective. Aadi Publications. 

2. Baskaran, G. K. and M. Dattani (2012). Methods and Motives. 

3. Chaudar, A. K. (2008). Mahesh Dattani. New Delhi: Cambridge University Press India Ltd. 

4. Dattani, M. (2010). Interview by authorBombay. 

5. Dattani, M. T. (2000). Collected Plays. 

6. Khot, M. (2015). The Theatre of Mahesh Dattani. 

7. Yaqub, H. Exploring Identity: A Reading Of Mahesh Dattani’s Tara. 


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