The Impact of Religion on Gender in Bend It Like Beckham and Whale Rider

For years this has been a patriarchal world, where men have held primary power, dictating and controlling society and institutions. It is only now that women are trying to take back that power, demonstrating their purpose and need in this world. Religion, specifically along with numerous other things, has played a substantial role in the effects of gender, specifically gender roles. By justifying and promoting a particular treatment of individuals, whether good or bad. Of protecting and empowering some, while abandoning and neglecting others. They are resisting change, as a dismissal of the unknown. This essay will illustrate how religion affects gender and gender roles. More specifically, the roles of behaviour in which is learned by a person as appropriate to their gender, determined by the prevailing cultural norms, or in this case, religious customs. Furthermore, illustrating the result of this implication, as demonstrated in numerous religious based on films and readings. As either resistant, outcasted, or completely non-existing.

Women in most religions seem to be diminished to one thing, homemakers, taught to get married or prepare to get married. They are seen as the weaker race, and must then cater to their superior, men. Although some women see no problem with this statement, others are vehemently opposed to it. Others are resisting, and bending traditions and customs, fighting to gain power and find individuality and essential purpose in their culture, religion, and society. Which was seen in films like Whale Rider and Bend it like Beckham, where women had to fight ten times harder merely to do the things they love, the things that men would be respectively praised for, such as skill and leadership. Paikea, from the film Whale Rider, for instance, was destined to become the leader of the Maori tribe but was continually dismissed as such due to the ancient custom stating that only males could ascend to chiefdom. But despite struggling to learn her heritage and traditions, due to being outcasted because she was a girl. She rode the whale, proving not only to her grandfather but the community of her leadership, going on to lead and save her people out of scarcity. Has stated by Marnina Gonick, “having a girl ride the whale—which is also a symbol of patriarchy—was my sneaky literary way of socking it to the guy thing”. Paikea, was a representation of all women, proven their worth and superiority. She outdid everyone while also proven them wrong. She is solidifying her destiny and inspiring generations of women. Much like Paikea, Jess from Bend it like Beckham unbounded female identities and creating new ones. A woman who is significantly good at football is forbidden from playing due to it conflicting with her prescribed duties of substantiating her female identity as a Sikh woman, of preparing for marriage. But in spite of that, she finds a way to balance the two by learning traditional dishes but also still striving for her ultimate dream of becoming a professional football player. Illustrating to women that they can always keep their traditions while also having and achieving goals outside of their culture. She is significantly proving that being a woman isn't a weakness and that they can do everything and more than a man could ever do. The future is female, and parlance of new powerful femininity is without question.

Women are also seen as purposeless without men in religions such as Hindu, where they are forced into marriage than outcasted as widows while men were infinite, limited to no women nor class. An apparent prejudice towards women, who are subject to restricting laws, while men are excluded. Observed in the motion picture film, the Water, focused on the lifestyle and treatment of widows in India and of the Hindu religion. Who are living under the laws of widows, illustrating both the proper and improper etiquette in which they must conduct themselves. To which Shohini Chaudhuri, perfectly summed as exposing “the deprivations of Hindu widowhood, focusing on the patriarchal custom of self-denial rather than the more widely-known practice of sati, in which widows are sacrificed on their husbands’ funeral pyres”. She is illustrating the vulnerability of women, who are manipulated by men and fundamentally their religion. Of women like Kalyani, a beautiful widow forced into prostitution to pay the rent, and soon after Chuyia, an eight-year-old child bride who must then carry on with her duties in her passing. Widows are subject to inhuman exploiting acts to survive in society and religion that turns their back on them. But why is it that men are excluded? Well, due to patriarchy, men are seen as valuable and limited, while women are perceived as expendable and replaceable. Thereby fundamentally explaining why they are subject to unlawful punishment over something they logically had no control of. Especially considering both women and men could most likely find another spouse in their former spouse passing. But ironically, it is only women who are presumed as tarnished and untouchable.

However, as previously stated, not all women believe their domesticated ways to be inferior, such as Jess, mom and sister, who love and strive for marriage and cooking. Nor realize or understand there to be a problem until they are personally a victim to it, which is what a lot of these films demonstrated and were primarily inspired by. The truth of the matter is that a lot of people neglect to realize how affected they are by gender roles. Never taking the time to think, nor question why their religion may be excluding them or force them to do things but not the opposite gender? These are questions that could, without a doubt, be answered a million different ways, as due to money, patriarchy, brainwashing, control, tradition, and so forth. But when does one put their foot down and say, enough is enough, and decide to create a different path? Well, as seen in the film, Water, Whale Rider, and Bend it like Beckham. Women like Paikea and Jess decided that being a girl wasn't going to stop them from fulfilling their destiny nor achieving their dreams. While women like Shakuntala, a devoted widow, taught twice about her religion and saved Chuyia from further abuse, after seeing the effects it had on Kalyani. All these women realized and decided that the conditions in which they were in due to their religious gender roles would no longer deprive them of their future success and decided to take action against it.

Men are seen as the breadwinners and are typically the head of the house. Superior to all, they alone make the decisions for their families and even communities. They are taught to get married and start a family to pass down their name, legacy, and heritage. If not, they are seen as failures not only to themselves but to their family and community. To which was indicated in the film Whale Rider, where a Maori tribe chief first son, Porourangi abandoned his family and tribe after losing his wife and son during childbirth. The child in which was believed to be the next leader of the community. Later on, refusing to have another child, more specifically, a son to ascend as the new chief of the tribe. He left, failing his family and community. Inherently men carry all the weight and pressure from family and communities to carry on the legacy, as well as additional responsibilities that come with it, which is substantially the reason why they are at the top of the food chain in a patriarchal society. But even when they fail, are they usually blamed? I doubt it. No one would dare question the choices and decisions of a man.

Men are also the most cherished and admired, presumed to be the strongest and wisest and most fit for leadership, anticipated to be the future of their nations, and barer all of the responsibilities that come with it. Undeniably saviours and leaders of a race, much like Gandhi, Kundun, and Guru Nana. Men are predominantly spiritual leaders, praised and mourned in people's homes and hearts. In Sikhism, Guru Nana is the god, leader and the top of the patriarchal structure. Displayed in his follower's homes, as seen in the film, Bend it like Beckham. For Buddhism, it is the Dali Lama, continuously reincarnated into a male receipting, infinity ruling in his name. But why is it that men are almost always the spiritual leaders in religion? Is it patriarchy or destiny, I am not precisely sure. But not all leaders or men are seen as superior, or even worthy as seen in Kundun. Men must be strict, violent, affirmative, and masculine to obtain that superiority and respect truly. If not, they are perceived as soft and foolish.

However, gender roles are not always explicitly about the tension between men and women, but the tension between like genders. They particularly noticed in the film Kundun, a movie about the early life of the 14th Dali lama. There was tension between masculine males, China and presumed feminine males, Tibet. In which China, the masculine males believed Tibet native Buddhist religion as the source of their weakness. And virtually an easy target to prey on. Tibet was a peaceful country run by the Dali Lama, a Buddhist who based his morals on compassion and peace. Firmly against violence and terrorism. China, a robust imperialist country, looked down upon their ways as inferior and foolish. Sought war against them unless they agreed to join their country. Kundun a genital male, displayed many acts of compassion, such as continuously buying sheep to save them from death, or separating fighting beetles, and many more. But specifically his commitment to peace against war and violence. When Tibet was invaded and terrorized by the Chinese, he admittedly refused to use violent tactics in response, even if it meant losing control and power over Tibet. An act which was received as a weakness and failure by most, but undoubtedly respected and admired by supporters, for sticking to his morals no matter how hard. An immaculate character trait, in which most do not possess.

Additionally, sexual orientation plays a part in gender roles. Ironically the expectation is significantly the same for both genders. That expectation is heterosexuality. In most religions, heterosexuality is the only acceptable sexual orientation option for both sexes. Homosexuality is looked down upon and shamed by most as unacceptable and beastly. They are either hiding in the background, living in secrecy. Or banished and disowned by their families and religion. In films like water, Bartman, a presumed transgender woman, was the person who bridged the gap between the outside world and the widow world. By introducing the women to prostitution as a source of income, depicting homosexuality as almost deserted by Hinduism. While in the film bend it like Beckham, Tony, an Indian Sikh gay man is living in secrecy never sharing to anyone except Jess of his sexual orientation due to the possible judgement and backlash of his family, who presumably never except him. Centrally the metaphor in the film, bend it like Beckham, was not only about gender roles but sexual orientation as well. They are bending the traditional customs about that, as well.

In conclusion, going back to the initial question, religion as not only impacted our morals but the gender roles implicated in society. Making it hard for individuals to be their authentic selves without judgment and resistance. Forcing individuals into a box, in which they must work overtime to escape. A box, restricting them from acting outside of they're presumed genders. Dictating how they should act, and what they should yarn for, nothing more and nothing less. Resulting in the violating and exclusion of individual people. The pressure is on, and there is no changing it, you must act accordingly or suffer the consequences. The decision is inherently yours, but you lack resources that may make it especially tricky.

References

• Marnina Gonick. 2010. “Indigenizing Girl Power: The Whale Rider, Decolonization, and the Project of Remembering.” Feminist Media Studies 10.3: 305-319
• Shohini Chaudhuri. 2009. “Snake Charmers and Child Brides: Deepa Mehta’s Water, ‘Exotic’ Representation, and the Cross-Cultural Spectatorship of South Asian Migrant Cinema.” South Asian Popular Culture 7.1: 7-20
• May, Claudia. 2010. “What’s Love Got to Do with It?: (Un)bending Identities and Conventions in Gurinda Chadha’s Bend It Like Beckham.” Culture and Religion 11:3: 247-76
• Kundun (Martin Scorcese, 1997)
• Water (Deepa Mehta, 2005)
• Whale Rider (Niki Caro, 2002)
• Bend It Like Beckham (Gurinder Chadha, 2002)