The ideas of feminism revealed through the major female characters in My Ancestor`s House.

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ABSTRACT

NUGROHO, ERLYN THERESA. The Ideas of Feminism Revealed through the Major Female Characters in My Ancestor’s House. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University,2014.

My Ancestor's House is a play about the patriarchal culture and traditions that exist in Pakistan. Two major female characters in this play are Bindia and Roona, they both have the awareness on gender equality in their lives. As a Pakistani woman living in America, Bindia does not agree with the patriarchal culture that controls her life. She chooses to move to America to get a better life than in Pakistan. While Roona, who remained in Pakistan, has to obey the patriarchal culture and she has the same thought and consciousness as Bindia. They both have the perspective that women and men are equal and have the same rights.

There are three problems formulated in this undergraduate thesis, the first is the description of the characters in relation with gender inequality. The second is how the patriarchal practice is portrayed through the characters in this literature. The third is how the idea of feminism is portrayed through the major female characters Bindia and Roona.

The theories used are the theory of characters, theory of culture and tradition, which is concerned with the situation in Pakistan, and the theory of feminism. The approach applied is feminism approach. The method used in this study is a library research method. The main data were taken from the play script My Ancestor's House itself, and the secondary data were taken from several books, encyclopedias, and some research related to the topic.

After analyzing the play script, the writer finds that Bindia and Roona are people who care for one another. They also hard worker women and give the best to their family. Those major female characters have the awareness of gender equality. On the other side, Bindia also has the refusal on men domination. While other characters in the play have the different perspective about patriarchal culture, they obey and accept the existence of patriarchal culture without any refusal. Patriarchal culture requires them to adhere to the role of men in their lives. In Bindia’s life, she refuses the patriarchal culture by takes a distance from her family in Pakistan. While Roona, she must remain obedient to her husband and runs the patriarchal tradition. Although Roona does not agree with that tradition, she cannot do anything because he does not want to be perceived as a defector and alienated by society in Pakistan.

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ABSTRAK

NUGROHO, ERLYN THERESA. The Ideas of Feminism Revealed through the Major Female Characters in My Ancestor’s House. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma,2014.

My Ancestor’s House adalah sebuah drama tentang budaya patriarki dan tradisi yang ada di Pakistan. Dua pemeran utama wanita yang terdapat di dalam drama ini adalah Bindia dan Roona, mereka berdua memiliki kesadaran tentang kesetaraan gender dalam hidup mereka. Bindia merupakan gadis Pakistan yang tinggal di Amerika, dia tidak setuju akan budaya patriarki yang mengatur hidupnya. Bindia memilih hijrah ke Pakistan untuk mendapatkan kehidupan yang lebih baik dibandingkan kehidupannya di Pakistan. Sedangkan Roona yang tetap tinggal di Pakistan harus mematuhi budaya patriarki dan dia juga memiliki pemikiran dan kesadaran yang sama seperti Bindia. Mereka berdua memiliki pandangan bahwa kedudukan pria dan wanita adalah sama dan memiliki hak yang sama.

Ada tiga rumusan masalah dalam skripsi ini, yang pertama adalah deskripsi tentang karakter-karakter yang memiliki kaitan dengan ketidak setaraan gender. Rumusan masalah yang kedua adalah bagaimana praktek patriarki yang digambarkan melalui karakter-karakter dalam karya sastra ini. Rumusan masalah yang ketiga adalah bagaimana gagasan feminis yang digambarkan melalui karakter Bindia dan Roona.

Teori yang digunakan didalam skripsi ini adalah teori penokohan, teori tentang budaya dan tradisi yang bersangkutan dengan keadaan di Pakistan, serta teori tentang feminisme. Metode penelitian yang digunakan dalam penulisan skripsi ini adalah metode studi kepustakaan. Data-data utama diambil dari drama My Ancestor’s House itu sendiri, dan data-data lainnya diambil dari beberapa buku, ensiklopedia, dan beberapa penelitian yang berkaitan dengan topik skripsi ini.

Hasil penelitian menunjukkan bahwa Bindia dan Roona adalah orang yang peduli terhadap sesama. Mereka juga pekerja keras dan memberikan yang terbaik untuk keluarganya. Dau pemeran perempuan utama ini juga memiliki kesadaran terhadap kesetaraan gender. Sedangkan karakter-karakter yang lain didalam drama ini digambar sebagai karakter yang patuh dan menerima budaya patriarki tanpa perlawanan. Budaya patriarki mewajibkan mereka untuk patuh terhadap peran laki-laki dalam kehidupan mereka. Dalam kehidupan Bindia, dia menolak budaya patriarki dengan menjauh dari keluarganya di Pakistan. Sedangkan Roona, dia harus tetap patuh terhadap suaminya dan menjalankan tradisi patriarki dalam hidupnya. Meskipun Roona tidak setuju dengan tradisi tersebut, dia tidak dapat berbuat apa-apa karena dia tidak ingin dianggap sebagai pembelot dan dijauhi oleh masyarakat di Pakistan.

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THE IDEAS OF FEMINISM REVEALED THROUGH THE

MAJOR FEMALE CHARACTERS IN

MY ANCESTOR’S

HOUSE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillments of the Requirements for the Degree of Sarjana Sastra

in English Letters

ERLYN THERESA NUGROHO

Student Number: 104214067

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2014

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ii TITLE PAGE

THE IDEAS OF FEMINISM REVEALED THROUGH

THE MAJOR FEMALE CHARACTERS IN

MY ANCESTOR’S

HOUSE

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillments of the Requirements for the Degree of Sarjana Sastra

in English Letters

ERLYN THERESA NUGROHO

Student Number : 104214067

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2014

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vii MOTTO PAGE

“Some people come in our life as blessings,

Some come in you

r life as lessons.”

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viii

DEDICATION PAGE

This undergraduate thesis is dedicated to

my amazing PAPI, MAMI

and my beloved BROTHER, SISTER.

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ACKNOWLEDGEMENTS

First of all, I thank my Jesus Christ for His everlasting blessing and amazing love for me. I would never be come this far without His guidance through the good and bad times. I thank my amazing father Nugroho Budiono and my mother Wiwik Winarti for their loves, prays, and great supports. Their loves and prays that make me become a tough person and their supports are my best medicine in any condition. My great thanks for my brother Willy Hendrata Nugroho and my sister Rossa Verina Nugroho for the motivations.

I would like to thank my advisor, Ni Luh Putu Rosiandani, S.S., M.Hum., for her advices and kindness, for the support that she has given to me. I would like to thank my beautiful reader, Bu Tata for the advices. I also thank for the funniest lecturer, Bu Venti and all my lectures of English Letters Department, I give my great thanks for their guidance in my study.

I thank to my childhood friends, Cimot, Lola, and Tyas who always give me supports, their laugh and jokes that make my days bright. Thank you for giving me motivation to finish my “last job” as a university student. Thank you for being the best cheerleaders in my life. I would like to say thanks to my big friends Nindya, Indy, Caca, Melki for our hanging outs and laughs that we share, supports and helps that always given to me. I would like to thank my small little friend, Benedicta for the silliness and happiness that we shares. Lastly, I thank to all of my English Letters’10 for the friendship and togetherness we share.

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TABLE OF CONTENTS

TITLE PAGE ... ii

APPROVAL PAGE ... iii

ACCEPTANCE PAGE ... iv

STATEMENT OF ORIGINALITY ... v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi

MOTTO PAGE ... vii

DEDICATION PAGE ... viii

ACKNOWLEDGEMENTS ... ix

TABLE OF CONTENTS ... x

ABSTRACT ... xi

ABSTRAK ... xii

CHAPTER I: INTRODUCTION ... 1

A. Background of Study... 1

B. Problem Formulation ... 3

C. Objectives of the Study ... 3

D. Definition of Terms ... 4

CHAPTER II: THEORETICAL REVIEW ... 6

A. Review of Related Studies ... 6

B. Review of Related Theories ... 7

C. Feminism and Patriarchy in Middle East ... 11

D. Theoretical Framework ... 14

CHAPTER III: METHODOLOGY ... 16

A. Object of the Study... 16

B. Approach of the Study ... 17

C. Method of the Study ... 18

CHAPTER IV: ANALYSIS ... 19

A. The Description of The Characters ... 19

B. The Patriarchal Practice Reflected through the Characters... 34

C. The Idea of Feminism Reflected Through Roona and Bindia ... 43

CHAPTER V: CONCLUSION ... 49

BIBLIOGRAPHY ... 53

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ABSTRACT

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ABSTRAK

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CHAPTER I

INTRODUCTION

A. Background of Study

Feminism is about gaining equal rights and opportunities for women and allowing women to have control over their own lives and bodies. In other words, feminism is an understanding that demands gender equality. At a time when women are sexualized and objectified in many cultures, feminism is also about to empowering all women in any ages. This understanding is the opposite of the patriarchal culture because the patriarchal culture is upholding the role of men in life while the aim of feminism is gender equality. As Jo Freeman states in Women: A Feminist Perspective that the idea of universal equality is that behind the differences, men or women are born to have the same right. Women should have the same rights and duties in life as men have (Freeman, 1975:439).

In some of the eastern countries, gender inequality still happened among the communities in particular country. One of the countries, which still have that kind of issues, is Pakistan. Pakistan is a Muslim country, which is part of Greater Middle East, and it has strong patriarchal culture. According to Isran in his journal Patriarchy and Women in Pakistan: A Critical Analysis:

In South Asian societies, of which Pakistan is part, there are different social controls applied to control women’s social and economic behavior at every level of society. A central and systematic form of control is

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patriarchy, which, as argued in this study, is the main cause of women’s subordination. With regard to women’s position and status in Pakistani society, women still find themselves struggling to be treated as gender equals. (2012:835).

In other words, the central and systematic form of control in Pakistan is patriarchy, when men have more power to control most of the things in life. Based on this form, women in Pakistan still find themselves for standing under that kind of situation; they want to be treated as equal as men do. However, in the patriarchal culture women almost have no role.

My Ancestor’s House is a play created by a Pakistan playwright, Bina Sharif, it was produced in 1992 and premiered show at Theater for the New City, New York entitled My Ancestor’s House. She created a play based on her experience, the real condition about gender inequality among women and wives that happened in Pakistan. As she stated on the book Contemporary Plays by Women of Color: An Anthology,

As a woman in Pakistan I felt confined and I fought for equality. Rulers of Pakistan were almost all men who manipulated the customs, rules and religion in their own favor. Even if women were geting higher education, such as law and medical degrees, still here were things like not being able to ride a bicycle, or smoke a cigarette. All that time those little things used to bother me—if I only knew what lay ahead for me in America.

(2005:379).

My Ancestor’s House shows a great perspective about Pakistan culture and strong Islamic patriarchal society, it shows less freedom of Pakistani women. The writer supports the explanation by underlying a book by Nancy Cook, Gender, Identity and Imperialism (Women Developers Workers in Pakistan) Joan said that women in Pakistan live in Islamic patriarchal society have no freedom, local

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women have absolutely no choice in the direction of their live, and this kind of situation is different from women in Western society (2007:125-126).

My Ancestor’s House is chosen as the source of this undergraduate thesis. This play does not only show and demonstrate about gender inequality but also shows some touches of feminism and existing phenomena with strong Pakistan culture, religious and society. The topic was chosen to see the idea of feminism through the major female characters. By conducting this study, the writer intends to share the patriarchal practice reflected through the characters and the experiences of the female characters towards patriarchal culture.

B. Problem Formulation

1. How are the descriptions of the characters in relation to gender inequality in the play?

2. How is the patriarchal practice reflected through the characters in the play? 3. _{How are the ideas of feminism reflected through the main female}

characters?

C. Objectives of the Study

The first objective of the study is to describe all the characters in the play in relation to gender inequality. The second objective describes the patriarchal practice through all the characters in My Ancestor’s House. The third or the last objective is to find out the feminist ideas, which is reflect from the main female characters Bindia and Roona in the play, it can be seen through their attitudes, also their way to respond and face their problems.

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D. Definition of Terms

In order to avoid misunderstanding to reading this study, the writer would explain some important terms.

1. Feminism

Based on the Dictionary of Feminist Theory written by Maggie Humm, it is stated that, “Feminism means the ideology of women’s liberation since intrinsic in all its approaches is the belief that women suffer injustice because of the sex” (Humm, 1990:74). This opinion brings the assumption that women is the second priority in the society and less valuable than men.

According to Terrey in Women’s Studies Encyclopedia, the meaning of feminism is belief and commitment to equal and opportunities for women (Terrey, 1989:139).

2. Patriarchy

The definition of patriarchy is indispensable for an analysis of gender inequality as it captures the depth and further, uses and interconnectedness of different aspects of women’s subordination within the household, family and society (Walby, 1990:1). Patriarchal societies disseminate the ideology of motherhood which restrict women’s mobility and implicate them with the responsibilities to nurture and rear children. According to Andrew Heywood in Political Ideologies: An Intoduction, it is stated that, “Patriarchal ideas blur the distinction between sex and gender and assume that all socio-economic and

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political distinctions between men and women are rooted in biology and anatomy” (Heywood, 2003:248).

Another definition of patriarchy based on the book “Believing Women” in Islam, it is stated, “two definitions of patriarchy as a tradition of father-rule, and as a politics of gender inequality based in theories of sexual differentiation.” (Barlas, 2002:2). Based on that assumption, the writer also quoted an explanation from the Qur’an in QS Al-Baqarah (228) stated that

And their husbands have more right to take them back in this [period] if they want reconciliation. And due to the wives is similar to what is expected of them, according to what is reasonable. But the men have a degree over them [in responsibility and authority]. And Allah is Exalted in Might and Wise.

It means, though women have equal rights but the decision of matters is depend on man or the husband as the leader of the family. Thus, in particular or important decisions for any occasions are depending on men not women.

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CHAPTER II

THEORETICAL REVIEW

This chapter consists of three basic points. The first point is the review of related studies that use by people who apply the idea of feminism in their study. The second point is the review of related theories, describing the theories used to analyze the work. The third point or the last point is theoretical framework that will explain the contribution of the theories in solving the problems formulated in this study

A. Review of Related Studies

Literary works are open for everyone to analyze. A study, which is related, from the undergraduate thesis of Rosalina Dau from Sanata Dharma University; the title of her thesis is “Ideas of Feminism Revealed Through the Main Character in Clewlow’s Not Married Not Bothered”. She emphasized the idea of feminism through a strong female character named Riley. The analysis part can be seen in the quotation below,

Unlike women around her, Riley never let men of her society control her life. Riley loves her freedom as an independent woman very much and values it highly so that she does not want to sacrifice her freedom to anything including relationships with men. (Dau, 2003:38).

Riley wants to show herself as independent woman by not allowing men around her oppress her life. Her persistence in reaching freedom and declaring herself as independent woman reveals the idea of feminism.

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The other study, which also related to this study, is the undergraduate thesis by Desy Pramusiwi from Sanata Dharma University in her undergraduate thesis entitled “Revealing Consequences of Practicing Liberal Feminist Ideas as Experienced by The Main Character Noe Ito in Harumi Setouchi’s Beauty in Disarray”, she stated on her undergraduate thesis as seen in quotation below,

Noe Ito was the courageous woman who devoted her life for the sake of emancipation of woman, attempting to resolve social problems, struggling for women movement, and anarchist movement. As the culmination of all of her actions, the consequence she had to bear was that those led her to the end of her life. (Pramusiwi, 2005:82).

It means, the study is about to reveal the consequences that the main character had as the result of practicing feminist ideas.

Unlike the previous studies, this study does not only analyze the ideas of feminism but also the patriarchal practice reflected through the characters in the play.

B. Review of Related Theories

Theories are needed as the tool to analyze the work or to become the basic thought of the analysis. There are two theories used in this undergraduate thesis, the first is theory of characters in drama, the second is theory of feminism.

1. Theory of Character and Characterization

Character is one of the important parts in the play. Characters in fiction do the interacting like in the real life. They show specific character’s traits from one to another in the story. Abrams stated in A Glossary of Literary Terms,

Characters are the persons in a dramatic or narrative work, endowed with moral and disposition qualities that are expressed in what they say i.e. the dialogue, and what they do i.e. the action. The grounds in a character’s

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temperament and moral nature for his speech and action constitute his motivation. (Abrams, 1981:25)

Abrams’s explanation is understandable; the persons who presented in a play or narrative work have moral and certain type of person. They express their manner from their speech, their gesture in the play. Thus, the characters in play are alive through the way they act and converse to the other characters.

The main character is the most important character in the story but he or she cannot stand on his or her own character. He or she needs other characters to deliver the message of the story. The writer supports the explanation by underlying Roger B. Henkle’s statement in Reading a Novel, he describes characters as a major and secondary character. Major characters are the most significant and important in a literary work, he states “the complexity of their characterization, the attention given certain figures and the personal intensity that a character seems to transmit” (Henkle, 1978:88). The major characters can express and dramatize the human issues of the literary work and it will determine its effectiveness. On the other hand, secondary characters serve functions that are more restricted. It means, the characters usually appear in a certain setting and may become the background of the major characters. The function of secondary characters is to place the world of the literary work. Thus, the roles of secondary characters are less important than major characters (Henkle, 1977:87-101).

Christopher Russel Reaske in his book How to Analyze Drama stated there are six devices of characterization (1966:46-48). They are,

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The characters can be described by the physical appearance. The playwright often describes the physical sense of the character in the prologue or in the stage directions.

b. Asides and Soliloquies

The character is telling the audiences of his characteristics when he speaks alone. Aside is a remark that made by one character but pretended not to be heard by other characters in the story. The explanation of soliloquy is a kind of thinking out loud. Thus, the readers learn about the character as he speaks to know his plans, hopes or wishes.

c. Dialogue between characters

The character is not only can be analyzed from his own language but also when he speaking to others, in order to shed a great deal of light on his personality.

d. Hidden narration

One of the devices to analyze is by having one character narrates something about other characters. The narration is hidden in the sense and it is not the

playwright’s direct comments. Thus, the readers can understand the

characters through the words and thought of other characters. e. Language

The personality attributes can be found through the language of the character. The readers should watch and remember how the character speaks because the readers should know his personality from the way he use the words.

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f. Character in action

As the characters become more bounded in the action, the readers are naturally learning more about them. The action of the character is the basic learning for the readers to understand the characteristic by the character’s behavior and attitude.

2. Theory of Feminism

Maggie Humm stated in her book The Dictionary of Feminist Theory, “Feminism is the ideology of women’s since intrinsic in all it approaches is the belief that women suffer injustice because of their sex” (Humm, 1990:74). Therefore, feminism is an idea that women and men are in an equal position, women can do what they want to do. Various feminism offer differing analysis of the causes and means of female suppression. Maggie Humm also states, “Feminism is a term used by cultural and essentialist feminism to describe the ideology of female superiority” (Humm, 1990:73).

Moreover, Ashley Montagu on her book The Natural Superiority of Women states, “Women have been conditioned to believe that they are inferior to men, and they have assumed that what everyone believes is a fact of nature” (Montagu:1953:23). That nature is clearly captured as a feminism, which every woman has in herself.

Somehow, feminism confined women’s struggles against suppressive gender relationships. In fact, women’s actions today or in the past, have been against interconnecting relations of inequality and involved many sides of

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resistance in the daily life and culture that are not simply about gender (Rowbotham, 1992:6). Thus, feminism is not only about to signify the suppression upon women related to men because of gender but in any other inequality issues in society that cause suppression upon women.

Liberal is also one of the feminist characteristics, the liberation of women is the chief goal of feminist theory, Humm states in her book The Dictionary of Feminist Theory,

The liberation of women is the chief goal of feminist theory, contemporary women’s liberation, or feminist action, is consciously revolutionary. It breaks with reformism; it is internationalist and it simultaneously attacks the state, cultural ideology and the economy (1990:119)

Andersen mentions in her book Thinking About Women: Sociological and Feminist Perspectives that feminism starts with the premise that the position of women and men in society are the result of social, not natural factors (Andersen, 1997:9). The importance of feminism has been expanded and understood in some different ways, yet begins with the idea that the basis of women’s position in society are social institutions and social attitudes

C. Feminism and Patriarchy in Middle East

Margot Badran states in her book Feminism in Islam that feminism is a gender modernity in the Middle East countries,

Feminism as a new consciousness of gender and women's subordination first emerged among the upper and middle classes in the crannies of unevenly gender modernity at different moments in various countries of the Middle East. Feminism, especially in stages of open activism, constituted uncomfortable challenges to masculinist scrambles to control

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the construction of modernity - its processes and its class and gender privileges. (Badran, 2009:215)

She also discusses that feminism in Middle East is a controversial issue, she states,

In the 1990's, the notion of an Islamic feminism - and, indeed, the term itself - has been surfacing in parts of the Middle East. The term, however, is controversial and not necessarily well thought out, and there is no consensus about its meaning on the part of either advocates or adversaries. (Badran, 2009:221)

From both of the quotations above could be concluded that feminism actually appeared among classes in Middle East countries as a part of modernity thought. Feminism that is found in Middle East countries but this term is complicated enough to bring it in surface because feminism in Middle East is still a controversial and no support for this term.

Women in Pakistan still treated unfair, most of women in Pakistan do not have much freedom. They live in a system that is far from equal and most of them cannot do anything to change the situation. Rachel Yasmin Baig appointed on her articles that country’s legislation also treat Pakistani women unfairly,

Even upper-class women feel the effects of such laws. Jehan Ara, who is over 40 years old and CEO of an IT company, complained that she needed written permission from her father to get a visa for Indonesia.

Gender equality was guaranteed in the country's constitution in 1973. But the implementation of that leaves much for want

( http://www.dw.de/pakistani-women-continue-to-fight-gender-inequality/a-16264593).

Though Jehan Ara already earns her own money, she has to ask permission from her father. From that factual issue it could be concluding that women in Pakistan

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have no freedom to decide what they want, they have to ask permission first to their father though they are already not under the responsibility of their parents.

Chaudhry and Rahman also state in the journal “The Impact of Gender Inequality in Education on Rural Poverty in Pakistan: An Empirical Analysis”, that Pakistan women in Pakistan is not same as women in western countries.

The status of women in Pakistan is somehow different from that of western countries. Gender is one of the organizing principles of Pakistan's society. Home has been defined as a women legitimate ideological and physical space where she performs her procreative role as a mother and wife while a man dominates the world outside the home and performs his productive role as a breadwinner. Men and women are conceptually divided into two separate worlds. The household resources are allocated in the favor of sons due to their productive role. Male members of the family are given better education and are equipped with skills to compete for resources in public arena, while female members are imparted domestic skills to be good mothers and wives (2009:174-175).

The quotation above shows that gender is a fundamental arrangement in Pakistan society. It is clearly explained that women in Pakistan are conceptually divided into two separates positions. Moreover, education for women in Pakistan is not the priority but for men, education is a number one priority.

Iqbal in her article entitled “Victims of Patriarchy, Save the Women of Pakistan” states about the relation between religion and gender inequality in Pakistan,

Religion, it seems is the favorite appetite of us Pakistanis, and hence always runs high on demand. This demand becomes more apparent when an average citizen wants to seek refuge for his shortcomings under the huge umbrella of religion. Hence starts exploitation in the name of religion, where it becomes easy to embrace and easier to discard the rules if and when required. But there are other, even bigger ironies that we witness and experience on a daily basis – ugly practices in the name of culture which, after having been long embedded in us have now almost become a national identity, and a national crisis for gender equality I must

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say. These ugly practices, with their strong and tight-clipped jaws seem to have engulfed everything, taking by storm almost every aspect of social life, not sparing even the most vulnerable segment of population – women

( http://blogs.tribune.com.pk/story/3127/victims-of-patriarchy-save-the-women-of-pakistan/).

The quotation above clearly shows that gender inequality still happens in Pakistan’s social-life. Women in Pakistan are treated unfairly than men in the society, and that is the critical issue in the country.

Gender discrimination is still happening in Pakistan, there are many discrimination towards women as a second priority in social-practice and this situation is the most important thing to be noted. Dr. Farhat Jaben and Musarat Jaben in their journal entitled “Feminism and Society: Solidarity Amongst Pakistani Women Still a Distant Dream” states,

Though all fundamental rights concerning women are the key factors causing direct impact on the solidarity set-up of the women, there is no exclusive policy to that effect. Solidarity of women and the implication of feminist theory is not just a cliché. It is sorely needed in Pakistan’s context where gender inequalities and discrimination in all fields. Targeted action is needed for all areas of development. Many discriminatory are socio-practices prevalent in Pakistan. Feminist work confronts the power of naming and challenges both the use of male measures and the assumption that women fail by them if at times feminist appear contradictory arguing both for the right of women to be included and treated like men and for the right to have special treatment (2013:166).

It clearly shows, that in Pakistan gender inequality happens in many aspects including women discrimination in social practice. Women in Pakistan do not have the same position and right as men have in the society.

D. Theoretical Framework

This part explains the contribution of the theories and review to answer the problems formulated in the study. Theory of character is needed to analyze the

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characters, by analyzing and applying that theory the first problem formulation can be answered. Theory character is used to reveal the descriptions of the characters in this play. By knowing the definition of the characters, the writer could know the real characteristic and contribution of the characters in relation to gender inequality. The second theory is feminism, this theory is the important part to analyze this study. Theory of feminism is use to emphasize the ideas of feminism also to show the ideas of feminism that reflects from the major female characters.

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CHAPTER III

METHODOLOGY

This chapter consist of three major points. The first point is object of the study that describes the work analyses. The second is approach of the study, it explains of the approach used to analyze the work and the reason of use that approach. The last point is method of the study that describes the procedure of analyzing the work.

A. Object of the Study

The object of the study is a play script entitled My Ancestor’s House, written by a Pakistani writer named Bina Sharif. This play script tells about the life and experience of Pakistani women in 1980’s, also about the religion and culture that have strong influences in Pakistan society. The play script describes the patriarchal practice and women suppression among Pakistan society.

My Ancestor’s House is a play script with a strong emotion; it shows through the characters in this play. As an example, the strong emotions shown when Roona, the major character, told her feeling that actually buried in her heart. She tells about her life with her husband, she realizes that she has no power towards her husband. She tells that she has to struggle in the tough condition in her life. Roona also discusses about Deedi’s poor condition, her younger sister that has unlucky condition. Deedi’s has heart disease, an unemployed husband and her economic condition is lower compares to her other sisters. In this play, Roona

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not only tells about her family condition but she also tells about male domination in Pakistan.

The other major character is Bindia, she is the second daughter lives in America, she married an American man, and she comes to her homeland to visit her sick mother. Bindia, a native Pakistan woman, she has different perspective than her sisters. She shows the refusal of patriarchy and awareness of gender equality. She also has unique characters that not most of the Pakistani women have, she is brave to show her words based on the logic and the reality that happened. One thing that shows she is different compare to other Pakistani women is, she is a smoker, which is not common in Pakistan society. She does not care about people thought about her habit though in Pakistan women who smoke get the negative assumption.

Since the character of Roona and Bindia shows an interesting perspective about gender equality, this undergraduate thesis tries to disclose the life of the characters and the ideas of feminism that reflected through both of the major characters.

B. Approach of the Study

This undergraduate thesis is about to reveal the feminism through the major character in the play script. The approach used to reveal it is feminist approach. Paglia in Feminist Theory and Literary Practice states, “Feminism denies the legitimacy of social intervention in any area of life that would constrain the right of the individual to pure self-determination.” (Madsen, 200:24). It means,

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the individual should be granted the freedom to do anything which does not limit the freedom of any other individual to do anything as long it does not break the law. Bindia delivers her ideas and way of thinking through her actions, behavior and attitude in her daily life. The writer sees that the life of Bindia contains the idea of feminism. This undergraduate thesis is an effort of proving it.

C. Method of the Study

The method used by the writer to write this undergraduate thesis was library research in order to gather the data and theories. The theories and the result of the research are gathered through books, dictionary, and any other written sources related to the study to support the analysis. The primary data of the study was the play script My Ancestor’s House. The other data, called secondary data, that were also needed to support the research, were taken from various sources such as the theories, approach, and the histories.

The first step used to do this undergraduate research was reading and understanding the play script. Later on, the writer tried to examine the details of the novel by investigating the intrinsic element through the major character. The second step was deciding the topic and continuing by making the problem formulation followed by collecting data and information from written sources. The last step is analysis, the writer tries to analyze the novel by answering the problems formulated by applying the knowledge that was gained from prominent sources.

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CHAPTER IV

ANALYSIS

This chapter is to discuss the answers provided for the three problems formulated in this study. The first sub-chapter describes about Bindia as the major character, and all minor characters in My Ancestor’s House. The second sub-chapter is the explanation of patriarchal practice reflected through all the characters in the play, and the third or the last sub-chapter reveals the ideas of feminism reflected through Bindia and the female characters.

A. The Description of The Characters

In order to get deeper understanding of the characteristic of Bindia and others characters in My Ancestor’s House, the theory from Christopher Russel Reaske in his book How to Analyze Drama is appropriate to be applied in this study. There are six devices that he suggested to analyze the characteristics of the characters in a drama; the appearance of the character, asides and soliloquies, dialogue between characters, hidden narration, language, and character in action (1966:46-48).

There are seven characters that engaging conversation in My Ancestor’s House, they are Bindia, Begum Hajira, Sahid, Nazo, Roona, Deedi, the last is Ali Buksh. In this sub-chapter, the characters in My Ancestor’s House is analyzed one by one, in order to get the details of each character.

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1. The Description of Bindia

The first character analyzed is Bindia. She is the second daughter in the family; her age is about thirties years old. She is a native Pakistan woman who lives in America and married an American man (Sharif, 1992:274). When she comes to her homeland in order to visit her family, she finally knows the life stories of her sisters, they tell their deficient situations as women in Pakistan, her sisters tell how difficult their situation as wife in Pakistan (1992:266).

The character’s description can be analyzed from her appearance, which is shown from the personal description of the character, what he or she wears and how her appearances look likes. She does not wear clothes as common Pakistan women. She has her own style and does not care what everyone says about her. She does ignore the culture tradition in her own country though actually she does not mean to do that. This situation is explained in the following quotation,

NAZO. You have started smoking a lot. BINDIA. Yup!

ROONA. Now you know you are in Pakistan. Here even the servants tell you what to and what not to do. When he comes back, he will ask you, why are you wearing jeans and why are you smoking.

NAZO. You smoke a lot! BINDIA. Yes . . . I know. NAZO. Why?

ROONA. Leave her alone.

NAZO. Smoking is not good for you.

BINDIA. Yes . . . I know. (Sharif, 1992:265).

In Pakistan, smoking women still get a negative assumption because of smoking in patriarchal society is a men-only activity. In this situation, Bindia ignores the risks of getting negative image by the society. Erum Saikh posts an article about

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women smoking in Pakistan, entitled “Is smoking banned for women in Pakistan?”

Women seen smoking in public are automatically stereotyped as being cunning charlatans with no morals or respect for society — a person who will most definitely be seen partying it up into the wee hours of the night with strange men and, of course, if she smokes, she probably drinks, too. (http://blogs.tribune.com.pk/story/14815/is-smoking-banned-for-women-in-pakistan/)

The quotation above clearly shows that women smoking in Pakistan stereotyped as an immoral person and have no respect of society. However, in any condition a smoking woman often gets a negative image in the society.

Women in Pakistan should wear decently dress, as the Muslim women should wear; they wear long dress or trousers that made of fabric to avoid showing the shape of the body. As Becher said on the book Family Practices in South Asian Muslim Families,

Traditional South Asian clothes were commonly worn at home in the families in this study, especially girls and women. Most wore shalwar kameez (baggu trousers and tunic) as well as a dupatta (scarf) around their shoulder and sometimes over their head. Men and boys more often wore English-style trousers and shirts (although a few wore shalwar kameez). These slothes met the cultural and religious standards of modesty in covering the body, and also the head for women (Becher, 2008:63).

This rule is important because this is the teaching of the religion that should be obeyed by the followers of Islam. Particularly in Pakistan which has strong Islamic culture and some different social control of women. Isran stated on his journal entitled Patriarchy And Women In Pakistan: A Critical Analysis, “In South Asian societies, of which Pakistan is part, there are different social controls applied to

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Since Bindia live in western country, her paradigm about life and gender equality become wider and open. At the moment, when she went to her home country, she ignores the tradition. It shows when she bluntly shows her habit as a smoker in front of her relatives, this kind of situation is not acceptable in Pakistan. In western country, women smoking in public might be seen as an exceptional view but not in Pakistan. As Chaudhry and Rahman states on the journal “The Impact of Gender Inequality in Education on Rural Poverty in Pakistan: An Empirical Analysis”, that Pakistan women in Pakistan is different from women in western countries, it states on that journal, “The status of women in Pakistan is somehow different from that of western countries. Gender is one of the organizing principles of Pakistan's society”. Different condition happens in America, everybody is free to do what they want to, with the situation in western country like in America, the country where Bindia live currently (2009:174). Therefore woman who smoke in Pakistan will get negative image from the society.

The play footage above shows that Bindia is a rebellious person, she wears jeans and that not such an appropriate ways in Pakistan. In fact, she considers that her style cannot be accepted in Pakistan but Bindia shows her own rule, she has her own thought. Her westernized thought make she does not care what others have to wear even though she is not in America anymore but in her homeland, which has different culture. Bindia answers the questions from her sisters briefly, without any arguments or comments, therefore, it shows that she is actually ignores what her sisters say about her appearances and habit.

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Bindia is also described as a person with realistic thought. The writer found the realistic part of her when she has a conversation with her sisters.

Even before I left I felt weak. But I left . . . from one brilliant job to another . . . from one brilliant nervous breakdown to another . . . I crossed the ocean . . . I wanted to cut the cord . . . the cord . . . stretched, and stretched across the Atlantics like a strong nylon that never breaks . . . distance was so long . . . soon it will get tangled . . . soon it will suffocate me. (Sharif, 1992:269).

She states that even though it is hard to leave her homeland but she has to go to earn more money, she is willing to suffer for her job. From her words, the writer can conclude that she better to earn money outside Pakistan though she will face some difficulties when she go abroad to earn money, she will take the risks. That statement from Bindia shows that she is a realistic woman, she risks herself to earn more money even though that situation suffers her. She makes a big decision to come to America to venture.

The realistic side of Bindia is also found through her action, the way she reacts in some situations. She shows the realistic perception when she talks about her sister Deedi who has a poor condition in her life. It means, she has the emancipation of woman. She said in the play,

BINDIA. I hate his guts, too. He has ruined Deedi’s life . . . if this kind of situation happened in America . . . to an American woman, man she would kick his ass in one minute. Deedi should have left him a long time ago. That devil skunk of a husband. What does he do for living? (Sharif, 1992:269).

Her statement shows the realistic thought of Bindia, she bravely say those words. Bindia responded about Deedi and her husband’s situation and she associated with the conditions in the United States, where women have better situation. From her statement, she has the realistic thought as a woman. She does not want Deedi to

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be suppressed by her husband, in this situation; the writer might say if Bindia were in Deedi’s position, she would leave her man. From her statement, she wanted to show that women and men is actually in a same position, men are supposed to be not above the women.

From her reaction, the writer found that she is also a caring person. Even though she lives far away from her homeland, she still cares about her family, when she gets the news that her mother is sick, she comes home to see her

mother’s condition (1992: 266). She also wants to help Deedi by taking her family

to America even though she cannot make it happen because of her financial problem, but she actually has the idea to take them for a better future. She cares for their life condition; she also wants to make her family happy and make Deedi pleased (1992:270). She not only gives the attention to her family but also she cares about her servant, Ali Buksh. When she arrives in Pakistan, the first attention is addressed to Ali Buksh, she asks him about his family condition (1992:265). It shows that Bindia gives attention to everyone; it can be concluded that she is a caring person.

Her caring personality can be found in the “hidden narration” method. The characteristics of the character can be described through the opinion from the other characters. It is revealed when Ali Buksh, the servant talks to her about his salary. He asks Bindia to raise his salary. It shows that Ali Buksh feels comfortable with Bindia, as he states in the play,

ALI BUKSH. Begum Bindia has come after such a long time, and I never have the chance to sit with her and talk, because there is so much work for me to do. Make tea, water the plants, wash the car. My salary is only 200 rupees, that’s not enough to feed five children. I’m going to ask Begum

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Bindia to tell Nazo to raise my salary. I like Begum Bindia, she’s the only one I liked. I do not want her to go back. (Sharif, 1992:272).

Bindia is also described as an independent woman, as her eldest brother, Sahid said. Sahid conceded Bindia as an independent woman in the point that she lives in America and has her own job without incriminating her husband to bear her life. Sahid’s statement below reflects his own opinion about Bindia. “You are pretty independent and have been for quite some time” (Sharif, 1992:274). Sahid’s opinion about Bindia clearly shows that Bindia is an independent woman.

2. The Description of Roona

Roona is the third daughter in the age early thirties (1992:264). She is a married woman, and has some children (1992:271). Roona is powerless, tough, hard worker, caring, helpless, and objective. Those characteristics of her are revealed through her long speech, she said that even though she already earn so much money than her husband she still has to comply him as the man in the family. Whatever her husband does, she has to accept that, she cannot leave him because she does not want to be an alienated woman in the society. In this situation, Roona has no power towards her husband (1992:271). The hard worker and caring characteristics of Roona revealed when she stated that she has to earn more money to live her family.

Roona can bear up in the complicated situation shows that she is a tough woman. She does not give up to the situation; she is continuing his life with her

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husband no matter what it takes. She trusts herself that she survives, all of the effort that she do is only for her family (1992:271).

Roona also shows that she is a hard worker person when she states that she has to wake up in the early morning to prepare the breakfast for her family, takes the children to the school then she works in the office the whole day. This action shows that she is a workhorse; she is a strong woman who is able to do many things in her life though it is hard for her (1992:271)

Even though she can do anything than obey her husband, she does not want to be the second-rate citizens as she said in the play,

ROONA. (interrupts excitedly) I am so glad that you got married, and especially to an American man, you should have done this a long time ago. You should have done this a long time ago. The moment you went to America you should have married an American man – maybe we should have all married American men, then nobody would be able to treat us liked second-rate citizens in our own country. (laughs) Now they cannot pressure you to come back. Now they can’t provoke mother against you. Now they can’t tell her, “Oh, Bindia, she is not married, she has no purpose if she is not married, she has no life of her own if she is no married. She will come and live with you . . . and take care of you. She did it before. She will do it again, she is a sucker” (Sharif, 1992:274).

Her statements in the play show that Roona is actually a person who has objective thought, it means she is aware that every gender has the same position and rights in life. In other words, if she has another option she will do what Bindia already did to marry an American man and live outside Pakistan to have freedom in life but she can do nothing, powerless and stay in Pakistan. Her speech towards Bindia clearly shows that Roona is actually aware that she is being suppressed by the rules of patriarchal culture.

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3. The Description of Begum Hajira

Begum Hajira is a mother, in the age around fifties to seventieth years old (1992:264). She is a single parent; her husband passed away years before (1992:273). She is the figure who becomes the topic of her children. Since, she is sick, her children start arguing about who should take care of her and who is not. (1992:267-270).

By analyzing her character through the other character’s opinion, the writer can conclude that she is a religious person, Sahid states,

SAHID. (Coughs – a nervous cough, a little embarrassed) I do not realy care who you marry. You are pretty independent and have been for quite some time. It is just that mother is very religiously and rigidly Muslim and her relatives are religiously Muslim and her friends and her neighbors are religiously Muslim – maybe it would have been hard for her to break the news to her neighbors and relatives (Sharif, 1992:274).

Sahid’s opinion of her shows that Begum Hajira is a very religious person and an obedient wife.

Begum Hajira is the agent of patriarchy that accepts the patriarchal practice in any condition. In this play, Begum Hajira is the figure of a perfect Pakistani woman, she is religious, such a good wife, the role models of her children, and respected by the societies. All of her children also give a big respect to Begum Hajira, thus they want to keep her name from negative issues.

4. The Description of Sahid

Sahid is the first son; his age is around forty five to fifty years old. He is a brigadier in the Pakistan army (1992:264). His parents are trying to do the best for

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him because first son in Moslem family is a pride (1992:274). His parents sold their house in order to get him in an elite college; he is the one who make his parents proud to (1992:275). Sahid has a better education than his sisters and this because male members in Pakistan family are regarded as a person who has a strong dominance in the family, it seemed as if the notion that men should not be considered to have higher status than women in many ways, including education.

The characteristics of Sahid can be found through other characters’ opinions. The writer found that he is able to speak good English, an educated man also a rich person. It is captured when Bindia states,

BINDIA. Somewhere - somewhere . . . with the misery and poverty, and when you got back . . . after all your education . . . you were too good for us. We could not speak English like you. You could not bring your friends home because the house was too ugly for you (Sharif, 1992:275).

The quotation above also shows that Sahid has high prestige. Since he went to an elite college, Bindia says that Sahid is ashamed of his condition, that his house is not as good as his friends have. His high prestige personality is also revealed when Roona states her opinion of him,

ROONA. And then you moved out and started living with your uncle and aunt, because they had sofa sets, they spoke better English, they played cards at night and then you married their daughter (Sharif, 1992:275).

Sahid is also can be described through his language that he used. The writer found that he is superior, inconsistent and money oriented. He shows his superior side when he is talking with the servant, Ali Buksh. It means, when he speaks to other people, he looks arrogant.

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SAHID. Babaji, you have started talking too much nonsense, go and wash my car. Go (Sharif, 1992:272).

He uses impolite words that not appropriate to speak with a person that older than him. He also uses the high intonation when he speaks. Not only with his servant but he also acts superior to his sister, Roona, he says as if he is the right man. The writer concludes the reason he acts like that because he is the eldest son and he is on theirs father’s position. He wants everybody have a respect toward him (1992:275).

SAHID. (Pointing towards BINDIA, to ROONA) See what she does? She has not been here for more than twelve hours and she has already managed to provoke you against me (Sharif, 1992:275).

The moment when everyone discusses about their mother’s house, Sahid has an idea to rent their mother’s house to many Saudi Arabian banks. In this situation, his idea seems like he is a money-oriented person, he wants to get beneficial income of the house.

SAHID. Well, if you all give me the power of attorney, then I will go ahead. The house is on such a central and commercial location that there are many Saudi Arabian who are offering me to build a bank . . . the property would still be in our names. They would still pay us rent; in then or twenty years it will be worth lots of money (Sharif, 1992:278).

His statement is about to convince her sisters to rent the house. He gives the details explanation through his words. His money-oriented thought not only captured from the words that he used but also from other character’s opinion. Roona, his sister, also thought that Sahid is money-oriented person because Sahid only cares about mother’s house than her health (1992:270).

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When he has conversation with other characters, he shows his inconsistent perspectives; he is often having argument and much more intimidating Bindia. Like he says that, Bindia is aggravating every situation and creating a lot of tension in the family (1992:274). However, in the other side he says that he has nothing against Bindia even though his last statement is intimidating Bindia. He admits that he loves her, he prouds of her of being a medical doctor in New York. However, he is actually a caring person; he cares about Deedi’s life. He expresses his feeling about Deedi from his action; he wants to bring Deedi to live in his house and taking care of her but only her without her husband (1992:279).

5. The Description of Nazo

Nazo is a married woman (1992:267) and the eldest daughter in the family; her age is around late thirties until early forties (1992:264). Nazo is described as a superior, sarcastic, selfish, and money oriented person. The writer can find her characters when she talks to herself, to others and through other characters’ opinion (Reaske, 1966:46-48). She shows her sarcastic thought when she talks to herself about her brothers. As stated in the play,

NAZO. (Speaks to herself sarcastically) I wonder why people live wherever they live. If they cannot afford the money to buy a ticket to come where they belong. (ROONA and BINDIA look at each other) (Sharif, 1992:267).

Nazo uses satire words that addressed to her brothers who live in Denmark, she talks about one of her brothers might not come home soon to see their mother because of financial problems.

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Another description about Nazo also reflects when she talks to other characters, she shows her superior side in the family. She as the eldest daughter acts superior towards her sisters, especially Bindia. She wants Bindia to obey her as the eldest daughter in the family. It shows when Bindia starts to light up the cigarette she directly rebukes her, and her words makes Bindia unlit the cigarete (1992:266). Her superior side also reflects when she said that she is the eldest daughter and she has the mother’s position, she wants her sister to obey her as she want to (1992:268).

The personality of Nazo can be found through other character’s thought as well. The conversation between Roona and Bindia below describes the characteristic of Nazo,

ROONA. My husband had a pretty bad relationship with his boos. He could never get leave for an extended period of time, and Nazo . . . who claims to be such a loving, compassionate elder sister never sat down with me and asked me, if . . . I needed something . . . she made mother her exclusive property . . . you know why? They wanted her house. They know two of the brothers live in foreign countries, you live away . . . Deedi doesn’t know what’s going on. She, poor thing, is so completely lost and she is sick a lot . . . I worry about her . . . I worry about her children . . . I worry about you . . . Nazo and Sahid are more worried about mother’s house than her illness (Sharif, 1992:270).

Nazo only cares about her life; in Roona’s opinion, Nazo is a selfish person. Nazo seems like she does not care about Roona though she claims that she is a caring person. Roona’s expression is also described that Nazo is money-oriented; she said that Nazo is only care about their mother’s house because she knows that most of her siblings live in other countries. It means Nazo wanted to owned the house; the aim of Nazo to take care their mother is only to get the house.

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6. The Description of Deedi

Deedi is the youngest daughter (1992:264), the character who becomes the topic of the play; everyone talks about her conditions, even though she has no contribution in the conversation between the characters in My Ancestor’s House. Deedi is a married woman and her husband does not give any attention and responsibility in the family(1992:269). Deedi has a heart disease, a penniless woman who has no home (1992:272). She can be stated as the unluckiest daughter though she has a husband, her husband never cares about her and also the kids, her husband is a wretched man (1992:277). He has no job and the one thing that he could do is sell Deedi’s gold to feed the kids (1992:269).

Since Deedi is not contributing on the conversation between the characters, her personality can be found through other characters thought about her. By applying the method “hidden narration” from Reaske, the writer found that she is weak, the victim of traditions. It means, she obey the patriarchal rules and do all of the things that society deserves. She cannot do anything but accept the condition, she cannot leave her husband because of the tradition, and every wife has to obey her husband, which is the tradition in Pakistan. As Roona states, “Our religion, our parents, our Qur’an, our men, had weakened our soul.” (Sharif, 1992:269) those things are poofs that Deedi is the victim of the tradition.

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Ali Buksh is a family servant, his age is around forty to fifty years old (1992:264). He already worked as a family servant for years, since the children of Begum Hajira was kids (1992:265). When he speaks to other characters, his personalities are revealed that he is a religious and caring person. It shows when he states that he believes God is blessed his family,

ALI BUKSH. Good, good, Begum Sahib. Fine, Begum Bindia, fine my wife, she fevers ten days . . . and child, the young one . . . (he gestures with his hands) vomiting . . . and the other son cough. Does not matter Begum

Bindia, it’s our fate, God has given us everything and we have to thank our God for that – we are Muslim people – we believe our Kismet – little things like cough and fever does not matter – everything is fine (Sharif, 1992:265).

It shows that he is a Muslim and believes in Kismet or in other words, it is God’s will. He believes that God has given everything in his life through the sickness that he believed as the blessing of God to his people.

When he speaks to Bindia, he shows that cares about her health, he does not want Bindia get sick of her smoking habit.

ALI BUKSH. It’s not good Begum Bindia - not good, in Pakistan - it is not good for a woman to smoke you are Muslim woman - not good – Muslim country woman smoking is not good. You lose your health and wealth (Summarizes these lines in Urdu) (Sharif, 1992:266).

Through his speech, it is clearly captured that he is not only religious person who believed in Islam but he also a caring person, he gives attention to Bindia. Since, woman smoking is a social taboo in Pakistan society, he does not want Bindia gets negative image among the society. He also cares about her reputation and her health. Even though he hares about Bindia but he actually shows that smoking is men-only activity. It shows that he practices the patriarchal culture in his life

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B. The Patriarchal Practice Reflected through the Characters

Pakistan, which is a Moslem country, has a strong patriarchal and Islamic culture. Thus, women in Pakistan are regulated by the culture and religion; they have to obey the rules that exist in that country. Pakistan as a patriarchal country give less of freedom to women who live inside the country, women have to serve and obey their husband. In the other hand, women in Pakistan do not have option than obey the patriarchal rule because they do not want to be alienated by society. Patriarchal practices in the play are shown by the experiences of the characters. The patriarchal practices in the play are divided on two aspects, the first aspect is the position of women and men and the second aspect is the role of women in the family.

1. Unequal position

The position of women and men captured through the experiences of the characters. Women and men members in the Pakistan family have the different position. Women have their position as a wife and mother; home is defined as the domestic area for women. On the other hand, men have the domination position outside the house as a breadwinner. Thus, Pakistan parents assume that sons in the family have to get better education than daughters because they will be have a big responsibility in the future. Chaudhry and Rahman states on the journal “The Impact of Gender Inequality in Education on Rural Poverty in Pakistan: An Empirical Analysis”,

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Men and women are conceptually divided into two separate worlds. The household resources are allocated in the favor of sons due to their productive role. Male members of the family are given better education and are equipped with skills to compete for resources in public arena, while female members are imparted domestic skills to be good mothers and wives. They are given limited opportunities to create choices for themselves in order to change the realities of their lives (2009:174-175).

In this paradigm, clearly shows that the position of women and men are unequal; female members are assumed as a household manager only, while men members have to equipped with great education and skills to compete in public area.

Son on the Pakistan family usually get the best in many kind of things. Started from education aspects, as it is stated in play that Sahid as the first son has the higher education, his parents try to do the best for him. They sold their house in order to get him in an elite college while his sisters do not get the same education as he gets (1992:275). This condition shows women discrimination in educational aspect; Pakistani parents are more concerned with the education of their sons than his daughters because they thought that girls would take care of domestic work only. It clearly shows the unequal position of men and women in the family.

The next point is about responsibilities, the eldest son in the family have a big domination among the family especially after the father dies, he will be achieve the father-position. Laura Nations wrote about the responsibilities of the eldest son, entitled “Eldest Son’s Responsibility”,

It is the eldest son's responsibility to care for his parents as they age. If he is asked to do anything or get anything for them, it is his responsibility to do it and to not ask questions. He must always be respectful and obedient to his elders. When his father dies, the eldest son inherits his house even if his father's wife is still living. He must support and care for his father's

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wife with respect ( http://www.ehow.co.uk/info_8553423_eldest-sons-responsibility-islam.html).

The quotation above related to the Sahid’s position in the play, Sahid’s command have to be obeyed by the family members and he has the important role to make any decision in the family as well. Thus, everyone in the family have to give respect and shows submissive attitude towards him. Nazo the eldest daughter on the play respect and support him in any other situation, she also warns her younger sisters to respects him as well. It is stated on the play,

NAZO. (To BINIDA and ROONA) Would you both just stop it. Show some respect for your eldest brother. He is in your father’s place now (Sharif, 1992:275).

Nazo’s is such an obedient sister, she obeys the patriarchal rule that her family teach her. She warns her sisters to keep respect and polite towards Sahid even though they are on the tension situation.

Another patriarchal practice of unequal position among women and men is also reflected through the character Ali Buksh, the family servant. He gives comment towards Bindia’s smoking habit, as stated on the play,

In other words, he tries to say that Pakistani women that have smoking habit will get negative image from the society. His words about Bindia clearly show that her habit considered as a taboo and smoking is a men-only activity. The writer found that Ali Buksh has the mindset of common Pakistani; he still thinks that smoking is an activity of men while women are not allowed to smoke. His paradigm is

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related to other Pakistani thought, as stated on Erum Salikh’s article, entitled “Is smoking banned for women in Pakistan?”,

Smoking in a patriarchal society is a men-only activity. Quaid-e-Azam, the founder of this nation, smoked but the women of this country were prohibited from doing so. Why?

Social taboos being converted into religious prohibitions reflects the confusion faced by the average Pakistani. Citing the damage smoking causes to human health seems a more plausible stance to take when labelling smoking a taboo, than stooping to the men-can-do-what-they-like attitude. Unfortunately, in accordance with the general consensus in Pakistan, smoking seems only to be injurious to the health of women. To get an overview of the mindset of the average Pakistani, all one has to do is Google articles on women — spoilt-liberal-fascist-socialites of loose character as they are commonly referred to — smoking in Pakistan and look at the thread of comments that follow. Deeming a woman unfit for

marriage or a workplace due to her ‘extracurricular activities’ — despite her male counterparts indulging in the same activity — is not only unfair but lacks reasonable judgment

(http://blogs.tribune.com.pk/story/14815/is-smoking-banned-for-women-in-pakistan/).

The quotation above shows that smoking in patriarchal society is only allowed for men. It is not only taboo for health reason but also the impact of negative assumption towards women. Salikh also states that in some little matters women do not have an equal rights compare to men, thus, it is not a surprised that women still treated unfair in some important circumstances; such as workplace, marriage, and so on. It is not a reasonable reason, because women and men are human and they have the same rights to do what they deserve.

The definition of unequal position in this play reflects through the characters Sahid and Ali Buksh, both of them show that men have the privilege while women are in the second priority. The character of Nazo in this play also shows that she obeys the patriarchal culture; she respects the men position in his

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woman does, Roona does not want to take the risk, she cannot prepare herself to be alienated by the society, and she chooses to struggle in the tough condition. She wonders if she could live and married an American man the situation will not be complicated as she has. Even though she wanted to be in equal position, she can do nothing because of the patriarchal culture in Pakistan. In brief, those three female characters are powerless women against the patriarchal culture.

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BIBLIOGRAPHY

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55 APPENDIX

Summary of My Ancestor’s House

My Ancestor’s House is a play about women’s life in Pakistan. This play starts with the character Bindia, the second daughter. She lives in America and marries an American man. One day, she comes to her homeland to visit her sick mother. Her arrival in Pakistan make she knows the real condition of her sisters and her other family members. She faces many kind of stories about the power of patriarchal culture through her sisters.

Roona complains about her life with her husband, she has to be a powerful woman who can handle everything in the family. She tells Bindia that she does not have social life because of the domination of her husband. Even though Roona earns more money than her husband, but Roona feels like she treated as an educated-slave. It means, she is under command of her husband. Roona has fear of her husband, also the society. She is powerless woman, she has no choice than obey the patriarchal culture. Roona also tells about Deedi’s life, which make Bindia very disappointed. Deedi’s husband does not give the responsibility as a breadwinner and he does not care about Deedi’s health. Bindia and Roona realize that the condition of Deedi is because of the tradition; they assume that Deedi is the victims of traditions. Bindia and Roona seems angry with Deedi’s husband but they cannot do anything to help Deedi.

On the other side, Nazo and Begum Hajira are the opposite of the character Bindia and Roona. Nazo and Begum Hajira respect the patriarchal

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culture and obey the tradions. Nazo always gives support to her eldest brother, Sahid and her husband as well. Nazo as the eldest daughter never complain about her life with her husband, she looks enjoy and happy with it. Begum Hajira, the mother, she is a religious, obedient wife, and a good mother. She is an image of ideal Pakistani woman and everybody gives full respect to her.

The moment when Sahid, the eldest son wants to sell mother’s house, it is

start with a high tension in the family. Nazo give respects to Sahid and agrees with his idea. On the other side, Roona and Bindia do not agree about his

decision, they want mother’s house addressed to Deedi because she is the one who

need that house. Everyone argue and give their comments about the house. In the end of the story, Deedi died because of her sick condition that she suffers.

The ideas of feminism revealed through the major female characters in My Ancestor`s House.

THE IDEAS OF FEMINISM REVEALED THROUGH THE

MAJOR FEMALE CHARACTERS IN

MY ANCESTOR’S

HOUSE

THE IDEAS OF FEMINISM REVEALED THROUGH

THE MAJOR FEMALE CHARACTERS IN

MY ANCESTOR’S

HOUSE

“Some people come in our life as blessings,

Some come in you

r life as lessons.”

This undergraduate thesis is dedicated to

my amazing PAPI, MAMI

and my beloved BROTHER, SISTER.

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The ideas of feminism revealed through the major female characters in My Ancestor`s House.

THE IDEAS OF FEMINISM REVEALED THROUGH THE

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