Let’s celebrate our daughters, their birth, their presence, and their personal, academic and professional achievements. They don’t need our sympathies; they need our love and trust. Their future is in good hands; their own
Don’t some of us often ponder why we despise having a daughter and cherish the birth of a son? Even mothers want to give birth to the gender different from their own. A popular response to this question is that it’s not the daughters who are ‘feared’ but it’s their fate. There’s this essential phenomenon of departure associated with a daughter’s birth, since she is supposed to move away from her parents’ home one day, and culturally the sooner the better. Therefore, a most forlorn cultural phrase in many parts of subcontinent is that daughters may not be given much of the love because they have to depart. One of the popular wedding songs in Punjab addresses girls as “chirian da chanba”, a flock of birds that migrates, and theirs is a permanent migration. They are wedded off with an advice that the home where they settle (or try to) after marriage must be left only after death. The option of returning to their birthplace is not open to them, the known becomes alien and the alien (bigana) has to be known and adapted. Another verse of the song conveys the message that the courtyard where a girl played with her dolls does not belong to her anymore –it actually never did. The brother and his children are now going to have the ownership, in fact by virtue of being the male child; the brother had the ownership right at his birth. This song depicts a conversation between a bride and her beloved father. She tries to make a symbolic excuse that it may be difficult for her palanquin to pass through the gate of her father’s house and he responds that he can always get a few bricks removed to let it through. The fathers are traditionally expected to accept that they have to carry this responsibility of sending off their beloved daughters to an unseen future, how so ever difficult it may seem. Departure is inevitable. The ‘good daughters’ were expected not to visit their parents’ home quite often for it may disturb their brothers’ settled lives and the ‘good parents’ don’t visit their daughters’ home very often for it was against the norms and it belittled a daughter’s status in her new home.
Another Punjabi folk song, that I have always found beautiful but a bit too dreary, depicts a conversation between a daughter and her mother. It refers to the wheat harvest season in Punjab that is traditionally a celebration time because it means economic output of a tedious labor. It also is a time for a family bonding for everyone participates in different stages of harvesting and storing crops. A daughter misses her own family in such times of collective celebration. The verses reflect a meeting of daughters and their mothers. I have always wondered why essentially such a meeting has to be based on talk of grief and gloom (mawan tedhian galankarain dian dukhandian). Perhaps a mother is the only solace in the world with whom you can share your inner most feelings and sorrows, and all that a married daughter was supposed to have to share was sorrow. The daughter complains to her mother for giving birth to a daughter (dhian kyon jamian ni maye). She talks of her visit to her parents’ home and how the wife of her brother locked up the rooms for her, the very rooms where she once belonged. She has no ‘dawa’, claim anymore on the place where she was born and grew up (bhabian saran jandrey ni mai, mera hun koi dawa vi na). The last stanza is particularly deeply melancholic.
Published in Daily Times, September 30th 2018.
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