Dr Asangba Tzudir
Trapped within the ‘hangover’ of traditional practices, and in the evolution of Rights as a claim, the film SENMANG lucidly captures the interplay between gender and the politics of patriarchy and brings a timely distinction in helping us see and understand the difference between "Inherited property rights" and "Acquired property rights." In bringing a contest, it gives a very clear message in relation to land and its associated property that, what is 'acquired' cannot simply be subsumed within the traditional practice of inheritance, and which is clearly pronounced in the film that ends with the defeat of "patriarchal bargains", a term used by Hoineilhing Sitlhou in relation to the politics of Land rights.
In context, the male ego emerged as a result of misinterpretation of the male Rib in the story of creation, and women were imaged not in the likeness of God but became the "second sex." Such an image became reinforced at the altar of patriarchy with all the patriarchal elements that paradoxically attests to "emancipation" of women and girl child. As such, throughout the course of human history women have been subjugated. Even Aristotle considered women as "incomplete male or a deformity." In a similar vein, in the film SENMANG, the eldest and the youngest brother-in-law played by N.T. Jamir and Süngkum Aier positing as the ‘tebü teti’ (father-brother) ‘protector’ figure presents the male ego, the patriarch also symbolized by their Tsüngkotepsü, is very aptly portrayed through their language of power, control, authority, assertion and subjugation, thereby reinforcing the patriarchal image of women as the inferior, weaker, ignorant and submissive "tetsür tanur" – a ‘derogatory’ term generally used by Ao men folk to remind Ao women of their socio-political exclusion.
SENMANG seems to tell us that there is a need to deconstruct the patriarch's mindset towards a newer understanding especially in the face of evolution of rights and rightful claims. Only then can liberation and emancipation begin. The undercurrents of fear within the veil of respect for the male bastion is lucidly portrayed by the mother played by Ms. Renemsongla Ozükum who tries to keep her three daughters from going overboard the culturally oppressed female identity. That is how years of traditional and cultural subjugation has 'tamed' and silenced the mind and heart of women from contesting the male bastion. Culturally predefined within ‘inheritor-less’, the three daughters represents the new educated generation that holds the banner of women's emancipation and liberation and who refuses to be willing participants of those being cocooned within the ‘tetsür tanur’ imaging imposed by the traditional practices, and presents the truth narrative that culture is dynamic and a constantly evolving practice. While the character Aien played by Sungjemmongla brings her own air of audacity as the eldest sister, the middle daughter 'naro' played by Aien uses her politically correct diplomatic trump card to good effect, and the youngest daughter 'Akok' silently plays a significant role... she knew that her eldest sister had to be home ASAP…and it was just an sms away.
This short film is indeed an eye opener on the issue of 'acquired property' and 'inherited property'. Most importantly, SENMANG also brings a very pertinent message on the amorphous nature of Article 371A, that it is no more a sheltering umbrella term. In the evolution of laws, one may also see the case of child adoption that is caught between traditional practices, and the guidelines given by the Central Adoption Regulation Agency (CARA).
Directed by Bendang Walling of Hills Theatre, this 40 minute film is an initiative of Watsü Mungdang, Sakhi One Stop Centre Mokokchung and District Level Center for Women, MSK (BBBP) Mokokchung, and with thankfulness, a big congratulation to the director and his team, and the award deserving cast for many things but above all for touching on a very pertinent issue that has for so long crippled the growth and well-being of women.
