Breaking Free and Shyam Singha Roy: A Critical Analysis of Identity, Liberation, and Gender Dynamics

International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 279 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 Breaking Free and Shyam Singha Roy: A Critical Analysis of Identity, Liberation, and Gender Dynamics Abhirami. S and Gowri. A MA Literature Student, Amrita Vishwa Vidyapeetham, Amritapuri. ABSTRACT The Devadasi system was a conventional practice in India, particularly in South India. It dates back to ancient times, which involved young girls being offered to temples, where they would serve as caretakers of the temple and participate in religious rituals. Over time, the practice became corrupted, and many Devadasis were exploited and forced into sexual servitude. Devadasis were often from the lower caste and were expected to maintain maidenhood and devotion to the deity they were married. Despite legal abolition, the remnants of the practice still persist in some areas today, though it is less common. Social efforts continue to eradicate the system and provide education and opportunities for those affected by it. The Tamil author Vaasanthi's Breaking Free and the Telugu film Shyam Singha Roy portray the exploitation faced by Devadasis and how they desperately wanted to free themselves. It unveils a brief account of the history of the devadasi system along with an overview of the novel, Breaking Free, written by Vaasanthi and the film, Shyam Singha Roy and also gives an in-depth analysis of the novel and the film by applying the feminist and the postcolonial theories. This article hopes to provide a critical analysis of Vaasanthi's Breaking Free and the film Shyam Singha Roy, and make a comparative study of the two texts, as well as offer insights into how feminist and postcolonial theories can be applied to the study of these works to understand the misdeeds of the devadasi system. Keywords: Devadasi, Feminism, Post-colonialism, Patriarchy, Liberation. Calling them devadasis, we insult God himself in the name of religion. -Mahatma Gandhi People must call a halt to depraved systems, and one such system is the devadasi system. The term devadasi literally translates to the female servant of a God. In India, a devadasi is a female artist who is dedicated to the worship and service of a deity or a temple for the rest of her life. The dedication of the girl takes place in a ceremony similar to marriage and is called International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 280 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 ‗pottukattu‘. This tradition dates back to the sixth century, where girls were married to the deity, after which they would act as the temple caretakers and perform all rituals, including dance and music in honour of the deity. These women also learn and practice classical Indian dances such as Bharatanatyam, Mohiniyattam, Kuchipudi and Odissi. Dancing by a woman, with or without kumbhaharathy (pot-shaped temple arti lamp), in the precincts of a temple or other religious institution, or in any procession of a Hindu deity, idol or object of worship installed in any such temple or institution or at any festival or ceremony held in respect of such a deity, idol or object of worship, is hereby declared unlawful. Any person who performs, permits, or abets (temple dancing) is punishable with imprisonment for six months (Marglin 306). Reformists and abolitionists considered the Devadasi a social evil due to their way of life, which had widely degenerated into a system of prostitution. Many are forced into sex work due to a lack of alternatives, perpetuating cycles of poverty and exploitation. Additionally, societal rejection often prevents them from reintegrating into mainstream society. Health issues are prevalent among former Devadasis, many of whom face risks associated with sexually transmitted diseases and lack access to healthcare. Stigma surrounding their past further complicates their ability to seek medical assistance. ―Many devadasis and their families view marrying a deity as a way to rise in the otherwise strict caste system‖ (Shingal 109). The Devadasi system was formally outlawed in all of India in 1988, although social and economic pressures on mostly Dalit families have ensured that the Devadasi system is still widely practised illegally. It is still prevalent in some parts of India, particularly in the states of Karnataka, Andhra Pradesh and Maharashtra. Some challenges to ending the Devadasi system include a lack of awareness. Some girls and their families are unaware of the custom and become part of the system. The laws against the Devadasi system are not enforced properly. There is a stigma attached to the children of Devadasis, which prevents them from continuing their education. Despite legal prohibitions, the Devadasi system persists in various forms across certain regions of India. ―Most social practices in traditional societies are even tailored around a certain perception of gender‖ (Torri 32). The system of the Devadasi institution no doubt originated from the religion itself, but the shape it took with the passage of time was a complete distortion of its goal. Initially, it was done with the idea of dedicating dancing girls to the temples who would dance in front of the deity as a typical religious ritual and who were supposed to be a kind of International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 281 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 devotee who would give up their material life for the sake of worship. However, the religious-socio-political-cultural-economic factors of different times, in particular during colonialism, worked on it brutally and changed the total purpose and intention of the institution (Sharma 90). Shyam Singha Roy is a 2021 Indian Telugu-language period action romantic drama film directed by Rahul Sankrityan. Understanding the historical context is crucial for analysing the portrayal of the Devadasi system in Shyam Singha Roy. The film's narrative takes place against a backdrop that reflects the complexities of this tradition, highlighting the journey of women within this system and the societal perceptions surrounding them. At its core, Shyam Singha Roy is a love story that transcends time and societal boundaries. The protagonist, played by Nani, finds himself intertwined with the life of a Devadasi, portrayed with depth and nuance. The film explores the sacrifices made by women in the Devadasi system, often highlighting their agency despite the societal constraints imposed upon them. By highlighting the plight of Devadasis, the film contributes to ongoing activism aimed at improving the lives of marginalised women. It advocates for awareness and empathy, fostering a societal shift towards greater understanding and support for those affected by similar systemic issues. Shyam Singha Roy also plays a role in the cultural reclamation of the Devadasi tradition. By portraying the richness of their artistry and the depth of their stories, the film seeks to reclaim the narrative of Devadasis from historical marginalisation. Breaking Free, by old stager Tamil journalist and writer Vaasanthi, is an inter-generational saga. The story goes back and forth between pre-Independence days and the present. It looks at a time when devadasis, the women who were 'married off to God', were the custodians of classical dance and music. Vaasanthi, born Pankajam on July 26, 1941, is a distinguished Indian journalist and writer. Originally written in Tamil as Vittu Viduthalaiyagi, the novel was later translated into English by N Kalyan Raman. It is the story of two girls, Kasturi and Lakshmi, born in the devadasi clan. While Kasturi goes on to embrace her art and to dance the way she breathed – effortlessly, devotedly, and under fetters that she took a lifetime to notice – Lakshmi tears away from what they tell her she was born to do, becoming a doctor, a freedom fighter, and a member of the legislative council who advances the abolition of the devadasi system. The novel revolves around the lives of the two women, interspersed with the voice of Kasturi‘s granddaughter on a mission to uncover the mystery behind her International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 282 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 mother‘s inexplicable suicide. Vaasanthi‘s life is a poignant exploration of the struggle against deeply entrenched societal norms. Amid the confines of rigid family expectations and an unforgiving cultural backdrop, she finds herself caught between the demands of tradition and her own yearning for selfexpression. As relationships both nurture and challenge her, Vaasanthi begins a courageous journey of introspection and defiance. This inner turmoil is not merely a battle against external pressures but also a profound confrontation with the internalised limitations imposed on her. Her story unfolds as a testament to the resilience of the human spirit — a quest to redefine one‘s identity and claim the freedom that has long been denied. The Devadasi system is a social practice that was prevalent in India during the colonial period. The novel, Breaking Free, and the film, Shyam Singha Roy, delineate the vicious practices of the system and how it has affected the devadasis, which resonate with the aspects of the postcolonial theory. The postcolonial theory is a literary theory that deals with the literature produced in countries that were once, or are now, colonies of other countries. The novel, Breaking Free, and the film, Shyam Singha Roy, are not just narratives about the Devadasi system, but also a larger commentary on gender, power, and societal norms. Through its powerful characters and sensitive portrayal of their pain and resistance, it brings to light the enduring trauma caused by the Devadasi tradition and underscores the ongoing fight for freedom and dignity. It highlights the themes of discrimination, sexual objectification, oppression, patriarchy and stereotyping, which are also the themes often explored in feminist theory. Feminist theory is the extension of feminism that often focuses on analysing gender inequality. It is a movement that calls for an end to sexism in all forms. The devadasi system perpetuates a harmful cycle of exploitation and abuse, subjecting women to physical and emotional trauma while stripping them of their autonomy and dignity. There are some references in the Skanda Purana about the existence of devadasis. In the ―Purushottam Kshetra Mahamtya‖ in Skanda Purana and Bhamadeva Samhitha, it is evident that devadasis were present, and they used to serve God by dancing in rituals and festivals. In Kersenboom‘s seminal work, Nityasumangali: Devadasi Tradition in South India, contextualises the roles of a devadasi both in day-to-day life and in the temple rituals. Citing the devadasi as a multivalent concept, Kersenboom points out how a devadasi balances two opposite forces of ―life-enhancing, fertile‖ and auspicious aspect as a Nityasumangali and a ―life-destroying, deadly‖ aspect as a ritual woman. (Kersenboom 25)Out of the many works International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 283 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 that describe the plights of devadasis, Vaasanthi‘s Breaking Free is a fictional work that brings alive the complex world of devadasis. Vaasanthi's Breaking Free offers a compelling exploration of a woman‘s struggle to break away from the confines of societal expectations, patriarchy, and familial obligations. This novel, which examines the internal and external conflicts that women face in traditional settings, serves as an ideal narrative for analysis through the lens of feminist theory. Feminism in literature examines the power dynamics, gender roles, and representations of women, all of which are central to understanding Lakshmi‘s journey of self-liberation. Feminist literary theory seeks to understand literature through the lens of gender relations, often questioning how literature reflects, reinforces, or challenges patriarchal structures. Key feminist thinkers, such as Simone de Beauvoir, Judith Butler, bell hooks, and Audre Lorde, have shaped feminist literary criticism. Simone De Beauvoir's seminal work, The Second Sex, famously states that ―One is not born, but rather becomes, a woman,‖ emphasising the social construction of gender (Beauvoir 330). While Judith Butler, in her work Gender Trouble, argues that gender is performative, she challenges traditional notions of gender and sexuality. Feminist theory, in this case, is not only concerned with gender but also with how race, class, and historical context influence a woman‘s life. The pivotal moment in the novel is Lakshmi‘s decision to break free from the shackles of her prescribed identity. This is a symbolic act of feminist resistance, as she defies the constraints that have been placed on her by both her family and society. The journey to liberation involves both internal and external struggles. The protagonist must first recognise her own worth beyond her familial roles, an act that requires deconstructing the patriarchal values she has internalised over the years. By asserting her freedom, she challenges not only the male figures in her life but also the gender norms that they represent. This act of ―breaking free‖ can be understood as an exercise of agency, a key concept in feminist theory. ―Leaving this village is my only route to deliverance‖ (Vaasanthi 143). Lakshmi‘s journey is a direct manifestation of the concept that the capacity to act independently and make choices free from oppressive control, as she reclaims her autonomy and begins to redefine her identity outside of patriarchal constraints. The central feminist theme in Breaking Free is the power struggle between men and women. Power dynamics in the protagonist‘s relationships reflect the broader gender hierarchies in society. Her interactions with male characters – especially her father and husband – reveal how patriarchal power structures operate within the family International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 284 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 unit. Lakshmi‘s initial amenability with her father and husband can be interpreted as a form of subjugation, where her desires and needs are subordinated to their authority. Feminist theory argues that patriarchy is often maintained through these subtle power dynamics, where women are conditioned to accept their roles as caregivers, homemakers, and subordinates to male authority. However, as Lakshmi begins her journey of self-liberation, she starts to question these power structures. Her rebellion represents a challenge to the status quo, making her a feminist figure that actively resists patriarchal dominance. The expectations placed on the protagonist are not just about marriage and motherhood but also about maintaining a certain image of propriety and modesty. Feminist theory critiques these societal norms for placing pressure on women to conform, often at the expense of their own desires and well-being. In Breaking Free, the body becomes a site of both oppression and liberation. The journey of Lakshmi towards autonomy involves reclaiming control over her body and her sexuality. Feminist theorists like Audre Lorde have emphasised the importance of women taking ownership of their bodies as a form of resistance. ―I am not free while any woman is unfree, even when her shackles are very different from my own‖ (Lorde 285). For Lakshmi, breaking free is not only about emotional and psychological freedom but also physical freedom from the constraints imposed by her family and society. The modern iteration of the devadasi system, while not nearly as pervasive both in terms of influence and sheer numbers as in the past, continues to promote the sexual exploitation of lower caste girls in India. Post-colonial theory explores the effects of colonialism on formerly colonised nations and societies. The theory examines the cultural, political, and psychological impacts of colonialism on both the coloniser and the colonised. It critiques the dominance of Western imperialism and the resulting hybridity in post-colonial societies, where indigenous traditions are often fused with colonial practices, creating a complex identity struggle. Key theorists such as Edward Said, Frantz Fanon, Homi Bhabha, and Gayatri Spivak have shaped postcolonial thought. Edward Said‘s Orientalism discusses how the West constructed an image of the East as the "Other," while Frantz Fanon‘s The Wretched of the Earth critiques the psychological trauma inflicted upon colonised individuals. Bhabha‘s concept of hybridity suggests that post-colonial identity is not a simple return to pre-colonial roots but a complex blending of cultures. Spivak's theory of subalternity highlights the voices of the oppressed and marginalised groups, particularly women, whose stories are often silenced. In Breaking Free, Lakshmi‘s journey represents a negotiation of her identity in a post-colonial context. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 285 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 India, having been under British colonial rule for over two centuries, faces the enduring impacts of colonialism, especially in terms of its social and cultural structures. These influences persist even after India‘s independence in 1947, creating a complex environment where the protagonist grapples with cultural confusion, inherited values, and a desire for personal freedom. Bhabha‘s concept of hybridity is crucial for understanding the protagonist‘s struggle. "Hybridity is the name of the strategic reversal of the process of domination through disavowal. It is the revaluation of the assumption of colonial identity, the displacement of the ‗original‘ cultural identity, and the creation of new identities, new forms of representation" (Bhabha 112). In a post-colonial context, identity is no longer fixed. Rather, it is a complex fusion of colonial and indigenous elements. The protagonist in Breaking Free experiences this hybridity as she navigates the tension between the traditional values of her family and the more modern, independent ideals she aspires to. This tension between colonial influence and indigenous tradition creates a fractured sense of self for the protagonist, who is neither fully conforming to her cultural heritage nor entirely rejecting the colonial system. Lakshmi‘s hybridity is reflected in her conflicting desires. On one hand, she is conditioned by her family to adhere to traditional gender roles, while on the other, she yearns for a more liberated existence, influenced by post-colonial ideas of self-determination and freedom. This internal conflict mirrors the broader societal clash between Western modernity and traditional Indian values, illustrating the enduring psychological impact of colonialism on the individual. In post-colonial societies, the family unit often becomes a space where colonial ideologies are reproduced. Breaking Free portrays the family as a prototype of society‘s larger power dynamics. Lakshmi‘s family represents traditional structures where gender roles are strictly enforced, and women are expected to fulfil specific duties within the home. This patriarchal system, while shaped by indigenous values, also carries remnants of colonialism, particularly the British emphasis on hierarchy, social order, and the subjugation of women. Lakshmi‘s father represents a figure of authority who, in the post-colonial setting, has inherited the colonial notion of paternalistic control. This reflects how colonialism reinforced patriarchal norms, which were further entrenched in post-independence India. In many ways, the colonial legacy of social control through institutions such as the family persists long after political independence. Lakshmi‘s desire to break free from this authoritarian structure is thus a form of resistance to both colonial and patriarchal rule. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 286 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 In post-colonial India, women are often doubly oppressed: first by the colonial legacy, which has left them subjugated within patriarchal structures and second by the persistence of traditional gender norms. The protagonist‘s relationship with her father demonstrates how these intersecting power dynamics operate in the post-colonial family, where men control not only women‘s personal freedoms but also their economic and social mobility. Through her journey of self-liberation, the protagonist challenges the colonial and patriarchal values embedded in her family. This rebellion against her father and husband is emblematic of the larger social rebellion against colonial and post-colonial systems that continue to dominate women‘s lives in India. Lakshmi, who takes the first step towards revolution, is a character modelled loosely after Dr Muthulakshmi Reddy, who has a special place in the annals of feminist history. ―There is absolutely no connection between Dr Reddy‘s actual life and that of Lakshmi, a character of my imagination. I took advantage of the freedom available to a writer of fiction, nothing more‖ (329). Resistance is a key concept in post-colonial theory. The protagonist‘s journey in Breaking Free is an act of resistance against both colonial legacies and patriarchal control. Her desire to assert her independence can be seen as a rejection of the colonial mentality that has conditioned her to be submissive and obedient. Frantz Fanon‘s theory of decolonisation, which focuses on the need for psychological and cultural liberation, is useful for understanding the protagonist‘s rebellion. In his seminal work, The Wretched of the Earth, he specifically states that, ―decolonisation is always a violent phenomenon‖ (Fanon 27). Fanon argues that the colonised must reclaim their identity and culture to achieve true liberation. In the case of the protagonist, her struggle is not just against her immediate family but against the broader social structures that have been shaped by colonial and patriarchal ideologies. The film Shyam Singha Roy, directed by Rahul Sankrityan, presents a compelling narrative blending the themes of reincarnation, romance, identity, and the shifting dynamics of gender and power. It portrays the journey of a modern-day filmmaker, Vasudev Ghanta, who is mysteriously reincarnated in a past life as Shyam Singha Roy, set in the colonial era of Bengal. While the protagonist‘s journey of self-realisation, love, and sacrifice is essential to the narrative, the representation of women and their relationship to patriarchy is an equally critical aspect of the story. Through the character arcs, especially that of Maitreyi, the film brings to light significant feminist themes such as female agency, autonomy, resistance to patriarchal norms, and the complexities of gender roles within a post-colonial society. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 287 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505150 Feminist critics interrogate the power dynamics in films, focusing on how the gendered lens creates, enforces, or subverts societal norms related to women. Simone de Beauvoir‘s The Second Sex introduces the notion that women have historically been defined as the ―Other,‖ a concept that has profound implications for how women are depicted in films. This ―Othering‖ means women are often seen in relation to men and never fully allowed to occupy the central, autonomous space in a narrative. A famous quote by Judith Butler on performativity, from her book Gender Trouble, is ―Gender is not something that one is, it is something one does, an act, a doing rather than a being‖ (Butler 25). This viewpoint can be applied to understanding how characters in Shyam Singha Roy negotiate or challenge traditional gender roles. The influence of intersectional feminism on the acts quantitatively supports the conclusion that the development of intersectional feminism in post-colonial South India influenced devadasi legislation significantly (Uddanti and Conrad 1). Maitreyi‘s character offers a rich opportunity for feminist analysis, especially in terms of her resistance to patriarchy and her navigation of gender norms. While Maitreyi‘s love for Shyam is integral to the plot, her character is not reduced to just a love interest. In both her past and present lives, Maitreyi is depicted as an independent and intellectual woman who, despite being constrained by societal norms, shows a remarkable level of agency. In her past life, Maitreyi struggles against the patriarchal system that confines her to traditional gender roles, particularly in her interactions with the men in her life. Her intellectual engagement, her emotional depth, and her willingness to challenge societal expectations offer a feminist perspective on women‘s autonomy within a repressive system. Maitreyi‘s story arc challenges the idea that women in historical films should be passive victims of patriarchal authority. Instead, she becomes a symbol of resistance, an active agent within the constraints imposed by her time. The feminist reading of Maitreyi‘s character reveals how she subverts her expected role as a passive woman by making decisions that directly challenge the male characters around her. She defies the social norms that dictate her actions and choices. In doing so, she provides a model of female empowerment in a deeply patriarchal society. In the colonial context, women like Maitreyi were oppressed not only by gender norms but also by class structures. Maitreyi‘s position as a woman of the devadasi class highlights how caste and class further shape how women experience oppression. Her resistance to the patriarchal norms is also an act of resistance against class-based oppression.