A 19th-century Indian feminist who fought for women’s freedoms,
trained them in public speaking, teaching, and weaving, Ramabai Ranade
played a monumental role in bringing women into the public space — just like
Savitribai Phule and Fatima Sheikh did. And yet, M.K. Gandhi called Ramabai the
embodiment of “all that a Hindu widow could be”.
Born on 25 January 1862 in Maharashtra’s Sangli district,
Ramabai’s world was one in which the feminist movement still lacked spark.
Under social, religious, and community constraints, very few women could stand
up for chickenfeed privileges, let alone gain education or work. But Ramabai,
with her steely strength, could expand her horizon beyond her small
village of Devrashtre.
She joined the Indian female suffrage movement, chaired the
first India Women Conference in 1904, and raised her voice for the rights of
Indian labourers in Fiji and Kenya. She now rests in history books as the first
woman to write an autobiography in the Marathi language titled Amchya Ayushyatil Kahi Athavani.
Breaking
orthodoxy
Where Raja Ram
Mohan Roy was raising a cry against the practices of sati and child
marriage in Bengal, Ramabai Ranade found sanctuary with Justice Mahadev Govind
Ranade, whom she was married to at the tender age of 11. The latter,
called ‘The Prince of Graduates’, was known for leading the social reform
movement in Maharashtra.
Their early
marriage laid the foundation for their idealist philosophy — Ramabai, an
illiterate wife, was set on the path to a robust education and training,
despite the opposition from their family. A true feminist
ally, Govind Ranade sent a young Ramabai to
school, where she learnt to be fluent in Marathi, English, and
Bengali.
The new ‘Indian
Woman’
At the age of 18,
Ramabai joined the Prarthana Samaj — founded by her husband — a liberal
hub for 19th-century Maharashtra. Acknowledging how important rituals and
religion were for the women around her, Ramabai’s gatherings were far from
didactic, straight-jacketing lectures that lacked spirit.
What she added to
the Prarthana Samaj was an element of community harmony, celebration,
and inter-cultural unison. Her gatherings involved the Marathi tradition
of halad kunku, a festival where women apply turmeric and
vermillion to each other and sing kirtans, popularised in Sanjay Leela
Bhansali’s film Bajirao Mastani (2015). Through these
rituals, Ramabai was able to teach them about the importance of education
and also train them in skills like public speaking.
At the turn of the century, between 1893 and 1901,
Ramabai’s Hindu Ladies Social Club and Literary Club in Bombay became famous
for teaching the art of public speaking, sewing and weaving to women. In
essence, she became India’s ‘new woman’ — an eclectic mix of sophisticated
modernity and traditional belonging.
Seva Sadan, a
legacy
By the
time Florence Nightingale passed away in 1910, Ramabai was taking shape as
India’s own pioneer nurse.
Her legacy is
perhaps best represented by the Seva Sadan Society, which she
founded in 1909 in Poona. The organisation stands strong more than a
century later, with a message inscribed on its website that says, “The
girl child is often neglected and deprived of a normal childhood, including her
right to education and a life of equal opportunity.”
Ramabai’s Seva
Sadan Nursing and Medical Association started with a simple question
put to other women, “Don’t you have a father or brother in your house? When you
are sick, don’t you take care of them? Then why don’t you see father or brother
among male patients?”
From that point
onwards, Ramabai was successful in training women as nurses and serving
patients with utmost dedication.
Ramabai today
Ramabai Ranade’s
relevance has seeped into popular culture in multiple ways. On 15 August
1962, the Indo-Australian Post issued a stamp picturing Ramabai
on her birth centenary for her contribution to women’s rights and social
activities. In 2012, Zee Marathi aired a TV
series named Unch Maaza Zoka based on her life.
Ramabai’s contributions
to the women’s movement in India can hardly be relegated as fringe elements of
history. With other feminist stalwarts like Pandita Ramabai and Tarabai Shinde,
she stands tall.