
From Margins to Movement: The Legal Awakening of India's Widows and Single Women
Avid readers of Shakespeare may recall the melancholic musings of Duke Orsino in Twelfth Night — yearning for love in a world that objectified women. Literature across centuries, from Brontë's Jane Eyre to Tagore's Chokher Bali, has revealed a recurring truth: that women have long struggled to find their voice in patriarchal societies.
While modern India has made significant strides in empowering women — with leaders at the forefront of politics, science, and social change — there remains a large, often invisible group still battling for dignity: India's widows and single women.
Through its collaboration with the field research collective Kacheri Diaries, 5 Points Chambers has already supported vital legal literacy efforts — including recent groundwork in Urali Kanchan, Maharashtra, where rural widows and single women were informed of their land and succession rights for the first time.
It's no surprise, then, that the work of Ekal Nari Shakti Sansthan (ENSS) — or The Organisation of Strong Women Alone — struck a powerful chord. What began as a grassroots movement in Rajasthan has now caught the attention of 5 Points Chambers, leading to a transnational collaboration rooted in shared values: justice, dignity, and access for all women, regardless of geography.
Across India's rural landscape, particularly in conservative states like Rajasthan, single women — whether widowed, divorced, separated, or older and unmarried — face systemic exclusion. They are frequently denied access to family property, ostracised by society, and left without any real path to economic independence.
While courts across India are over burdened with unresolved cases, there are countless women who cannot even access the system. Their stories never reach the courtroom. These are women who, despite having legal rights to property, livelihood schemes, or entitlements, are simply unaware — or unable — to claim them. In many cases, widows are left without family support, social standing, or even basic information on their rights.
That's where ENSS steps in. Founded in Rajasthan, the organisation has been working tirelessly since 2002 to support single women, including widows, separated and abandoned women, and older unmarried women. What started as a state-level gathering of 450 widows in 1999 has grown into a full-fledged movement with single women themselves in leadership roles.
At the helm is Chandrakala Sharma, a fierce advocate for gender equity and land rights, who has helped shape ENSS into a model of grassroots feminism rooted in dignity, access, and solidarity.
ENSS's mission is bold and transformative: to ensure that every single woman, regardless of caste, religion, or class, can live as an empowered citizen with full access to legal, social, and cultural entitlements.
As their legal awareness grows, these women are transforming their communities — helping others obtain access to electricity, clean water, government schemes, open education programmes, and skills training. They champion fair wages, push for individual MGNREGA cards as household heads, and demand respect not as victims, but as change-makers.
Despite a strong constitutional and legal framework, enforcement remains the biggest barrier. Under Indian law, widows have rights to their husbands' property, and daughters have equal inheritance rights after the Hindu Succession (Amendment) Act, 2005. Yet many women — especially in rural India — are unaware of these laws or lack the documents, support, or social power to enforce them.
According to ENSS, widows often face opposition from their in-laws, who seek to evict them from family land. False accusations — branding them as 'unlucky are used to push them out of their homes and strip them of dignity. Separated and abandoned women fare even worse: they may have lived and worked on land for decades without a shred of legal entitlement, especially if no formal divorce has been obtained.
The law still leaves many women behind. For instance: separated or abandoned women — whose husbands have left or disappeared — have no legal claim to marital property without a formal divorce. Divorced women may also lack legal recourse unless property is specifically awarded in settlement. Unmarried daughters, despite legal rights to parental property, often face societal resistance in asserting those rights.
5 Points Chambers, a UK-based law firm, is committed to advancing mediation and grassroots justice. As advocates for non-adversarial dispute resolution and equal access to justice, we collaborate closely with ENSS and partner initiatives like Kacheri Diaries, whose vital fieldwork has laid the groundwork for legal awareness in rural communities. Together, we aim to raise awareness and give a stronger global voice to their cause. Transformative legal awareness must be built from the ground up — starting with the most silenced voices.
Legal schemes exist, but awareness doesn't. And this flaw remains all too common across rural and suburban India.
As Chandrakala Sharma, head of ENSS, puts it:
'We are not just helping women survive — we are helping them reclaim what is rightfully theirs. Once a woman realises her rights, she is no longer alone.'
As India moves forward with landmark reforms like the Mediation Act, let us not forget the women left furthest behind. The ENSS model teaches us that justice is not merely the domain of courts — it begins in fields, in villages, and in the quiet assertion of dignity by women who have refused to be broken.
Susheel BellaraBarrister and Founder, 5 Points Chambers, London, UK
Note to readers: This article is part of HT's paid consumer connect initiative and is independently created by the brand. HT assumes no editorial responsibility for the content, including its accuracy, completeness, or any errors or omissions. Readers are advised to verify all information independently.
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Hindustan Times
3 days ago
- Hindustan Times
From Margins to Movement: The Legal Awakening of India's Widows and Single Women
Avid readers of Shakespeare may recall the melancholic musings of Duke Orsino in Twelfth Night — yearning for love in a world that objectified women. Literature across centuries, from Brontë's Jane Eyre to Tagore's Chokher Bali, has revealed a recurring truth: that women have long struggled to find their voice in patriarchal societies. While modern India has made significant strides in empowering women — with leaders at the forefront of politics, science, and social change — there remains a large, often invisible group still battling for dignity: India's widows and single women. Through its collaboration with the field research collective Kacheri Diaries, 5 Points Chambers has already supported vital legal literacy efforts — including recent groundwork in Urali Kanchan, Maharashtra, where rural widows and single women were informed of their land and succession rights for the first time. It's no surprise, then, that the work of Ekal Nari Shakti Sansthan (ENSS) — or The Organisation of Strong Women Alone — struck a powerful chord. What began as a grassroots movement in Rajasthan has now caught the attention of 5 Points Chambers, leading to a transnational collaboration rooted in shared values: justice, dignity, and access for all women, regardless of geography. Across India's rural landscape, particularly in conservative states like Rajasthan, single women — whether widowed, divorced, separated, or older and unmarried — face systemic exclusion. They are frequently denied access to family property, ostracised by society, and left without any real path to economic independence. While courts across India are over burdened with unresolved cases, there are countless women who cannot even access the system. Their stories never reach the courtroom. These are women who, despite having legal rights to property, livelihood schemes, or entitlements, are simply unaware — or unable — to claim them. In many cases, widows are left without family support, social standing, or even basic information on their rights. That's where ENSS steps in. Founded in Rajasthan, the organisation has been working tirelessly since 2002 to support single women, including widows, separated and abandoned women, and older unmarried women. What started as a state-level gathering of 450 widows in 1999 has grown into a full-fledged movement with single women themselves in leadership roles. At the helm is Chandrakala Sharma, a fierce advocate for gender equity and land rights, who has helped shape ENSS into a model of grassroots feminism rooted in dignity, access, and solidarity. ENSS's mission is bold and transformative: to ensure that every single woman, regardless of caste, religion, or class, can live as an empowered citizen with full access to legal, social, and cultural entitlements. As their legal awareness grows, these women are transforming their communities — helping others obtain access to electricity, clean water, government schemes, open education programmes, and skills training. They champion fair wages, push for individual MGNREGA cards as household heads, and demand respect not as victims, but as change-makers. Despite a strong constitutional and legal framework, enforcement remains the biggest barrier. Under Indian law, widows have rights to their husbands' property, and daughters have equal inheritance rights after the Hindu Succession (Amendment) Act, 2005. Yet many women — especially in rural India — are unaware of these laws or lack the documents, support, or social power to enforce them. According to ENSS, widows often face opposition from their in-laws, who seek to evict them from family land. False accusations — branding them as 'unlucky are used to push them out of their homes and strip them of dignity. Separated and abandoned women fare even worse: they may have lived and worked on land for decades without a shred of legal entitlement, especially if no formal divorce has been obtained. The law still leaves many women behind. For instance: separated or abandoned women — whose husbands have left or disappeared — have no legal claim to marital property without a formal divorce. Divorced women may also lack legal recourse unless property is specifically awarded in settlement. Unmarried daughters, despite legal rights to parental property, often face societal resistance in asserting those rights. 5 Points Chambers, a UK-based law firm, is committed to advancing mediation and grassroots justice. As advocates for non-adversarial dispute resolution and equal access to justice, we collaborate closely with ENSS and partner initiatives like Kacheri Diaries, whose vital fieldwork has laid the groundwork for legal awareness in rural communities. Together, we aim to raise awareness and give a stronger global voice to their cause. Transformative legal awareness must be built from the ground up — starting with the most silenced voices. Legal schemes exist, but awareness doesn't. And this flaw remains all too common across rural and suburban India. As Chandrakala Sharma, head of ENSS, puts it: 'We are not just helping women survive — we are helping them reclaim what is rightfully theirs. Once a woman realises her rights, she is no longer alone.' As India moves forward with landmark reforms like the Mediation Act, let us not forget the women left furthest behind. The ENSS model teaches us that justice is not merely the domain of courts — it begins in fields, in villages, and in the quiet assertion of dignity by women who have refused to be broken. Susheel BellaraBarrister and Founder, 5 Points Chambers, London, UK Note to readers: This article is part of HT's paid consumer connect initiative and is independently created by the brand. HT assumes no editorial responsibility for the content, including its accuracy, completeness, or any errors or omissions. Readers are advised to verify all information independently. Want to get your story featured as above? click here!


Hindustan Times
5 days ago
- Hindustan Times
Aamir Khan says people hail Shakespeare adaptations but troll film remakes, finds discussion useless: Usko bhi band karo
Actor Aamir Khan is set to return to the big screen this summer with his new film, Sitaare Zameen Par. The film, which sees him play a basketball coach training a team of players with special needs, is a remake of the Spanish film Campeones. It had also inspired the Hollywood film Champions. Even as Sitaare Zameen Par receives flak for being a 'copy', Aamir has defended remakes, saying they are always a new take on an existing story. (Also read: Aamir Khan's Sitaare Zameen Par 'frame by frame copy' of Hollywood film that copied Spanish film? Internet is confused) Sitaare Zameen Par is Aamir's first film in three years. His previous release - Laal Singh Chaddha - was also a remake, being the official adaptation of Forrest Gump. Addressing this on Raj Shamani's podcast, Aamir said, "After Laal Singh (Chaddha), a lot of people told me, 'you are making a remake again'. Laal Singh was trolled heavily for being a remake. But I am a different kind of person. I don't understand practical things. I don't have any problem with a remake, and I don't feel my creativity is diminishing at all. For me, it is new work. Someone else made this story, and I am giving it my perspective." Aamir further defended film remakes by equating them with theatrical adaptations of William Shakespeare's plays. "People still do Shakespeare to this day. Even today, the number one playwright in theatre is Shakespeare, worldwide. Even today, his plays are adapted in every language. And we praise it. Kyun bhai? Remake hai, usko band karo (Why though? It's a remake, shut it). Aap apna naatak likho na, Shakespeare ka kyun kar rahe ho aaj tak (You write your own play, why are you doing Shakespeare). This is wrong thinking. When I adapt Shakespeare, I am putting my energies into it. I find this discussion on remakes useless." William Shakespeare is considered one of the greatest playwrights in the English language. His iconic plays like Romeo and Juliet, Macbeth, Hamlet, King Lear, and A Comedy of Errors have been adapted thousands of times on stage and screen. Several Indian films, notably Vishal Bhardwaj's Omkara, Maqbool, and Haider, are also adaptations of his plays. Meanwhile, Aamir is returning to the big screen with RS Prasanna's Sitaare Zameen Par. The film releases on 20 June.


Hindustan Times
17-05-2025
- Hindustan Times
Stephen Greenblatt: 'Shakespeare is like an enormous planet Jupiter'
How did you arrive at the theory of New Historicism, which you espoused in the 1987 essay, Towards A Poetics of Culture? When I was at the university, the overwhelmingly dominant approach to literature and culture was via New Criticism, which I had a deep immersion into. We were told that we shouldn't be interested in anything outside the text. I remember reading Alexander Pope, and coming across an extremely misogynistic and unpleasant reference to Lady Mary Wortley Montagu. And I said, 'Who is Lady Mary Worley Montagu?' I was told that wasn't a relevant question. In the 1960s, after I graduated from Yale, I went to Cambridge on a grant, and one of my teachers was Raymond Williams. I'd never encountered a Marxist nor had I encountered anyone before who had a powerful, vital sense of a world outside the text. That vital sense had a huge influence upon me. When I returned to graduate school and to Berkeley to teach, it seemed crucially important to read the texts and understand the world in which they were participating. This did not seem to me a betrayal of literature but quite the opposite. What I always wanted to do was love the work, care about it, and understand it better. And I still feel that way as I look back on my 50-year career. Tell me about your fascination with Shakespeare. In Will in the World, you call him a 'person who wrote the most important body of imaginative literature of the last thousand years.' My love for Shakespeare started fairly late. I remember being 13 years old and having my junior high school teacher teach As You Like It, and I hated it. I thought this was the worst thing I'd ever encountered. But then somewhat later than that, still in high school, I had a teacher who taught us King Lear, which is a crazy thing to teach high school kids. What I most remember is that this incredibly wise teacher once said 'I don't understand a certain portion of the play'. And none of my teachers had ever said that. And the fact there was an enigma that he couldn't understand had a powerful effect on me for reasons I can't explain. As an undergraduate I did not take a Shakespeare course, and as a graduate student I wrote on Raleigh, not on Shakespeare. And yet Shakespeare is like an enormous planet Jupiter, and it just slowly pulls everything that's floating around closer and closer to the centre. Beyond Shakespeare, why does Renaissance fascinate you? A lot of it is not because of Shakespeare, but because of Christopher Marlowe, a crazy person murdered at 29, who had the mad courage to break the mould and start doing things. I'm interested in moments in which something breaks the mould, in which things happen. If you suddenly think of why, in the 15th century in Italy, there was one genius after another doing unbelievable things, it's partly competitive, and partly they echo each other. I'm fascinated by how culture does that; why it turns a corner. How did you stumble upon the story of the Florentine book hunter, Poggio Braccionlini and his discovery of the 500-year-old copy of Lucretius' The Nature of Things, which you argue paved the way for modernity in your book, The Swerve? The immediate occasion that led me to write The Swerve was an academic conference I attended in Scotland. The assignment was to write about when an ancient work returned to circulation. I had discovered Lucretius' De rerum natura in translation when I was a student at Yale. The paperback cover had a provocative painting by the surrealist Max Ernst, and I bought it for 10 cents. A poem about ancient physics does not seem ideal for summer reading, but I did end up reading it, and I thought about how it radically suggested a secular world view, including a universe made up of little atoms. So, at the conference, I chose to think about the person who recovered Lucretius' poem, and I thought, who's this odd book hunter, a papal secretary? He seems to be a very strange character. In your book Tyrant: Shakespeare on Politics, you comment on contemporary politics, including on Donald Trump. How can reading Shakespeare help us understand Trump's return to the presidency? Often, Shakespeare asks himself, 'How can a country fall into the hands of a catastrophic leader? And he thinks the principal answer is election, not assassination. This is the whole point about Richard the Third, who only becomes what he is because enough people support him. Donald Trump is not Superman who miraculously has so many powers. He has to have many people who feel they have a stake in what is being done and want it to be done. The question is, why should you think about literature in this context? The reason is that great literature, Shakespeare's plays being an example, tend to show the complicated, mixed motives that lead to catastrophes of this kind. During your session at the Jaipur Literature Festival, you mentioned feeding Shakespeare's reading list to a Large Language Model. What was your experiment about and what is your stand on AI? Shakespeare at the end of his life was reading Cervantes' Don Quixote, the first and possibly greatest novel ever written, and he wrote a play based on an episode in Don Quixote called Cardenio. It's lost (An adaptation of the play called Double Falsehood was found later). So, I wrote a version (performed in Kolkata in 2007) based on Double Falsehood and I thought it would be fun, just as an experiment, to see what happened if you fed the play into AI and say, 'Write Cardenio'. It will almost certainly fail to give us something truly powerful because AI is not human. It doesn't have the craziness that human beings have, but also because there are guardrails built into AI so it can't be misogynistic, or homophobic. It's actually difficult to write a Shakespeare play without crossing all kinds of lines. That's the nature of plays that they're full of offence. I asked the same AI model to do a version of Taming The Shrew that wasn't misogynistic, and it erased virtually the entire play. You speak of loving a work of literature, but lately, cancel culture has overpowered this narrative. Walter Benjamin, the great German critic, said, 'Every monument of civilization is a monument of Barbarism'. If you look hard at Edmund Spenser's The Faerie Queene, you realize it's complicit in horrendous colonial acts in Ireland, but you must love the poetry simultaneously. Understand that if you don't have an aesthetic appreciation or if you simply hate it, you're missing 9/10ths of what matters. I want to tell my students, 'I want you to have some reason to believe that the works are worth spending time with.' When you love them, you and others will feel some resonance inside you while reading them. It's also difficult to have your mind in two or three places simultaneously, but that's the whole point. It's a point that goes back to the Iliad or the Odyssey. The works of art that most matter put you in this uncomfortable position of having your mind in multiple places simultaneously. My teacher, Harold Bloom called Shakespeare God. He attacked what I was doing because he said I was the Chief of the School of Resentment. But I don't hate the works. I love them, but I also want to understand what they're complicit in. Kanika Sharma is an independent journalist.