Jai Satoshi Maa

Jai Satoshi Maa

The movie Jai Santoshi Maa was written by Priyadarshi and directed by Sharma Vijay in 1975 to depict the attributes of the Indian goddess of satisfaction, Santoshi Mata (sometimes called Santoshi Maa). Santoshi Maa is a youthful female deity possessing strong values and characteristics (Shemaroo). In particular, the visual features of the deity are primarily unique to Santoshi Mata and are representative of the attributes painted in the film. The film starts with the birth of Santoshi Maa in the Hindu Heaven of Dev Lok (or the world of the gods). The goddess Santoshi Maa in the movie is worshipped by her devotees using rituals, fasting, singing, and other religious practices, and is also portrayed both in human form, as a statue, and as a female deity of exceptional power and strength. Hire our assignment writing services in case your assignment is devastating you.

Describe Goddess Santoshi Maa’s iconographic features in the film. In other words, describe her representation, her posture, her gestures, her dress, her demeanor, and her paraphernalia. What are her characteristics as a benevolent deity? In other words, what does she do for her devotees?

In her still deity form, Santoshi Maa is portrayed in the film clothed in a bright pink Hindi outfit, with four arms and an inviting smile. Even though she is smiling gently, she is painted carrying arms in her right and left arms, including a trident in her right hand and a sword on the left (Hawley 186-187). The extra two arms are also painted, performing unique gestures. For example, the third arm on the left is raised and seems to be receiving blessings or bestowing something. On the other hand, the fourth arm on the right is bent forward and rests on her knee. She seems to be receiving donations, gifts, and submissions from her followers. Typical of a Hindu deity, goddess Santoshi Maa is wearing expensive clothes (an attractive crown) and gold jewelry – indicating her classy, precious, and respected stature in society. However, this is inappropriate to some people because the aesthetics and extravagance in the dress and jewelry only befit a god rather than a goddess.

It is even utter bewilderment that a youthful goddess wears these decorative ornaments and the expensive crown. She is wearing several layers of gold-beaming necklaces around her neck and a white flower ribbon (Hawley 183). The goddess is also clad in gold earrings to add to her collection of pricey and exclusive necklaces. In her still form, the character Santoshi Maa matches the deity statue of the goddess Santoshi Mata. From the expression on her face, the goddess is depicted as a gentle and soft figure with a supple and calming smile. The addition of arms in her left and right hands depicts her strong will and power. She is also seated with her legs crossed to form a lotus flower. This body position is often used to represent the element of meditation, reflection, deep thought, or deliberation. In truth, the lotus flower sitting position and the armored image are synonymous with several Hindu deities, such as the goddess Kali, Saraswati, and many others.

In what ways is she worshipped by her chief devotee in the film?

Therefore, Santoshi Maa is seen as a god of satisfaction, although she is the youngest female deity possessing similar powers as her predecessors. As demonstrated in the film, Santoshi is adored and worshiped by her followers through observing sixteen successive days of fasting on Fridays. The other cultural practices practiced by her devotees include singing, festivals, and storytelling. All these cultural practices are evidently practiced throughout the movie. For instance, Satyavati was fresh from singing and worshipping Santoshi Mata before meeting Birju for the first time. Satyavati also worshipped the goddess Santoshi Mata by fasting for 16 successive Fridays. Another clear example is the festival organized towards the end of the film, particularly to celebrate the return of Birju home. In particular, puja was prepared to thank the goddess Maa for the safe return of Birju.

What are the factors that led to the Goddess Santoshi Maa’s rising popularity with the Indian public? Refer to Hawley’s article to answer this question fully.

The movie Jai Santoshi Maa creates this strong, evoking, and powerful narrative of Santoshi. However, this mythological image of the goddess never existed in the past. Previously, Santoshi Mata was only regarded as a small goddess worshipped by Indian women in rural/farm areas. After the release of the film in 1975, the goddess gained cult status in India, penetrating even the mainstream Indian culture.

Director Sharma Vijay has effectively used several new cinematographic approaches in the film Jai Santoshi Maa – a majority of these items were developed and integrated into deity movies in the 20^th century. For example, in the past, especially throughout the 17^th, 18^th, and 19^th centuries, deities were only depicted in statues, paintings, and murals. The use of murals or paintings only meant that people lacked an in-depth understanding of the deities. This might explain why Santoshi Maa was unpopular and restricted to rural areas in India. This significantly changed with the introduction of motion pictures in the late 1920s. According to Plate (183-185), the realism engraved in the television media changed the way audiences consumed religious information. Most importantly, it allowed information to be spread quickly to a broader range of audiences.

In fact, it is argued that the 1975 movie gave a little known Santoshi Maa a newly elevated goddess status. Hawley (3) said she rose to the “pan-Indian Hindu pantheon” status. However, some historians like Brand Michael believe that the popularity of Santoshi Maa was a culmination of the campaign and efforts of the 1960s that coincided with the building of five temples in the Northern parts of India. Her cult status began growing and spreading among women across the country via poster art, pamphlet literature, and word of mouth. Amid this rising popularity, the wife of Sharma Vijay, the director of the film Jai Santoshi Maa, played an important role in convincing her husband to “spread the goddess’s message.” The depiction of the goddess in motion pictures played a huge part in growing the reputation of Santoshi Maa. Regardless, there are some historians who still think the use of motion pictures created distraction because of the dramatization, exaggeration, and manipulation of some facts of goddesses.

Finally, it is important to acknowledge the important role of films, especially cinematography, in portraying realism. Religious movies and television drama series, such as Jai Santoshi Maa, not only help in elevating the status and popularity of female deities but also help create realism by portraying them as human and brave. Films help the audience see the power and influence of deities in real-time and in human form. Seeing revered and powerful goddesses in the human form helps create that fear and respect for deities. It is indubitable that this played a huge part in uplifting Santoshi Mata to a cult status in India and globally.

Works Cited

Hawley, John Stratton. The Goddess in India: One Goddess and Many, New and Old. In John Stratton Hawley, Donna Marie Wulff (ed.). Devī: Goddesses of India. Motilal Banarsidass, 1998.

Plate, S. Religion, art, and visual culture (pp. 182-192). New York: Palgrave, 2002.

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READING RESPONSE PAPER – 3 (RRP3)

Watch the film, Jai Santoshi Maa, available on Blackboard under Weekly Sessions > Week 5. To understand the history of the film’s production and reception, please read John Stratton Hawley’s excerpt in our textbook (Religion, Art, and Visual Culture: A Cross-cultural Reader by S. Brent-Plate), pp. 182– 186.

Jai Satoshi Maa

After watching the film, respond to the questions below in 750 words. Remember to make notes about these questions, while watching the film.

• Describe Goddess Santoshi Maa’s iconographic features in the film. In other words, describe her representation, her posture, her gestures, her dress, her demeanor, and her paraphernalia. What are her characteristics as a benevolent deity? In other words, what does she do for her devotees?
• In what ways is she worshipped by her chief devotee in the film?
• What are the factors that led to the Goddess Santoshi Maa’s rising popularity with the Indian public? Refer to Hawley’s article to answer this question

Remember that whenever you quote or paraphrase the author’s ideas, you should cite the author accurately by last name and page number). For example, “(Hawley, 182).”

Grading Criteria

This reading response paper (RRP), is the third of five, and constitutes 5% of your final grade. All RRPs will be graded on a modified Pass/Fail basis. The grading criteria are as follows:

Satisfactory, good, or very good: A– Deficient but acceptable: C Unacceptable: F

Excellent or outstanding: A No submission: 0

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