The Illustrated Encyclopedia of Hindusim vol 2
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Santoshi Ma<br />
came from very low caste communities. It<br />
is certainly true that devotees <strong>of</strong> low social<br />
status would have been forbidden even to<br />
enter temples, much less worship the<br />
images in those temples, and thus a religious<br />
path emphasizing the Name and<br />
interior religious experience, which are<br />
accessible to everyone, might have<br />
seemed a more viable option. In the same<br />
way, the socially oppressed might find the<br />
notion <strong>of</strong> an alternative, egalitarian community<br />
immensely attractive. Yet to<br />
reduce the sant tradition to a simple reaction<br />
by marginal social groups cannot<br />
explain why one <strong>of</strong> its major figures is<br />
Eknath, a brahmin. Such reductionist<br />
analyses ignore the sant movement’s real<br />
thrust, namely the passionate search for<br />
the divine that permitted no compromises<br />
and no excuses. For further information<br />
see Karine Schomer and W. H.<br />
McLeod, <strong>The</strong> Sants, 1985.<br />
Santal<br />
Tribal (adivasi) community in northern<br />
India, particularly in the border districts<br />
<strong>of</strong> Bihar and West Bengal. As with most<br />
tribals in India, many are very poor and<br />
make a precarious living as cultivators.<br />
Santoshi Ma<br />
(“the mother who satisfies”) Goddess<br />
who is one <strong>of</strong> the most fascinating<br />
Hindu deities, and whose recent explosive<br />
popularity illustrates both the flexibility<br />
<strong>of</strong> the Hindu pantheon, and the<br />
way that Hindu religion reflects and<br />
responds to changes in Indian society.<br />
Santoshi Ma’s popularity was largely<br />
inspired by a film released in 1975, Jai<br />
Santoshi Ma (“Victory to Santoshi Ma”).<br />
<strong>The</strong> film first details the birth <strong>of</strong> Santoshi<br />
Ma as the daughter <strong>of</strong> the god Ganesh,<br />
but then cuts to the earthly problems<br />
suffered by one <strong>of</strong> her devotees (bhakta),<br />
Satyavati. Satyavati is a new bride having<br />
problems adjusting to her marital<br />
home, particularly because <strong>of</strong> tensions<br />
with her wicked sisters-in-law. By the<br />
end <strong>of</strong> the film, through Satyavati’s<br />
steadfast devotion to Santoshi Ma, all <strong>of</strong><br />
her problems are resolved.<br />
This film did not invent Santoshi Ma,<br />
although it was largely responsible for<br />
spreading her worship. <strong>The</strong> prescriptions<br />
for Santoshi Ma’s religious vow<br />
(vrat) had existed before the film was<br />
made, and both the rite’s charter myth<br />
and the film focus on the problems <strong>of</strong> a<br />
new bride and their eventual resolution<br />
through her steadfast devotion to<br />
Santoshi Ma. Santoshi Ma’s ultimate<br />
source is a mystery, but her iconography<br />
suggests that she is an amalgam <strong>of</strong> other<br />
female deities. She is seated on the lotus,<br />
a feature associated with the goddess<br />
Lakshmi; she wields the sword associated<br />
with the goddesses Kali and Durga, as<br />
well as the trident associated with the<br />
god Shiva. She shows the attributes<br />
associated with both married and<br />
unmarried goddesses: Like the married<br />
goddesses, she is nurturing and caring<br />
to her devotees, playing the role <strong>of</strong> the<br />
bene<strong>vol</strong>ent Indian mother, and like the<br />
independent unmarried goddesses, she<br />
is powerful and and potentially dangerous—one<br />
<strong>of</strong> the film’s climactic scenes<br />
shows her utterly destroying a temple<br />
after Satyavati’s sister-in-law intentionally<br />
ruined the sanctified food (prasad)<br />
meant for her devotees. Yet she is also<br />
believed to have the power to grant her<br />
devotees’ requests, no matter how large.<br />
Through her nurturing, bene<strong>vol</strong>ent<br />
character coupled with power, she<br />
crosses the usual boundaries associated<br />
with Hindu goddesses.<br />
Part <strong>of</strong> the popularity <strong>of</strong> Santoshi<br />
Ma’s vrat comes from its simplicity,<br />
cheapness, and promise <strong>of</strong> benefits. <strong>The</strong><br />
observance is usually kept by women<br />
with the aim <strong>of</strong> attaining concrete goals<br />
for themselves and their families: getting<br />
a job, passing an exam, conceiving a<br />
child, or arranging a marriage. <strong>The</strong> rite<br />
in<strong>vol</strong>ves weekly fasting (upavasa) and<br />
worship. One <strong>of</strong> the social factors cited<br />
in Santoshi Ma’s explosive popularity is<br />
the steadily growing uncertainty in<br />
Indian (and South Asian) life, which<br />
makes very ordinary things difficult<br />
to attain and necessitates the use <strong>of</strong><br />
all possible resources. In this context,<br />
an inexpensive rite that promises<br />
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