Newly ‘constructed masculinity’ in Mahesh Dattani’s Dance Like a Man

Abstract

The term ‘gender’ is used to describe the distinction between the socialized features of femininity and masculinity as well as the biological sex. It is a social construct that defines behaviors like masculine and feminine behavior. Gender plays a hugely important part in society. Specifically, a situation in which men frequently oppress women and where women are assigned responsibilities that make it clear that they are less capable of acquiring and using arbitrary authority than men are. The term ‘patriarchy’ often refers to the system in which this power appears and is exercised. Additionally, men tend to appreciate the power factor and insist on participating in activities that are primarily focused on them. So, a man’s identity defines his sexuality and area of work. Men also want to participate in activities that are largely about them and tend to appreciate the power component. A man’s identity thus determines his sexual orientation and line of work. In his play Dance Like A Man, Mahesh Dattani takes on these issues head-on as a dramatist. He challenges the socialization of gender roles and the hierarchy of the sexes. The present paper attempts to explore the discourse masculinity, patriarchal hegemony and gender construction within the margin of family unit characterized by generation gaps as depicted in the play