From Kunti and her son Karna in the epic Mahabharata to the many abandoned or runaway wives, rejected daughters-in-law and star-crossed lovers who populate Indian films, first mothers are familiar protagonists in Indian history, literature and film. Despite the idealised association of motherhood and marriage in Indian society, unmarried motherhood is a recurring theme.
Scroll down to explore examples of unmarried motherhood in Indian literature and film.
Ms Sarah Welch, CC BY-SA 4.0 <https://creativecommons.org/licenses/by-sa/4.0>, via Wikimedia Commons
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Kunti and Karna in the Mahabharata
The most ancient story of unwed motherhood is that of Kunti and her son Karna, which features in the Mahabharata. This epic story has been interpreted and reinterpreted throughout history. In 1900, the famous Indian poet Rabindranath Tagore penned a retelling of Kunti and Karna's fate in the form of a poetic dialogue with the title Karna Kunti Sangbad, which continues to inspire today.

English translation of the poetic dialogue between Kunti, the unmarried mother of Karna, from the Indian epic poem Karna Kunti Sangbad by Rabindranath Tagore, 1900. Source: www.parabaas.com
The single mother has also been a popular figure in Indian film, starting with Mother India (1957),[FN1 https://www.youtube.com/watch?v=s0qTPjUkR6I] Mamta (1966),[FN2 https://www.youtube.com/watch?v=o48ym6-gxDc] Aradhana (1969)[FN3 https://www.youtube.com/watch?v=pAcWUhfjt4s] and Julie (1975)[FN4 https://www.youtube.com/watch?v=8UK_8_SLDAQ] and many more.[FN5 For a comprehensive overview of films on single mothers in India, see e.g. https://www.womensweb.in/2020/05/single-mothers-in-hindi-films-may20wk1sr/. For an exploration of the mythology surrounding motherhood in Indian films, see: Shoma A. Chatterji, "Myth, Motherhood, and Mainstream Hindi Cinema", in: Zinia Mitra (ed.), The Concept of Motherhood in India. Myths,Theories and Realities , p. 27–41. Newcastle upon Tyne, 2020.]

Radha, the abandoned wife
in Mother India (1957)
Radha lives with her husband and mother-in-law in rural India. After her husband abandons her while she is pregnant with their fourth son, she struggles raise her children amidst poverty, drought, and floods. Burdened by wedding debts, she is threatened and raped by the debt collector. During her fight for survival, she loses two of her sons and has to kill a third son to save the life of a woman.

Mother India (1957) a film by director and producer Mehboob Khan, timestamp: 1:04:41, https://www.youtube.com/watch?v=s0qTPjUkR6I
Deviyani, the abandoned wife
in Mamta* (1966)
Monish Rai comes from a wealthy family and is in love with Deviyani, who is poor. Monish has to travel abroad to further his legal education, but promises to stay in touch with Deviyani. After his departure, Deviyani and her father are plunged into financial difficulty. She approaches Monish's mother for assistance, but is refused. In desperation, her father marries her off to a much older man who is an alcoholic and frequents prostitutes. Deviyani becomes pregnant and gives birth to a baby girl, Suparna. Unhappy with her marriage and her circumstances, she runs away, taking her daughter with her. She approaches a nun, Mother Mary, in a convent and leaves Suparna in her care before disappearing forever.
*Mamta means 'mother's love' in Hindi.

Film Mamta by director Asit Sen, produced by Charu Chitra (1966), source: imdb.com
Vandana, rejected daughter-in-law
in Aradhana (1969)
Set in West Bengal, Aradhana is a love story between Arun, an air force officer, and Vandana, the daughter of a doctor. A few days after they marry in a temple without witnesses, Arun is killed in an accident. Vandana then finds out that she is pregnant and wants to keep her child. Her father tries to change her mind but ultimately supports her in her plan. Arun's family does not accept her as their daughter-in-law, however. When her father also dies, Vandana is left to fend for herself as a single pregnant woman. After the birth of her son Suraj, a doctor advises her to take the baby to a children's home so she can return and legally adopt him the next day. Before his mother can adopt him, Suraj is adopted by a married couple. Determined to be part of his life, Vandana becomes his nanny. Suraj does not find out that Vandana is his biological mother for many years. It is only as an adult that he discovers the story of his biological parents. The film ends with Suraj acknowledging the sacrifices his mother has made for him and celebrating her strength and courage.
Vandana telling her father she is pregnant. Source: YouTube
Vandana's father asking Arun's family to recognise her as their late son's widow. Source: YouTube
Vandana parts with her baby after giving birth. On the advice of the doctor, Vandana leaves the baby at a children's home with a heavy heart, but plans to return the next day and adopt him. Source: YouTube
Foto von Andrea Abraham, April 2023

Julie, a Christian who has a baby
with her Hindu lover in Julie (1975)
Julie is an Anglo-Indian Christian woman who falls in love with Shashi, the brother of her best friend. He, however, comes from a Hindu family. Julie gets pregnant, but before she can tell him, Shashi goes away to college in another city. Her mother is distraught when Julie tells her about the pregnancy and they keep it a secret from the rest of the family. Her mother thinks about helping Julie to have an abortion but abandons the idea because of her Christian beliefs. Instead, she sends Julie away to have her baby in secret. They tell the rest of the family that Julie has found a job in a far off place. After the birth, Julie's mother takes her to a Christian shelter to give the baby up for adoption. When Julie returns home, she runs into Shashi and tells him all that has happened. He agrees to marry her, but his mother objects to an interfaith marriage. She knows nothing of the child as Julie gave birth to in secret. Julie's mother also disagrees with the marriage because she and the rest of the family want to go to England. Shashi's mother only changes her mind when she finds out about the baby. She helps arrange the interfaith marriage and Julie and Shashi are able to raise their child together with the support of their families.
Julie is a Christian woman who has to part with her child even though the child's Hindu father agrees to marry her. Source: YouTube
Single mothers – whether abandoned, widowed or unwed – have long been familiar figures in Indian literature and film. While many of the storylines explore the options open to single mothers and portray them as heroic figures who succeed in preventing the adoption, reclaim their baby or are reunited with their child in later life, the research of Pien Bos[FN6 Pien Bos, "Relinquishment & Adoption. The Perspective of Indian Mothers",in: Andrea Abraham, Sabine Bitter, Rita Kesselring (ed.), Mother Unknown. Adoption of Children from India in the Swiss Cantons of Zurich and Thurgau,1973–2002, Zurich 2024.], Andrea Abraham and Asha Narayan Iyer [FN7 Andrea Abraham, Asha Narayan Iyer, "The Stigmatisation of Unwed Mothers. Ethnographic Research in India", in: Andrea Abraham, Sabine Bitter, Rita Kesselring (ed.), Mother Unknown. Adoption of Children from India in the Swiss Cantons of Zurich and Thurgau, 1973–2002, Zurich 2024.] shows that between the 1970s and 2000s, very few single mothers in India were able to keep their child. The depiction of single mothers in film and literature contrasts with real-life adoption procedures and discourse, in which the topic of unwed motherhood is often considered taboo.[FN8 Andrea Abraham, "Indian Mothers Unseen. Gaps, Guesswork and Ambiguities", in: Andrea Abraham, Sabine Bitter, Rita Kesselring (ed.), Mother Unknown. Adoption of Children from India in the Swiss Cantons of Zurich and Thurgau, 1973–2002, Zurich 2024, p. 69–89.]



