The grandmothers hitting patriarchy and weights

Older women in the Delhi-NCR region are using social media as performers, commentators, and advisers. They sing, dance, discuss mental health, and speak about feminism, parenting, and social injustice. Their popularity matters because it places older women’s experiences in a public space often associated with younger creators.

Savitri Hooda is the clearest example. Her videos criticise dowry, discrimination, violence, restrictions on women, and religious figures. One reel calling her generation “shoddy” received 4,87,000 likes. Her account also includes discussions shaped by family conversations about psychology, philosophy, and society.

This activity is changing how audiences view older women. Savitri manages her accounts herself, records videos, and answers comments using voice-to-text. Other women over 60 are also putting their voices online. Their growing audiences show that age does not prevent people from becoming influential public speakers.

Savitri Hooda has built audiences that rival those of established online creators. Her month-old Instagram account had 3,08,000 followers after only 27 posts. Her older YouTube channel, renamed “Tai Savitri,” had 3,31,000 subscribers and 14,000 videos. Individual posts also drew striking attention.

A video about her generation’s treatment of women received 4,87,000 likes. Another video about period blood received 19,000 likes. The response was large enough to surprise her family. Ashish recalls that the first podcast invitation arrived when she had only about 3,000 followers.

These numbers reveal that audiences are interested in more than polished entertainment. They are responding to Savitri’s plain language, personal experience, humour, and criticism of social customs. Interview requests followed a viral mental-health video. Her reach also shows that older women can become influential when platforms give them direct access to viewers.

Patriarchy means a system where men hold greater authority and women are treated as less important or less free. In the article, Savitri connects it with discrimination, violence, control over women’s choices, and resistance to women’s independence. She says her generation killed daughters in the womb, discriminated against daughters, burned daughters-in-law for dowry, and treated women as second-class citizens.

Her own childhood shows how control worked. Her conservative mother stopped her from joining a play about dowry and from taking judo. Savitri quit school in Class 7 in protest. At home today, she jokes that feminism is meaningless if she cannot “finish patriarchy” in her own house.

That comment points to both public and private change. Savitri asks her husband to make tea while discussing feminism. Her videos also criticise local godmen and social customs. By linking household behaviour with wider injustice, she presents patriarchy as something reproduced through everyday decisions.

The women challenge narrow expectations about both gender and age. They are not presented only as homemakers or family elders. Across the NCR, women over 60 sing, dance, give advice, and discuss difficult subjects. Their visibility shows that older women can still create new work, express strong opinions, and influence public conversations.

Savitri embodies this shift. She left school after Class 7, yet she manages her accounts, records videos, uses voice-to-text, and answers comments. She speaks about mental health, feminism, parenting, and social evils without reading scripts. Her humour is equally disruptive: she asks her husband to make tea while saying feminism must also change her own household.

Her reach makes the challenge visible. A month-old Instagram account gained 3,08,000 followers, while her YouTube channel had 3,31,000 subscribers. The response suggests audiences value her experience and honesty. It also creates space for other older women to speak publicly on their own terms.

Social platforms allow people to publish directly to viewers instead of waiting for newspapers, television channels, or other institutions to invite them. This matters for women who lacked formal education, professional networks, or earlier public influence. A phone camera can turn an ordinary home conversation into a widely shared message.

Savitri shows how this works. Her son initially recorded her singing during COVID-19 to preserve family memories. Later, conversations about philosophy, psychology, feminism, and society became videos. She records and uploads them herself, uses voice-to-text, and replies to comments. The videos are not scripted, so her natural conviction remains central.

Audience sharing provides the second important mechanism. Her mental-health video went viral, leading to interview requests and a death threat. Her Instagram account reached 3,08,000 followers after 27 posts. These platforms do not erase every barrier, but they can make personal experience visible and allow people with little formal schooling to enter public debate.

The issues Savitri names are connected because they deny women equal value, safety, education, or control over their lives. Killing daughters in the womb devalues girls before birth. Discriminating against daughters limits their status within families. Dowry-related burning punishes women through marriage practices and violence. Restricting education prevents girls from gaining choices and public influence.

Savitri’s childhood illustrates the link between these problems. Her mother opposed both a school play about dowry and her wish to learn judo, fearing family disgrace. Savitri then left school in Class 7. She also condemns her generation for treating women as second-class citizens and resisting their freedom.

Her videos connect past practices with present attitudes. She criticises older people who oppose women’s independence and points to control inside the home. Her criticism of local godmen also brought backlash. By speaking openly, she turns private memories and social harms into a public challenge to gender inequality.

The digital divide is the unequal access to devices, internet connections, digital skills, and confidence needed to use online services. It matters because public conversation increasingly happens through digital platforms. People without access or skills may have important experiences but lack a practical way to share them widely or respond to others.

Savitri offers an example of digital literacy changing participation. Although she left school in Class 7, she records and uploads videos, manages YouTube, and replies to comments herself. She uses voice-to-text when typing is slow. Her son helped start the channel, but her continuing independence lets her express ideas in her own words.

Her audiences show what can follow. She gained 3,08,000 Instagram followers and 3,31,000 YouTube subscribers. Digital literacy does not guarantee equal reach, but it lowers barriers to speaking publicly. More older women could participate when technology becomes easier to access and use.