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Abstract
Gandhi insisted that the spirit of India lives in its villages, but the drift away from the village and toward urbanization in post-independence India continues. Questions arise regarding the ideological motivations driving artists' treatments of the village in various notable works in the modern South Asian canon. A comparison is drawn between Satyajit Ray's Pather Panchali [1955] and Orissan artist and author Prafulla Mohanti's My Village, My Life [1973], While at first glance the two may seem to have little to do with another, a close consideration reveals some striking similarities between them, providing some compelling insights into Ray's methods and vision.