Women in Indian Film Music: Challenging Bias and changing the score

Women in Indian Film Music: Challenging Bias and changing the score


MUMBAI: As International Women’s Day approaches, the debate about the representation of women in Indian films is as vital as ever. In a special episode of the “What India Needs!” podcast, award-winning music composer Alokananda Dasgupta—known for her work in Sacred Games, Jubilee, and Trapped—joined media entrepreneur and author Shutapa Paul to discuss gender prejudice in film music, systemic challenges in the industry, and how to insist on actual change.

While actresses and playback singers enjoy widespread recognition, women in technical roles—like composers, sound technicians, and music producers—are often sidelined. “We are in a pickle, but things have improved a lot,” Dasgupta noted. “The representation of women in the film industry, in some areas, is really commendable. But in multiple other sections, it’s invisible. And even where it’s present, it’s not present in the practical sense.”

The Gender Gap in Indian Film Music

Paul highlighted the stark gender difference in the film industry. “ORMAX Media conducted a one-of-a-kind study in 2019 and 2020, which found that only about 8% of women were represented in Head of Department (HoD) positions in the Indian film industry. That’s very little, considering how vast it is,” she shared. Paul pointed out that in corporate India, women’s representation stands at about 37%. In comparison, the film industry hasn’t picked up pace.

Dasgupta added that the key to achieving true equality will hinge on mindset shifts. “If the mindset does not change, this 8% will never be 50%, let alone anything more than that,” she said.

She also spoke about the deep-rooted biases that bar women from technical categories: “It’s a thought, a culture, an entire system that’s existed for so long. You try to break it, but you still can’t change everything overnight.”

Invisible Barriers and Industry Gatekeepers

While there’s growing talk about inclusivity, implementation remains weak. “Directors, producers, everyone talks about how they support technicians and artists. A lot of it is earnest and genuine. But many are still unable to implement it in a foolproof manner,” Dasgupta shared.

She also touched upon how women in the music industry struggle to be taken seriously: “When you’re firm, you’re deemed impolite and difficult to work with. That’s the undercurrent, something we don’t always talk about, but it exists.”

While Dasgupta herself has not had to deal with discrimination, she recognises that women struggle in male-dominated arenas. She feels the best method is to ignore the biases and work on the art.

Speaking about the need to eliminate gender bias, Dasgupta emphasised, “There is no gender in music. Instead of fighting as a woman for my rights, I demand it—through my life, through my conduct, through my profession, through my work, through me as a human being.”

Royalties, Pay, and Recognition: The Unfinished Battle

The lack of a clear royalty structure for background scores continues to be a major issue in India. While the Indian Performing Right Society Limited (IPRS) has made things a lot easier, there still needs to be a strong ecosystem within the industry in areas such as royalty, streaming and publishing like it is in Hollywood. Dasgupta noted how Indian musicians have to actively fight for their rights: “In Hollywood, the fee structure and royalty system are well-defined. Here, you have to work on it yourself. It doesn’t happen automatically. You have to push for it.”

Expressing concern about how background scores are handled differently from playback songs, she said, “I have a problem with the way scores and songs are treated as two different things. Music directors get credit for songs, and then they mention ‘score by so-and-so,’ as if the score is apart from the music. It’s frustrating.”

She recounted one instance where a production team member questioned why background scores should even be released separately.

The conversation sheds light on the challenges women face in the Indian film music industry, particularly in technical roles. While significant progress has been made, gaps still remain in representation and industry recognition. Discussions like this one play a critical role in effecting lasting change as the entertainment industry continues to evolve.

About the “What India Needs!” Podcast

“What India Needs!” is a thought-provoking podcast dedicated to exploring key topics crucial to India’s development. Our mission is to delve into pressing issues, engage with experts and thought leaders, and uncover actionable solutions for a more sustainable and prosperous future. Join us as we navigate the complexities of India’s growth, from policy and governance to technology and innovation, fostering informed discussions that inspire change and drive progress.

To know more, check out our channel.

About Shutapa Paul

The host of the “What India Needs!” podcast, Shutapa Paul, is an anchor, commentator, author, and media entrepreneur. After a successful career in journalism, she founded Dharma MediaConsultants, an award-winning brand-building and communications company. Her deep knowledge and experience in the investing, startup, and impact ecosystem have earned her numerous accolades, including being listed in Businessworld’s 40 Under 40 (PR & CorpComm), Social Samosa’s 40 Under 40, and Agency Reporter’s 40 Under 40. She is also the recipient of Business World’s Excel Communications Personality of the Year award and ranks among LinkedIn’s “Top Voices.” With Shutapa Paul at the helm, the “What India Needs!” podcast promises to be a vibrant platform for discussing impactful ideas and insights.

About Alokananda Dasgupta

Alokananda Dasgupta’s journey into film music composition seemed almost destined, as she effortlessly channeled her deep-seated passion for music into crafting cinematic scores. Her appreciation for a diverse range of music has led her to work on National Award-winning Marathi films like Shala and Fandry. In 2013, she was among five composers selected for the ‘Mumbai Composers Lab’.

Her recent works include the highly-rated series Jubilee (2023), The Jengaburu Curse (2023), and The Rapist (2021) AK vs AK (2020), Breathe (2020). Alokananda has won the Filmfare OTT Award for ‘Best Background Score’ twice, once in 2024 for Jubilee and in 2020 for Sacred Games. She also has contributed music to iconic productions like Sacred Games, Trapped, and Bioscope. She has collaborated with acclaimed filmmakers such as Anurag Kashyap, Vikramaditya Motwane, and Onir. Renowned for her unique ability to blend traditional Indian musical elements with modern soundscapes, she brings a distinctive and evocative style to Indian film scoring.

Alokananda was also recognized as part of the BAFTA Breakthrough 2022 Class, supported by Netflix. Her awards include the Prabhat Puraskar and Sanskriti Kala Darshan Awards for Best Background Score.




Source:https://radioandmusic.com/entertainment/editorial/news/250306-women-indian-film-music-challenging-bias-and

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