CENSOR IT UNLESS SHE CAN DANCE: ITEM SONGS IN BOLLYWOOD MOVIES
Bollywood movies are famously known to include at least one catchy dance sequence featuring individuals commonly referred to as "item girls" in what are termed "item songs."
Dance sequences like Mehabooba Mehabooba (1975), Sheila Ki Jawani (2010), Chikni Chameli (2011), Fevicol se (2012), and Baby Doll (2014) are popular dance sequences in Bollywood movies that are considered to be cultural artefacts that showcase certain aspects of femininity related to desire and sexuality.
This is a stark contrast to the prevailing censorship of themes related to desire and sexuality in Bollywood, particularly pertaining to female characters, who are often portrayed as passive and innocent. Within scholarly circles, ongoing debates center on the societal impact of item songs, with some contending that they contribute to a culture of objectification, while others posit them as mere forms of entertainment.
These item songs have also evolved over the years. How they have changed in terms of style, content, and choreography over time has also been a topic of research. Certain perspectives suggest a shift towards more empowered and independent portrayals of women in these dance sequences.
So are item songs empowering or objectifying? How are filmmakers using these songs to portray sexuality?
Within the overarching context of mainstream Bollywood Movies, particularly in the realm of item songs, women find themselves situated within a complex patriarchal framework. These cinematic representations do not fully grant women individual agency. Often, they serve as mere spectacles rather than genuine reflections of women in a contemporary post-feminist Indian society.
The interplay between censorship, cultural context, and stylistic choices in Bollywood item songs have led to conflicting portrayals to femininity in item songs. The influence of Bollywood culture is unmistakably reflected in the deliberate designation of the ‘item girl’ as an ‘outsider, strategically positioned to bear potential backlash stemming from the overt depiction of sexuality in item dance sequences.
However, the evolution of contemporary item songs reveals subtle shifts in framing and composition across different time periods. The trend of maintaining elements that cater to the male gaze still exists through lyrics, body movements, or the narrative, but some more recent contemporary songs that gain mainstream popularity are still considered catchy while directly addressing the male gaze instead of catering to it.
Sunny Leone’s Baby Doll, where she is portrayed as an independent agent who likes expressing her sexuality and has male and female background dancers for her own pleasure, encourages the idea that taking agency of your own sexuality without repressing it can lead to an understanding of how a ‘raunchy’ song can shift the narrative from the ‘male gaze’ to female sexuality through similar visual elements.
Oo Antava Oo Oo Antava is a very recent example of a more drastic shift in the elements of an item song. While maintaining its usual item song visual elements, the lyrics of the song directly addresses the ‘male gaze’. It dives into how men stare at women regardless of what they wear or how they act and yet, blame the women and victims in cases of rape, harassment, and inappropriate behaviour.
Hence, while Bollywood item songs continue to navigate a delicate balance between catering to the male gaze and providing a platform for female empowerment, their evolving narratives and stylistic elements reflect the broader cultural shifts in how femininity, sexuality, and agency are portrayed within Indian cinema.
