Mumbai: As International Women’s Day approaches, the conversation around women’s representation in Indian cinema remains as crucial as ever. In a special episode of the What India Needs! podcast, award-winning music composer Alokananda Dasgupta—known for Sacred Games, Jubilee, and Trapped—joined media entrepreneur and author Shutapa Paul to discuss gender bias in film music, systemic challenges in the industry, and the need for real, lasting change.

While actresses and playback singers receive widespread recognition, women in technical roles—such as composers, sound technicians, and music producers—often go unnoticed. Dasgupta acknowledged the progress but pointed out persistent gaps, saying that while some areas have improved, representation in others is still invisible. Even where women are present, their roles are often not as impactful or recognized as they should be.

The gender disparity in the industry is stark. Paul highlighted a 2019-2020 ORMAX Media study that found women held only 8% of Head of Department (HoD) positions in Indian cinema, a strikingly low figure compared to corporate India’s 37% female representation. Dasgupta emphasized that real change requires a shift in mindset, stating that unless attitudes evolve, the percentage will never reach 50%. She also pointed out how deep-rooted biases prevent women from entering technical fields, as cultural and systemic barriers remain strong despite efforts to break them.

Despite growing conversations about inclusivity, implementation remains a challenge. While many directors and producers claim to support women in technical roles, Dasgupta noted that actual opportunities often fall short. She also highlighted the biases women face in the industry—when they assert themselves, they are often labeled difficult or uncooperative, which discourages many from speaking up. Though Dasgupta herself hasn’t faced direct discrimination, she recognizes that many women struggle in male-dominated spaces. She believes in focusing on her craft and letting her work speak for itself, emphasizing that music has no gender and that she asserts her rights through her professionalism and talent rather than demanding special treatment.

One of the biggest challenges in the Indian film music industry is the lack of a clear royalty structure for background scores. While organizations like the Indian Performing Right Society Limited (IPRS) have made improvements, the system still lacks a structured framework similar to Hollywood’s well-defined royalty, streaming, and publishing mechanisms. Dasgupta pointed out that in India, composers must negotiate for their rights, unlike in Hollywood, where payment and royalties are standardized. She also expressed frustration over the way background scores are treated separately from songs, with composers often receiving less credit and visibility. She recalled an instance where a production team member even questioned the need for background scores to be released separately, highlighting the ongoing struggle for recognition.

The discussion sheds light on the persistent challenges for women in Indian film music, particularly in technical roles. While progress has been made, gaps in representation, pay, and recognition remain. Conversations like these play a crucial role in pushing the industry toward meaningful change, ensuring that women in all aspects of filmmaking receive the opportunities and credit they deserve.

Watch Link:

Spotify: https://open.spotify.com/episode/7mpAWnyfQwQH2jyuhJZuhB?si=22aYKuOOS8mqNOt4FSYzog 

Youtube: https://www.youtube.com/watch?v=RR9Ksku0z6g