In contemporary Bollywood cinema, item songs have gained an overwhelming presence, becoming a staple of promotional campaigns and sometimes even overshadowing the plot itself. These songs, characterised by seductive lyrics, flashy dance moves, and vibrant visuals, are primarily designed to attract attention and boost a film’s commercial appeal. However, while these songs may contribute to immediate excitement and pleasure, they also raise important questions about the role of women in films and their portrayal as objects of desire.
Item songs have evolved into a cinematic trend where a female character, usually a popular heroine, performs an energetic dance sequence that appeals to the audience’s sensuality. These songs often stand apart from the film’s narrative and exist primarily to draw responsiveness. While such songs were once a rare occurrence, they are now considered almost mandatory for promoting a film, irrespective of its storyline. The allure of these songs lies not only in their music but also in the way they are marketed to the masses.
Women in films are often depicted as ‘spectacles,’ objects that are looked at but do not engage with the viewer on an intellectual or emotional level. This dynamic can be observed clearly in item songs, where the female performer is often reduced to a mere object to be ogled.
In Bollywood item songs, this idea of the male gaze is evident in the way the camera lingers on the heroine’s body, often emphasising her curves, facial expressions, and provocative dance moves. The dance sequence may even present her as a commodity — a product to be consumed — as she exists to entertain and please the audience, particularly male viewers.
The song ‘Munni Badnam Hui’ from Dabangg (2010), performed by Malaika Arora, became an instant hit and contributed significantly to the film’s success. In the song, Arora’s character, Munni, is portrayed as a flirtatious and seductive woman, with the camera focusing on her body, particularly her midriff and legs, highlighting her physical beauty. The lyrics and Arora’s sultry performance reinforce her objectification, positioning her as an object of male desire. The male characters, including the protagonist Chulbul Pandey (Salman Khan), engage with her through admiring gazes and flirtations rather than emotional or intellectual connection, underscoring her role as a spectacle for the male gaze, as described by Laura Mulvey. This portrayal emphasises her lack of personal agency, reducing her to a mere object of entertainment.
The impact of item songs on both society and cinema is profound. In a broader cultural context, such songs contribute to the normalisation of the objectification of women. By continuously depicting women as objects of desire, these songs reinforce patriarchal norms and gender stereotypes, where the primary role of women is to cater to the sexual fantasies of men. This dynamic is not only problematic within the framework of the film but also has real-world implications for how women are perceived in society.
On the flip side, there are arguments that the female stars who perform in these item songs have agency in their roles, as they choose to participate in such performances and, at times, use them to gain fame and recognition. However, the underlying structure of the male gaze remains entrenched in these songs, and even when the performers express control or confidence, they are still performing within a system that objectifies them.
Item songs are designed to trigger a release of happiness hormones like dopamine, endorphins, and serotonin. The upbeat music, rhythmic choreography, and visually stimulating elements often create an atmosphere of excitement and joy for the audience. This immediate gratification through sensory overload is what makes these songs so appealing, drawing people to theaters and keeping them engaged.
However, the joy they induce is fleeting, and the long-term effect on both society and cinema is less celebratory. Beneath the surface, these songs also have a negative impact on the listeners and their mindset, particularly when consumed repetitively or without a critical understanding of the underlying messages. While they may increase happiness in the moment, they also perpetuate a culture of objectification and superficiality.
The lyrics of these songs are often sensual and suggestive, focusing on the sexual allure of the female performers. The dance moves are designed to emphasise the female body, with choreography that highlights her curves, legs, and movements in a way that caters directly to the male gaze.
The issue lies in the fact that many of these songs are inserted into films without serving the narrative. The presence of an item song is often an attempt to enhance the film’s salability rather than contribute to its storytelling. This shift toward focusing on seduction and visual pleasure, rather than plot or character depth, can be seen as unnecessary and even detrimental to the overall quality of cinema.
Moreover, the portrayal of women as objects of desire in these songs reinforces harmful stereotypes and perpetuates a narrow view of female identity in Bollywood. It strengthens the idea that a woman’s value is linked to her physical appearance and sexual appeal, sidelining her individuality and voice.
In conclusion, while item songs may serve as a quick route to commercial success, their overuse in films raises concerns about the objectification of women. The seductive lyrics and dance moves may trigger immediate joy and excitement, but they also reinforce outdated gender roles that reduce women to mere objects of male pleasure. Bollywood cinema needs to reconsider the necessity of these songs and move towards more meaningful, empowering representations of women, where they are seen as whole characters rather than just vehicles for entertainment.
Item songs like ‘Aj Ki Raat’, ‘Afghan Jalebi’, ‘Munni Badnam Hui’, and ‘Sheila Ki Jawani’ are undeniably catchy, and their vibrant beats can often lead to an immediate uplift in mood, creating a sense of joy and excitement. The upbeat music, combined with the bold choreography and confident performances of the actresses, has a way of energising listeners. As the lyrics praise the allure and beauty of the female lead, the visual and auditory stimuli often boost a sense of fun and celebration, making them staples at parties, clubs, and gatherings. The high energy of the songs can make listeners feel more engaged with the music, giving them an immediate sense of happiness and escape from their daily routine.
This, however, fosters the normalisation of the male gaze and reinforces gender stereotypes, where a woman’s value is often linked to her appearance rather than her abilities or intellect. Over time, such media can warp the way people perceive gender dynamics, leading to unrealistic beauty standards and, in some cases, encouraging objectification or even harassment.
The writer is MBA-HRM student and potential well-being and happiness coach.
