As International Women’s Day approaches, the conversation around gender representation in Indian film music is gaining momentum. In a special episode of the What India Needs! podcast, award-winning composer Alokananda Dasgupta, known for her work in Sacred Games, Jubilee, and Trapped, joined media entrepreneur and author Shutapa Paul to discuss the gender biases in film music, systemic industry challenges, and the urgent need for real change.
While actresses and playback singers are often in the limelight, women in technical roles—such as composers, sound technicians, and music producers—continue to be overlooked. “We are in a pickle, but things have improved a lot,” Dasgupta said. “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.”
Paul pointed out the stark gender imbalance in the industry, citing a study by ORMAX Media from 2019-2020 that found only about 8% of women were in Head of Department (HoD) positions in the Indian film industry. “That’s very little, considering how vast it is,” she noted, comparing it to corporate India, where women’s representation stands at around 37%. “If the mindset does not change, this 8% will never be 50%, let alone anything more than that,” Dasgupta added.
The discussion highlighted deep-rooted biases that continue to restrict women’s opportunities in technical roles. “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,” Dasgupta explained.
Despite growing conversations around inclusivity, the implementation remains inadequate. “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,” she said. Dasgupta also pointed to the double standards women face in the industry: “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.”
Although she personally has not faced direct discrimination, Dasgupta acknowledged the struggles women encounter in male-dominated spaces. Her approach has been to ignore the biases and focus on her craft. “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,” she asserted.
Beyond gender biases, the issue of fair pay and recognition remains unresolved, particularly regarding background scores. Unlike Hollywood, where royalty structures are well-defined, Indian musicians must push for their rights individually. “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,” Dasgupta explained.
Watch the full episode here:
She also called out the industry’s approach to background scores, arguing that they are often treated as secondary to playback songs. “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 said, recalling an instance where a production team member questioned why background scores should even be released separately.
The conversation shed light on the ongoing challenges women face in Indian film music, especially in technical roles. While progress is being made, much work remains in addressing representation and recognition. Conversations like these are crucial in pushing the industry toward lasting change.
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