Sheila, Munni, and the Patriarchy
When looking for tunes to shake a leg to when alone or with our gang outside of adult supervision, we find ourselves typing the absolute banger Sheila ki Jawani (2010) or the insanely catchy Oo Antava Oo Oo Antava (2021) into YouTube. These musical guilty pleasures, dubbed "item songs" or "item numbers," are a speciality of the Indian film industry and have been accused, trialed, and ostracized for being patriarchal but still run rent-free in our minds
Katrina Kaif in “Sheila Ki Jawani”, Tees Maar Khan (2010), IMDB / IMDB
The word "item" is derogatorily used to catcall young-attractive women. Naturally, item songs mean musical, male attention-grabbing marketing ploys that feature actresses making cameos in sexy clothes and vibrant sets. Cuts of the actress' midriff, all-round seductive vibes, and choreographed excellence are fail-safe ways to ensure box office success. These musical interludes have become fixtures in Indian cinema, especially in Bollywood. Yet, they have always been surrounded by something more than crowds of men, and that is controversy. Are the collections worth objectification of women in a patriarchal society that is preconditioned to view everything through the male gaze? But some say, hey, women listen to them just as much, and they are bops, so let Chikni and Chameli have at it. Let's dive into the chai-time debate over these problematic anthems.
Of all the problems that item songs have, the one that bothers me most is how folks are quick to discredit the hormonal genius of '70s and '80s lyricists. Item songs can be traced back to the roaring 70s with the dancing queen, Helen, as the mascot. She is still revered for her glamorous cabaret-style numbers, setting a precedent for what item songs would become—bold, alluring, and a spectacle in their own right. Historical item numbers have been known for their horny lyrics shrouded in poetic language. Teri Le Loon (1984) has a girl being coy and a man chasing her while lipsynching to lines that I will kindly translate- "Open it and give it to me...Oh, give it, give it." The song's highlights are every line's pauses and some SUPER SUBTLE squeaky sounds. I also recommend Hum Toh Tamboo Mein Bamboo Lagaye Baithe (1985) for some more clarity; that's all I will say about that song.
One cannot deny that iconic songs like those cemented the formula for item songs- star power, catchy tunes, and provocative choreography. These numbers are a producer's safety net. From Munni Badnaam Hui (2010) to Chikni Chameli (2011), item songs are seen as commercial vehicles capable of generating massive revenues through views, streams, and performances. No matter how weak the plot is or how problematic the leads are, item songs can carry a movie to blockbuster status. Its seductive allure grabs attention, increases footfall in theaters, and ensures we are glued to our seats.
Pick any recent item song like Slow Motion (2019) or even a fun song for the leads like Besharam Rang (2023). You'll see that the comment section is filled with pointed taunts about the actress' "vulgar excuse for" clothing, allegations of immodesty, and sighs of nostalgia for the good old days. I could point out the ludicrous hypocrisy at play when you comment "vulgar" under a video you chose to watch or unpack how modesty is a subjective concept rooted in a past that oppressed minorities, but do we have the time? Yes, we do. The thing is, this whole discussion seems like it's based on the virtue and objectification of women. A closer look tells us it mostly frowns upon the evolution of ladies into "modern" women. In the golden days, women were subservient, pious goddesses with no demands or needs and personalities that started and ended with their male guardians. Obviously and fortunately, much has changed since then.
These sentiments are reflected in heated controversies and unanimous criticism as concern for the portrayal of women. The main argument made is that the women starring in these songs are objectified and made to be desirable "items" for the male gaze. Are they wrong? Not really; the fact is that most songs present hyper-sexualized women in outfits that we can only dream of pulling off (pull off as in look good in), making sensual moves with a hundred zoom-ins on their bodies in between crowds of drooling men. Worth noting that these songs rarely add anything to the plot at hand. It adds what is colloquially called "masala" (spice) to the film. The Indian film scene is still conservative when it comes to skinship and intimacy, so it makes up for it with item songs, scene fades, and song sequences with actors sniffing and kissing each other's necks (No judgment #ally).
The debate hits an impasse when autonomy is brought in. Are actresses being exploited in these roles, or are they reclaiming their power and sexuality? Stars like Katrina Kaif, Malaika Arora, and Sunny Leone have graced the screen and given us some of the most iconic item songs ever. They willingly participate in producing these songs, so one can argue that they exhibit agency over their bodies, using these numbers to further their careers and establish dominance in a male-dominated industry. Isn't it wise to use all your assets, should you choose to, to better your position? Granted, most people will see it as anti-feminist for perpetuating harmful stereotypes and standards while also grouping them into the brand of actors that aren't true to their craft and got to where they are for their ability to titillate rather than act. Hate the game, not the players, folks.
As much as one shudders and covers their eyes when these songs play in front of their parents when the time comes to choose tunes for a dance party, item songs are the way to go. From multiple personal experiences, dancing around your room with friends to these bops is a core girl memory I highly recommend. My friends and I are raging feminists, nightmares of high school boys who had to debate us. So why did we, like many others, feel comfortable consuming something so male-gaze-y? Songs like Sheila Ki Jawani (2010), Fevicol Se (2012), and Kamli (2014) have become anthems for empowerment in their own twisted way, providing female fans, a.k.a me, with a form of escapism, freedom, and confidence. It's a fun paradox to think about. Many women relate to the boldness of item girls, enjoying the bloated femininity and rebellion that these performances represent. These songs are rites of passage of sorts. They empower women to voice themselves, welcome their femininity, and explore aspects of their sexuality, which is important in conservative societies. Suppressing individuality and maintaining a lack of knowledge of sexuality amongst the youth, especially girls creates malleable minds. Building (*cough*grooming*cough*) like-minded people uphold binary gender roles in the world.
This significant shift in thought can be seen as an outcome of women embracing and, more importantly, prioritizing beauty and expression over judgment. The lack of fear or, for a better description, rising above the fear of judgment liberates women, and this phenomenon aids in its own unique way. We can conclude that to some, these songs allow and stand for autonomy and resistance against conservative norms that have aunties mumbling when we dance, flirt, own our sexuality unashamed, and have fun finding out who we are. We hear much about the other side of this- the male gaze, patriarchy, and then more men-related things. This point of view adds a new layer of elements to this established and complicated discourse. This reveals that a blanket criticism of item songs might be too simplistic.
I am going to be generous and introduce some men into this conversation. The catch- Chapter 2- Introduction of Male Item Numbers. Actors are known for daring to explore parts of the character and story, however insane the look may be. Male stars have taken on the challenge of these numbers. Why should girls have all the fun? The dynamic Ranveer Singh and the king of Bollywood, Shah Rukh Khan, are just some stars who served a phenomenal take on this phenomenon that has the power to transcend gender boundaries. The great thing is that the participation of males in the trend signals the evolution of Indian cinema to a platform that increasingly expresses blurrier gender roles. This shift also comes with a new twist. The growing inclusive nature of the industry tips the scale of power from the need for objectification in these songs to stardom. The worst-case scenario has been a common happening- men get a slice of what has been happening to women for centuries and immediately start a revolution, or at least a strong-worded conversation. The inclusion of male actors in these roles has sparked new discussions around objectification and whether the “male item boy” faces similar scrutiny as female item girls do.
Item songs, as they are, are undeniably complex. It cannot be debated that these songs perpetuate stereotypes and often function as tools for objectification while promoting unhealthy beauty standards. At the same time, it is hard to ignore they’ve also evolved into cultural moments that contribute to the star power of both male and female actors. Their star power granted not just male audiences but a loyal and growing female fanbase. The rise of a female fan following has added a new dimension to this discussion, highlighting that the reception of item songs is far from monolithic and rigid.
At its core, item songs intersect multiple facets at one plane - a space of exploitation and liberation, rebellion and submission, fantasy and reality. As Indian film industries evolve, this music genre will probably keep jumping between contradictions. Call Hannah Montana because it's giving the best of both worlds or the best and worst of the same world. Will the industry find a way to steer the power of this phenomenon to something less exploitive and more empowering? Realistically, I wouldn't hold my breath, but only time will tell. Till then, these songs will either raise roofs or eyebrows, keep us mumbling lyrics or profanities, but will always keep our feet tapping.
