Women in music are still invisible: Industry gaps, pay disparities, fight for recognition

By A Representative

As one celebrates the International Women's Day, the debate about the representation of women in Indian films remains as vital as ever. It wasn't without reason that in a special episode of the “What India Needs!” podcast, award-winning music composer Alokananda Dasgupta—known for her work in Sacred Games, Jubilee, and Trapped—joined media entrepreneur and author Shutapa Paul to discuss gender prejudice in film music, systemic challenges in the industry, and how to insist on actual change.

While actresses and playback singers enjoy widespread recognition, women in technical roles—like composers, sound technicians, and music producers—are often sidelined. "We are in a pickle, but things have improved a lot," Dasgupta noted. "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."

The Gender Gap in Indian Film Music

Paul highlighted the stark gender difference in the film industry. "ORMAX Media conducted a one-of-a-kind study in 2019 and 2020, which found that only about 8% of women were represented in Head of Department (HoD) positions in the Indian film industry. That’s very little, considering how vast it is," she shared. Paul pointed out that in corporate India, women’s representation stands at about 37%. In comparison, the film industry hasn't picked up pace.

Dasgupta added that the key to achieving true equality will hinge on mindset shifts. "If the mindset does not change, this 8% will never be 50%, let alone anything more than that," she said.

She also spoke about the deep-rooted biases that bar women from technical categories: "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."

Invisible Barriers and Industry Gatekeepers

While there’s growing talk about inclusivity, implementation remains weak. "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," Dasgupta shared.

She also touched upon how women in the music industry struggle to be taken seriously: "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."

While Dasgupta herself has not had to deal with discrimination, she recognises that women struggle in male-dominated arenas. She feels the best method is to ignore the biases and work on the art.

Speaking about the need to eliminate gender bias, Dasgupta emphasised, “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.”

Royalties, Pay, and Recognition: The Unfinished Battle

The lack of a clear royalty structure for background scores continues to be a major issue in India. While the Indian Performing Right Society Limited (IPRS) has made things a lot easier, there still needs to be a strong ecosystem within the industry in areas such as royalty, streaming and publishing like it is in Hollywood. Dasgupta noted how Indian musicians have to actively fight for their rights: "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."

Expressing concern about how background scores are handled differently from playback songs, she said, "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 recounted one instance where a production team member questioned why background scores should even be released separately.

The conversation sheds light on the challenges women face in the Indian film music industry, particularly in technical roles. While significant progress has been made, gaps still remain in representation and industry recognition. Discussions like this one play a critical role in effecting lasting change as the entertainment industry continues to evolve.

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