Item songs have been a staple of Bollywood since the 1970s but have only recently been recognised as a distinct genre. Despite their popularity, they face criticism for their sensual choreography and hypersexualized portrayal of women, often depicted in revealing attire. Songs like Choli Ke Peeche Kya Hai (1993), Munni Badnaam Hui (2010), and Pinky Hai Paise Walon Ki (2013) exemplify this trend, framing female bodies as spectacles that reinforce unrealistic ideals and harmful stereotypes. While Bollywood claims to empower women by promoting freedom of choice, it often pressures women to conform to westernised revealing clothing to secure roles and appear "modern," marginalising those who choose modest fashion. This contradicts its stance on empowerment.

Indian cinema, with Bollywood at its forefront, has historically functioned as a potent cultural apparatus, exerting considerable influence in shaping societal norms, values, and perceptual frameworks. Within its multifaceted repertoire, 

have crystallised as a particularly salient yet contentious element.

Although item songs have been an integral component of Bollywood's cinematic lexicon since at least the 1970s, they have only recently been codified as a distinct musical genre within mainstream Indian cinema. Despite their widespread popularity and mass appeal, these songs have been subjected to rigorous critique, particularly by film scholars aligned with the Radical Feminist School, for their overtly sensual choreography and the hyper-glamorised, hypersexualized depiction of scantily clad female bodies. 

(Dabangg, 2010), we find that the framing and representation of the female body in these songs serve to perpetuate and reinforce harmful societal stereotypes and preconceived notions. These representations propagate unattainable ideals and desires centred around an artificially constructed "ideal," which is not only unrealistic but also deeply problematic in its implications for gender dynamics and societal expectations. This analysis makes an effort to dissect the notion of the "feminine" that these hit songs are weaving, with the goal of proving that feminism is a concept that is still relevant today and that its importance is only increasing.

For an extended temporal framework, the female body has occupied a central locus within the discursive constructs of Bollywood. However, this centrality is inextricably intertwined with the multifaceted layers of discomfort engendered by patriarchal ideologies, which coexist with and permeate the representation of the feminine corporeal form. A critical analysis of the choreographic and cinematographic elements in songs such as 

 reveals a pervasive narrative where the female body is depicted as lacking autonomous agency, instead being portrayed as moving in sexually suggestive, rhythmic patterns that align with patriarchal fantasies.

Furthermore, the performative dynamics within these songs often suggest that the female subject derives pleasure from acts of physical dominance, such as slapping, wrist-twisting, forceful pulling, and attempts at groping, all of which are executed with an authoritative and coercive demeanor by male counterparts. At this juncture, the female body is effectively reduced to a mere puppet, stripped of agency and subjected to the voyeuristic gaze of both the on-screen male characters and the off-screen spectators, thereby reinforcing its objectification within the patriarchal framework. Laura Mulvey notes that women are stereotyped as being looked at and presented at the same time in their traditional exhibitionist position. This is because their appearance is designed to have a powerful visual and sensual impact, making them symbolic of being gazed at. Ideal characteristics for the audience are the unreachable small waist, fair complexion, flawless features, and glossy skin free of any flaw.

A number of philosophers and literary critics have discussed language and its innate ability to influence. Language is the medium through which ideologies are created and meaning is generated. For a feminist critic, the language employed in the item songs is crucial since it is embedded with the patriarchal world's dominant framework. The lyrics portray women as being on a lower social plane, and as the actress moves to the music, she affirms and embraces her place in society. In the song 

"Main toh tandoori murgi hoon yaar, Gatka le mujhe alcohol se." 

(I am a barbecue chicken, swallow me with alcohol, O my beloved). Almost all item songs depict the process of women having to submit to themselves. 

suggest that Munni has turned bold and self-assured for her beloved, among other things. These songs' language trivialises women's status in society and insults them in addition to being offensive. A song such as 

(Zanjeer, 2013) implies that women are avaricious, materialistic, and malevolent, willing to sell their bodies as commodities to the highest bidder. The situation is made more complicated by the fact that this song is sung by people of

ages, genders, and castes, whether they are at a party, a procession, or even an annual day celebration. It is unacceptable how easily people applaud such offensive ideas.

In the context of postfeminist discourse, the appearance of item songs in Hindi movies corresponds with a change in perception of young female actors, who do not see the content of item songs as demeaning or sexualising. Instead, they view these kinds of songs as

made an effort to realign this viewpoint by discussing how women should experience pleasure from their bodies, not men. The song features a woman who, rather than giving in to the male gaze, fully enjoys her sexual power over it. With its choreography that imitates the same sexually suggestive dance moves that thrill the men around the dancer, the ostensibly feminist 

is trapped within patriarchal boundaries. The song's success underscores the commercial appeal of such portrayals, despite their problematic implications.

The very industry that champions the empowerment of women by advocating for their autonomy to adopt sartorial choices and lifestyles of their preference simultaneously perpetuates a contradictory paradigm by marginalising and stigmatising women who adhere to modest fashion or choose to cover themselves. This dichotomy is emblematic of a deeper systemic hypocrisy, wherein women within the film industry are frequently subjected to implicit and explicit pressures to conform to Westernised models of fashion and aesthetics. 

Such pressures are often framed as prerequisites for securing roles, being perceived as 

and ultimately sustaining their livelihoods. This coercive dynamic not only undermines the purported ethos of empowerment but also reinforces a hegemonic standard of femininity that privileges Western ideals, thereby marginalising alternative expressions of identity and agency. In doing so, the industry perpetuates a neoliberal commodification of women's bodies, wherein their value is contingent upon their adherence to prescribed norms of 

When examined on a macro level, it becomes evident that while numerous stakeholders within the industry engage in discourse surrounding the purported correlation between women's attire and the escalation of crimes against them, there is a conspicuous absence of critical interrogation directed toward the institutional and industrial flag bearers themselves. 

These entities, often complicit in the propagation of obscenity, are instrumental in constructing and perpetuating hypersexualized representations of women within the societal fabric. This paradoxical scenario underscores a systemic failure to hold accountable those who actively contribute to the commodification and objectification of women, thereby reinforcing regressive gender norms and exacerbating the very issues they ostensibly critique.

To summarise, Bollywood's item songs glorify male sexual aggression and convey unfavourable messages regarding female consent. Since Bollywood controls the conversation about sexuality, audiences interpret item songs as 

 rather than seeing them as myths or fantasies. The culture that encourages sexual violence is influenced by these pro-rape beliefs, which are reinforced by item songs. To effectively tackle sexual violence in India, greater focus must be placed on teaching the public to be discerning consumers of the explicit and implicit messages about sexuality found in item songs, incorporating alternative narratives about sexuality through more thorough sexual education, and creating socially conscious music videos that enable women to authentically express their desires.

Disclaimer: The opinions expressed in this publication are those of the author. They do not purport to reflect the opinions or views of The Jamia Review or its members.

Dance Floors and Double Standards: The Troubling Truth of Bollywood Item Songs

The genre's therapeutic potential is demonstrated by its resurgence after COVID-19. Readers were drawn to books that offered emotional comfort during the pandemic, which was characterized by loneliness and uncertainty. According to Molly Templeton, 

a lifeline for readers grappling with the overwhelming nature of global crises.

 The genre's emphasis on interpersonal relationships and community reflected readers' desire for security and camaraderie in unpredictable times.

The popularity of cozy literature has increased because of websites like 

 (2022) became well-known as a result of the communities these digital places created where readers suggested books that offered solace. With its premise centered around a retired adventurer founding a coffee shop, the novel, subtitled

 A Novel of High Fantasy and Low Stakes,

 perfectly captures the appeal of the genre by substituting touching moments of community building for spectacular battles.

Cozy fiction's popularity is comparable to cultural trends that emphasise well-being and simplicity, such as slow living and mindfulness. These ideas encourage people to enjoy small pleasures, which is a theme found in cozy stories, and reject the unrelenting pursuit of productivity. For example, Jenny Colgan's 2016 novel

, in which a city dweller discovers meaning in rural Scotland, honours the transformational potential of modest, intentional adjustments. Jennifer J. Chow, a cozy mystery writer of colour, states that she “

wants her readers to experience hope, while real life is messy, cozy mysteries provide tidy endings wrapped in ribbons and bows. The sense of order and rightness provides the readers with optimism.” 

Any discussion about hope raises a larger question: can the realm of hope be expanded to include coping with the lived dystopia of modernity that we already find ourselves in in the multifaceted apocalyptic world of today, where we are at different stages of various apocalypses depending on our positionality and identity?

Critics contend that by portraying an idealized version of life, cozy fiction runs the risk of trivializing problems in the real world. According to Laura Miller, who writes for 

, the genre's emphasis on harmony and resolution can seem out of step with modern life. Cozy fiction may unintentionally reinforce a kind of denial by avoiding systemic problems, which would restrict its capacity to address more profound societal issues. The

, for instance, is emblematic of ongoing global struggles against settler colonialism, military violence, and humanitarian violations. Cozy fiction, by largely ignoring such issues, may inadvertently contribute to what critics describe as a culture of "blissful ignorance," where readers are lulled into complacency instead of being spurred into awareness or action. The television adaptation of 

, illustrates this phenomenon. By erasing the racial tensions present in the original book series, the adaptation sanitizes the story, aligning it more closely with cozy fiction’s tendency to avoid discomfort.

'Cozy fiction' and its subgenres, such as 

, have been popular lately. Fascist art, in particular, has long been based on melodramatic depictions of humanity and a portrayal of 'wholesome' societies and 'wholesome' people as morally and racially hygienic. It was believed that good art was art that presented ideologically idealized images of a perfect society. The demand for "cozy" or "wholesome" art to either escape reality or move toward a more homogenized society is an example of this tradition in action today.

There is widespread agreement that art is political in the sense that all art has political content since it makes assumptions about people and the world and then displays a political position through its fiction. The majority of cozy literature, such as 

The Goblin Emperor, The House in the Cerulean Sea, and Legends & Lattes,

 is fundamentally utopian in its portrayal of people first and locations second. Its core political tenet is that both individuals and the world are essentially good and that this goodness is sufficient to establish a utopian environment, at least on a small scale.

In contemporary utopian fantasy, there is a recurring emphasis on liberal idealism over materialism, suggesting that societal improvement stems from individual morality rather than systemic or collective change. In 

 by Katherine Addison, the protagonist’s kindness and politeness are portrayed as the solution to societal inequities, while those most harmed by the system are depicted as irrational or deranged. Similarly, 

 reimagines a found-family narrative within the framework of a state system steeped in historical oppression. The narrative utilizes a metaphor reminiscent of residential schools but resolves the conflict through the protagonist’s personal redemption rather than structural accountability. The protagonist, initially complicit in the system, adopts a child, transforming from an agent of state control to a savior figure. In both examples, the idea of systemic reform is supplanted by the utopian portrayal of individual acts of decency as the key to change. These narratives position such approaches as inherently laudable, eschewing critiques of naivety or shortsightedness, and celebrating individual morality as the driving force behind societal betterment.

As a means of escape from the stresses of contemporary life, cozy fiction flourishes. Its dependence on romanticized environments and low-stakes disputes, however, calls into question its capacity to tackle more significant societal problems. It foreshadows a society that rejects all material politics in favor of charming fairy tales about kings and small-business tyrants rather than autocratic leaders whose money and power come from the barrel end of a pistol. When thinking about fiction, it's crucial to take into account its existence, the type of worldview it portrays, its popularity, and its methods. Cozy fiction can grow beyond its escapist origins and become a genre that educates as well as comforts as it develops.

Articles by Fatima Zohra

Dance Floors and Double Standards: The Troubling Truth of Bollywood Item Songs

Fabricating a shallow Utopia: A critique of Cozy Fiction

Dance Floors and Double Standards: The Troubling Truth of Bollywood Item Songs

Fabricating a shallow Utopia: A critique of Cozy Fiction