“SHABDON KE PEECHE KYA HAI?

”- LYRICAL ANALYSIS OF ITEM

SONGS OF COMMERCIAL BOLLYWOOD

Submitted in partial fulfilment of the requirements of the

Master of Arts in Journalism and Mass Communication degree offered by
JAIN (DEEMED-TO-BE-UNIVERSITY)
During the year 2018-19

By

G. Sneha

IV Semester

17MARMC003

Under The Guidance Of

Dr. Robi Augustine

#133, Lalbagh Road, Bangalore- 560027

Ph +918043430200/202, E-mail info@cms.ac.in

www.cms.ac.in
 CERTIFICATE

AWARDED TO
G. Sneha

This is to certify that the dissertation titled, “Shabdon Ke Peeche Kya Hai?” -

Lyrical Analysis of Item Songs of Commercial Bollywood prepared and

submitted by G Sneha in partial fulfilment for the requirement of the degree

of Master of Arts in Journalism and Mass Communication hereby accepted.

Place Dr. Dinesh Nilkant

Bangalore Director, JU-CMS

Accepted in partial fulfilment of the requirements for the degree of

Master of Arts in Journalism and Mass Communication
 GUIDE’S CERTIFICATE

This is to certify that the dissertation titled,

“Shabdon Ke Peeche Kya Hai?” -

Lyrical Analysis of Item Songs of Commercial Bollywood is a record of

the original and independent work carried out by

MS. G Sneha

Under my guidance and supervision

This has not previously formed the basis of the award of any degree/ diploma
/other similar title of recognition

29.04.2019 Signature
Bengaluru Dr. Robi Augustine
 DECLARATION

I hereby declare that the dissertation titled “Shabdon Ke Peeche Kya Hai?” - Lyrical

Analysis of Item Songs of Commercial Bollywood is an original work prepared and written

by me, under the guidance of Dr. Robi Augustine, Post Graduate Department of

Journalism and Mass Communication, Jain (Deemed-to-be University) in partial fulfilment

of the requirements for the degree of Master of Arts in Journalism and Mass

Communication. This thesis or any other part of it has not been submitted to any other

University for the award of other degree or diploma.

29.4.2019 G. Sneha

Bangalore
 ACKNOWLEDGEMENT

I would like to express my sincere gratitude to all those who have been instrumental in the

presentation of this research.

I express gratitude and acknowledge the support given by Dr. Dinesh Nilkant, Director, Jain

(Deemed-to-be University) – Center for Management Studies, Bangalore.

I am thankful to the Head of the department Dr Robi Augustine and all the faculty of the

Department of Journalism and Mass Communication, Jain University- Center for Management

Studies, Bangalore.

I am also thankful to, my research guide Dr. Robi Augustine and my co- guide Dr. Kailash

Koushik without whose guidance this research would not have been possible.
 TABLE OF CONTENTS

Page No.
Abstract......................................................................................................................1

CHAPTER 1: INTRODUCTION

1.1 Cinema.................................................................................................................2

1.1.1 History of World Cinema.......................................................................2

1.1.2 History of Indian Cinema.......................................................................3

1.2 Bollywood...........................................................................................................5

1.3 Music in Commercial Bollywood........................................................................7

1.4 Lyrics of Item Songs............................................................................................9

1.5 Feminism and Lyrics of Item Songs..................................................................10

1.6 Objectives..........................................................................................................10

1.7 Research Questions............................................................................................11

1.8 Theoretical Framework......................................................................................11

1.8.1 Objectification Theory..........................................................................11

1.8.2 Laura Mulvey: Visual Pleasure and Narrative Cinema........................11

1.8.3 Feminist Ideologies of Tania Modleski and Angela

McRobbie......................................................................................................12
CHAPTER 2: REVIEW OF LITERATURE

2.1 Overview of Literature......................................................................................14

2.2 Literature Review..............................................................................................15

CHAPTER 3: METHODOLOGY

3.1 Introduction.......................................................................................................33

3.2 Research Questions...........................................................................................34

3.3 Sampling............................................................................................................35

3.4 Sampling Technique..........................................................................................35

3.5 Sample size........................................................................................................36

3.6 Approach...........................................................................................................37

3.7 Tools of Collecting Data...................................................................................38

3.8 Analysis.............................................................................................................38

CHAPTER 4: ANALYSIS AND INTERPRETATION

4.1 Analysis.............................................................................................................40

4.1.1 Tu Cheez Badi Hai Mast....................................................................42

4.1.2 Tan Tana Tan.....................................................................................45

4.1.3 Jumma Chumma................................................................................48

4.1.4 Choli Ke Peeche.................................................................................51

 4.1.5 UP Bihar Lootne.................................................................................54

4.1.6 Chikni Chameli..................................................................................56

4.1.7 Dil Mera Muft Ka...............................................................................60

4.1.8 Fevicol Se...........................................................................................62

4.1.9 Munni Badnaam Hui..........................................................................65

4.1.10 Aa Re Pritam Pyaare........................................................................68

4.2 Interpretation.....................................................................................................70

CHAPTER 5: CONCLUSION

5.1 Findings.............................................................................................................76

5.2 Conclusion.........................................................................................................78

5.3 Limitations of the Study....................................................................................78

5.4 Recommendation for future research................................................................78

BIBLIOGRAPHY...................................................................................................79

APPENDIX.............................................................................................................82
 LIST OF TABLES

Page No.

Table 3.5.1 List of Item Songs.............................................................................................36

Table 3.8.1 Sample Table to categorise words of similar characteristics that

are referred to women………………………………………………………....................39

Table 4.2.1 Table of words of similar characteristics categorised.......................................71

 ABSTRACT

“Shabdon Ke Peeche Kya Hai?”

Lyrical Analysis of Item Songs of Commercial Bollywood

Guide: Dr. Robi Augustine

This research objective is to study the lyrics of item songs of commercial Bollywood

cinema. It also tries to study the representation of women in these item songs.

The presence of a sexually attractive woman dancing to peppy music and meretricious

lyrics is used in a commercial film to grab the attention of the audience. Item songs have become

a popular element of commercial Bollywood cinema. Women are featured as „objects‟ or

„commodities‟ only to satisfy male urge and their bodies are featured in a way as if they are

meant for men to look at.

The methodology for this research is qualitative in nature. Primary data sources are the

music lyrics taken according to top list of item songs mentioned in Google and most viewed on

YouTube. The study also uses feminist theories such as Third wave Feminism and ideologies of

Laura Mulvey, Tania Modleski and Angela McRobbie to understand the objectives mentioned.

The study concentrates on words used to define women.

It was found that the women in item songs are objectified through the kind of words used

to portray their body, beauty and status in the society. The researcher concluded that words play

an important role in reflecting on what is being shown to the audience and that words can

influence audience to perceive women as objects and carriers of male pleasure and desires.

Keywords: Bollywood, Feminism, Item songs, Representation, Lyrics.

1
 1. INTRODUCTION

1.1 Cinema

“Cinema is a manipulation of reality through image and sound”

- - Alain Resnais1

The word Cinema, short for cinematography, is often used to refer to filmmaking and the

film industry, and to the art of filmmaking itself. Created in the dusk of the 19th century, cinema

is the world‟s most complex, collaborative and costly artistic expression.

The contemporary definition of cinema is the art of simulating experiences to communicate

ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or

programmed moving images along with other sensory stimulation.

Cinema is explored and exposed to all and so it has been a medium of communicating

meanings of the society. Cinema recreates and reflects reality of the society.

1.1.1 History of World Cinema

The history of world cinema goes back to the era of 1800‟s when cinema would be

described as „silent‟. Cinema is now 200 years old and it has undergone several changes. The

most important factor in the development of world cinema is Technology. Through

experimentation and innovation people were able to create magic with images. This magic of

technology in cinema spread across the world captured millions of hearts.

Cinema was not invented by one person as such, but, it is said that in 1891 Thomas

Edison‟s, The Edison Company in the USA demonstrated a predecessor of the Kinetoscope,

1
(Annette, 1995).
2
which allowed to view moving pictures one person at a time. Later in 1895, Lumière Brothers

became the first to do a public screening of moving pictures in Paris (Madhurkar, 2015).

Films were very short and sometimes were screened only for a few minutes or less. They

were projected anywhere a screen could be set up with a low light environment. It showcased

local environment and activities, scenes of foreign lands, short comedies and anything that could

be considered newsworthy.

The films were a mix of music, actions, expressions and a lot of audience involvement.

Even though these films did not have synchronised dialogue, they were not as „silent‟ as they are

sometimes described. The actions and expressions were understood by all and all could enjoy the

films without any limitations to language.

Movies were created without sound as the technology of sound was not available during

that era. For thirty years there existed no such device that could help people synchronise sound

with images. People could understand and enjoy with any barriers of literacy. It is later in the

1920‟s when technology became familiar to people and is used in cinema today. Cinema was a

magical experience then and still continues to be one today with advanced utility of technology.

1.1.2 History of Indian Cinema

The Indian Cinema has always been considered to be different because of its diverse

representation of Indian culture and colour. It has its own charm, flavour and magic that has kept

its varied audience captivated and entertained. The Indian Cinema includes films being made in

different languages i.e, Hindi, Bengali, Marathi, Tamil, Kannada and many other regional

languages. The Indian Cinema appeals not only the billion- strong audience but has also been

able to enchant a large audience all over the world.

3
 It all started when the Lumière Brothers came down to India and introduced the world of

cinema. From screening Pundalik- which is considered to be the first film that had a story in

1912 to the current time, it is unquestionably the most seen movies in the world. Dhandiraj

Govindraj Phalke is considered to be the Father of Indian Cinema. He laid down the foundation

for the future of Indian film industry through training several young filmmakers. He believed

that Indians must see Indian movies on the Indian Silver screen. He will be remembered as one

of the greatest pioneers and contributor to the development of the Indian film industry (Guru, , ,

& Kumar, 2015).

The growth of the Indian initially was not so fast, though, history of Indian cinema

involves phases like the silent era- which were not really silent. Though the films did not talk but

they were never watched in „silence‟. Raja Harishchandra by Dadasaheb Phalke was a

commercial hit and then the journey of Indian cinema got a kick start. The films from this era

were mostly based on mythology and historical facts. Later, came the age of sound and the first

„talkie‟ was „Alam Ara‟ that came in 1931.This costume drama was a huge success because of its

songs that won a lot of hearts. Since then songs and dance were established as an integral part of

the Indian cinema. Films in this time were made in Hindustani language as it was understood by

a major population in India. Slowly and gradually, filmmakers started making films on romantic

themes and they linked the story with- love, obstacle and tragedy. Later on, films based on

stories of real characters or legendary heroes were made to highlight patriotism in films. There

was a change in trend in the 1950‟s particularly in Malayalam, Tamil and Bengali movies. These

films introduced social and domestic theme that represented family life, social humour, socio-

economic disparities and inter- caste tragedy love story. Then the theme of social life was

introduced that portrayed ordinary families on screen. The 1980‟s got the colour and triumph of

4
romance by presenting what today could be considered as a typical love story of a young boy and

a girl of feuding families or would portray family values or family oriented films. 1980‟s saw a

major change in the music as well. A film with great music and love story captivated the

audience. It was in 2001 when the government of India declared cinema as an industry.

Today films are made with different story lines and themes and the trend of songs and

dance sequences continues to win over a million hearts all over the world. Today the Indian

cinema industry is global and has reached great heights.

1.2. Bollywood

Bollywood- a tongue- in - cheek term created by the English language press in India in

the late 1970s has now become a global term to refer to the Hindi language film industry (Ganti,

2000).The Hindi film industry adopted the name Bollywood from Hollywood. Bombay was the

main production unit for Hindi films and so the name „Bollywood‟ i.e; Hollywood + Bombay. It

is now that the term is used widely across various countries and has become popular because the

Hindi film industry is aesthetically and culturally distinct from all the other film industries.

Indian cinema is not restricted to Bollywood; different regions have their own name for their

film industry like, Kollywood (Tamil language film industry) and Sandalwood (Kannada

language film industry). Bollywood as a dominant media institution plays a major role in

constructing and defining polarities like, “Traditional/ Modern”, “Western/ Eastern”, “Global/

Local” and categories like culture”, “nation” and “Indian”(Ganti, 2000).

Bollywood is distinctively known for its dramatic and romantic movies that show lavish

lifestyles, fairy-tale story, happy endings and music & dance for all situations. On the other hand

the Hindi film industry also produces films that possess social- realistic stories and presents the

5
hard truth of reality with minimal music and more of strong content. Both these different

conventions of Hindi cinema are termed as Commercial cinema and the latter is termed as

Parallel cinema.

Commercial Bollywood cinema is something that is worth value for audiences‟ money or

something Indian audience would call it as “paisa- vasool” (Patel, 2015). It must includes a

typical love story of a girl and a boy, love triangles, song and dance sequences, comedy, action

and all in 2 to 3 hours long extravaganza with a brief interval. Since commercial cinema is mix

of action, comedy and romance, it is also termed as “Masala Films” i.e; mix of spices.

Melodrama and romance are common “ingredients”. Commercial cinema frequently employ

varied ingredients such as star- crossed lovers and angry parents, love triangles , family ties and

tension, sacrifice, kidnappers, long-lost relatives and siblings separated by fate, dramatic

reversals of fortune and convenient coincidences. And then there is the protagonist of the movie

which is the Hero. Hero is portrayed as strong masculine built being who is capable enough to

fight any villain all by himself and also the one who rescues the heroine who is mostly portrayed

as a Damsel in distress.

On the other side there is Parallel cinema, which is exact opposite of commercial cinema.

Instead of presenting a fairy- tale like story, parallel cinema deals with more realistic story and

caters to the life of a common man. Parallel cinema breaks the typical conventions of the Hindi

cinema and has become the most powerful medium to understand the nature of human beings. It

sometimes portrays characters that one could connect and leaves behind something to think

about. At times it does make one feel the character or sometimes the audience could relate to the

characters journey as it depicts the complex and problematic relations. Parallel cinema is

beautiful combination of words and images. Parallel cinema focuses on telling a story that exists

6
in real life like, zamindaari system, societal pressure and evils of the society. The filmmaker has

certain responsibility towards the society and some writer/directors do give proper space to

women in their novels and movies as well. The women have stronger roles. The women with

independent thoughts and actions with psychological maturity are depicted in parallel cinemas.

(Patel, 2015)

Indian movies of the 90s and 2000s received a global audience. Indian economy got

liberalised, privatised and globalised in 1991 and as a result of that, cinema in India got

recognised as an Industry by the Government of India. As a result of this liberalisation and

globalisation, Indian cinema was now open to the world audience and the audience fell in love

with what we call today „Bollywood‟. This change did not only bring changes in the economy,

but also in our culture and films disseminated this culture to its audience. Films now focused on

the youth and young generation love- stories like college romance and friendship. The Industry

did produce a lot of family based stories as well, where there would be a huge family of morals

and conflicts with a happy ending. This was the time when music became very popular among

the younger generation and everybody loved listening to all types of songs. The music industry

inculcated a lot of western style of music and lyrics, which attracted the young ears.

1.3. Music in Commercial Bollywood

Hindi cinema has come to be known to the world over by its musical dimension with its

songs and dances which lie at the heart of the cinematic tradition. Generally, songs are made by

musical specialists and lyricists, but in collaboration with the film director. Unlike in Hollywood

where the artists have their own music album and video, Bollywood film songs are produced

well integrated with the parent film and its particular scenes, characters, visuals, locations, action

7
and cinematography and also the convention of Hindi cinema and song picturisation. Almost

every commercial film will have atleast an average of 4 to 6 songs. (Patel, 2015)

Songs typically comment on the action taking place in the movie, in several different

ways. Sometimes a song is worked into the plot of the film, so that the character has a reason to

sing. Other times, a song is acts as an extension of characters thoughts or foresees an event that

has not occurred yet in the story. At times, the characters are seen to imagine themselves with

their love interest in the film, lip- syncing and dancing to a romantic song (Patel, 2015).

There are times when films have had a physically attractive female character, often completely

unrelated to the cast of the cinema and are also not a major part of the story, performing a catchy

song. The industry has always termed these songs as “item numbers” and the female as the “item

girl”. In older times, a woman, mostly courtesan would perform cabaret infront of the rich

clients. In recent years, item numbers are made for entertainment of the audience and it usually

does not anything to do with the story of the movie

(Jha,2014).

Lyricists of the commercial cinema, writes a particular song depending upon the emotion

of the story and character. Lyricists and music directors along with the film director decides

what kind of words could be used to express a situation and emotion. If it is a situation of

heartbreak or anything sad, the music director and the songwriter comes up with a slow tempo

song and the words used in the song would suggest pain and heartbreak. On the other hand if it is

a happy moment or the characters are in love, the words will be positive and would include

words related to love and happiness with peppy tempo. Lyricists play a very important role in

song making as it is they who decide how one should feel about a particular situation or person.

Words put in the right place with the right emotion could together create a beautiful meaning.

8
Also, it portrays the thinking of the lyricist about a particular situation or person and so lyricists

have to be careful as to how they represent a person or situation through words. Words do have a

great effect on what people think and believe and lyrics of song has the ability to make person

feel and think in a certain way (Patel, 2015).

1.4. Lyrics of Item Songs

The term „item‟ means a commodity that one can own. Lyrics of a song play an

important role as to how certain words are used to represent a character. The lyrics of the item

numbers are very different from that of the other songs in the film. Item numbers would include

words that highlight female body parts or female characteristics to attract male audience. They

are said to be written for the purpose of entertainment but, lyrics of a song have the power to

make one feel in a particular way about someone. When it comes to the lyrics of item numbers,

which mostly contains words about women body and characteristics, it allows people to think

about a women through the kind of words used to represent women body and characteristics.

Words like- Patli kamar (slim waist), sort of gives an idea as to what should be the size of a

woman‟s waist or the fact that the women in the song is considered to be an „item‟ and is

surrounded by men staring at her, generates a certain idea about women in the Indian patriarchal

society which suggests that women are commodities to be owned by men.

9
1.5. Feminism and Lyrics of Item

Over the last few years a new trend has been emerging in the body of commercial

Bollywood cinema that has a huge affect on the Indian audience and the trend is none other than

the Item numbers. It can be understood as a musical performance that strongly suggests a sexual

overtone in its lyrics, dance and visual elements. While one is shaking his or her leg to the

rhythmic and catchy music that these songs offer what is generally ignored is the way the female

body, female sexuality and femininity is being articulated. These item numbers have infested the

Indian women by showcasing the female body as a spectacle, engendering sexual and erotic

fantasies (Dwyer, 2000).

The lyrics of the item songs are the paramount importance to a feminist critic as it is the

lyric that are inscribed with predominant structure of the patriarchal world. Femininity is

constructed and reconstructed in these songs according to the standards of the patriarchal society.

The lyrics of the songs propose an inferior level for women in society. The lyrics have the

potential to assert not only the stereotypical representation of women but also objectification of

their bodies and characteristics. (Jha, 2014)

1.6 Objectives

1. To study the lyrics of the item songs in Commercial Bollywood.

2. To analyse the representation of women in these item songs.

3. To study the words used to represent women in these item songs.

10
1.7 Research Questions

1. How Commercial Bollywood item songs represent women?

2. What are the images created through the lyrics of these item songs?

1.8 Theoretical Framework

1.8.1 Objectification theory

Women have been objectified in the society since the dawn of age. The patriarchal

society determines how a woman should be and sets rules and norms for her follow. Media Has

therefore showed women only in the way that caters to these requirements of the society. “Sexual

objectification occurs when a woman‟s body, body parts or sexual functions are separated out

from her person; reduced to a status of mere instruments or regarded as if it is they were capable

of representing her” (Bartkey, 1990).

Therefore objectification theory is viewed from the point of lyrics to understand degree

of objectification through words and to analyse how these words represent women.

1.8.2 Laura Mulvey: Visual Pleasure and Narrative Cinema

Cinema tends to reflect the society through its narratives and the audience tends to

believe what is being shown to them. Hollywood narrative films use women in order to provide a

pleasurable visual experience for men. The narrative film structures its gaze as masculine. The

woman is always the object of the gaze, not the bearer of it. There are two ways through which

cinema produces pleasure. The first involves the objectification of the image, and the second one

the identification with it. The first form of pleasure relates to what Freud termed as scopophilia

11
or the pleasure derived from subjecting someone to one's gaze. The second form of pleasure,

which operates alongside the scopophilia, is the identification with the represented character

Scopophilia in films is a structure which functions on the basis of passive/active with the man

always on the active gazing side and the woman on the passive or as Mulvey would put "to-be-

looked-at-ness" side. This is done in two manners, with both the male figure within the narration

and the camera looking at the woman and directing the viewer's objectifying gaze. In plain

words, the woman in films in meant to be looked at. The distinction between the passive woman

and active men is also manifested in the structure of the cinematic narrative

Therefore, the study involves this ideology to analyse the objectifying gaze that is made

visible through words.

1.8.3 Feminist Ideologies of Tania Modleski and Angela McRobbie.

The visual appearance of a woman would remain incomplete if there are no words

involved. Visuals tell the audience „what to look‟ and words tell them „How to look‟. Modleski

in her paper: „mass produced fantasies for women‟ identified two types of women in her analysis

of soap operas: one, who is good to men that is, „Ideal woman/mother‟ and the „other‟ who is bad

to men that is the villainess. Soap operas according to Modleski „train‟ its female viewers to be

like the „ideal woman‟. Soap operas represent women issues but these issues are retained to the

norms of the patriarchal society. An extension to this analysis, McRobbie in her paper: „the

ideology of female femininity‟ presented a semiotic analysis of teenage girls‟ magazine: „Jackie‟

that constructed a conservative ideology of femininity for girls aged 10-14 as it „predicted upon

their future roles as wives and mothers‟.McRobbie presented four codes implying a bit of Stuart

Hall‟s Encoding and Decoding. The four codes were of: romance, personal/domestic life, fashion

12
& beauty and pop- music. The code implies that through texts the women were told how „ideal

woman‟ is and how they should or should not be in order to find their „ideal man‟.

The researcher includes the ideology to analyse the representation of „ideal woman‟,

„ideal man‟ and the „other‟ through texts of item songs.

13
 2. REVIEW OF LITERATURE

2.1 Overview of literature

The Indian cinema has seen enough in terms of changing trends. Music in Indian cinema came in

the early 30s and since then music has been an integral part of Indian cinema, specifically

Bollywood. Bollywood music is the one with all glitz and glam. From the “running around

trees” to the age of remixes Bollywood music are a good packaging and picturisation of its story.

With so many changing trends in Bollywood, came along the trend of „item songs‟ which has

been the one with more popularity amongst the audience. An item song could be understood as a

musical performance that has many a times has nothing to do with the basic plot of the film.

These songs often involve an attractive actress who is not a part of the movie but makes a special

appearance in the film. The actress would wear revealing clothes and is seen dancing sexually.

Several studies have been done on „item songs‟ with regard to representation and objectification

of women in item songs. These studies explore and analyse the way women have been portrayed

in item songs and what effect it might have on its audience. Researchers have made an attempt to

study how women body and beauty have been objectified and how such representations are

demeaning to women. Most of the research that has been done is on the basis of visual

representation and researchers have derived meanings from what is being shown on the screen.

There are studies that have studied the change in the lyrics of the songs of commercial

Bollywood and how these lyrics represent gender.

14
2.2 Literature Review

2.2.1 Why we need Feminism: Analyzing the representation of Female body,

Sexuality and Femininity in Bollywood Item Songs, Rucha Vaidya

The paper attempts to analyze the way female body and sexuality is represented in item

songs. The main objective of the research paper is to unmask the stereotypical representation of

women in item songs. The paper includes how female body, sexuality and femininity are being

articulated in these songs. The paper starts with the explanation of women representation in

Indian cinema, specifically in Bollywood. The researcher mentioned that in the name of

entertainment these songs have infested the Indian popular culture and feels that media

constructs and deconstructs identities by representing female body as a spectacle, engendering

sexual and erotic fantasy (Dwyer, 2000). The researcher attempts to deconstruct the idea of

„feminine‟ that is showcased in item songs and tries to argue that feminism is not obsolete and its

significance is only growing day by day.

The paper is structured and divided on the basis of four aspects of representation, namely,

the body, the language, the object & subject and the commerce involved in articulating

femininity. The first aspect, that is, the Body discusses that, women in Bollywood do not have an

individual existence, but they are seen on the screen in relation to some other male character;

either she is his wife, or lover, or daughter, or sister or mother. The researcher mentions that

female body becomes a spectacle as the sole purpose of the female is to seduce the actor into a

dance and song sequence. The researcher further explains that this phenomenon is connected to

item songs by giving an example of cinematography of item songs like „Munni Badnaam Hui‟

and „ Zara zara touch me‟ where the men around her slap the body and twist the wrists in a way

15
that is not only violent but authoritative. Further, the researcher quotes Bindu Nair‟s analysis of

female body representation that reads,

“In these songs, the styling, in terms of the make- up and costumes and the cinematic

element of lighting and shot taking i.e. the way the body is arranged with respect to the camera

and hence the eye of the audience, the movements of the body all turn up into making her into a

spectacle. The gaze is invited to certain parts of the body selectively considered sexual- the eyes,

the lips, the breasts, the navel, the buttocks and the legs. The costumes are often dazzling with

sequins or metallic finish, brightly coloured and revealing cut. The natural contours of the bodies

of the actresses are frequently distorted with push up bras, breasts and/or buttock padding‟s. And

to emphasize these unnaturally distended body proportions, the women are frequently shot either

from a low angle or from a high angle to show cleavage. The actions of the women in the dance

often mimic sexual movements with numerous shots of the pelvic thrusts” (Bindu Nair, 53- 54).

Later, the researcher added an argument made by Laura Mulvey that states, that women are the

bearers of the meaning and not the maker. Also added, how representations like thin waists, fair

colour, and perfect features like representations become ideals for the audience, which makes it

difficult for them to distinguish between reel and real. The body aspect concluded that the female

body acts as the bearer of fantasies and expectations.

The second aspect of representation explained by the researcher is the language. The

language aspect included the role and effect of lyrics of an item song. According to the

researcher, it is through language that meanings are constructed and ideologies are formed. It

defines our existence and relationship with the world around us. Hence, as explained by the

researcher, language used in the item songs is of paramount importance to a feminist critic as it is

this language that is inscribed with the hegemonic structure of the patriarchal world. Further it is

16
mentioned that the lyrics of the songs propose an inferior level for women in society and as the

actor dances to the song she accepts and certifies her position. For example, a song like „Fevicol

Se‟ (Dabangg 2, 2012) goes on to say “Main toh tandoori Moorgi hoon yaar, Gatka le mujhe

alcohol se” (I am like a chicken, buddy… Devour me with alcohol). The language in these songs

is not only offensive to women but also mocks them and trivializes their status in society. This

self- subordination that women go through is seen in almost every item song. To understand the

role of language, researcher included the Barthesian model „myth‟ that says that myth is any

statement that can be passed off as the truth without any actual evidence and supports the

structure of power by promoting ideas and values of the dominant group. With regard to item

songs, myths transmit and transform the ideals of sexism and render it invisible. (Claire

Johnston, 31-40). To conclude this aspect the researcher mentions that language makes invisible

the constraints of patriarchy.

Subject/ object is the third aspect of representation that includes the objectification of

women as sexual objects that gratifies sexual needs. Women in item songs are compared to food,

car, alcohol, bombs, etc, and are most of the times showcased as show girls, performers or

prostitutes. The researcher states that the fact that women in item songs are in such occupations

that validates the male gaze and accepts seeking pleasure through the women portrayed in item

songs. The researcher feels that the media is responsible in creating subject positions that

constructs the codes to femininity and female sexuality. In context of item songs, the women

invites men into sexual acts where the man attempts to resist the pleasure and reliving the

ultimate masculine fantasy of having women lust for him. The researcher concluded this aspect

by stating that this has become a recurrent pattern in almost every item song like „Chammak

17
challo‟ where, the man is a stoic hero who can differentiate between good and evil unlike the

woman and does not necessarily succumb to the carnal pleasures.

The last aspect of representation is the commerce. The celebrity in the item songs,

according to the researcher, brings in lots of profit for the entertainment industry by selling

desires and ideologies through movies. The researcher points out the fact that the filmmakers

choose to ignore that in their patriarchal and capitalist ventures they are in a very systematic

manner disseminating a culture that expresses an unjustified hatred towards women. The

researcher states that, it would be impossible to deny or trivialize the influence of cinema on its

audience; it is extremely powerful in shaping the way we think and feel. By giving the example

of violins if not played in the background when in love, it is not love or if a man is not fit to be a

hero, he is weak, enforces patriarchal ideology in which both men and women are victimised and

we tend to fall into such conditions of reality.

To conclude the paper the researcher states that for feminism to succeed, written text or

social activism is not enough. It is required to be communicated through all kinds of media, as

they occupy a large space in our lives today than in the past.

2.2.2 Use and Abuse of Female Body in Popular Hindi Films: A Semiotic analysis of Item

Songs, Dr. G. K Sahu & Sana Abbas (2015)

The paper discusses about the popularity of item songs and the use and abuse of female

body in Hindi films. The objective of the research paper is to do a semiotic analysis of item

songs with the help of mise- en- scene, implying Ronald Bathes denotation and connotation

method. The researchers start the discussion by defining item song in the words of Barrett Grant

(2006) that reads, “A musical performance that holds little or no relevance at all to the film in

18
which it features. It appears in a film to present beautiful dancing women in revealing and

exposing clothes”. According to the researchers, the ultimate role of an “item song” is to

generate publicity by dragging the attention of the audience. Further, they wrote that in early

days the main actress of the film would not perform on item songs, rather there would be another

woman who would perform as dancers or would be vamps of the film. Today, the mainstream

actresses are said to be crowd pullers if they dance to item numbers. The researchers also

mentioned that earlier item numbers was a part of the story and there would be a reason for these

special performances, performed by dancers or vamps, but today the item songs have nothing to

do with the story as such but they exist because it attracts mass and is used as a tool to gain

profits for the film.

Further, the researchers discusses about the semiotics. According to them, a semiotic and

psychoanalytical approach to the representation in popular cinema reveals that the image of

women is not wholly congruent with the reality. The researchers keeping in mind the view of

Ronald Barthes, are able to create denotative meanings of all the „signs‟ represented in item

songs in order to invest it with connotative dimensions. As item songs will include several

denotation and connotation, the researchers have analysed item songs with the help of mise- en-

scene. Mise- en- scene, involves several elements that is used to describe everything that appears

and happens infront of the camera. Elements which act as a unifying bond of representing the

song clearly as mentioned by the researchers are- Camera , Music , lyrics , location , actors ,

costumes , props , sound , dance , lighting and semiotics. Further they explained each of these

elements and their importance with regard to the research.

The researcher has picked up 4 item songs of this era namely „Munni Badnam Hui‟,

„Chikni Chameli‟, „Sheila ki Jawani‟ and „Fevicol Se‟. All these songs have been analysed

19
keeping in mind the elements of mise- en- scene and have explained its denotative and

connotative meanings accordingly. In their analysis it‟s mentioned that the woman in item songs

wearing revealing clothes and dancing to loud music are firstly not a part of the story and

secondly, they are there to attract male audience. The researchers believe that the filmmakers

make use of women in item songs to the optimum level just to gain a commercial success of the

movie. It is mentioned that the Indian movie industry is known for their songs. The researchers

state the example of creativity, from “choli ke peeche kya hai” to “Chipka le saiyyan Fevicol se”,

and say that lyrics in these item numbers represent women as objects as a song and dance

sequence showing a woman being haunted and wooed by a group of men is ironical.

The researchers‟ have concluded the paper by quoting Laura Mulvey that reads, “Men

act, women appear. Men look at women; women watch themselves being looked at”. According

to the researchers the quote implements the position of women in the realm of the 'look', within

the mainstream Indian Cinema. They feel that the item songs have become an important element

of Hindi movies where women are featured as a commodity, only to satisfy men and they are

used to satisfy the desires of men. Bold lyrics are used to enhance the popularity of the song

which in turn attract large crowd as well. They also mentioned that in movies women are no

more represented as innocent or shy rather through these songs they are represented as bold and

provocative. In Bollywood, where a large number of movies are releasing every year, putting a

peppy item song in a movie is a good trick to gain the attention of viewers and generate profit.

To sum up, the researchers ended the analysis by stating, film after film, women are objectified

only to satiate male desire and their body parts are on display for male gaze.

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2.2.3 Representation of Women in Indian Cinema: Analysis of Item Songs, Pallavi Jha,

(2014)

The paper discusses women representation in mainstream Hindi cinema. The researchers‟

objective is to analyse item songs keeping in mind the impact of emerging trends of music and

rhythm, clothing and fashion and global spread of mass media. The paper also attempts to

highlight the gradual increase in demand of item songs and to examine why such forms

oppression against women depicted in a movie are not questioned.

According to the researcher, most of the audience in India come to watch movies because

of two reasons. Firstly, some movies attract audience because they seem similar to people‟s life

which further gives mental relaxation. Secondly, some are made different from the real life, so to

come face to face with it. But at the end, it is entertainment that becomes the base. Many movies

would also have an “item song” for the same reason as discussed above. In almost all

circumstances, the picturisation would consist of a scantily dressed girl performing a sexually

provocative and suggestive dance. The researcher added that the ultimate role of an “item song”

would be to generate publicity and ensure commercial success. According to the researcher, the

origin of the term "item number" is not sure, but it was first used for the song „UP Bihar Lootne‟

in the movie „Shool‟ in 1999 and Shilpa Shetty was termed as the Item Girl for the first time.

Further it is also mentioned that, the word „Item‟ has derived its meaning from objectification of

sexually attractive women. This is because item in filmy Mumbai slang is a sexy woman (Morey,

Peter; Alex Tickell, 2005). Though the success of the movie cannot be attributed to these songs

alone but they play a major in creating space amongst the Indian movie goers. The researcher has

taken into considerations the political and economic changes that took place in the country

during the late eighties that affected the nature of Indian cinema. The researcher feels that the

21
Indian film industry transformed its aesthetics and thematic preoccupations because of the

dominant capitalist order of the West. According to the researcher, the capitalists redefined the

form and content of Indian cinema after globalisation or the new world order was introduced to

the Indian economy. One of the biggest change that was observed was the emergence of super

budget films. It was not just the crores of rupees spent on the production of films but, it altered

the very sensibility of the Indian audience and almost wiped out films made on very modest

financial and technical resources and erased themes that dealt with the lives of millions of

Indians who belonged to the middle class and the lower-middle class. The poor, the marginalised

and the oppressed, of course, have been entirely liquidated. The item numbers became one of the

reasons for the capitalists, whose aim was to gain profits to attract more audience to watch

women dancing suggestively on loud lyrics and in exposing clothes. Not only this, but the paper

discusses the change in the role of women characters. Earlier the vamps or show dancers would

be the one to perform to loud music mostly cabaret, but today the mainstream actresses are seen

performing to item numbers as it is considered to be the paramount to achieve success in the

industry.

The researcher interestingly, presents a contradicting argument that some might consider

item songs as objectionable as it commodifies a woman and sells her body but at the same time

there are many empowerment debate related to these, who believe Item Songs can be used as

freedom of expression. With regard to commodification, Rituporno Chatterjee feels that though

Item is an extremely derogatory word, women are in one way or the other objectified in Hindi

cinema. Rituporno Chatterjee (2012) says, „The etymology is perhaps unclear but no other word

commodifies women like the word 'item' does. A variant of it is perhaps 'maal' which roughly

translates to property in English. The researcher quotes different critics of item songs and the

22
representation, and all discusses about the female body representation and the voyeuristic gaze,

that is, the gaze is invited to certain body parts of a woman like- eyes, chest, lips, waist or any

other that can be considered sexual.

The paper also highlights the working of the censor board that is CBFC (Central Board of

Film Certification) with regard to item songs by citing an example of “Choli Ke Peechhey Kya

Hai?” a hit song from the film „Khalnayak‟ starring Madhuri Dixit that got into a controversy

because of its alluring dance moves. The case was to remove the song from the movie the Delhi

High court on appeal, decided to keep the song as they felt that the society should keep up with

the latest developments in the film industry. Although the case was a failure in legal terms but it

was unquestionably successful in rousing public opinion around the controversy as a result of

which the Censor Board grew much more stringent in granting censor certificate. The paper also

highlights the representation of homosexuality in films like- Fire which was opposed by the

audience, the board and the Supreme Court as they felt that the movies “have crossed all limits of

obscenity and vulgarity” and that films like Jism, Dum and Kanta are responsible for “the

increasing incidents of sexual exploitation”.

To conclude the researcher says that it is important to study female representation to

understand the role of media in building blocks for the society, but the paper leaves its readers

with the debate of item songs be considered as objectionable or as freedom of expression.

2.2.4 Portrayal of Women in Indian Mass Media: An Investigation, Himashree Patowary

(2014)

The above paper discusses that, mass media plays a significant role in shaping social

values, attitudes, norms, perception and behaviour, but when it comes to women‟s participation,

23
performance and portrayal in media, it represents women within the boundaries of patriarchal

ideologies. The research is made for making an investigation about the portrayals of women in

the Indian print and visual media through feminist perspective. The researcher feels that a

positive portrayal of women in media is necessary to maintain the real dignity and status of

women which will minimise the gap and inequalities between men and women. But if media also

become male dominated or play the role as a mere agent to forward this tradition then the whole

situation will be against the women where their development and empowerment will not be

possible. Most importantly media can provide a democratic environment where women can

participate and represent their womanhood. The researcher in the statement of problem discusses

the problem with the portrayal of women in print and visual medium and that the media even

though known as the watchdog of the society, is no different than the patriarchal society it exists

in. In order to fulfil the objectives of the study the researcher will employ the Analytical Method,

wherein the researcher has made use of the available data on Indian print and visual media. The

researcher collected materials from the secondary sources of data that includes books,

magazines, journals, periodicals and different websites.

The researcher in her analysis writes that, even though here have been advancements in

information technology, print and electronic media in many countries do not provide a balanced

picture of women‟s lives and contributions to the society. The researcher mentions that, there

exists a potential for the media to contribute to the growth of woman, yet, the lack of gender

sensitivity is evidenced by showcasing degrading and negative representation of women in both

print and electronic media which must be changed. Further she writes that, women are required

to be involved in decision making regarding the development of communication technology, as

most women especially in the developing countries are not able to effectively access and

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establish networks that will provide them information from alternate sources. Their participation

will lead to their growth and impact. The researcher suggests that the government and other

actors should take a step and promote an active and visible policy of mainstreaming a gender

perspective in policies and programmes.

Further the paper mentions that, the fact women are considered to be the weak and

inferior, it is because the media represents women as less accepted and is looked upon as objects.

Instead of focusing on issues like- rape, sexual harassment and domestic violence, the media is

focusing on the gossips of actors and actresses and their love life. According to the researcher,

the media represents women in three specific roles- biological, domestic and decorative.

The researcher has analysed print, audio and visual media to understand the portrayal of

women. In visual medium she writes about portrayal of women in advertisement, cinema and

television. The researcher has given a brief about each of these mediums and as a result, the

representation of women in advertisement, cinema and television is projected in a very

stereotypical way. In advertisement, women are portrayed as commodities and objects, in cinema

women are projected as sacrificing themselves for the family and reaffirming values of self-

effacement and devotion to the male head of the family. Women who opt for a less traditional life

are portrayed in a negative light and in television; women are always wearing heavy jewellery

and makeup. They are seen in different roles wherein they are the good, innocent, non- thinking

and sacrificing beings or they are cunning and involved in conspiracy. When it comes to the

audio medium, the researcher writes about the portrayal of women through radio wherein, they

are projected as gossip- mongers, they are given advices to be a good wife and tips are given to

look good. There are acute numbers of programmes that have educational or sensible content for

women. The researcher talks about the print media that includes- newspaper and magazine. Print

25
media even though have a limited reach, provided its readers with gossips of the television and

film industry, solutions for love or beauty problems, features on fashion but, serious debates and

discussions on issues related to women are completely missing.

As a conclusion the researcher feels that women are hardly portrayed having social

commitments, capable to make decisions for herself or able to become a leader and make

policies. Instead she is shown as a domestic person, weak and passive. At the end the researcher

states that, the overall effect of the portrayal of women in media is to reinforce rather than

reduce prejudices and stereotypes. The mass media in India has not made adequate efforts to

discuss serious issues concerning women and prepare the women to play their rightful and equal

role in society. To change this condition, it is necessary to monitor the media and point out the

merits and demerits continuously.

2.2.5 Visual Pleasure and Narrative Cinema, Laura Mulvey (1974)

Laura Mulvey in her essay utilizes psychoanalysis theory as a "political weapon" to demonstrate

how the patriarchic subconscious of society shapes our film watching experience and cinema itself.

According to Mulvey the cinematic text is organized along lines that are corresponding to the cultural

subconscious which is essentially patriarchic. Mulvey argues that the popularity of Hollywood films is

determined and reinforced to pre- existing social patterns which have shaped the subject.

Mulvey's analysis combines semiotic of cinematic means of expression with psychoanalytic

analysis of desire structures and the formation of subjectivity. The semiotic analysis enables in

deciphering how films produce the meanings they produce, while the psychoanalytic side of the article

provides the link between the cinematic text and the viewer and explains this fascination through the way

cinematic representations interact with this (culturally determined) subconsciously. Mulvey's main

argument is that Hollywood narrative films use women in order to provide a pleasurable visual experience

for men. The narrative film structures its gaze as masculine. The woman is always the object of the gaze,

26
not the bearer of it. The cinematic gaze is always produced a masculine gaze, both by means of the

identification produced and through the use of the camera. Mulvey identifies two manners in which

Hollywood cinema produces pleasure, which arise from different mental mechanisms. The first involves

the objectification of the image, and the second one the identification with it. Both mechanisms represent

the mental desires of the male subject. The first form of pleasure relates to what Freud termed as

scopophilia or the pleasure derived from subjecting someone to one's gaze. The second form of pleasure,

which operates alongside the scopophilia, is the identification with the represented character which is

brought about by needs stemming from the Freudian Ego.

Scopophilia in films is a structure which functions on the basis of passive/active with the man

always on the active gazing side and the woman on the passive or as Mulvey would put "to-be-looked-at-

ness" side. This is done in two manners, with both the male figure within the narration and the camera

looking at the woman and directing the viewer's objectifying gaze. In plain words, the woman in films in

meant to be looked at. The distinction between the passive woman and active men is also manifested in

the structure of the cinematic narrative. The films Mulvey surveys revolve around a dominant male figure

with which the viewer can identify. This identification is similar to Lacan's mirror stage in which the

narcissistic fragmented subjected experiences himself a whole and potent in a reflected self image.

Methods that produce cinematic realism aid in this mirror-like identification which reinforces the ego.

According to Mulvey, the female cinematic figure is a paradoxical one. She combines attraction with the

playing on deep fears of castration. The male subconscious has two ways of escaping his fear of

castration. One is the unmasking of the female figure that is, the dismantling of her mysteries (in films:

the female figure is punished or saved by the male figure). The other way to escape fear of being castrated

by the woman is through the fetishization of her (for instance as the glamorous unobtainable star). Films,

according to Mulvey, attempt to resolve the tension between being attracted to the woman and fearing

her, and therefore they provide for the needs of the masculine form of desire.

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2.2.6 Item Numbers and Item Girls, Akshaya Kumar (2017)

The papre presents a brief explanation of the word „item‟ and its meaning with regard to

„item girls‟ and „item song‟. According to the researcher, the word item is like any other word in

the English dictionary, but when used in Indian context it can have different meanings. The same

word can be used to call someone a fool and at the same time if it is being added to the word

„girl‟ the meaning changes. According to the researcher, the word „item girl‟ is a female person

who has been itemised to a particular role- that is of a seductress who could make one claim „kya

item hai‟ („what an item!‟). With relation to this, an item girl would be the one who perform on

item numbers. The paper further explains that, item numbers are not that old, only it has been

modified from time to time. Earlier the female characters who played the role of vamps would

perform cabaret. These songs at that time were not considered as item numbers as such, as the

term is considered to be known to people only during the 90s when the song „Main aayi hu UP

Bihar Lootne‟ („ I have come to loot UP and Bihar‟) released and Shilpa Shetty was considered

to be the „item girl‟.

According to the researcher the consolidation of item numbers in the mainstream Hindi

cinema became significant because of two shifts. The first being the A- listed actresses or

celebrity started dancing to item numbers, as initially only few selected female actors or female

characters who were struggling to make it to the A- list would perform in item songs. With

regard to this, the researcher highlights an interesting point that the careers of „item girls‟ are

often connected to certain strategic negotiations. The researcher gave the example of Katrina

Kaif who was featured in several „item numbers‟ would still not be considered as an „item girl‟

as she has managed to negotiate the thin line between being an item girl and actress. Whereas

Sunny Leone, who is an ex- porn star who did found the cinematic character but whose primary

28
mandate remains that of an item girl. According to me, this clearly sets the ideology as to how

representation of women is portrayed through media and perceived differently by the audience,

that is, just because Sunny Leone was a porn star, it is acceptable to call her the item girl whereas

Katrina Kaif who have been in the industry longer than Sunny and have been featured in several

item numbers would still not be considered as item girl. Although, calling any woman from the

industry and „item‟ is itself derogatory, but this portrayal is even worse.

The second shift is with regard to the marketing of the film through item numbers.

According to the researcher, item numbers acts as a bridge between the commercial entities like

the publicist and channels and gradually „item numbers‟ became the center of publicity scheme.

Even though the item numbers are considered as entertainment, it has become the most

identifiable element of a film. According to the researcher, the „item number‟ most obviously

signified the itemisation of the film itself. The researcher felt that item numbers is just not a

dance piece but, is a routinely stage performance where a crowd of men celebrate the voyeuristic

consumption of the „item girl‟.

Another interesting point laid out by the researcher is the fact that most of the item songs

are sung by female singers with bold and husky voice that appeals and fit the visual of the song.

In and all the paper attempts to understand how Bollywood has managed to makes use of the

item numbers and have gained their market profit by itemising the film and still is considered

credible and something that the Indian audience believe in.

2.2.7 Gender Reflections in Mainstream Hindi Cinema, Nidhi Shendurnikar Tere (2012).

This paper deals with the representation of women in commercial Bollywood. The paper

begins with a discussion on the field of feminist film criticism and how mainstream Hindi

29
Cinema has restricted itself to defined sketches of womanhood. This part of the paper

incorporates the importance of the media and its effects on the audience. The researcher brings in

the idea as to why it is necessary to approach Indian cinema specifically mainstream Bollywood

through feminism theory. According to the researcher, the feminist approach to cinema asks a

few pertinent questions like how women are represented on screen, how women‟s issues are

treated in cinema, what does feminism mean to film-makers, how does the feminist agenda

manifest on screen, how is the women character positioned vis a vis the male character and what

is the role of women film-makers and women writers in depicting women‟s issues through

cinema. In this paper, feminist theory took up a distinct stance in relation to the objectification,

exclusion and silence of women in cinematic narratives.

According to the researcher, women in Bollywood have been uni-dimensional characters,

who are good or bad, white or black. The researcher mentions, that the image of a woman as

„Sita‟ has been projected many a times in films after independence. They inculcated women

characters that were seen as the epitome of value and virtue, as someone who could do no wrong.

The researcher raised a question with regard to the female characters in the movie being the real

one. It also undertakes some glimpses from popular films to analyse this process of stereotyping

the „other‟ – considering that reality in mainstream cinema is constructed from the male view

point. The researcher feels that the films fail to express the grief, pain, ambitions and desires of

the woman as she is portrayed as a passive character that would not leave her husband‟s house

until the time of death, even if she is going through emotional pain. The researcher observed that

female characters who were seen as working women had no voice of their own or were turned

down silent by the society. The researcher states that, the working woman vanished from the

popular blockbusters of the nineties which relegated Indian women to the boundary of the home

30
and questions that where did the woman who walked on the streets, worked all day long and

came back home tired, disappeared?

For a long period of time, films have been made from a male point of view. The heroine

is always secondary to the hero. Her role is charted out in context of any male character which is

central to the script. It may be the hero, the villain, the father, the boss, an elderly male figure

etc. She is devoid of any independent existence and her journey throughout the film is explored

in relation to the male character. The researcher mentions that, the “man” as the saviour and the

“woman” as the victim are prominently seen in Hindi cinema discourse. The heroine is a damsel

in distress who has to be rescued by the hero if she is in trouble. Scene after scene of heroes

rescuing their ladies from the clutches of villains have been captured by the camera. The

researcher feels that film should project woman perspectives of life as well. Films should let the

female decide what is good or bad for her and let the character negotiate with troubles on a daily

basis and emerge victorious.

A section is devoted to discussion on contemporary realistic brand of cinema and its

understanding of women. According to the researcher, realistic cinema is different from popular

cinema in the way that it takes inspiration for its subjects from real life situations and existing

circumstances in the society. Though, it may apparently fall in the realm of popular cinema, its

approach and treatment of characters is more convincing than popular cinema. The researcher

gave a brief analysis of Madhur Bhandarkar movies like- Corporate, Fashion and Satta. In this

section of the paper the researcher cites the females in Bhandarkar‟s films who are usually

shown as bold and empowered women who lead life on their own terms, take their own

decisions, are “rebels” who don‟t conform to social norms and excel in their respective

professions.

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 To conclude the paper the researcher states that, it is difficult to come to a uniform

conclusion on the portrayal of celluloid women. Considering the fact that women in India are not

a homogenous group – they belong to different religions, castes, class, socio-economic status

and have different kinds of ambitions and desires as a result of which they lead different lives, it

is improper to conclude that women on Indian silver screen have been portrayed in an identical

manner. At the end she adds that filmmakers should come up with more progressive films that

portray women more than just domestic beings and such progressive characters will do justice to

women and their role in the society.

2.3 Research Gap

The gap of this research is to analyse lyrics to understand the portrayal of women through

words that create an ideal image of women in the society. This study also aims to derive

meanings through these words that are written by men about women. This study intends to

understand the portrayal of women through the kind of words used in item songs and the possible

objectifying meanings derived from it.

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 3. METHODOLOGY

3.1. Introduction

Research methodology is a way to systematically solve the research problem. It may be

understood as a science of studying how research is done scientifically (Kothari, 2004, p. 8).

Methodology is an analysis of principles and procedures of inquiry in a particular field.

Qualitative research seeks out the „why‟ and not the „how‟ of its topics through detailed analysis

of its content. It is used to gain sight into people‟s attitudes, behaviours, value system, concerns,

motivation, aspirations, culture or lifestyles.

According to Ole Holsti (1969), content analysis is, “any technique for making inferences

by objectively and systematically identifying specified characteristics of messages”. Therefore

content analysis involves thinking critically about how a text work or doesn‟t and why, and then

communicating that clearly.

The primary objective of the study is to analyse the how women are represented in item

songs of commercial Bollywood cinema through its lyrics. The trend of item songs has increased

since the 90s and still continues to be one of the reasons to gain profits through marketing item

songs to male audiences. As a result of this rapid growth of item numbers and an increased

growth of capital flow the themes used is often about female sexuality. It therefore has a

tremendous effect on the listeners of these songs. Such songs help build a fantasy world for men

and the way they perceive women in the real world.

The study also tries to establish a connection between representations of women as

portrayed in item songs and third wave Feminism and other feminist theories. Most of the lyrics

of these item songs are written by men and that constructs an idealistic image of a woman as

represented by the patriarchal society.

33
3.2. Research Questions

3.2.1. How Commercial Bollywood Lyricists represent women in item songs?

Representation of women in item songs in this study is analysed with the help of feminist

theories. Feminism is the movement that focuses on obtaining equal rights in every spheres of

life. Marginalisation and oppression of women were meant to be eradicated with this movement.

There are three waves of feminism which led to the freedom of women that we see today.

First Wave: this feminist movement focused on women suffrage, marriage acts, education, etc.

Second Wave: This wave concentrated on ending discrimination of genders in private and public

sectors.

Third Wave: this wave focuses on ending discrimination on the basis of gender, age, social,

status, etc.

This study will use the third wave feminist theory to understand how item songs are written by

men to attract male audience which in turn creates idealistic image of a woman.

3.2.2. What are the images created through the lyrics of these item songs?

Under feminist theories, different aspects that lead to objectification of women are covered.

Arguments presented by Laura Mulvey in her paper „Visual Pleasure and Narrative Cinema‟

have been accommodated in order to study the lyrics of item songs of commercial Bollywood.

Also, ideologies of three feminist theorists, namely, Tania Modleski and Angela McRobbie have

been incorporated in order to decode the connotative meanings behind the words used in these

item songs.

This study will view the lyrics of the item songs through the lens of these theories and ideologies

to understand how item songs might influence to create an idealistic image of women.

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3.3. Sampling

A sample in research methodology is a small but efficient representation of the whole

population that is being studied on. “All the items under consideration in any field of inquiry

constitute a „universe‟ or „population‟” (Kothari, 1985). A population is a group that is a subject

of research interest. It is not possible to study an entire population. Therefore it is essential to

make general finding based on the study of subset of the populations. Such subsets are called

samples.

“Sampling is the act, process, or technique of selecting a suitable sample, or a

representative part of a population for the purpose of determining parameters or characteristics of

the whole population” (Fridah, 2002).

A sample size of 10 most famous item songs of the 90s and 2000s commercial

Bollywood were chosen for the purpose of research. This selection of sample of sample size was

based on their ranking according to Google. The most repeated names were chosen after close

reference into various ranking sites. Once determined the lyrics of each song were analysed to

understand the representation of women in item songs.

3.4. Sampling Technique

This study uses one of the non- probability methods, Purposive also known as Judgement

Sampling. “This sampling method involves purposive or deliberate selection of particular units

of the universe for constituting a sample which represents the universe” (Kothari, 1985). In non-

probability sampling, the researcher is aware of the sample size chosen. The subjective

judgement of the researcher is the key in selection of sample size. Purposive sampling is one

type of non- probability sampling method, where not all units of the population is given equal

35
chance. Instead sample is chosen according to the requirement that fits that need and criteria of

the study. Purposive sampling therefore is synonymous with qualitative research as it fits the

objective of the study.

Sample size relevant to the subject of the study is taken into consideration. The main goal

of this sampling is to focus on particular type of songs that are of interest and best to enable to

answer the research question.

3.5 Sample Size

10 famous item songs of the 90s and 2000s (5 of each era) were selected deliberately for

the purpose of this research. The most popular item songs from each era were selected. The

selected sample size is purposive and is efficient in fulfilling the criteria of the selection.

Table 3.5.1

S. No. 90s 2000s

1. Cheez Badi Hai Mast Chikni Chameli

2. Dil Mera Muft Ka

Tan Tana Tan

3. Jumma Chumma Fevicol

4. Choli Ke Peeche Munni Badnaam

5. UP Bihar Lootne Aa Re Pritam Pyaare

List of Item songs

36
3.6. Approach

Qualitative approach to research is concerned with subjective assessment of attitudes,

opinions and behaviour. Research in such situation is a function of researcher‟s insights and

impressions. Such an approach to research generate results either non- quantitative form or in the

form which are not subjected to rigorous quantitative analysis (Kothari. 1985). Qualitative

research is referred to the observation and measurements which could be repeated by other

researchers. It is also developed to look further at why and also deepens the understanding of the

social worlds. This method is to gain an understanding the reason, opinion and motivations of the

study. It also helps to develop ideas for potential quantitative research.

Qualitatively, Textual analysis is a way for researchers to gather information about how

other human beings make sense of the world. It is a methodology - a data-gathering process - for

those researchers who want to understand the ways in which members of various cultures and

subcultures make sense of who they are, and of how they fit into the world in which they live.

(McKee, 2003, p.1). According to Alan McKee, “When we perform textual analysis on a text,

we make an educated guess at some of the most likely interpretations that might be made of that

text”.

In this study, lyrics of the selected sample of item songs are identified and analysed. This

is carried out with the purpose of understanding the representation of women in these item songs

through the kind of words used to represent women. The words used in these item songs are

analysed in order to find the trend that goes in and what they actually represent.

37
3.7. Tools of Collecting Data

The primary tool of data collection used in this particular research is different web portals

such as YouTube and Google for music and lyrics. The data collected is then analysed through

the means of feminist theories and ideologies. Sample data is collected through careful analysis

of different categories and are selected deliberately to attain the objective of the study.

The study also uses published research articles and online journals. It tries to place this

research in the wide spectrum of data available for the different topics. It analyses the research

that has already been done to find the gap in research. Through this study the research problems

are being addressed through the process of textual analysis.

3.8. Analysis

This study will use Qualitative approach to understand the content of item songs in terms

of lyrics. This process will include understanding the words used to refer women. The words of

similar characteristics will be categorised under five parameters namely,

itemisation/commodification, ideal beauty, construction of ideal man, act of exchange and sexual

innuendos. The study tries to analyse what words mean in terms of the context of the song and

how meanings can possibly be perceived by the audience.

The parameters set for the analysis is decided on the basis of the characteristics of the

word being used to refer to a woman and woman body. This is done through careful analysis of

the lyrics and the words used in item songs selected. Words of similar characteristics will be

tabulated under each of the five parameters.

38
 The sample table is presented below.

Sample Table 3.8.1

Itemisation/ Ideal Construction of Act of exchange Sexual

beauty man innuendos

Commodification

Sample Table to categorise words of similar characteristics that are referred to women

The researcher being a female will do the analysis from a female point of view as it is

important to understand these lyrics and meanings hidden under them which only a female can

decipher according to their day- to- day experience.

39
 4. ANALYSIS AND INTERPRETATION

4.1 Analysis

Analysis of data is a process of inspecting cleaning, transforming and modelling data

with the goal of highlighting useful information, suggesting conclusions and supporting decision

making. Analysis and interpretation of data collected in the research is a very important step in

order to ascertain the objectives of the research and reach conclusions in order to make

recommendations. Marshall and Rossman (1998) describe data analysis as the process of

bringing order, structure and meaning to the mass of collected data.

This research analysis was done based on the data collected that was selected for the

purpose by close analysis of the required sample. A sample of 10 item songs (5 of 90s and 2000s

each) were selected for the purpose of the study. These classifications of item songs were

according to the top list of Google and most views on YouTube.

Feminism deals with gender inequalities, exploitation, suppression, oppression and

subjugation in the context of life and society. Representation is what cinema is all about,

denoting symbols, signs, images, portrayals, depictions, likenesses and substitution (Gokulsing

& Dissanayake, 2013, p. 179). Ardener (1975) posits that “women and men within the

patriarchal, capitalistic societies tend to form two distinct circles of experience and

interpretation, one overlapping the other” (Krolokke & Sorensen, 2006). The researcher seeks to

explore the representation of women sexuality or women as a sexual being in commercial

Bollywood item songs.

The representations of gender produced and circulated by Indian cinema are constitutive

of gender as a cultural identity. „Gender‟ in this context is defined as the cultural meanings of

representations assigned to biologically sexed bodies, with the terms „masculine‟ and „feminine‟

40
usually referring to culturally produced gender, and „male‟ and „female‟ to biologically produced

sex (Gokulsing & Dissanayake, 2013, p. 179).

Bollywood has emerged as the largest producer of films in the entertainment industry

around the world. Even though, language is a barrier to reach out to foreign silver screen, the

genre most popular amongst the foreign and local stars, and a convenient vehicle to

internationally market movies before their release, is the music and dance (Rao, 2007). One such

upbeat and colourful combination of dance and song in Commercial Bollywood are Item songs.

The trend of item songs emerged during the 1990s and has been a part of almost all films made

after the 90s. Item songs are used to attract audience to come to watch cinema. Also through this

the producers and director gets a chance to market their film for greater profit. Item songs would

involve a girl, usually termed as „Item girl‟, who is surrounded by men „gazing‟ at her while she

dances and sings. Song and Dance are two inescapable ingredients which can play a purely

lyrical role, „only for pleasure‟ or they can express an ambience, a state of mind, an emotion.

“The way lyrics are structured and what words the songwriter uses to describe certain things

naturally have an impact on the appearance of the song and thus the interpretation of it”

(Grönevik, 2013). Words used in item songs might create a certain image of how a woman

should be or not be. Any normal word can be interpreted differently when used in different

contexts. Words like: Cheez (object) or bomb are used many times to refer to women. Over time

these words have become eminent to represent women body and sexuality in item songs. Words

like these poses different meanings in terms of individuals as well. These lyrics are mostly

written by men, and these words literally mean „Objects‟, and men use words like these to

represent a woman in item songs. So, it can be said that men use these to objectify women and

41
therefore women are reduced to just objects. This study therefore analyses the use of such similar

type of words in sample to understand the representation of women in item songs.

This study will henceforth, will analyse the lyrics of the 5 item songs of two eras, that is,

90s and 2000s to gain a better understanding of the representation of women by implying

feminist theories and ideologies. Text and visual are interconnected in Commercial Bollywood

cinema and so the researcher will brief about the visual happenings of the item songs in order to

understand the situation for which the song has been written. Each song will be analysed and

words of similar characteristics are categorised under different parameters which will be used to

arrive at conclusions.

Item Songs of the 90s

4.1.1 Tu Cheez Badi Hai Mast

Lyricist: Anand Bakshi

Film: Mohra (1994)

The item song is from the film Mohra and the story is about a journalist, a common man

turned criminal to avenge the death of his family and a police officer who wants to fight against

gang who are into the business of drugs. The song is picturised in a nightclub where one of the

criminal has come to make an illegal business deal. The journalist (Raveena Tandon) and the cop

(Akshay Kumar) plot a plan to catch this criminal red handed. And so, they dress up as dancers

of the night club and as soon as the criminal enters the night club, the song starts.

The lyrics of the song have one particular line occurring multiple times, which is also the

starting line of the song. There are certain words that are used to refer to the woman and one

such word is „Cheez‟ which means „object‟. The man continues to sing and call her as „cheez‟

42
several times in the song. The woman in this line is considered to be an amazing „object‟, young,

drunk and has no conscious. Such lines have the tendency to stay with the audience for a long

especially when it is being repeated after every other line in the song. This might influence the

audience to consider a woman a „cheez‟ which means an object one can own and might as well

use the term to call women, which is very demeaning. The lines are:

Tu cheez badi hai mast mast

Tu cheez badi hai mast

Tu cheez badi hai mast mast

Tu cheez badi hai mast

Nahi tujhko koi hosh hosh

Nahi tujhko koi hosh hosh

Us par joban ka josh josh

Nahin tera

Nahin tera koi dosh dosh

Madhosh hai tu har waqt waqt

Tu cheez badi hai mast mast

Tu cheez badi hai mast

Tu cheez badi hai mast mast

Tu cheez badi hai mast

As the song goes further the woman insists the man to tell what is special about her.

Instead of using normal words like „beautiful‟ the man calls the woman „resham ki dor‟ that

means like a silk thread. The lyricist made use of metaphors to portray beauty. Silk thread is

43
considered to be a soft and lustrous fiber made out of cotton. In this context the woman‟s body is

considered „soft as silk‟. Later, the lyricist have made use of different metaphors to denote sexual

attraction, like in the next line, the man continues to praise her beauty by saying that when she

walks, her lovers feel like peacocks. Peacocks spread their feathers to attract the opposite sex to

mate. In this context, it could be said that the man is sexually attracted to the woman by the way

she walks and also the way her hair looks. The lyrics from which the meaning has been derives is

given below.

Bol zara tu jaan-e-mehboobi

Mujhmein aisi kya hai khoobi

Bol zara tu jaan-e-mehboobi

Mujhmein aisi kya hai khoobi

Tu ek resham ki dor dor

Tu ek resham ki dor dor

Teri chaal pe aashiq mor mor

Teri zulf ghani

Teri zulf ghani chitchor chor

Ghanghor ghata badmast mast

Tu cheez badi hai mast mast

Tu cheez badi hai mast

Tu cheez badi hai mast mast

Tu cheez badi hai mast

44
4.1.2 Tan Tana Tan

Lyricist: Dev Kohli

Film: Judwaa (1997)

The movie is about two twin brothers (Raja and Prem) who are separated at birth when

their father exposes a smuggling racket and a king pin. Genetically bound by reflexes both the

brother‟s lives interlink in strange ways and a comedy of errors. They eventually come together

to destroy the smuggling nexus and save their family from downfall that awaits them. The

brothers are of extreme nature and behaviour. While Prem is quiet and mature, Raja is a petty

thief. Both of them fall in love with two girls of similar nature as they are.

This song is picturised on a stage and prison at the same time. Prem is supposed to sing

for an event but gets locked up in a prison because the police think he is Raja, while Raja goes

onto the stage and perform for the event. Because of their interlinked reflexes, the song is shot in

two situations. The lyrics of the song suggest that the man is trying to ask a woman out for a

date. The unusual use of words like „Tan Tana Tan‟ that have no meaning at all but are used just

to keep the lyrics in rhyme, make this song catchy. But, the way the woman is represented; it

might not sound catchy at all.

The song starts with the man singing to the woman, how he fell for her when she looked

into his eyes one time. He continues by saying that, he heard that she‟s got tens‟ and dozens of

lovers in and around her. Then, the man insists her to make him her moon as that would make

the star of his fate shine. Then he sings to the girl that, he wants her to look back at him again as

he was not satisfied with one look. Soon after this the main line of the song comes in, where he

asks the girl out by saying „Chalti hai kya nau se baara‟. The line suggests that the boy is asking

her to come for a date from 9 to 12. An average Hindi movie in the 90s was of 3- hours and the

45
show times were almost fixed at 12, 3, 6 and 9pm. So, in this line the boy is asking the girl if she

would like to come for a movie, preferably the last show that is from 9pm to 12am. The man

asks the woman not for her consent, but says, that why is that she is standing and thinking about

this, when they can just make a run for it. From this one might say that, the man took decision

for her and did not even let her to think once about the date. These are the lines of the song:

Aankh Ladaake Tune Maara, Ghaayal Ho Gaya Dil Bechaara

Suna Hai Tere Chaahanewaale, Aage Dus Hai Pichhe Baara

Mujhko Apna Chaand Banaale, Chamaka De Kismat Ka Taara

Ek Baar Se Dil Nahi Bharata, Mudke Dekh Mujhe Dobaara

Tan Tana Tan Tan Tan Taara

Chalati Hai Kya Nau Se Baara

Tan Tana Tan Tan Tan Taara

Chalati Hai Kya Nau Se Baara

Khadi Khadi Kya Soch Rahi Chal Ho Jaaye Nau Do Gyaara

Tan Tana Tan Tan Tan Taara

Tan Tana Tan Tan Tan Taara

Chalati Hai Kya Nau Se Baara

Later in the song, the man is trying to convince the woman to go for a date by telling her,

that he has already booked two tickets for them and wants to sit tightly with her on the backseat

of a taxi. In the next lines, he tells that not to think of him as a cheap person as he has money in

his wallet and can buy her anything from a „Samosa‟ to „Idli- Dosa‟. Well firstly, he did not ask

her for her consent before booking the tickets and yet wants to sit clung onto her in a taxi and

secondly, the next line might imply that a man has to have money in order to attract a woman. In

46
turn, this also sets an image of an ideal man for its audience and they might think that money can

buy everything. Later in the paragraphs, he says, she is his „Pepsi- cola‟, that can be considered

demeaning for a woman, as it suggests that the man considers a woman equal to a consumable

product, making her an object for consumption. Following are the lines that have been analysed:

Raat Ke Show Ki Do Tikate Hain, Khol Ke Purse Dikhalaau

Chipake Baithu Saath Tere Main, Taxi Mein Le Jaanu

Samajh Na Mujhako Aisa Vaisa, Mere Batawe Mein Hai Paisa

Tujhe Khilaaunga Ji Bhar Ke Garam Samosa Idali Ya Dosa

Tu Meri Hai Pepsi-Cola Main Tera Hoon Coca-Cola

In the next paragraph, the man wishes to whistle her film songs everyday and wants to

watch a movie with her. Not only that, he adds that it‟s a lovely Friday evening and a new movie

is to be screened. He is trying to show off saying, that the theatre is air-conditioned and she

should not worry about the heat and also claims that the movie is very good. Then, he says that

the two tickets that he got are of the last row, where they can cuddle silently. These kinds of

representation of love might create an image of an ideal date and also woman. In the entire song,

the girl has not been asked for her consent or to think even once and the man is just expressing

what he wants to do on a date. The below mentioned lines have been analysed by the researcher:

Filmi Dhun Pe Dekh Ke Tujhko, Sinti Roj Bajaanu

Bahot Dino Se Soch Raha Tha, Filam Main Tujhe Dikhaanu

Shukarwaar Ki Shaam Hansi Hain, Nayi Nayi yeh Film Lagi Hain

Garmi Ki Na Hogi Tension, Theater Hain Wo Air Condition

Film Hansi Wo Jaaneman Hai, Ye Filmo Mein Number One Hain

Govinda Hai Hero Usaka Aur Maadhuri Heroine Hai

47
Pichali Seat Ki Do Tikate Hain, Gup Chup Pyar Karenge Yaara

Ek Baar Se Dil Nahi Bharata Mudke Dekh Mujhe Dobaara

Tan Tana Tan Tan Tan Taara

Tan Tana Tan Tan Tan Taara

Chalati Hai Kya Nau Se Baara

Khadi Khadi Kya Soch Rahi Chal Ho Jaaye Nau Do Gyaara

Tan Tana Tan Tan Tan Taara

Chalati Hai Kya Nau Se Baara

4.1.3 Jumma Chumma De De

Lyricist: Anand Bakshi

Film: Hum (1991)

The story of the film revolves around Tiger who used to work in a dockyard for a cruel

owner Bhatkawar who later in the film kills Tiger‟s family. Tiger is left with two step- brothers

and he takes them both to a faraway place where they can lead their life peacefully. Bhatkawar

is in jail and returns after many years to take revenge on Tiger because of misunderstanding

created by Giridhar who is now a wealthy man. At the end all the three brothers fight and win

against Bhatkawar and Giridhar.

The song Jumma Chumma is the first song of the movie. Jumma is the name of the girl,

who is also the love interest of Tiger. The song is picturised in a dockyard filled with men and

Tiger and all other men are singing for Jumma. The word „Jumma‟ have two meanings in the

song, one is the name of the girl and second, according to the Islamic culture „Jumma‟, means

Friday. „Chumma‟ is a Hindi word for kiss. The entire song pretty much goes around Tiger

48
asking Jumma to kiss her, in spite of her telling no to it. Visually, Jumma is surrounded by 100‟s

of men screaming to give a kiss and it‟s not like they are willing to know her consent about this,

but are asking her to do it anyway for their pleasure. Tiger in the first lines of the song demands

her to come out fast as he cannot wait anymore because it‟s she promised him last Friday, that

she would kiss him next Friday. He reminds her, that it is the Friday she promised to kiss him.

Then, he starts singing „Jumma Chumma De De‟, in which he is asking Jumma to kiss him. This

line in the song repeats itself after every four to five lines of him reminding her about the kiss.

The lines that have been analysed are mentioned below.

Are o jummaa, meri jaaneman, baahar nikal

Aaj jummaa hain, aaj kaa waadaa hain

Dekh main aa gayaa, tu bhi jaldi aa

Mujhe mat aur tadpaa

Are tu boli thi pichhle jumme ko

Chummaa doongi agle jumme ko

Aaj jummaa hain to aajaa aajaa

Aajaa aajaa aajaa aajaa he

Jummaa chummaa de de,

Jummaa chummaa de de chummaa

Jummaa chummaa de de,

Jummaa chummaa de de chummaa

Jumme ke din kiyaa

Jumme kaa waadaa

Jumme ko tod diyaa

49
Jumme kaa waadaa

Le aa gayaa re phir jummaa-

Jummaa chummaa de de

Jummaa chummaa de de chummaa

Jummaa chummaa na de,

Jummaa chummaa na de chummaa

Jumme ke din kiyaa jumme kaa waadaa

Jumme ko tod diyaa jumme kaa waadaa

Parson jo jamme jama

Jumma chumma na de

Jumma chumma na de jumma

Jummaa chumma de de,

Jummaa chummaa de de chummaa

Even after telling no to kiss him, he continues to sing „Jumma Chumma De de‟, which

can be considered as forcing the girl to do something the man wants for his pleasure. To justify

this in the next lines, the girl asks, what she will get if she kisses him, and the man says that,

there is nothing to give and take and that he cannot give more than a kiss. This line clearly shows

how desperate he is and also that he would not do anything for her as he cares only about the

kiss. This kind of portrayal through words might make the male audience feel dominant, as the

meaning derived out of it sounds like; the man deserves every pleasure in the world and has the

right to claim it from a woman even if it is without her consent. The lines that have been

analysed are mentioned below.

Chumme ke badle mein,

50
Kyaa doge bolo to

Chumme ke badle mein,

Kyaa doge bolo to

Lenaa kyaa, denaa kyaa

Lenaa kyaa, denaa kyaa

Denaa kyaa, lenaa kyaa,

Chummaa do, chummaa lo

Main kuchh na doongaa isse zyaadaa

The entire song revolves around the man demanding a kiss from the woman without her

consent. This sort of representation of a woman, reflects the patriarchal thinking of the society in

the 90‟s, where she is not asked about her consent and the man is not questioned for demanding a

kiss in public.

4.1.4 Choli Ke Peeche

Lyricist: Anand Bakshi

Film: Khalnayak (1993)

The film is about Ballu (Sanjay Dutt) who turns into a criminal because of poverty and is

wanted by the police for a plethora of murders and thefts. Inspector Ram (Jackie Shroff) finally

arrests him, only to have Ballu escape right under his nose. So Ram's girlfriend Ganga (Madhuri

Dixit) volunteers to go undercover, to trap Ballu and help restore Ram's reputation. Things get

more complicated, however, when Ballu falls for her, and she finds that she isn't entirely immune

to his charms.

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The song is picturised in a bar like environment, where women (Banjaras- a Rajasthani folk

culture) are in Rajasthani folk style and are performing infront of men. The song is presented as a

song-dialogue between Ganga and her partner Devi (Neena Gupta). Devi keeps on asking her,

„Choli ke peeche kya hai?‟, which translates to, „what is behind the blouse?‟ and she keeps

„rebuffing‟ Devi‟s sexually specific question and direction with a vague answer playfully by

saying, „Choli mein dil hai mera‟, which means, „In my blouse is my heart,‟ which

communicates Ganga‟s respectability. The song also contains sexual sounds like „Haay‟ or „Ah”

in between the song mostly sung by Devi. There are certain lines in the song that might portray a

woman as domestic being and is truly dedicated to one man. In the following lines, the woman is

asking people to decorate a palanquin and get her married as, she don‟t want to become a

mistress or a saint because she can‟t bear with her prime youth anymore. These lines suggests

that because she might be of a young age, it is ideal for her to get married now or else, later she

could be a mistress or saint for life, which is considered as something to worry about. The lines

that have been analysed are mentioned below.

Hai shadi karado meri, o ho,

Shadi karado, hmmm

Doli sajado meri doli

Saja do , ah ha ah ha

Sautan bana naa jaye,

Jogan bana naa jaye

Joban saha naa jaye

Kya karu, kya karu

Haay chhori.

52
 Related to her age, there is a paragraph, wherein she is singing that she is of „Bali

Umariya‟, which means „of Innocent and pure age‟ and that her „Sajaria‟ which may be used as a

synonym for bed is empty. Further she, asks prince of her dreams to come back soon and that she

is sleeping with doors open for him. This clearly suggest, that she is ready for a sexual

relationship because she is pure and of an innocent age. This might influence the audience into

thinking that a woman is ready for a sexual relationship when she reaches a certain age, where

she is innocent and „pure‟, that means untouched by anyone. The lines that have been analysed

are mentioned below.

Bali umariya meri, bali umariya

Suni sajariya meri, suni sajariya

Mere sapano ke raja,

Jaldi se vapas aaja, Ah

Soti hoon main daravaja khol ke, khol ke

Ah!

With regard to her being dedicated to one man is seen in further lines where she sings

that, a queen is nothing without her king and a king is nothing without a queen. Further she says

that he knows his needs and she knows hers and that she has dedicated her youth to him and him

only. These lines lines suggests an identity for a woman, wherein, she is restrained to certain

roles in life, that is of a daughter, sister and wife. And, she is all of these only because of the men

in the society otherwise she is not entitled to have an identity of her own. Considering the

previous lines, wherein she is asking for her prince to come back soon to her as she is pure,

might imply that men needs are restricted to sexual needs and woman needs are restricted to

satisfy men needs. The lines that have been analysed are mentioned below.

53
Begam bagair badashah kis kam kaa

Badashah bagair begam kis kam ki

Teri maraji too jane, meri maraji main janu

Maine jawani tere nam ki, nam ki

Ho chori!

The entire song suggests that a woman‟s world revolves around one and one man only

and that she is entirely dependent on him for her needs. This might create a domestic and

dependent image of a woman and the audience might set this as an ideal image for a woman.

4.1.5 UP Bihar Lootne

Lyricist: Sameer

Film: Shool (1999)

The movie revolves around an honest police officer who wants to eradicate corruption

with disciplined law and order and a corrupt MLA who wants to get rid of the police officer by

hook or by crook.

The song is picturised on a girl performing at the MLA‟s wedding anniversary. This song

is said to be the first to be termed as a „item number‟ and the girl (Shilpa Shetty) as an „item

girl‟. In the first few lines the girl is singing about her body and characteristics. She starts with

telling that by waving her slim waist, by walking around like a snake, by looking into each other

eyes and by moving her cloth a little, she has come to steal hearts of her admirers and to loot UP

Bihar. Bollywood lyricists make use of metaphors to denote characteristics and attitude of a

person and this case the word used to denote „curvy walk‟ the lyricist made use of the term

„nagin‟, which means snake woman. The lyricist could have made use of the word „saanp‟ which

54
means „snake‟ but instead used the word „nagin‟, which is directly used as a sexual element. The

lyricists have also made use of the word „Patli kamar‟ which means „slim waist‟, which might

create a ideal body image for women as Indian women are considered to be curvy and „slim‟ is

the ideal body type in the west. So, through use of such words in a catchy song, the audience

might get influenced by this western ideal and would consider women with slim waist as ideal

woman. The lines that have been analysed are mentioned below.

Patali Kamar Matakaa Ke

Naagin Si Balakhaake

Nain Se Nain Ladaa Ke

Dhaani Chunar Sarakaa Ke

Ho Ho Ho Ho

Dilwalon Ke Dil Ka Karar Lootne

Main Aayi Hun U.P. Bihar Lootne

Dilwalon Ke Dil Ka Karar Lootne

Main Aayi Hun U.P. Bihar Lootne

Dilwalon Ke Dil Ka Karar Lootne

Tu Aayi Hun U.P. Bihar Lootne

Later in the song she talks about her age being 17 and that she can shake the roof off

covered with dried grass. There is certain amount of double meaning hidden in these lines, which

is continued in the next lines, when she says that she has come to loot UP Bihar come to explore

her young beauty. From these translations, different meanings can be derived. One such meaning

that could be highlighted is the fact that the lyricist is trying to tell us that the woman is young to

55
explore her sexual beauty by wearing a jhumka, by putting perfume or by dancing seductively

infront of men. The lines that have been analysed are mentioned below.

Meri Umr Abhi Hai Satrah Chaahu

To Hilaa Du Chhapara

Kaan Me Jhumaka Saja Ke, Ai Ha

Chaal Me Thumaka Laga Ke, Ai Ha

Gajare Kaa Juda Bana Ke, Ai Ha

Itr Zaraa Mahakaa Ke

Is Jawani Ki Saari Bahaar Lootne

Main Aayi Hun U.P. Bihar Lootne.

In the entire song, the first thing to mention would be the „other woman‟ who has come

specifically to perform at a wedding, then through the words the lyricist creates an image of an

ideal body type for women that is „slim‟ and last but not the least the age factor, wherein she is

17, young and pure and is open to explore her sexual needs.

Songs of the 2000s

4.1.6 Chikni Chameli

Lyricist: Amitabh Bhattacharya

Film: Agneepath(2012)

The film is a remake of the Agneepath made in 1990. The story about Vijay whose father

is killed by a heartless crime lord, Kancha and he wants to revenge his father‟s death by getting

into the crime world to reach the crime lord.

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 This song appears in the story when Vijay meets Kancha in Mandva for a business deal.

Kancha welcomes Vijay to Mandva, by taking him to watch a dance performance by „Chikni

Chameli‟. „Chikni‟ means soft beautiful girl and „Chameli‟ means Jasmine flower, but in this

case it is used as an adjective as it is a common name for girls in India.

The song starts with Chameli singing, that her eyes are like a scorpion and her her wink is

poisonous. In the next line her waist is termed as „Kamsin‟ which means delicate and skinny. She

continues to sing to the men she is surrounded by and in the next line she sings that she, with her

body of fire have come to lit their (men around her) „Beedi‟ that means cigarette and „Chillam‟

that means hookah. Then she sings that, she (Chikni Chameli) has come all alone in the hiding

and is drunk on a quarter. These lines suggests when put together, that the woman in the song is

there to entertain the men and to tease their sexual desires. Not only that, but through words the

lyricist has portrayed a woman performing in an event intoxicated and is an object of desire for

men around her. The lines that have been analysed are mentioned below.

Haaye!

Bichhu mere naina, badi zehereeli aankh maare

Kamsin kamariya saali ik thumke se lakh maare

Note hazaaro‟n ke, khulla chhutta karaane aayi

Husn ki teelli se beedi-chillam jalaane aayi

Aaayi ! chikni chameli

Chhup ke akeli

Pauaa chadha ke aayi

In the next lines she says that she sings „Jungle mein aaj mangal karungi‟, which

translates to „Paradise in the wildernesses‟ and then next says that she will play with „hungry‟

57
tigers. These lines have innuendos hidden in it. „Jungle mein mangal‟ in this context means to be

involved in wild sexual and pleasure act and in the next line she is teasing the desires of men

around her by considering them as „bhooke sher‟ which means, hungry tigers. Though, hungry

here implies desperate, which suggests that men around her are desperate. Then the lyricist has

made use of the term „makkhan‟ which means butter to denote her palms. In the next lines, she

continues to sing that she is a fish of deep waters and that she has been across all riverbanks, but

she drowned after losing to the waves of his (Vijay) eyesight. These lines suggest that she has

been around with a lot of men but she, after meeting him (Vijay) is lost in his eyes. Then in the

next line, she tries to impress Vijay my singing, that her beauty is charismatic that could kill

people though it looks like „Halwa‟, which is an easy to make Indian dessert. This dessert in the

next line as she sings will be served to all with love and that they can grab on to it. Then in the

next lines she says that this is just a trailer and that she has come to showcase an entire film. All

these lines, put together means that she is an object for the men around her, who is easy to own

and is open to all and that this is just the initial stages to pleasure while there exist a whole movie

for men. The lines that have been analysed are mentioned below.

Jungle mein aaj mangal karungi main

Bhookhe sheron se khelungi main

Makkhan jaisi hatheli pe jalte angaare le lungi main

Haaye! gehre paani ki machhli hoon Raja

Ghaat Ghaat dariya mein ghoomi hoon main

Teri nazro ki leharo‟n se haar ke aaj doobi hoon main

Hoye jaanleva jalwa hai

Dekhne mein halwa hai

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Jaanleva jalwa hai

Dekhne mein halwa hai

Pyaar se paros doongi toot le zaraa

Yeh toh trailer hai poori fillam dikhane aayi

Husn ki teelli se beedi-chillam jalaane aayi

Next, she sings that excitement has arrived on this barren land and then she admires

Vijay‟s tough characteristics by terming his face as „Namkeen‟ which means „salty‟ and says that

his tough and dark characteristics won‟t be affected by her intensions. In the next lines the

lyricist, terms her body as „Kenchi‟ which means scissors that could cut off all the curtains. Then

the woman tells Vijay that since his night is alone, she will share the night with him.

Then she says expresses that words play a role in giving signs and wants him (Vijay) to

unlock the treasure box and loot it. Then she says that her kiss would heal his wounds. The

lyricist in these lines has put her sexual fantasy into a „treasure box‟ and also terms her body as a

treasure box that could be looted by men. The lines that have been analysed are mentioned

below.

Banjar basti mein aayi hai masti

Aisa namkeen chehra tera

Meri neeyat pe chadhke chhoote na hai rang gehra tera

Joban ye mera Kenchi hai raja

Saare pardo ko kaatungi main

Shaame meri akeli hai aaja sang tere baatungi main

Haaye! baaton mein ishaara hai

Jisme khel saara hai

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Baaton mein ishaara hai

Jisme khel saara hai

Tod ke tijoriyon ko loot le zara

Choom ke zakhmo pe thoda malham lagaane aayi

Husn ki teelli se beedi-chillam jalaane aa.yi

In and all the entire song might suggest and looks at women as a commodity to consume

by terming her as „Butter‟ and „Halwa‟ and an object for men pleasures.

4.1.7 Dil Mera Muft Ka

Lyricist: Neelesh Mishra

Film: Agent Vinod (2012)

The story of this film revolves around an agent who is on a mission to find out the reason

behind the death of his colleague only to realise that there exists untold and bigger conspiracies

that awaits him.

The song appears in a scene where the agent is undercover along with his two colleagues

who are performing infront of the targeted person who has confidential information regarding the

case. The dance is performed by two women (undercover agents) and in the song they refer to

the male audience as second person by referring them as „him‟ or „he‟.

In the first few lines the women are singing to the audience about their feelings. They

express that someone threw coins through their sights, which could means someone is looking at

them as worthy beings. Later, she adds that, she is sold to those sights and that when „he‟

touched her she became all new as a woman. This signifies that she fell for „him‟ when he

looked at her as if she is worth to be looked at. Also the women in this song can be considered as

60
someone who is dedicated to one and one man only and this can be justifies in the next lines

when she says that even though she is demanded by 75 of her lovers and „he‟ can take her by

making 77 gestures as her heart is for free. She also mentions the 75 of them are wasting their

time, while „he‟ could just make 77 gestures and she will sell heart for free. The lines that have

been analysed are mentioned below.

Phenke nazar ke sikke usne

Bik gayi hoon main

Usne jo chhoo liya tto haaye

Lagey ke nayi hoon main

Yun tto premi pachattar humare

Leja tu kar satattar ishaare

Dil mera… muft ka

Khamkkha hi taraste bichare

Leja tu kar satattar ishaare

Dil mera… muft ka

Dil mera… muft ka

In the next paragraph, she sings that even though there several „shopkeepers of heart‟, she

is a better keeper and others are just fraud. Further she adds that her heart is expensive and not all

can afford it, but she is so lost in his eyes that she would sell her heart to him for free. The lines

that have been analysed are mentioned below.

Dil ke dukandar hai doosre bhi

Hum thoda achhe hain, woh hai farebi

Ni me kamli kamli

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Ni me kamli kam…..

Haan Dil ke dukandar hai doosre bhi

Hum thoda achhe hain, woh hai farebi

Mehnga hai dil, sabke bas ka nahi ye

Bikna hai par teri khaatir mujhe bhi

Aaj baazar hi bik gaya re

Leja tu kar satattar ishaare

Dil mera… muft ka

In the entire song the lyricist implies that women are dedicated to one and one man only

and that women are ready to lose their heart and sell themselves to men who fell they are worthy

to be loved. This might influence the audience to think that women have no self- respect and

self- love and are dependent on men for love and respect.

4.1.8 Fevicol Se

Lyricists: Sajid- Wajid and Ashraf Ali

Film: Dabangg 2(2012)

This film is a continuation of its first part and the story of this film revolves around the

elder brother (who is also a local corrupt politician in a different city) of the corrupted politician

(in the first part) taking revenge on the cop for killing his brother in the first part and at the end

of this part, the elder brother is also killed by the cop.

The song is picturised in local night club where the cop, younger brother and fellow cops

have come to celebrate his brother‟s enrolment into the police force. There is woman who starts

by singing that, when she stretches her body, sounds like „Ohh‟ and „Ahh‟ is heard from every

62
corner of her body. Then she claims that when she walks revolution happens and that people who

are sober become intoxicated. Then she suggests to her lovers that, they should stick her photo to

their chests with Fevicol. Also, she says that she is ready from a long time and that people can

give a missed call to her in order to persuade her. Through these lines, the lyricist portrays

women as beings who are sexually active when their body makes sexual noises. With regard to

the entire idea of persuading her through missed call is actually that happens very frequently

with Indians. Generally, the network (SIM) that they use, send automated messages that reads

that if they are bored of their life and need excitement, they can give a simple missed call at a

given toll- free number and talk to people and mostly these „people‟ are women who would talk

to people to fulfil their desires. And in this context, the woman is all dressed up and wants people

to give her a missed call to talk to her. The lines that have been analysed are mentioned below.

Angadaiyaan leti hoon main jab zor zor se

Uff, angadaiyaan leti hoon main jab zor zor se

Ooh aah ki awaaz hai aati har aur se

Main toh chalun is kadar

Ke mach jaaye re gadar

Hosh wale bhi madhosh aaye re nazar

Mere photo ko mere photo ko seene se yaar

Chipka le saiyan Fevicol se

Mere photo ko mere photo ko seene se yaar

Chipka le saiyan Fevicol se

Fevicol se fevicol se

Main toh kab se…

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Haaye main toh kab se hoon ready taiyar

Pata le saiyan miss call se

Mere photo ko seene se yaar

Chipka le saiyan Fevicol se

In the next few lines the woman sings to the cop by referring to him as „Raja‟ to come

near her and she would show him heaven. This line suggests that, she is calling the cop near her

so that she can satisfy his desires that would feel like heaven. Also, she refers to him as „Raja‟

which means king and this could mean that she chose him over all the men around her, which

makes him the special one. The lines that have been analysed are mentioned below.

Aaja mere raja tujhe jannat dikhaaun main

Further the lyricist terms the woman as a „Tandoori murgi‟ which means barbecued

chicken who can be consumed along with alcohol. Here, the lyricists literally make use of food

to refer to a woman that might create a meaning that a woman is as similar to food or any

commodity that can be consumed. This does not end here, later it is mentioned that she can be

consumed with alcohol, which could mean that she is to be consumed by men who are

intoxicated and have no control over their consciousness. All of this together, does objectify

women and her identity. The lines that have been analysed are mentioned below.

Main to tanduri main to tanduri murgi hoon yaar

Gatkale saiyan alcohol se.

Later, the lyricists refer to the woman as „Salty butter‟ and that she can rip people‟s heart

as her youth is like a „Cutter‟. These words are used as metaphors to denote her body and

identity. These words are common to people and they might make use of such metaphors to refer

64
to women and these words when used as metaphors can be demeaning to women. The lines that

have been analysed are mentioned below.

Log kehate hain mujhe main to hun namkin butter

Kaat dungi main dil ko meri jawani hai cutter

In the entire song, the woman is represented as a person who exists to satisfy men desires

and also as an object for consumption.

4.1.9 Munni Badnaam Hui

Lyricists: Lalit Pandit, Faiz Anwar and Jalees Sherwani

Film: Dabangg (2010)

The film revolves around a story of a cop who does everything in his own indomitable

way to deal with corrupt politicians or romance.

This song appears in a scene where the cop is going to raid a local night club to arrest the

corrupted politician is case of adding chemicals to local alcohol and illegal distribution of the

same. While, the cop is yet to arrive, the politician is enjoying the performance of „Munni‟ who

is a dancer of that club.

In the song, Munni is singing to her male audience that she got defamed for her darling.

She admires her beauty by saying that, she has got rosy cheeks, intoxicated eyes and her walk is

like a princess and yet, she became „Zandu Balm‟ (a headache pain relief balm used in India) for

her darling. The lines that have been analysed are mentioned below.

Munni Badnaam Hui, Darling Terey Liye

Munni K Gaal Gulaabi, Nain Sharabi, Chaal Nwabi Rey

Ley Zandu Balm Hui, Darling Terey Liye

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Munni Badnaam Hui, Darling Terey Liye

Munni K Gaal Gulaabi, Nain Sharaabi, Chaal Nawaabi Rey

Ley Zandu Balm Hui, Darling Terey Liye

Munni Badnaam Hui, Darling Terey Liye

Then later she mentions that her „figure‟ that means body type is like a Bollywood

heroine Shilpa, who is known for her size- zero body type and she has style like Bebo that is

Kareena Kapoor also a Bollywood heroine. Later she sings that she‟s got filmy moves that are

full of enjoyment. Then she claims that people blow away millions of rupees on her tantrums and

that she became a „money printing factory‟ and „cinema hall‟ just for her darling. The lines that

have been analysed are mentioned below.

Shilpa Saa Figure Bebo Si Ada, Bebo Si Ada

Shilpa Sa Figure Bebo Si Ada, Bebo Si Ada

Hai Merey Jhatke Mein Filmi Mzaa Rey Filmi Mzaa

Haye Tu Na Jaaney Mere Nakhre Vey

Haye Tu Na Jaaney Merey Nakhrey Vey Laakhon Rupaiya Udaa

Ve Main Taksaal Hui, Darling Terey Liye

Cinema Hall Hui, Darling Tere Liye

Munni Badnaam Hui, Darling Terye Liye.

In the next lines, Munni expresses that she has deal with silly people as they roam around

her without money. Then she says, that they (silly people) don‟t know that Saif and „Lambu‟

(referring to Amitabh Bacchan) both Bollywood big stars, are after her and yet, she is became

common just for her darling. Here, she refers to herself as „item‟, which means that she is self-

66
objectifying herself and the lyricist who is a man made her do it. The lines that have been

analysed are mentioned below.

Kaisey Anaari Sey Paala Pada Ji Paala Pada

Ho Kaisey Anaari Sey Paala Pada Ji Pala Pada

Bina Rupaiye K Aakey Khada Merey Peechay Pada

Popat Na Jaaney Merey Peechay Woh Saifoo

(Haye Haye Maar Hi Daalogi Kya)

Popat Na Jaaney Merey Peechay Saifu Sey Lekey Lambhoo Khada

Item Yeh Aam Hui, Darling Terey Liye

Item Yeh Aam Hui, Darling Terey Liye

Munni Badnaam Hui, Darling Terey Liye.

In the next lines, the cop enters the scene and starts singing for Munni. He continues by

saying that she became an „item bomb‟, „Zandu Balm‟, „Grew from being a raw mango to ripe

mango‟ and „cinema hall‟ just for him and that all of this has become common to people. The

lines that have been analysed are mentioned below.

Tu Item Bomb Hui, Darling Terey Liye

Baat Yeh Aam Hui, Darling Terey Liye

Amiya Sey Aam Hui, Darling Merey Liye

Ley Zandu Balm Hui, Darling Merey Liye

Cinema hall Hui, Tere Tere Tere Liye

Haay Re, Badnaam Hui , Haanji Haan Terey Liye

Darling Terey Liye.

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 Overall, the entire song might set an ideal body type for women and also the song made

use of metaphors/ words that objectify women as objects for consumption.

4.1.10 Aa Re Pritam Pyaare

Lyricist: Sameer

Film: Rowdy Rathore (2012).

The story of the movie revolves around a brave officer dies at the hands of corrupt

politicians. But his team replaces him with someone who looks exactly like him who also

happens to be a thief. The team motive to do so is to catch the culprits.

The song appears when a politician‟s son also a criminal is bailed out by giving a fake

reason of him being mentally- disabled. And the corrupt politician wants to take revenge from

the cop who jailed him by insulting him infront of the public. So he plans to celebrate his son‟s

bail and call the cop and his fellow cops as security guards. The song is performed by three girls.

The song starts with the girls singing to her lover to come near her, as she is like a gun

with no bullets and that there‟s a fire inside of her which is hidden under her „pallu‟ (a small

piece of cloth) and it will be exciting if she raises her pallu. These lines have double meanings

hidden in it which can be considered demeaning to women. These lines suggest if a woman

raises her piece of cloth that would excite the people around her, that is men. The lines that have

been analysed are mentioned below.

Aa re pritam pyare

Bandook mein naa toh goli mere

Aa re pritam pyare

Bandook mein naa toh goli mere

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Sab aag toh mere kurti mein re

Zara hukka utha zarrra chillam jala

Pallu ke neeche chupa ke rakha hai

Utha doon toh hungama ho….

Pallu ke neeche daba ke rakha hai

Utha doon toh hungama ho.

Later in the song, it is mentioned that she is like a tender deer and the men are like wild

cold- hearted hunters which creates a sense of dominance as hunters kill animals for their leisure,

likewise, men here are referred as hunters who will „hunt‟ for the woman who is referred to as a

tender deer. Later it is mentioned that, she is like a betel nut and „he‟ is like a cutter that cuts the

betel nuts. These lines suggest that the man has the ultimate dominance over the woman as he is

referred to as someone or something that is more powerful than what women are referred as.

Like if the woman is a deer, the man is a hunter and if woman is a nut, the man is the cutter. The

lines that have been analysed are mentioned below.

Main toh hoon jungle ki nazuk heerinya re

Khunkhaar zaalim shikaari hai tu

Arrey kaante supaari bana ke mujhe jo bedard aari re aari hai tu

In and all, the song objectifies women on the basis of gender dominance and making her

an object of control by referring her as a gun with no bullets.

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 4.2 Interpretation

Interpretation of these 10 item songs have been done on the basis of the words used to

represent women in the songs. Words of similar characteristics have been categorised under 5

categories and they are set keeping in mind the feminist theories and ideologies. The five

categories are:

a. Itemisation/Commodification

This category involves words that are uses „items‟, „products‟ or „objects‟ that can be

bought, sold and owned by anyone as metaphors to represent women

b. Ideal Beauty

This category involves words that set „ideal‟ beauty standards for women.

c. Construction of the man

This category involves words that represent men as the dominant and that set an ideal of

how men should be. Since the entire 10 item songs are written by men, they have represented

men using different metaphors or similes.

d. Act of Exchange

This category involves words and sentences wherein there is a certain amount of

exchange taking place between the man and a woman. This exchange unlike the literal exchange

talks about the exchange of materials and commodities by men to gain pleasure and fulfill

desires through women.

e. Sexual Innuendos

This category involves words of „Sounds‟ included in the songs. These are not just any

sound, but words that are sexual in nature.

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 The following table involves words from all the 10 songs that are divided according to

their characteristics and are categorised under each parameters.

Table 4.2.1

Itemisation/ Ideal Beauty Construction of Act of Exchange Sexual

Commodification Man Innuendos

● Cheez ● Mast, ● Chaand, ● Muhjme aisi ● Aah,

● · Pepsi cola, ● Resham ki dor, ● Mere Batawe Kya hai ● Oho

● Husn ki Teeli, ● Patli kamar, mein hai khoobi? ● Haaye

● Makkhan, ● Naagin si paisa, ● Badale mein

● Halwa, balkhaake, ● Chumma de kya doge?

● Kenchi, ● Kamsin de,

● Tandoori Murgi, kamariya, ● Badshah,

● Namkin Butter, ● Bicchu naina, ● Sapno ke raja,

● Zandu balm, ● Chikni, ● Raja,

● Cinema Hall, ● Machli, ● Saiyan,

● Item, ● Gaal Gulabi, ● Darling.

● Item bomb, ● Chaal Nawabi, ● Bikna hai par

● Amiya se Aam, ● Shilpa sa teri khatir

● Bandook. figure, mujhe

● Nazuk ● Mere nakhrey

Heeraniya pe lakhon

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 rupiya uda,

● Khunkar

zalim shikari.

Table of words of similar characteristics categorised.

Itemisation/Commodification
The terms Itemisation/Commodification is applied when, a woman is compared to or is

referred as a „Commodity‟, „Object, „Item‟ or even „food‟ in a song. In the context of this

research, the lyricist has made use of metaphors to describe a woman. Words like: „Item‟ which

literally means an „object‟ of attention, concern or interest (Merriam Webster). The fact that

songs that have a peppy music with loud and colourful environment are considered as an „item‟

songs and the woman performing to „item‟ songs is considered as „item‟ girl is itself objectifying

women. Referring woman as a commodity, item or object implies that women are beings who

can be consumed by men for pleasure. Considering the fact that these songs are written by men,

the kind of words they use to refer to women, it justifies that these songs are written keeping in

mind the desires of men, wherein these desires are fulfilled by women in the songs. Laura

Mulvey (Mulvey, 1974) in her piece mentions about the „Male gaze‟ that is created through these

item songs, as the woman in these songs is always surrounded by men and is looked at when she

performs. Visually, these songs do portray women as an object, but words makes it even more

visible and objectifying. These words are made common to people and they start make using of

terms like „Item‟, „makkhan‟, „cheez‟ or „bomb‟ to refer women, which is demeaning to women.

Therefore, any word that „commodifies‟ women is being categorised under

Itemisation/Commodification.

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Ideal Beauty

Ideal Beauty refers to a set of beauty standards being considered right for women in a

patriarchal society. These item songs which are written by men include words or sentences that

represent a twisted image of beauty. Women in India mostly are of a curvy body type, yet, men

who write item songs portray women as slim and thin which leads to people believing that this

manufactured perception of thinness is equal to being beautiful. The ideal of thin waist and body

is western (Rebecca, 2011, p.18). This „ideal‟ is adopted from white colonisers or the people

from the west, who created beauty standards for „ideal women‟. The Indian society picked up the

same set of standards and put it in songs by using words like „patli kamar‟ (slim waist), „gora

badan‟ (fair body), „figure‟ or gaal gulabi (rosy cheeks) in sentences of the song. These songs are

made catchy and audience listen and dance to these songs in every happy event, which makes

these words common to people and they might just start believing in the fact that only thin and

sleek women should be considered beautiful and that women of heavy and curvy body type will

not be accepted and they should try to become thin and sleek. Indian society has failed to

understand the fact that Indian women have always been of curvy body type and people of the

west are already white unlike Indians who are brown from ancient times. Therefore, the

researcher has involved words that set a certain standard of beauty under Ideal Beauty.

Construction of the Man

Under this parameter the researcher involved sentences that create an ideal image of a

man. A man in this context is a person who is rich, dominating and has the right to „consume‟

women for their pleasure and desires. Since the songs are written by men, they have represented

men as the dominating gender and represented women in a way that they are made to fulfil men

desires and idealises men who are rich. In most of the songs, men are considered as „Raja‟ or

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“Badshah‟ which means king and that the woman is eagerly waiting for that one man to whom

she can „sell‟ her heart to or can get married to. There are songs in which the woman is dedicated

to one and one man only which implies that women are expected to dedicate their life to one man

otherwise she is said to be incomplete. Item songs can also make men believe that it is common

to term a girl as „item‟ and that a true man shall not ask for consent of the woman and that she is

expected to do whatever he wants. This portrays dominance, as the woman has no say if she

wants to be with this type of a man who never asks for consent, does not like to be questioned or

simply believes in the fact that if he has got money he will get a girl just like that. There are

instances wherein the girl has got a lot of admirers around her and because she has got so many

admirers around her she becomes the „demanded‟ one. The ideal man will to go after this

„demanded‟ girl and would want to gain her attention and love for him and him only. This again

sets an ideal image of how a real man should be, that is, a real man will not ask for women

consent, will show off his richness to win a woman‟s heart, will expect the woman to be

dedicated to him and him only and the woman is just an object which he can consume to fulfill

his desires. The researcher, therefore have included sentences that portray as a dominant gender

and where women are dedicated to one such dominant man.

Act of exchange

This parameter involves an exchange of material love between a man and a woman. The

man in order to receive love and attention or to fulfil his desires offers materialistic things to the

women like: „money‟ or admires her beauty by referring her as „cheez‟ or „resham‟. In of the

songs the woman asks what would he give, if she kisses him (as in the entire song he is

demanding her to kiss)? And the man, very straightforwardly says that there is nothing to give or

take, because all that matters is just a kiss. Even after saying no, the man continues to demand

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for a kiss. This kind of portrayal makes the audience believe that men have the right to claim

whatever they want from women and women should not expect anything in exchange. Through

such portrayal women is looked at as a labour of pleasure for men and that she has no right to

voice her wants and expectations. The researcher has included such type of exchange that was

seen in the item songs selected under this parameter.

Sexual Innuendos

Under this parameter words that have no literal meanings are included. These are words

but are words of sounds that denote sexual pleasure. Words like „Aaah‟ or „Ooh‟ are generally

heard in porn (Eithne, 1993). When a men or women are in the act of pleasure they moan and

these words are the kind of sound they create. Therefore, such „moan like text‟ is used in item

songs to evoke sexual pleasure. The researcher has included words of sound that were seen in the

10 samples selected.

In the selected sample it is observed that women in „item songs‟ are referred to as

„commodities‟ or „food‟ that can be enjoyed and consumed by all, which makes women look as

„objects‟ and not as a person. Also, women in these songs through words appear to be the

inferior gender. Textually, words and remarks used in these songs are obscene and degrading to

women and these words are made common to both men and women as the audience get to hear

such words in every item song. Lyricists of these item songs have made use of metaphors and

similes that presuppose that women of fair and thin type are to be considered as beautiful and

wanted by men.

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 5. FINDINGS AND CONCLUSION

5.1 Findings

The study focused on the representation of women in item songs and how words of these

songs induce objectification of women. Cinema represents culture and ideologies existing in the society.

Therefore, it is important to understand how gender, especially women are depicted through item

songs.For a long period, Commercial Bollywood cinema is known for its song and dance sequence. Item

songs are the popular type of song that focuses of one woman singing and dancing on a catchy tune for

men around her. These songs most of the times have nothing to do with the plot of the movie, yet, are

included as a tool to market the film to the audience.

Objectification of women refers to the portrayal of women as objects and item songs do

not fail to objectify women. Item songs often portray women in a manner that is derogatory and

demeaning, as these representations till date is mostly done by men. Lyrics of item songs are mostly

written by men and they tend to express their thoughts about women through words. Lyricists make use

of metaphors to refer women‟s bodies as desirable objects to attract male audience. The kinds of words

used in item songs tend to reflect how men perceive and look at women. Visuals tell the audience „what

to see‟ while words tell the audience „how to see‟.

Women performing in item songs are termed as „Item girl‟. The word „item‟ itself

objectifies women, as this woman is considered as the „item‟ of the song. She has an attractive body and

is surrounded by men. The woman in these item songs is looked at by men as a body of pleasure and

words make this gaze more visible. Therefore, it won‟t be incorrect to state that, songs that involve a

woman singing and dancing in an intimate way is doing so to gratify the salacity of men looking at her.

Bollywood show two sides of female characters. One would never see a leading female character of a

commercial Hindi film smoking, being intoxicated or wearing scanty clothes like the item girl. The

76
leading character is usually portrayed as the „good girl‟ and the other as a being who is objectified for

the pleasure of men, often played by the item girl. Thus, from a feminist perspective, one can say that

item songs are included to excite and seduce its audience by sexualisation and objectification of an item

girl.

When looked at the beauty aspect of representation, item songs have always included

women for fair skin complexion and sleek body type. Such frequent representation of fair and sleek

women build pressure on the women of the society as, others accepts women only of such fair and sleek

characteristics. Although, in the Indian history women are dominated by curvy body type and of brown

complexion, the Indian society accepts the „modern ideal beauty‟ and not the one that have existed in

our society for a long time. By setting standards through visuals and words, it has only built pressure on

Indian women to look like an „ideal woman‟.

After a careful analysis of the sample acquired for the purpose of this study, the following are

the results.

1. Item songs involves words that objectify women body and beauty as the lyricists make

use of metaphors that are similar to „commodities‟ or „objects‟ to refer to a woman.

2. The item songs portray women as the inferior gender.

3. The lyrics of these item songs contain innuendos that are demeaning to women.

4. As the lyrics have been written by men, the songs portray women as men perceive them,

that is, as a body to be looked at sexually and as someone who will gratify men desires.

5. The item girl in these songs is represented as an „ideal woman‟ with fair complexion and

sleek body type.

77
5.2 Conclusion

The study therefore used textual analysis by analysing the sample looking for instances that

validates third wave of feminism and instances of objectification. The study used ideologies of

Laura Mulvey and Angela McRobbie which helped understand how women are objectified

visually and textually. These subliminal meanings are explored using the careful analysis of

words carrying similar meanings to represent women. The study therefore helped prove the

objectives.

5.3 Limitations of the study

● Although the study addressed the different parameters and problems statements, the study

was limited only to a limited sample size due to time and content constraints.

● Although visuals and text are interconnected to derive meaning, the study is limited to

text of the sample.

5.4 Recommendations for future research

● This study involves qualitative method to interpret words and derive meanings regarding

representation. Researchers can analyse the same through employing quantitative

methods.

● The researcher has done an analysis of only text due to time constraint, but anyone who

wishes to do an elaborate research may conduct a full visual and text analysis to

determine the representation.

78
 BIBLIOGRAPHY

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81
APPENDIX

82
Song name: Cheez Badi (1994)
Lyricists: Anand bakshi
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Nahi tujhko koi hosh hosh
Nahi tujhko koi hosh hosh
Us par joban ka josh josh
Nahin tera
Nahin tera koi dosh dosh
Madhosh hai tu har waqt waqt
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Aashiq hai tera naam naam
Aashiq hai tera naam naam
Dil lena dena kaam kaam
Meri baahein
Meri baahein mat thaam thaam
Badnaam hai tu badmast mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Bol zara tu jaan-e-mehboobi
Mujhmein aisi kya hai khoobi
Bol zara tu jaan-e-mehboobi
Mujhmein aisi kya hai khoobi
Tu ek resham ki dor dor
Tu ek resham ki dor dor
Teri chaal pe aashiq mor mor
Teri zulf ghani
Teri zulf ghani chitchor chor
Ghanghor ghata badmast mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Yeh dil teri aankhon mein dooba
Ban ja meri tu mehbooba
Yeh dil teri aankhon mein dooba
Ban ja meri tu mehbooba
Mat teer nazar ke maar maar
Mat teer nazar ke maar maar
Yeh chot lagegi aar paar
Aasan
Aasan samajh mat yaar yaar
Yeh pyaar bada hai sakht sakht
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Nahin tujhko koi hosh hosh
Us par joban ka josh josh
Nahi tera nahin tera koi dosh dosh
Madhosh hai tu har waqt waqt
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
83
Tu cheez badi hai mast
Aashiq hai tera naam naam
Dil lena dena kaam kaam
Meri baahein meri mat thaam thaam
Badnaam hai tu badmast mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Tu cheez badi hai mast mast
Tu cheez badi hai mast
Song Name: Tan Tana Tan
Lyricist: Dev Kohli
Aankh Ladaake Tune Maara Ghaayal Ho
Gaya Dil Bechaara
Suna Hai Tere Chaahanewaale Aage Dus
Hai Pichhe Baara
Mujhko Apna Jaan Banaale, Chamaka De
Kismat Ka Taara
Ek Baar Se Dil Nahi Bharata Mudke Dekh
Mujhe Dobaara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara Chalati Hai
Kya Nau Se Baara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara Chalati Hai
Kya Nau Se Baara
Khadi Khadi Kya Soch Rahi Chal Ho Jaaye
Nau Do Gyaara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara Chalati Hai
Kya Nau Se Baara
Chalati Hai Kya
Raat Ke Show Ki Do Tikate Hain Khol Ke
Purse Dikhalaau
Chipake Baithu Saath Tere Main Taxi Mein
Le Jaanu
Samajh Na Mujhako Aisa Vaisa Mere
Batawe Mein Hai Paisa
Tujhe Khilaaunga Ji Bhar Ke Garam
Samosa Idali Ya Dosa
Tu Meri Hai Pepsi-Cola Main Tera Hoon
Coca-Cola
Interval Mein Piyenge Dono Barf Mein
Laga Huva Mangola
Juldi Kar Ke Chadh Na Jaaye Thermometer
Ka Ye Paara
Ek Baar Se Dil Nahi Bharata Mudke Dekh
Mujhe Dobaara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara Chalati Hai
Kya Nau Se Baara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara Chalati Hai
Kya Nau Se Baara
Chalati Hai Kya
84
Filmi Dhun Pe Dekh Ke Tujhko Sinti Roj
Bajaanu
Bahot Dino Se Soch Raha Tha Filam Main
Tujhe Dikhaanu
Shukarwaar Ki Shaam Hansi Hain Nayi
Nayi E Film Lagi Hain
Garmi Ki Na Hogi Tension Theater Hain
Wo Air Condition
Film Hansi Wo Jaaneman Hai Ye Filmo
Mein Number One Hain
Govinda Hai Hero Usaka Aur Maadhuri
Heroine Hai
Pichali Sit Ki Do Tikate Hain Gup Chup
Pyar Karenge Yaara
Ek Baar Se Dil Nahi Bharata Mudke Dekh
Mujhe Dobaara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara Chalati Hai
Kya Nau Se Baara
Khadi Khadi Kya Soch Rahi Chal Ho Jaaye
Nau Do Gyaara
Tan Tana Tan Tan Tan Taara
Tan Tana Tan Tan Tan Taara Chalati Hai
Kya Nau Se Baara
Aankh Ladaake Tune Maara Tan Tana Tan
Tan Tan Taara
Ghaayal Ho Gaya Dil Bechaara Chalati Hai
Kya Nau Se Baara
Suna Hai Tere Chaahanewaale Aage Dus
Hai Pichhe Baara
Chalati Hai Kya Nau Se Baara
Mujhako Apana Jaan Banaale Chamaka De
Kismat Ka Taara
Chalati Hai Kya Nau Se Baara
Chalati Hai Kya Nau Se Baara
Chalati Hai Kya Nau Se Baara
Chalati Hai Kya Nau Se Baara
Chalati Hai Kya Nau Se Baara.
Song Name: Jumma Chumma (1991)
Lyricist: Anand Bakshi
Jummaa, jummaa, jummaa,
Jummaa, jummaa
Jummaa, jummaa jummaa jummaa
Jummaa jummaa jummaa he
Are o jummaa, meri jaaneman, baahar nikal
Aaj jummaa hain, aaj kaa waadaa hain
Dekh main aa gayaa, tu bhi jaldi aa
Mujhe mat aur tadpaa
Are tu boli thi pichhle jumme ko
Chummaa doongi agle jumme ko
Aaj jummaa hain to aajaa aajaa
Aajaa aajaa aajaa aajaa he
Jummaa chummaa de de,
Jummaa chummaa de de chummaa
Jummaa chummaa de de,
Jummaa chummaa de de chummaa
Jumme ke din kiyaa
Jumme kaa waadaa
Jumme ko tod diyaa
Jumme kaa waadaa
Le aa gayaa re phir jummaa-
85
Jummaa chummaa de de
Jummaa chummaa de de chummaa
Jummaa chummaa na de,
Jummaa chummaa na de chummaa
Jumme ke din kiyaa jumme kaa waadaa
Jumme ko tod diyaa jumme kaa waadaa
Parson jo jamme jama
Jumma chumma na de
Jumma chumma na de jumma
Jummaa chumma de de,
Jummaa chummaa de de chummaa
Chumme ke badle mein,
Kyaa doge bolo to
Chumme ke badle mein,
Kyaa doge bolo to
Lenaa kyaa, denaa kyaa
Lenaa kyaa, denaa kyaa
Denaa kyaa lenaa kyaa,
Chummaa do chummaa lo
Main kuchh na doongaa isse zyaadaa
Jummaa chummaa de de,
Jummaa chummaa de de chummaa
Jumma chummaa na de,
Jummaa chummaa na de chummaa
Jumme ke din kiyaa jumme kaa waadaa
Jumme ko tod diyaa jumme kaa waadaa
Parson jo jamme jama
Jumma chummaa na de,
Jummaa chummaa na de chummaa
Jummaa chummaa de de,
Jummaa chummaa de de chummaa
Jummaa de, de de de
Jummaa de de de jumma de
De de de chumma de chumma de
Na na na
Main teraa jee bhar doon
Sochaa thaa haan kar doon
Main teraa jee bhar doon
Sochaa thaa haan kar doon
Phir kaahe phir kaahe
Naa kar di, naa kar di
Phir kaahe naa kar di
Main sadke jaan kar doon
Main ne badal diyaa iraadaa
Jummaa chummaa na de,
Jummaa chummaa naa de chummaa
Jumma chummaa na de,
Jummaa chummaa naa de chummaa
Jumme ke din kiyaa jumme kaa waadaa
Jumme ko tod diyaa jumme kaa waadaa
Le aa gayaa re phir jummaa-chummaa
Jummaa chummaa de de
Jummaa chummaa de de chummaa
Jummaa chummaa na de,
Jummaa chummaa na de chummaa
Jummaa chummaa de de, na de
Jummaa chummaa de de chummaa, na de
Jummaa de de de chummaa de de,
De jummaa de dede
Chummaa de na na na de
Jumma chumma de de de de na na
86
Jumma chumma de de nahin doongi. Resham kaa lahanga meraa,

Resham kaa lahanga

Song Name: Choli ke Peeche (1993)
Lyricist: Anand Bakshi Lahanga hai mahanga meraa,

Ku ku ku ku ku ku ku Ahanga hai mahanga

Choli ke pichhe kya hai, Lahanga utha ke chalu,

Choli ke pichhe Ghunghat gira ke chalu

Choli ke pichhe kya hai, Kya kya bacha ke chalu ramaji ramaji

Choli ke pichhe Hay ku ku ku ku ku ku ku

Chunari ke niche kya hai, Are isako bacha lo babu, iss ko bacha lo

Chunari ke niche Dil me chhupalo babu, dil mein chhupalo

Ho choli mein dil hai meraa, Ho aashiq pade hain pichhe o ho

Chunari mein dil hai meraa Koyi idhar ko khinche hmmm

Choli mein dil hai meraa, Koyi udhar ko khinche kya karu kya karu

Chunari mein dil hai meraa Hay ku ku ku ku ku ku ku

Yeh dil mein dungi mere yar ko, pyar ko Hai shadi karado meri o ho,

Aah ku ku ku ku ku ku ku………… Shadi karado hmmm

Are lakhon divane tere, lakhon divane Doli sajado meri doli

Aashiq purane tere, aashiq purane Saja do ah ha ah ha

Ho aashiq mila naa aisa hmmm, Sautan bana naa jaye,

Meri pasand jaisa hmmm Jogan bana naa jaye

De dil shahar yeh aisa, Jogan saha naa jaye

Kya karu kya karu Kya karu, kya karu hai chhori

Hay ku ku ku ku ku ku ku………… Ku ku ku

87
Are ladaki ho kaisi bolo,
Ladaki ho kaisi
Ladaka ho kaisa bolo
Ladaka ho kaisa
Ho ladaki ho mere jaisi aah ha,
Ladaka ho tere jaisa vah vah
Aaye maja phir kaisa,
Pyar kaa pyar kaa vah
Ku ku ku
Ho, jhumari kaa jumaru ban ja,
Jhumari kaa jumaru kich kich
Payal kaa, ghungharu ban ja
Payal kaa ghungaru kich kich
Meri salami kar le, meri gulami kar le
Hoga too hoga koyi
Badashah, badashah are jan
Ku ku ku
Bali umariya meri bali umariya
Suni sajariya meri suni sajariya
Mere sapano ke raja,
Jaldi se vapas aaja ah
Soti hoon main
Daravaja khol ke, khol ke ah
Ku ku ku
Begam bagair badashah kis kam kaa
Badashah bagair begam kis kam ki
Teri maraji too jane, meri maraji main janu
Maine jawani tere nam ki, nam ki ho chori
Choli ke pichhe kya hai, choli ke pichhe
Choli ke pichhe kya hai, choli ke pichhe
Chunari ke niche kya hai, chunari ke niche
Ho choli mein dil hai meraa,
Chunari mein dil hai meraa aah ha
Ho choli mein dil hai meraa,
Chunari mein dil hai meraa vah vah
Yeh dil mein dungi mere yar ko, pyar ko
Choli mein dil hai meraa,
Chunari mein dil hai meraa
Choli mein dil hai meraa,
Chunari mein dil hai meraa
Hoon choli mein dil hai meraa,
Chunari mein dil hai meraa
Dil…dil hai meraa…
Song Name: UP Bihar Lootne (1999)
Lyricist: Sameer
Patali Kamar Mataka Ke
Haay Haay Haay Haay Haay Haay
Naagin Si Balakha Ke
Haay Haay Haay Haay Haay Haay
Nain Se Nain Lada Ke
Haay Haay Haay Haay Haay Haay
88
Dhani Chunar Saraka Ke
Haay Haay Haay Haay Haay Haay
Patali Kamar Matakaa Ke
Naagin Si Balakhaake
Nain Se Nain Ladaa Ke
Dhaani Chunar Sarakaa Ke
Ho Ho Ho Ho
Dilwalon Ke Dil Ka Karar Lootne
Main Aayi Hun U.P. Bihar Lootne
Dilwalon Ke Dil Ka Karar Lootne
Main Aayi Hun U.P. Bihar Lootne
Dilwalon Ke Dil Ka Karar Lootne
Tu Aayi Hun U.P. Bihar Lootne
Na Paiso Kaa Khazana Na Sone Ki Tijori
Na Barchhi Gadasa Katar Loot Ne Haay…..
Dilwalon Ke Dil Ka Karar Lootne
Main Aayi Hun U.P. Bihar Lootne
Dilwalon Ke Dil Ka Karar Lootne
Tu Aayi Hun U.P. Bihar Lootne
Meri Umr Abhi Hai Satrah Chaahu
To Hilaa Du Chhapara
Mujhako Na Samajhana Jumma
Naa Dungi Tujhako Chumma
Kaan Me Jhumaka Laga Ke Chaal
Me Thumaka Laga Ke
Gajare Kaa Judaa Bana Ke
Itr Zaraa Mahaka Ke Haay
Kaan Me Jhumaka Saja Ke Ai Ha
Chaal Me Thumaka Laga Ke Ai Ha
Gajare Kaa Juda Bana Ke Ai Ha
Hoe Hoe Itr Zaraa Mahakaa Ke
Is Jawani Ki Saari Bahaar Lootne
Main Aayi Hun U.P. Bihar Lootne
Dilwalon Ke Dil Ka Karar Lootne
Tu Aayi Hun U.P. Bihar Lootne
Kya Kalakatta Kya Mumbai Mai
Sabaki Nazar Me Jam Gai
Panjaab Ho Yaa Hariyana Mushkil
Mujhase Bach Pana
Sabaka Jiya Tadapa Ke Chingari
Bhadaka Ke Haay
Muh Me Paan Dabaa Ke Haath Me
Mehandi Racha Ke
Ai Sabakaa Jiyaa Tadapa Ke Ai Ha
Chigaari Bhadaka Ke Ai Haa
Muh Me Paan Daba Ke Ai Ha
Haath Me Mehadi Rachaa Ke
Sabaki Aankho Se Chhup Ke
Khumar Lootne
Main Aayi Hun U.P. Bihar Lootne
Dilwalon Ke Dil Ka Karar Lootne
Tu Aayi Hai U.P. Bihar Lootne
Na Paiso Kaa Khazana Na Sone Ki Tijori
Na Barchhi Gadasa Katar Loot Ne Haay
Main Aayi Hun U.P. Bihar Lootne
Main Aayi Hun U.P. Bihar Lootne.
Song Name: Chikni Chameli (2012)
Lyricist: Amitabh Bhattacharya
Bichhu mere naina, badi zehereeli aankh
maare
89
Kamsin kamariya saali ik thumke se lakh
maare
Haaye!
Bichhu mere naina, badi zehereeli aankh
maare
Kamsin kamariya saali ik thumke se lakh
maare
Note hazaaro‟n ke, khulla chhutta karaane
aayi
Husn ki teelli se beedi-chillam jalaane aayi
Aaayi ! chikni chameli
Chhup ke akeli
Pauaa (quarter) chadha ke aayi (x4)
Jungle mein aaj mangal karungi main
Bhookhe sheron se khelungi main
Makkhan jaisi hatheli pe jalte angaare le
lungi main
Haaye! gehre paani ki machhli hoon Raja
Ghaat Ghaat dariya mein ghoomi hoon main
Teri nazro ki leharo‟n se haar ke aaj doobi
hoon main
Hoye jaanleva jalwa hai
Dekhne mein halwa hai
Jaanleva jalwa hai
Dekhne mein halwa hai
Pyaar se paros doongi toot le zaraa
Yeh toh trailer hai poori fillam dikhane aayi
Husn ki teelli se beedi-chillam jalaane aayi
Aaayi ! chikni chameli
Chhup ke akeli
Pauaa (quarter) chadha ke aayi (x4)
Banjar basti mein aayi hai masti
Aisa namkeen chehra tera
Meri neeyat pe chadhke chhoote na hai rang
gehra tera
Joban ye mera kenchi hai raja
Saare pardo ko kaatungi main
Shaame meri akeli hai aaja sang tere
baatungi main
Haaye! baaton mein ishaara hai
Jisme khel saara hai
Baaton mein ishaara hai
Jisme khel saara hai
Tod ke tijoriyon ko loot le zara
Choom ke zakhmo pe thoda malham lagaane
aayi
Husn ki teelli se beedi-chillam jalaane aa.yi
Aayi Chikni..chikni…aayi..aayi
Aayi Chikni..chikni…aayi..aayi
Aaayi ! chikni chameli chhup ke akeli
pawwa chadha ke aayi….
Song Name: Dil Mera Muft Ka (2012)
Lyricist: Neelesh Misra
Phenke nazar ke sikke usne
Bik gayi hoon main
Usne jo chhoo liya tto haaye
Lagey ke nayi hoon main
Yun tto premi pachattar humare
Leja tu kar satattar ishaare
Dil mera… muft ka
Khamkkha hi taraste bichare
90
Leja tu kar satattar ishaare
Dil mera… muft ka
Dil mera… muft ka
Teri nazron ka kaisa hai chhalawa
Ho teri nazron ka kaisa hai chhalawa
Hai ye sach ya ki ye bhi hai dikhawa
Nazron ka kaisa hai chhalawa
Hai ye sach ya ki ye bhi hai dikhawa
Dil ke dukandar hai doosre bhi
Hum thoda achhe hain, woh hai farebi
Ni me kamli kamli
Ni me kamli kam…..
Haan Dil ke dukandar hai doosre bhi
Hum thoda achhe hain, woh hai farebi
Mehnga hai dil, sabke bas ka nahi ye
Bikna hai par teri khaatir mujhe bhi
Aaj baazar hi bik gaya re
Leja tu kar satattar ishaare
Dil mera… muft ka
Ho yun tto premi pachattar humare
Leja tu kar satattar ishaare
Dil mera… muft ka
Socha tumhara bhi dil hum kharidein
Kyaa daam hai bolo kaato rasidein
Haaye haaye socha tumhara bhi dil hum
kharidein
Kyaa daam hai bolo kaato rasidein
Phir tumse karwa le jaisa bhi chaahein
Nazarein tumhari meri haazri de
Par tumhari hi nazaron se haare.
Leja tu kar satattar ishaare
Dil mera… muft ka
Ho yun tto premi pachattar humare
Leja tu kar satattar ishaare
Dil mera… muft ka
Hai naiyyo soneya tere bin guzara…
(repeats)
Song Name: Fevicol Se (2012)
Lyricist: Sajid- Wajid and Ashraf Ali
Aa aa…
Angadaiyaan leti hoon main jab zor zor se
uff angadaiyaan leti hoon main jab zor zor
se
Ooh aah ki awaaz hai aati har aur se
Main toh chalun is kadar
Ki mach jaaye re gadar
Hosh wale bhi madhosh aaye re nazar
Mere photo ko mere photo ko seene se yaar
Chipka le saiyan Fevicol se
Mere photo ko mere photo ko seene se yaar
Chipka le saiyan Fevicol se
Fevicol se fevicol se
Main toh kab se…
Haaye main toh kab se hoon ready taiyar
Pata le saiyan miss call se
Mere photo ko seene se yaar
Chipka le saiyan Fevicol se
Jhoom jhoom jhoom barabar jhoom jhoom
jhoom
Jhoom jhoom jhoom barabar jhoom jhoom
jhoom
91
Jhhom le jhoom le maze me jhoom le
Jhhom le jhoom le nashe me jhoom le
Hmmm pyar karle tu aaj angur ki daughter
se
Pyar karle tu aaj angur ki daughter se
Naseeyat bhool jayega tu ek gotar se
Peene wale ko bhi jeene ka maza aayega
Ye woh daru hai jo chadh jaaye sirf water se
Aaja mere raja tujhe jannat dikhaaun main
Barfeele paani me fire lagaun main
Sare India…
Ho Saare India ko tune gulam kiya re
Main to tanduri main to tanduri murgi hoon
yaar
Gatkale saiyan alcohol se oh yeah.
Mere photo ko seene se yaar
Chipka le saiyan Fevicol se
Log kehate hain mujhe main to hun namkin
butter
Log kehate hain mujhe main to hun namkin
butter
Kaat dungi main dil ko meri jawani hai
cutter
Mera jalwa jo dekh le woh faint ho jaye
Close karke tu rakh le apne nainon ka
shutter
Public shehar ki kare hai tera wait re
Arey thumke jo kamariya hile zilla kya state
re?
Par kahaani…
Ho par kahaani o rani purani hai teri
Phir bhi photo ko tere photo ko seene me
yaar
Chipka lunga main Fevicol se
My gypsy with siren taiyar
Bhaga le isey petrol se, petrol se petrol se
Mere photo ko seene se yaar
Chipka le saiyan hoye hoye…
Chipka le saiyan Fevicol se
Fevi Fevicol se Fevicol se
Nain hum ladayenge baby doll se
Ho laundiya patayenge miss call se
Bat-ball se, Cinema hall se
Are marriage-hall se, Overall se
Tere photo ko seene me yaar
Chipka lunga main Fevicol se
Mere photo ko seene se yaar
Chipka le saiyan
Chipka le saiyan Fevicol se
Song name: Munni Badnaam Hui (2012)
Lyricist: Lalit pandit, faiz Anwar and
Jalees Sherwani
Munni Badnaam Hui, Darling Terey Liye - 3
Munni K Gaal Gulaabi, Nain Sharabi, Chaal
Nwabi Rey
Ley Zandu Balm Hui, Darling Terey Liye
Munni Badnaam Hui, Darling Terey Liye
Munni K Gaal Gulaabi, Nain Sharaabi,
Chaal Nawaabi Rey
Ley Zandu Balm Hui, Darling Terey Liye
Munni Badnaam Hui, Darling Terey Liye
92

Shilpa Saa Figure Bebo Si Ada, Bebo Si
Ada
Shilpa Sa Figure Bebo Si Ada, Bebo Si Ada
Hai Merey Jhatke Mein Filmi Mzaa Rey
Filmi Mzaa
Haye Tu Na Jaaney Mere Nakhre Vey
Haye Tu Na Jaaney Merey Nakhrey Vey
Laakhon Rupaiya Udaa
Ve Main Taksaal Hui, Darling Terey Liye
Cinema Hall Hui, Darling Tere Liye
Munni Badnaam Hui, Darling Terye Liye
O Munni Rey, O Munni Rey
Tera Gali Gali Main Charcha Rey
Hai Jama Ishq Da Ishq Da Parcha Rey
Jama Ishq Da Ishq Da Prcha Rey
O Munni Rey
Kaisey Anaari Sey Paala Pada Ji Paala Pada
Ho Kaisey Anaari Sey Paala Pada Ji Pala
Pada
Bina Rupaiye K Aakey Khada Merey
Peechay Pada
Popat Na Jaaney Merey Peechay Woh
Saifoo
(Haye Haye Maar Hi Daalogi Kya)
Popat Na Jaaney Merey Peechay Saifu Sey
Lekey Lambhoo Khada
Item Yeh Aam Hui, Darling Terey Liye
Item Yeh Aam Hui, Darling Terey Liye
Munni Badnaam Hui, Darling Terey Liye
Hai Tujh Mein Poori Botal Ka Nsha, Botal
Ka Nsha
Hai Tujh Mein Poori Botal Ka Nsha, Botal
Ka Nsha
Kr Dey Budaape Ko Kr Dey Jawan Re Kar
Dey Jawan
Honthon Peh Gaali Teri Aankhein Dulaali,
Haye
Honthon Peh Gaali Teri Aankhein Dulaali
Rey Dey Hai Jiya
Tu Item Bomb Hui, Darling Terey Liye
Munni Badnaam Hui, Darling Mere Liye
Munni K Gaal Gulaabi, Nain Sharaabi,
Chaal Nawaabi Rey
Ley Zandu Balm Hui, Darling Terey Liye
Munni Badnaam Hui, Darling Terey Liye
Baat Yeh Aam Hui, Darling Terey Liye
Be-Hindustan Hui, Darling Terey Liye
Amiya Sey Aam Hui, Darling Merey Liye
Ley Zandu Balm Hui, Darling Merey Liye
Seenay Mein Holey Hui, Tere Tere Tere
Liye
Aaley Badnaam Hui Haanji Haan Terey
Liye
Le Sareaam Hui, Darling Terey Liye
Darling Terey Liye.
Song name: Aa Re Pritam Pyaare (2012)
Lyricist: Sameer
Aye…. Bankas
Aa re pritam pyare
93
Bandook mein naa toh goli mere
Aa re pritam pyare
Bandook mein naa toh goli mere
Aa re pritam pyare
Bandook mein naa toh goli mere
Sab aag toh mere kurti mein re
Zara hukka utha zarrra chillam jala
Pallu ke neeche chupa ke rakha hai
Utha doon toh hungama ho….
Pallu ke neeche daba ke rakha hai
Utha doon toh hungama ho….
Bankaas!
Joban se apne pallu hata doon toh
Kaule kanwaro ka chehra khile
Haaye! main aankh maaru toh
Noto‟n ki baarish ho
Lakk jo hila doon toh jhilla hile
Jhilla hile…. hile hile hile hile
Jhilla hile…. hile hile hile hile
Jhilla hile…. hile hile hile hile
Zara toonti baja zara thumka laga.. ha
Pallu ke neeche chupa ke rakha hai
Utha doon toh hungama ho…. ho ho ho
Pallu ke neeche daba ke rakha hai
Utha doon toh hungama ho….
Bankaas!
Main toh hoon jungle ki nazuk heerinya
Khunkhaar zaalim shikaari hai tu
Arrey kaante supaari bana ke mujhe jo
Bedard Aari re aari hai tu
Aari hai tu, Aari aari aari
Aari hai tu, Aari aari aari
Aari hai tu, Aari aari aari
Na gaddi dhikha un na body dhikha
Pallu ke neeche chupa ke rakha hai
Utha doon toh hungama ho ho ho
Pallu ke neeche daba ke rakha hai
Utha doon toh hangama ho
Bankaas!
94
95