Symphony of hegemony
By Dr Shahid Siddiqui
SOUTH Asian oracy-based societies have a robust tradition of poetry and singing. Most of our folk poetry, for example, Baba Fareed, Shah Latif Bhittai, Bulleh Shah, Khushhal Khan Khattak, Mian Muhammad, Shah Hussain, is still recited with musical tunes.
The popularity of poetry in South Asian cultures has several reasons. For instance it is easy to memorise a verse as compared to a chunk of prose.
Also poetry has the capacity of touching emotions and heightening the impact of a message. This is further enhanced when poetry is recited. We see a strong tradition of mushairas in the Indian subcontinent where poets would recite their poetry and people in large numbers would listen to them and express appreciation for their verses. The role of lyrics in movies in this region is pivotal and no film is considered complete without songs.
The popularity of songs in oracy-based societies of India and Pakistan make them a potent source of influence on the masses. This apparently playful entertainment is an important tool of hegemony. The songs have the capacity to construct, popularise, perpetuate, and legitimise certain stereotypes that help in the oppression of marginalised groups.
Songs, being an important constituent of social construction, play an important role in perpetuating gender stereotypes; the ones used in films are linked with women in different ways. A number of them have women dancing to their tunes and most are sung by women. In this way, these ballads play an important role in manufacturing the female image.
Let us look at the lyrics of some of the songs in order to understand the process of construction, perpetuation, and validation of gender related stereotypes. But before we actually analyse the lyrics, it is important to understand the dynamics of manufacturing gender. Gender, unlike sex, is a social construct which is made up by society. It is the society that determines roles, attaches expectations, and provides opportunities on the basis of gender. The division of male and female can be understood in relation to the binary system at work in our society. This system talks about day and night, strong and weak, and high and low. As far as categories are concerned, there is apparently no harm in differentiating them, but the real problem arises when one is considered good and the other bad.
This kind of labelling has its own politics where certain groups in society are permanently dubbed as weak and others as ‘standard’. The politics of categorisation always favours the powerful. Let us look at the lyrics of a song sung by pop singer Hadiqa Kiyani. The song is in Punjabi where a girl is addressing her beloved. She compares herself to a maid and calls her beloved a King. She considers her ‘real pearls’ as false and the ‘fake coins’ of her beloved as precious as silver. This song shows how power plays its role in justifying certain things and condemning others. A related aspect is the Gramscian notions of hegemony and ‘spontaneous consent’ where the marginalised group is conditioned to believe that their own culture, identity, language, and heritage are inferior as compared to those of dominant groups.
The politics of representation shows that men are described with reference to their achievements and women in terms of their physical features. This process of representation perpetuates some stereotypes. Earlier I mentioned the expectations from women cherished by our society. Some of the expectations include that a woman should be beautiful, young, tall, slim, and fair. For instance, songs in Indian films have heroes describing their heroines with different similes; in the movie Welcome there is a song, ‘uncha lamba tera qad’ that celebrates the height of the female beloved.
A very popular song, sung by Vital Signs is ‘Gore rang ka zamana’. (The age of the fair complexion) that celebrates the benefits of being fair and suggests that the preference of society for the fair complexion will never diminish. The singer even consoles the girl by telling her that she need not worry about anything because she is fair!
Afreen Afreen, sung by the legendary Nusrat Fateh Ali Khan, admires the female form; it compares the body with a musical tune, moonlight, gardens, and first rays of the morning sun.
A number of songs present woman as an object which can be displayed and appreciated on the basis of external features. John Sheppard suggests that, “as reflections of the male desire to control the world, women themselves must be controlled and manipulated. This is accomplished by means of their isolation and objectification. The conceptualisation of people as objects decontextualised from social relations implies the possibility for uncontested, unilateral control”.
The politics of representation runs much deeper as dominant groups paint the marginalised groups with their biases. The detailed view of politics of representation can be seen in Edward Said’s book, Orientalism. In the case of songs, almost all major song writers in India and Pakistan are male. They represent women from their own perspectives. The ironic aspect is that the biased representation of women by lyricists is executed by female singers and actresses.
Male behaviour is promoted as standard and is thus considered natural. Any deviation from it is looked down upon. It is interesting to note the insistence of dominant groups that other sub groups should act according to the standards set by them; a song in the Indian movie Hum Tum, “larkian kyun na jaane kyoon larkon si nahin hoti? (Why is a girl not like a boy?) may ask an apparently innocent question but reflects a deeply embedded desire of dominant groups to bring others into submission. The song also promotes notions such as ‘girls think a lot but understand little’.
Besides lyrics, the actual picturisation is also biased and represents women as objects of display. This situation needs to be changed. The change can be initiated at different levels; through family, educational institutions, the judiciary and media. There is a serious need to challenge gender related typecasts. Song writers must take a fresh look at the situation and instead of following age old analogies and imagery, try to construct new idioms – idioms that are free of sexist innuendoes.
The writer is director of Centre for Humanities and Social Sciences at Lahore School of Economics and author of ‘Rethinking Education in Pakistan’.
shahidksiddiqui@yahoo.com

