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BuzzCut: Samantha'south 'Oo Antava' Tries to Critique Sexism Through an Detail Song. Does information technology Succeed?

© Provided past News18 BuzzCut BuzzCut is News18'south new series where we break downwards a recent trend on the Net and delve deep into Cyberspace-culture to sympathize why it's causing a stir on the Internet.

Indian cinema is synonymous with (excruciatingly long and generally unnecessary) vocal and dance routines. Many a fourth dimension, the songs in a film have gone on to go bigger successes than the movie itself. An item number has also been an integral part of Indian films since time immemorial. A trope that is almost always forced into the narrative to feed the male gaze, has come under burn down in recent times with a few directors refusing to succumb to the misogynistic 'fame' that an item vocal serves to garner even before a film'south release. In a post #MeToo era when gild is striving to unlearn and relearn the patriarchal rules of convention, imagine an item song existence used to describe the sick effects of item numbers. 'Oo Antava Mava' from Allu Arjun-Rashmika Mandanna starrer Telugu film Pushpa: The Ascent is all the rage now with Samantha Ruth Prabhu making her starting time foray into the ditzy earth of particular numbers. The song is touted as a game-changer in the sexist world of item songs every bit the lyrics claim to call out men for being 'lustful' and place the blame on them, but is it really any dissimilar from the regular trashy item number?

What'south wrong with detail songs?

The term 'item song' itself contains the discussion 'item' referring to an object, in this case being the woman. An like shooting fish in a barrel mode to sell tickets, movies have depended on raunchy numbers for long, with mainstream actresses like Katrina Kaif and Kareena Kapoor popularising it. The lyrics of these numbers accept dehumanised women to the extent of them beingness reduced to mere food items. In Kareena's 'Fevicol Se' number in Dabangg 2, she is compared to a tandoori chicken which can be enjoyed with alcohol. In 'Oo Antava', besides, women are compared to sugariness grapes. Consent is thrown to the winds every bit many lyrics detail harassment of women and glorification of it. In a land such as India where women'due south safety is highly sensitive, the casual arroyo to such suggestive and sexist songs is detrimental to a progressive society. In a 2017 interview to SheThePeople, a media channel focused on women, movie director Karan Johar slammed item numbers and said that he would not entertain them in his movies anymore. "The moment you put a woman in the centre and a thou men looking at her lustingly, information technology's setting the incorrect example," he added.

The comparison of women to edible items farther encourages victim blaming in assail and rape cases, where the women, due to their choice of clothing or otherwise, are considered "irresistible" for men, and hence the violence is bound to happen. The lawyer of the accused in the Nirbhaya case had infamously stated "street dogs volition consume sweets left on the road."

Shabana Azmi, while speaking at FICCI Frames, an international convention of the Indian motion-picture show manufacture, in 2018, condemned the problematic civilisation of item songs. "When a girl says 'it's alright, I want to gloat my sensuality,' I take no trouble with that. I think that'southward wonderful. But under the pretense of 'jubilant your sensuality' what you are really doing is surrendering to the male gaze and objectifying yourselves because the business of cinema is of images," she said. The extra too talked most the 'tandoori murgi' reference in Kareena's 'Fevicol se' song and how a child dancing to it leads to the "sexualisation of children and the parents who are enjoying it."

Why an item song to criticise portrayal in item songs doesn't brand sense

With 153 million views and almost ii million likes on YouTube, the vocal has evidently gone viral. In a contempo interview, music composer Devi Sri Prasad asserted that 'Oo Antava' is, in fact, not an item number, merely a song with a "social bulletin." Co-ordinate to him, the lyrics brand all the deviation, setting it apart from a normal item number. In reality, the song comes across equally a inexpensive, one-half-baked (or manipulative) attempt at reversing the spotlight on how men are to be blamed for objectifying women, irrespective of the clothes, complexion or torso type, while the photographic camera ironically sexualises Samantha'southward gyrating torso. The mainstay of item songs are the hypersexualisation of women catering to the male gaze and satisfying men's desires. 'Oo Antava' is no different. The lyrics of the vocal and the visuals are antonymous to the message that the makers claimed to send out.

Some of the lyrics goes similar:

"When nosotros wear a saree, you lot (men) stare at us. When nosotros wear short dresses, you stare at u.s.a.. Information technology is not the dressing that matters. It is all in your eyes. Men's minds are twisted."

While the intent to call out the inherent sexism of men deserves appreciation, the road chosen by the film'southward makers to channel that idea is a derisive marketing ploy, to say the least. The film revolves around cerise sandalwood smuggling in Andhra Pradesh and nigh gangster films feature an item song with a bunch of boozer men and coin flying around. 'Oo Antava' shows a group of skimpily dressed women, including Samantha, evidently enjoying the objectification by the jeering crowd, which they are criticising in the lyrics. Thus, the song dangerously normalises the issue it claims to critique, defeating its very purpose. Since the vocal lyrics put the onus on men, naturally 'not all men' started trending and men's associations have reportedly filed a complaint against the portrayal of men equally "sexual predators."

Information technology has likewise kickstarted a contend on social media regarding the irony of using an item song to critique what item songs generally depict. As one user summed it up, "This song is more than like a cigarette pack advertising that cigarettes cause cancer."

Empowerment vs Patriarchy

Of course, particular songs are driven by the extra' own gratuitous volition with some seeing information technology every bit an expression of their sexuality. Malaika Arora, known for 'Chaiyya Chaiyya in Dil Se and Munni Badnaam Hui in Dabangg, in an interview to The Hindu, said that a "certain corporeality of male gaze and attention" will be there, but she does non "feel objectified" when performing detail songs. "I am capable of making those calls. I don't regret any of the songs I've washed."

The flipside to the statement that actresses are empowered while deciding to star in such songs is the gendered patriarchy entrenched in the film manufacture and the age-old misogynistic milieu. Is the woman independently making the choice or is the dominant distorted social structure choosing it for her? In an industry that largely sees females every bit a sex object or center processed, women are forced to straddle betwixt empowerment and the underlying bias. The 2008 incident of Nana Patekar allegedly wanting to be office of an intimate stride in an item vocal featuring Tanushree Dutta shows how harassment and sexism hands seep into the real from reel life. As long as society revels in the sleaze of item songs, simply irresolute the words is tokenism at its best and too footling, too late in the present sociopolitical climate. It begs the question, is a titillating item song the ideal way to censure the voyeuristic male gaze?

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