In 1909, the United States experienced the first spark of what we have been celebrating as “Women’s Day” that culminated from the strike by the female factory workers protesting their lack of worker’s rights, unequal pay coupled with the terrible working conditions that helped spur on the women’s movement. Woman’s Day today, supported by the UN is a call for action, in unremitting working for women’s rights across the world. In an intensely and increasingly tense contemporary scenario with International political conflicts, mammoth natural catastrophes and a lot of bleak headlines relating to the countermand on the women’s rights and systematic harassment of the LGBTQIA community, for celebrating this year’s International Women’s Day- the Day’s we look back to recognize women’s social, economical, cultural, historical and political successes, I take the opportunity of the perfect cultural moment and overview the obstacles women face in creating music even though some have stood out to inspire a thousand with their achievements. 

Of course, what we set as probable hindrances differ in degree depending on the time frame, locale and/ or contexts but women have been subjected to overcome social expectations, be educated in music, have the time and encouragement for creating and pursuing music, and to take up performance contracts,  be judged harshly to “go out” to perform, record and publish their music and make it saleable and reach out to masses as performers and not as “those women that perform” is evident since the history for women seeking professional careers as musicians. Female performers, till now are looked down upon for their choices regarding marriages and “settling down”, divorces and “being too ambitious” and bad parenting through not staying at home to raise their children and performing for profit, or for a career by undermining their “ideal femininity”!!  But what looks apparently permissible (and at most times a credential, especially for Bengali marriages) is women to perform privately–in intimate family gatherings having been educated in music via private tutors at home (that wouldn’t label her as ‘rebellious’ or challenge the typical social role of a “good” woman and risk the familial reputation, after all!!)

Making music professionally in form of performances and publications brings about further hindrances. The Gender Gap is noticeable. The global record industry substantially supports male artists in arts and repertoire and marketing their products every year. Women’s low representations as credited songwriters, composers and music producers go further beyond women choosing musical genres which are ‘more feminine’ (less use of technology) and less “chart-topping” hits as their male peers. There have been so many women composers who have never been known for their compositions in their lifetime and only found a mention in some literature later.

Also, a 2019 survey by the North-Western University in USA talks about the gap generated by the notion of typical “male sound” and “female sound” in the profitable music business. The significant Gender Pay Gap reflects the ongoing gender power imbalances in the music industry. Like other industries, there are no transparent hiring and promotion mechanisms. And then there are ugly complexities of abuse; sexual harassment – daily reports of high rates of gender discrimination based on sex, high-profile performers allegedly using their position of power to pressurise wannabes into sexual relationships and the most muted scrutiny of the  #MeToo call out.

It is time that we acknowledge the setbacks and takes charge of them. Promote women’s leadership, targeted mentoring and advocate sponsorship programmes for women in music-making. More women in decision-making would also contribute to reducing gender pay gaps and sexual harassment in the workplace. The grievance mechanism had to be administered systematically by unbiased third-party organizations. Also, women should learn to be able to voice out their concerns and not accept people or organizations that tell them, “this is how things work, it has always worked this way”. Remember, “When women lack support to remain and advance in the industry it is not just a personal loss for them. The industry and its consumers miss out on a pool of creativity” (Forbes, Dec 1, 2019). 

About The Author: Aratrika Bhattacharya

Aratrika Bhattacharya is a Full-Time “Singing” Sociologist affiliated with the Presidency University Kolkata for research and St. Xavier’s college, Burdwan for teaching.