Newar communities in the Kathmandu Valley, have now started teaching music to women as well, unlike in the past when they were neither taught nor allowed to perform. However, such changes cannot be assumed to have occurred in societies across Nepal.

Another way women are making their presence in music felt is through satirical messages against patriarchy in their songs. Reflecting upon these changes, I emphasise that women’s presence in music is a strong challenge to patriarchal norms and values deep-rooted in our society. And such efforts by women should be appreciated and supported by the state.

Biased musical practices

Social structures in patriarchal societies have always restricted women’s participation in music. The concept of an ideal ‘woman’, constructed under patriarchal norms, have bound women within the domestic sphere and hence, restricted them from the public sphere. In contrast, men, who are considered the ‘torchbearers of culture’, are privileged over women when it comes to claiming and exercising authority in social and cultural activities. Even in caste groups whose occupation is music, such as the Gandharvas and Damai, the number of female musicians is negligible. Derogatory idioms like ‘Pothi baseko suhaudaina’ (It does not suit a woman to raise her voice) reflects patriarchal values that impose restrictions on women’s public presence by defaming such efforts. Besides, musical institutions in our societies, whether they are private studios, music schools, traditional musical institutions or state-owned radios and studios, are mostly headed and dominated by men. Hence, their policies are inherently biased towards men and discriminatory against women.

Furthermore, women are restricted from traditional musical practices due to the notion of purity and rituals associated with it. Most traditional music institutions consider learning and performing music as highly ‘sacred’ acts and women are restricted from such activities as they are considered ‘impure’ as they menstruate. Even the fields of popular and classical music are not exempt from gender discriminatory practices. Since traits such as assertiveness, determination, and technological mastery, considered essential in these fields, are thought to be ‘masculine’ in nature, women rarely get opportunities in musical fields. Additionally, public performances by women are often misconstrued as an exhibition of women’s sexuality, which makes them vulnerable to harassment. Also, the rampant forms of gender discrimination, such as low-pay for female artists have acted as barriers to women’s participation in music.

Resistance through music

Despite this, women are resisting and challenging this form of discrimination through music. An increasing number of female artists and powerful messages against patriarchy in their songs are evident. A few years back, songs like Poila jana pam and Bihe vachhaina by renowned female folk singer Komal Oli created a buzz in Nepal. They also received significant attention in the gender discourse for their satirical lyrics attacking the patriarchal restrictions imposed on the expression of feminine desires. These songs are among many others, including those sung during Teej that vocalise women’s grievances and suffering in patriarchal societies. A methodical study of these songs would require a detailed knowledge of the context and the intent of composers. However, one cannot and should not ignore the messages these songs contain concerning women’s positions in society. Hence, studying these songs and musical variants from women’s perspectives should be highly encouraged so as to explore how women are constantly challenging existing norms and values through them.

As stated by Yale professor James Scott, in a society where subordinated groups are forced to live under the power and control of a dominant group, it is important to look at socio-cultural aspects such as folk tales, rumours, gossip and songs, all of which constitute various forms of ‘hidden transcripts’, to understand the existing and changing power relations in society. These forms of resistance are not necessarily violent nor can we expect them to bring drastic changes all of a sudden; however, artistic forms such as music are strong tools for mass awareness and mobilisation. They also carry a strong symbolic message of women being equally capable as men. This is definitely a strong blow to patriarchal societies where women have been historically oppressed.

Need to promote

Despite the growing influence of women in musical practices, gender equality and women’s empowerment are far from achieved. For such efforts to be more effective, they need to include both men and women from all walks of life. In Nepal, such a movement should include women from all classes, castes and ethnicities. Also, it is a common challenge in any kind of women’s movement that men often ignore them or are left out. It would be wrong on the part of men to think they are unharmed by patriarchal norms and values because they are equally victimised by inherent practices of violence and domination that they have to abide by.

Additionally, the state should proactively promote such endeavours by women. Scholars argue that legal provisions, mostly established during the Panchayat era were inherently discriminatory against women and responsible for strengthening patriarchy not only in the family and social relationships, but also in the public spheres such as arts, education and employment. The impacts of such legal provisions are still affecting women today. It is important that the state ensure women’s access to the public sphere, including in music. Women’s participation in musical institutions like studios, radios and music schools is vital to dismantle the existing patriarchal norms there.

Furthermore, the state should also acknowledge women’s efforts in challenging patriarchy and bringing forward gender equality through musical practices. To that end, the state should encourage women’s awareness songs by prioritising them in nation-wide broadcasts and at the same time, monitor and censor songs that defame women by objectifying them through misogynist and sexually-explicit lyrics. The state should also ensure strict actions against individuals or institutions that practice gender discriminatory behaviours, including sexual harassment in all sectors and especially the musical field.

In conclusion, as women’s presence in music continues to grow, we need the state to step forward and encourage such efforts to make them more effective and sustainable.

Shrestha is currently researching ‘Music and Masculinity’ at the Nepa School of Social Sciences and Humanities, Kathmandu