Indian Hegemony in Bangladesh’s Music Industry and Education

Shariful Islam

Antonio Gramsci’s theory of cultural hegemony asserts that dominance is not merely enforced through political or economic control but is deeply entrenched within cultural and ideological frameworks. In the South Asian context, where historical, economic, and artistic ties run deep, India’s influence over Bangladesh’s music industry and educational institutions is both extensive and systematic. However, this influence is not a mere byproduct of shared cultural heritage; rather, it operates as a structured form of hegemony that dictates market trends, pedagogical frameworks, and cultural consumption.

From the pervasive presence of Bollywood soundtracks to the supremacy of Indian classical pedagogy in Bangladeshi music education, Indian influence has deeply permeated Bangladesh’s musical landscape—often at the expense of local innovation and artistic sovereignty. This article critically examines the mechanisms through which Indian music asserts dominance over Bangladesh’s music industry and educational structures, the economic dependencies that sustain this imbalance, and the role of mass media in reinforcing Indian cultural authority. Additionally, it explores how Bangladeshi artists, educators, and policymakers are striving to reclaim a more self-sustained and autonomous musical identity.

The Role of ICCR Scholarships

The Indian Council for Cultural Relations (ICCR) has played a crucial role in embedding Indian musical traditions within Bangladesh’s educational landscape. Through a structured network of scholarships and cultural exchange programs, ICCR has provided Bangladeshi students with opportunities to study at prestigious Indian institutions, reinforcing Indian classical music as the dominant standard. Upon completing their studies, many ICCR-trained scholars return to Bangladesh and secure influential positions at institutions such as Dhaka University and Government Music College.

While this continuity of Indian classical traditions has enriched Bangladesh’s musical landscape, it has also created barriers for students seeking alternative educational opportunities beyond India. The institutional preference for ICCR-trained scholars perpetuates the hegemony of Indian pedagogy, limiting the diversification of musical instruction and discouraging approaches that could integrate global perspectives or emphasize Bangladesh’s own musical traditions.

Economic Hegemony and Market Domination

Economic dependency is a major factor sustaining Indian dominance in Bangladesh’s music industry. The omnipresence of Bollywood music across television networks, streaming platforms, and social media has overshadowed local productions. Bangladeshi musicians struggle to compete with India’s well-funded entertainment industry, which benefits from superior production quality, expansive distribution networks, and an established audience base within Bangladesh.

This economic disparity ensures that Indian cultural products remain the dominant form of musical consumption, severely limiting the commercial viability of homegrown Bangladeshi music. Without structural support for local artists and content creators, Bangladesh remains a secondary market for Indian music rather than a self-sustaining cultural powerhouse.

Pedagogical Influence and Institutional Control

Bangladesh’s music education system is deeply rooted in Indian classical training, with institutions such as the Dhaka University Department of Music and Bangladesh Shilpakala Academy integrating Indian methodologies as core components of their curricula. While these training methods offer technical rigor, they also restrict the diversification of music education by marginalizing Bangladesh’s folk traditions and contemporary styles.

The sustained influence of ICCR and similar cultural initiatives ensures that Indian classical music remains the benchmark for musical excellence in Bangladesh, leaving little room for alternative narratives that prioritize indigenous traditions or incorporate modern global influences.

The Role of Mass Media

Indian dominance in Bangladesh’s musical sphere is further amplified through mass media. Indian television networks, streaming services, and digital platforms enjoy extensive reach within Bangladesh, with channels such as Star Plus, Zee Bangla, and Sony Entertainment Television shaping popular musical preferences.

The digital era has intensified this influence, as algorithms on platforms like YouTube and Spotify frequently prioritize Indian content over Bangladeshi productions. This passive audience engagement reinforces India’s cultural dominance, perpetuating the notion that Indian music is the definitive standard while marginalizing Bangladesh’s own musical output.

The Nazrul Sangeet Copyright Controversy

A striking example of India’s cultural dominance over Bangladesh’s musical heritage is the copyright dispute surrounding Nazrul Sangeet. Kazi Nazrul Islam, Bangladesh’s national poet, composed a vast repertoire of songs integral to the nation’s cultural identity. However, much of his work remains under Indian copyright regulations, restricting Bangladeshi musicians from freely adapting and performing his compositions without legal complications.

This issue highlights broader debates about ownership of pre-Partition cultural assets. While the 1947 Partition divided India and Pakistan along religious lines, Bangladesh’s struggle for independence in 1971 was centered on cultural and linguistic identity. Consequently, all Bengali literature, music, and artistic works produced before 1947 should rightfully be considered part of Bangladesh’s intellectual and cultural heritage, rather than falling under Indian jurisdiction. This argument challenges India’s continued exertion of control over key elements of Bangladesh’s artistic legacy.

Resistance and the Quest for Cultural Sovereignty

Despite these systemic challenges, a growing movement within Bangladesh is actively working to reclaim cultural sovereignty in the music industry. Initiatives such as the revitalization of Baul and folk music festivals, increased promotion of Bangladeshi bands, and government-supported efforts to document and preserve indigenous musical traditions aim to counteract Indian hegemony. However, most of these initiatives fail to address the root cause: the dominance of Indian classical music in education.

Additionally, independent musicians are increasingly leveraging digital platforms to distribute their work internationally, signaling a potential shift toward greater artistic autonomy. By strengthening local music education, supporting emerging artists, and fostering a more diverse musical curriculum, Bangladesh can begin to assert its own cultural identity rather than remaining overshadowed by Indian influences.

Conclusion

The pervasive influence of Indian cultural hegemony in Bangladesh’s music industry and education system is the result of entrenched economic dependencies, institutional structures, and media dominance. While Indian influence has contributed to Bangladesh’s musical development, it has also overshadowed local artistic expression and restricted the growth of an independent musical identity.

Moving forward, fostering a more balanced cultural exchange requires a deliberate effort to recognize Indian contributions while championing Bangladesh’s unique musical heritage. As Bangladesh continues to evolve, a critical question remains: Can the nation assert its artistic sovereignty, or will it remain a passive participant in the broader orchestration of South Asian cultural politics