The release of Dabidi Dibidi, a song from the Telugu film Daaku Maharaaj starring Nandamuri Balakrishna and Urvashi Rautela, has sparked controversy for its objectifying lyrics and choreography. In a country where women constantly battle for safety and respect, such songs not only undermine these struggles but also normalize vulgarity under the guise of entertainment.
At first glance, Dabidi Dibidi seems like just another high-energy party track, with pulsating music, flashy visuals, and energetic dance moves. However, a closer look at the lyrics reveals an entirely different reality—one riddled with suggestive undertones, double entendres, and outright crude references that reduce women to mere objects of visual pleasure. The phrase “Dabidi Dibidi”, intended to mimic the sound of a drumbeat, is disturbingly reinterpreted to suggest the sound of Balakrishna’s character smacking Rautela’s rear—a metaphor that is as distasteful as it is demeaning.
The sexual innuendo is barely concealed, yet the song has managed to weave itself into the public consciousness, with listeners unknowingly humming along to lyrics that glorify objectification.
The Larger Issue: Normalization of Crude Lyrics in Tollywood
Sadly, Dabidi Dibidi is not an exception but part of a longstanding trend in Tollywood, where sexually suggestive and objectifying lyrics have often been passed off as “mass entertainment.” Similar songs in recent years include:
- Oo Antava (Pushpa: The Rise, 2021) – Though meant to critique male hypocrisy, the song’s execution and Samantha Ruth Prabhu’s choreography leaned heavily into objectification.
- Jigelu Rani (Rangasthalam, 2018) – A typical item song featuring Pooja Hegde in provocative outfits and suggestive dance moves.
- Swing Zara (Jai Lava Kusa, 2017) – Tamannaah Bhatia’s performance focused more on her body than her dancing skills.
- Ratthalu (Khaidi No. 150, 2017) – A textbook example of an item song, featuring revealing costumes and lyrics designed for the male gaze.
- Kevvu Keka (Gabbar Singh, 2012) – Malaika Arora’s dance, combined with suggestive lyrics, made this song infamous for its objectification.
- Pakka Local (Janatha Garage, 2016) – Kajal Aggarwal, known for lead roles, was reduced to an item girl in a song that capitalized on sexualized moves.
Choreography Designed for the Male Gaze
If the lyrics weren’t problematic enough, the choreography of Dabidi Dibidi further reinforces the issue. Urvashi Rautela is subjected to movements that blatantly emphasize her body, reducing her to nothing more than eye candy. Meanwhile, Balakrishna, despite being the lead, performs minimal steps that maintain his dominant screen presence without requiring any real dancing effort.
This glaring contrast exposes a larger issue in mainstream Indian cinema—female actors are often treated as decorative props, while male leads command attention regardless of their age, talent, or ability. The pressure on female performers to participate in such sequences under the pretense of “mass appeal” is undeniable. Urvashi Rautela, known for her glamorous roles, once again finds herself trapped in a repetitive template—revealing outfits, exaggerated hip thrusts, and suggestive movements, all while the camera strategically zooms in on her body.
A Call for Change
Tollywood, like Bollywood and other film industries, needs to recognize the long-term consequences of normalizing suggestive and degrading content. Instead of relying on vulgarity for instant attention, filmmakers, lyricists, and choreographers must reconsider their approach. Entertainment should never come at the cost of dignity and respect, and it’s high time mainstream cinema stops treating the objectification of women as an acceptable norm.
