How The Bechdel Test Measures Representation Of Women In Popular Culture

If you frequent Reddit Bollywood forums, as I do, you would know what “flowerpot” means. Used in the context of a unidimensional female role that exists solely to further the male protagonist’s storyline, it serves as a love interest, bringing glamour to the mix. In other words, she is a heroine with no motivation of her own.

When I wrote ‘Combat Skirts’, a novel set in a girls’ hostel, I was determined to give each character a purpose. Everyone had a distinct personality, even if s/he appeared for just one scene. I followed the Bechdel Test and, in a meta move, even wrote about it in Chapter Two.

So, what is The Bechdel Test exactly?

The Bechdel Test is a measure of the representation of women in popular culture. It asks whether a work of fiction features at least two women who talk to each other about something other than a man. The requirement that the two women must be named is sometimes added.

Think of ‘Pride and Prejudice’ and the conversations between Lizzy and Jane. They talk about boys, sure, but they also discuss society, marriage, and family values. A few examples from cinema that pass muster are ‘Queen’, ‘English Vinglish’, and ‘Dangal’.

I spoke to Sidharth Jain, the producer of ‘Trial by Fire’ (Netflix), easily one of the best shows to come out of India. Based on a memoir, the writing was palpably authentic, losing none of its bite when adapted for streaming. Not surprising, considering Jain is the founder of The Story Ink, India’s premier book-to-screen company.

“In the last ten years or so, studios have become more responsible when it comes to the representation of women,” he said. “A film may have constraints like screen time and budget, but a web series allows the makers to flesh out even secondary characters well.”

I asked Namrata, a friend who sifts through scores of stories per week, if she agreed. She is the editor of Kitaab, a Singapore-based publishing house. “Yes,” she replied. “But is that enough? It’s true, representation matters. But it needs to be accurate too.”

Speaking of accuracy, it is worth noting that the Bechdel Test indicates that a piece of writing is progressive. It can still accommodate the male gaze; it is not foolproof. But it is a handy checklist to steer clear of lazy stereotypes.

Earlier this year, I spoke about it at ‘Are You Lit?’, an event curated by Vineeta Jerath and Vishesh Prakash. The theme was ‘Changing Face of the Protagonist’. I asked Jerath why she picked the topic.

“The narrative of being a woman has changed in our current social fabric. Today's woman is not ashamed to spell out her needs and desires. She refuses to be a Cinderella, trying to hold her foot in a glass slipper, but is ready to break the glass ceiling. Honestly, my protagonist lacks the need for validation from her male counterparts. She takes pride in her being and her choices.”

I couldn’t agree more. I was once asked what I thought of the hijab row. My first thought was: “We need pockets, not patriarchy.” I was not being dismissive. In fact, one of the organisations I work with is Rising Beyond the Ceiling (RBTC), an initiative to highlight the achievements of Indian Muslim women. I sincerely believe in a woman’s right to agency.

I invited the founder and chairperson of RBTC, Dr Farah Usmani, to share her insights on the representation of women and minorities in storytelling.

“It matters,” she said, “who is telling the stories and who is being written about. You are drawn to stories in which you can identify and take inspiration. For women and minorities, seeing relatable and inspirational depictions in characters, who look, act, or think in the same way, anchors positive perception.”

Like the Bechdel Test, we have another tool to critique the nature of representation. The Riz Test, named after Rizwan Ahmed, the lead actor of ‘The Reluctant Fundamentalist’, seeks to address the lack of diversity in film and television, along with insensitive portrayals of Muslim characters.

It asks the following questions:

1. If a character is identifiably Muslim, is s/he a victim/perpetrator of terrorism? Is s/he talking about it?

2. Is the character presented as

a. irrationally angry?

b. superstitious, culturally backward, or anti-modern?

c. a threat to a western way of life?

3. If the character is male, is he presented as misogynistic? If she is female, is she presented as oppressed by her male counterparts?

As a writer, I value nuance and subtext. I recognise the power of words to impact social attitudes. So, my girls have appetites, and their moms relish their shandies. The boys in my stories are, invariably, fabulous cooks. And you’ll rarely find biryani on the plates of my Muslim characters. Food for thought?

Sahana Ahmed is a poet and novelist. As the India Country Chair for G100 World Peace, she received the Woman of the Decade award at the annual Global Women Economic Forum in 2022.

Suggested reading: Today I Learnt: Bechdel Test And The Under-Representation Of Women In Cinema