Stand-Up Comedy And Intersectionality: Who's Laughing, Who's Left Out?

This blog has been written by Anushka Kalluri, a student at Damodaram Sanjivayya National Law University, India. She can be reached at anushka.kalluri07@gmail.com.

Introduction: The Role of Identity in Indian Comedy

Comedy for ages now has been a place for satire, political critique, and cultural reflection. But who laughs? And who becomes the butt of the joke? Just like the rest of Indian society, the Indian comedy scene is heavily influenced by caste, gender, and regional identity which affects who gets to perform, whose creativity is accepted and what is deemed funny.

Recent events like that of India's Got Latent (NDTV) have reopened discussions about humour, discrimination, and freedom of speech. As comedy breaks down walls, it pulls up all the much older, more deep-seated hierarchies above it all. Some comedians get away with “controversial humour” while others face severe backlash. What does that tell us about who truly controls the mic and the joke?

1. How Do Caste, Gender, and Regional Identity Shape India’s Comedy Scene?

Comedy in India often reflects the privileges of those who perform it. A quick scan of the biggest names in stand-up on Netflix, Amazon Prime, or in top clubs reveals a pattern:  upper-caste, English-speaking men dominate the industry. But why?

• Platforms Accessibility: The Dalit, Bahujan, and Adivasi (i.e.DBA) comedians have restricted entry into the mainstream since the industry is built on social networks that exclude them. Conversely, established comedians often punch down with casteist and sexist jokes that further oppress the agonies of these communities.

• Regional Disparities: There is a thriving stand-up comedy scene in big urban cities such as Mumbai, Delhi, and Bangalore, where stand-ups are viewed to be more “cosmopolitan” and “sophisticated” when the act is in English. This elite circle comprises a struggling world for comedians who perform in regional languages or small towns.

• Audience Biases: Some jokes land better than others depending on the person telling them: upper-caste comedians can joke about caste or gender without suffering dire consequences, while DBA and female comedians are looked down upon for raising the same issues.

2. The Challenges Women and Dalit Comedians Face

It’s not just about who gets to perform—it’s about who gets to do so safely. For women and DBA comedians, the comedy stage is often a minefield.

• Gatekeeping: More than sheer talent, the ability to develop connections can either make or break a career in comedy. The industry works like an exclusivity club where networking is as important as content. Most of the spaces are made difficult for female and DBA comedians to enter, as the gatekeepers maintain their biases toward individuals from higher strata of society. Another blockage on the way is the absence of mentorship for minority groups. Many Dalit or female comics do not have any prominent figures within the industry who can hold their hands through the intricate labyrinth of stand-up, from being booked to censorship.

• Harassment and Threats: The internet has opened avenues for independent comedians but has also made them easy targets of merciless abuse. Women comedians like Kaneez Surka and Agrima Joshua who challenge patriarchal power frequently face rape threats and trolling. Dalit comedians, such as Manjeet Sarkar, are threatened for their critiques of caste oppression. The difference between "free speech" and direct harassment often becomes blurred. Offline, things are hardly any better. It's in these stand-up spaces that you still have unchallenged sexism and casteism. Many women complain about being paid less than the males in their category while DBA comics are denied bookings by venues out of the fear that would cause them political controversy.

• Selective Censorship:  Comedians from the higher castes, male or otherwise, are viewed as edgy when they joke about anything political or religious. On the other hand, the minute Dalit or women comedians bring oppression into the conversation, they are branded as "too political" or "divisive." The case of India’s Got Latent exemplified how one set of comedians finds immediate repercussions for their words while another set goes on unscathed throughout their careers. This double standard legitimises how power flows through Indian humour. On top of this, the mainstream space often also indirectly codifies what is considered "acceptable" humour. In Specials and televised shows, jokes on gender and caste discrimination have been watered down, sanitised, or completely rejected, thereby reinforcing notions that certain discussions are off-limits unless spoken on from a privileged point of view.

3. Can Indian Comedy Be More Inclusive Without Losing Free Speech?

The debate over comedy’s limits is often framed as "free speech vs. cancel culture." But what if the real issue is whose speech is truly free? Here’s how Indian comedy can evolve:

• Diverse Platforms: Streaming services, comedy clubs, and festivals should actively promote underrepresented voices. Promoting Underrepresented Voices on Diverse Platforms wherein Marginalised comics should not just be token guests but headliners.

• Educate the Audience: Scientific studies contain conflicting evidence: that comedy can uphold discrimination or combat it. Comedy certainly stretches boundaries, but audiences have to ask themselves: are those boundaries being stretched for the detriment of all?

• Equal Free-Speech Protection: If comedy performs the function of the scorcher, then all comedians should have the right to centre-stage challenging power structures without suffering discriminatory consequences. (Medica Mondiale).

• Inclusion Within Comedy Collectives: Comedy groups and organisations ought to commit to diversifying their lineups regarding caste and regional backgrounds alongside gender. Giving under-represented comics regular opportunities to perform will help dismantle barriers of exclusivity that characterise the industry.

• Aid for Emerging Comics: Many marginalised comedians find it financially very difficult to break into the field. Grants, fellowships, and sponsorships for DBA and women comedians might keep the weight of success in comedy on talent rather than privilege.

Conclusion: Who Gets to Laugh Next?

Indian comedy is at a crossroads. If it is to remain a space for truth-telling, it must also be a space for many voices. It is not simply about who holds the mic, but who gets to laugh without fear. The future of Indian stand-up will truly lie in being for everyone-well, everyone, except those who have always enjoyed the privilege of making the rules. Who is next under the Spotlight?