Radio Policies and Media Evolution in

India Since the 1970s

Introduction
The development of radio broadcasting in India reflects the wider transformation of the
country’s political, economic, and technological landscape. What began as a state-controlled
system during colonial times and continued after independence under bureaucratic control,
gradually evolved into a diverse and decentralized audio communication space. Since the
1970s, the Indian government’s policies regarding radio broadcasting and bandwidth
management have undergone major reforms—leading to the weakening of the Licence Raj
system and the rise of FM radio, community radio, and podcasting.

Historical Background
Radio broadcasting in India began in the 1920s with amateur radio clubs, but the real
foundation was laid in 1936 when All India Radio (AIR) was officially established by the
British. After independence in 1947, AIR became the primary radio broadcasting agency
under the control of the Ministry of Information and Broadcasting. It operated under laws
like the Indian Telegraph Act of 1885 and the Indian Wireless Telegraphy Act of 1933,
which gave the central government exclusive control over broadcasting frequencies and
infrastructure.

AIR was seen not just as a source of entertainment, but as a tool for nation-building. It was
used to promote classical music, rural development programs, and national integration.
However, as technology progressed and public demand for varied content increased, the
centralized and bureaucratic nature of AIR began to show its limitations. These issues came
into sharp focus during the 1970s.

Government Policies and Bandwidth Issues Since the 1970s

During the 1970s and 80s, AIR remained the only official radio broadcaster. This monopoly
over content and bandwidth meant that listeners had access only to government-approved
programs. This approach was heavily criticized by media experts and committees. One of
the most significant critiques came from the Chanda Committee Report (1964), which
argued that AIR was too centralized and politically influenced. It noted that rural
programming lacked engagement because of its top-down style, use of formal language, and
irrelevance to the actual needs of local listeners.

Despite such criticism, reforms were delayed, and radio continued to operate under strict
government control. Even music was heavily regulated. At one point, film songs were
banned from AIR because they were seen as ‘low culture’. This backfired when Radio
Ceylon, broadcasting from Sri Lanka, gained immense popularity in India by playing
Bollywood music through programs like Binaca Geet Mala, hosted by Ameen Sayani.

A major legal development occurred in 1995, when the Supreme Court of India ruled that
airwaves are public property and must be used to promote public good and democracy. This
landmark judgment challenged the government’s monopoly and laid the legal foundation
for broadcasting reforms.

Demise of the Licence Raj in Broadcasting

The term ‘Licence Raj’ refers to the period when government regulation in India was
extremely restrictive, requiring multiple licenses and approvals for nearly every kind of
economic or media activity. In broadcasting, this meant that only the government could own
and operate radio stations. Private participation was virtually non-existent.

Following the 1995 Supreme Court judgment and in line with the broader economic
liberalization of the 1990s, the government began to dismantle the Licence Raj in
broadcasting. In 1999, the Ministry of Information and Broadcasting launched the first
phase of FM radio privatization, auctioning 140 frequencies across 40 cities to private
companies. This allowed private players to broadcast non-news content, such as music and
entertainment, for the first time in India.

In 2005, the second phase of FM privatization was launched. This time, the government
offered more frequencies, allowed better terms for revenue sharing, and made it easier for
private companies to enter the market. This was a significant step toward ending the
Licence Raj in radio broadcasting.

Rise of FM Radio
The liberalization of the airwaves led to a boom in FM radio stations. These stations brought
in fresh, localized content that was more in tune with public taste, especially among the
youth. FM radio became known for:

- Playing Bollywood music and regional songs

- Interactive shows like phone-ins, requests, and city news
- RJ-driven entertainment, which brought a personal and humorous touch
- Use of local languages and dialects, making radio more accessible

The affordability of transistor radios and mobile phones with FM receivers helped spread
FM radio even to semi-urban and rural areas. By the 2010s, cities like Delhi, Mumbai, and
Bengaluru had multiple FM stations catering to different audiences, from devotional music
to pop culture.
However, one limitation remained—FM stations were not allowed to broadcast news, due
to regulatory concerns. Despite this, FM radio established itself as an influential medium for
daily entertainment and local awareness.

Emergence of Community Radio

As the government opened up commercial FM to private players, there was also a growing
movement for community radio, especially among civil society organizations and NGOs. The
idea was to create small, localized radio stations run by and for specific communities,
especially in rural or marginalized areas.

Initially, only educational institutions were permitted to operate community radio stations.
The first one was Anna FM (90.4 MHz), started by Anna University, Chennai in 2004.

Later, in 2006–07, the Community Radio Policy allowed non-profit organizations, farmers'
groups, women’s collectives, and local NGOs to apply for licenses. Community radio differs
from commercial radio in several key ways:

- It operates within a 10–30 km radius, covering a village or small town

- It uses local languages and folk forms
- It focuses on local issues, like farming advice, health awareness, education, and local
governance
- It encourages community participation in content creation

Successful examples include:

- Namma Dhwani (Karnataka), which empowered women and provided information on
local governance
- Kunjal Pachaee Kutch Ji (Gujarat), run by the Kutch Mahila Vikas Sangathan
- Radio Bundelkhand (Madhya Pradesh), which addresses local development and
environment issues

Emergence of Podcasting in India

With the spread of digital media and mobile internet after 2010, a new form of audio
broadcasting called podcasting began to grow in India. The word "podcast" comes from
“iPod” and “broadcast,” and refers to on-demand audio content available through the
internet.

Podcasting differs from traditional radio in the following ways:

- It is not regulated by the government

- It can be accessed anytime, anywhere
- It allows creators to target niche audiences
- It is low-cost and easy to produce using just a phone or laptop
Podcasting became popular among:
- Educators (for online classes and lectures)
- News outlets (for in-depth discussions and debates)
- Artists and influencers (for interviews, storytelling, and social commentary)
- Youth and students, looking for entertainment and learning on the go

The rise of platforms like Spotify, Audible, Hubhopper, Aawaz, and YouTube Podcasts, along
with the affordability of smartphones and data, made podcasting a major trend in urban and
semi-urban India. It also allowed regional language content to flourish, making it inclusive
and representative.

Conclusion
The story of India’s radio broadcasting from the 1970s to the present day is a story of
liberalization, decentralization, and democratization. The Licence Raj, which restricted
public access and suppressed private participation, has given way to a dynamic ecosystem
that includes commercial FM radio, grassroots-level community radio, and digital-age
podcasting. Each of these formats has carved its own space and audience. While FM radio
entertains millions in cities, community radio empowers villages, and podcasts bring
intellectual and creative expression to mobile audiences. Together, they have transformed
India’s soundscape and made audio media more accessible, diverse, and inclusive.