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Are Songs Like ‘Anaconda’ And ‘Wrecking Ball’ Drawing From And Adding To Feminist Discourse?

By Shambhavi Saxena:

In 2013, singer-songwriter Annie Lennox criticized the music industry’s highly sexualized visual content as “clearly one step beyond [freedom of expression] … into the realm of porn.” Considering that the underlying intention of the music videos she disapproves of, is to sell, and specifically, to sell sex for massive profits, Lennox has a point. The music industry is notorious for the exploitation of the women who make it what it is. From background dancers to solo artists- compromise of comfort is key when the goal is money, and the raunchier the performance and accompanying lyrics, the better. Apparently.

The nature of women’s sexual expression has been a problematic debate for centuries, perhaps even millennia. A glance at cultural products depicting women, whether paintings, works of literature, romantic ballads, pop music, and actual pornography itself, reveals the passive role prescribed to women. The products borrow from, as well as inform real life practices of gender(ed) roles, manners, “proper behaviour” etc. which directly impacts human life. While Lennox may condemn the free reign given to sexual expression in popular music videos as ‘unsuitable’, there is a positive flipside to it as well.

One may have reservations about the circumstances through which music videos are made and consumed, but little attentions has been thus far given to the effect produced by sexualized representation of women. On one hand, the women featured in such videos are rendered as objects for the pleasure of a male gaze, or for a female observer to emulate for the male gaze. The sustained use of footage of isolated body parts of women (read: legs, butt, breasts but almost never face) across whole genres of pop, rap and hip hop videos is, in compliance with Lennox’s claim, pornographic. But on the other hand, the industry has come out with a series of videos where the willing sexual expression of women artists, independent of a male presence, is focal. These videos seem to recognize the sexual agency and desire of the female singers. While in some cases, the catalysts for their emotional or sexual responses are men; these men exist outside the limit of the song or video and are, in a complete reversal of the usual tradition, made the unwitting participants in female expression.

One of the videos that came under fire by Lennox and indeed a large section of the internet was Miley Cyrus’ hugely successful and shocking song “Wrecking Ball”, which featured the 21-year-old singer’s naked body. She is seen in both ‘vulnerable’ and ‘strong’ postures, and literally lays herself bare when singing of a personal experience with heartbreak. There seems to be a huge number of people who are threatened by a woman’s body, when it isn’t presented for their consumption. The music industry, widely considered a breeding ground for sexism and misogyny, might just be making a turnaround by challenging its own traditions.

Perhaps one of the most sexist music videos to ever grace our screens has been Robin Thicke’s “Blurred Line”, which is in itself an apology for rape, privileging the gratification of the male over all else, even consent and rights. An epic checkmate comes in the form of Lily Allen’s video “Hard Out Here”, which simultaneously mocks Thicke and discusses the oppressive conditions of a woman in the music industry. Many feminists have raised issues about Lily Allen’s objectification of women of colour in her video, but the objectification of any woman is the valid and central concern of her song. Allen’s song writing has always been sharply critical, witty and observational, coupled with irresistibly catchy tunes. In this single of hers, she makes an open call to action: “If I told you ’bout my sex life, you’d call me a slut / When boys be talking about their bitches, no one’s making a fuss / There’s a glass ceiling to break.”

The reactions to Nicki Minaj’s newest single “Anaconda” raise the same issues. Certainly, the lyrical and visual content was riddled with problems despite Minaj’s claim that it was empowering, but again, the effect produced by the video is important. A black woman as an independent sexual actor is not acceptable to internet. The moment there is an awakening of female desire, fear is struck into the heart of those (particularly men) who will not reconcile with the fact that their monopoly over sex may well be over.

music industry

The most recent artist to take up the mantle of feminism in an explicit way is Beyoncé Knowles, during her 2014 Video Music Awards performance. In the middle of her performance, ‘Queen Bey’ samples a recording from Nigerian writer Chimamanda Ngozi Adichie’s famous TED speech on feminism, while the word “FEMINIST” lights up the screen in the background. In a brave move for a woman of colour in a thoroughly exploitative business, Beyoncé reclaims feminism and female independence symbolically for herself, her fellow female musicians, fans and anybody who happened to tune into the VMAs at that moment.

The challenging, rather than pornographic content of these videos anticipate an introspective exercise on the part of those people who watch them. Representations of woman are changing — at a rate that may be too fast for the conservative, and too slow for the radical — but the fact is that they are changing. There is a fast growing trend of self-reflexive criticism being offered by artists, and though this may not be a solution to the central problem, it is certainly a beginning, a step in the right direction.

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  1. Babar

    On one hand, women are trying to fight for their right to wear what they want, but on the other, when they see a scantily dressed woman in a music video, they call it objectification. While women admit that music videos are raunchy and the goal is to earn money, they fight for Nicky Minaj’s independence – who has spent the entire Anaconda video showing her naked butt, but the independence suddenly disappears when a tiny fraction of the same vulgarity is shown on the cover of a comic book, that of spiderwoman.

    Women are confused, hypocritical, and full of double standards.

    1. Nishant Chhinkwani

      It’s a seven letter word. It’s spelled C-O-N-S-E-N-T

    2. Babar

      It is manipulation, not consent. Women today are so used to visual images of scantily dressed women that they don’t even feel it anymore. Of course, you can sell women anything, from lies about liberation to Torches of Freedom, and they will buy it. Women have been told by feminists, repeatedly, that by dressing sexy, they will be seen as progressive, intellectual, and liberated, and these notions are repeatedly emphasized in blogs, movies, music videos, magazines, advertisements, and billboards. Eventually, it is the hate-mongering, manipulative feminists who benefit at the end, and of course, fashion, beauty, and diet industries, who are comfortably sitting on billions of dollars as women continue to pour money into their pockets.

    3. ItsJustMe

      Tell me one instance in which women are “objectified” in the media without the seven letter word from the women involved. I would go on to say that most of these instances the women involved have monetary benefits too.

    4. S

      You really do not have any work huh! How do you afford the internet? How do you eat?

  2. Manish

    Here you go again Babar..
    Expanding your philosophy of how “Women are mere sheep who need to be guided”. By whom??
    You..??

    Diet,music and fashion industry is earning billions by women being an integral part of it. Its women who run a big part of it, work in it and keep the clockwork ticking.

    Your stupid commentary has seriously reached its pinnacle here where you declare that women have been somehow fooled by feminists.

    I am quite sure that in your version of a perfect society, all women wear burqas, take care of their husband’s needs and behave obediently.

    You are blind..

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Now as an MH Fellow with YKA, she’s expanding her impressive scope of work further by launching a campaign to facilitate the process of ensuring better menstrual health and SRH services for women residing in correctional homes in West Bengal. The campaign will entail an independent study to take stalk of the present conditions of MHM in correctional homes across the state and use its findings to build public support and political will to take the necessary action.

Saurabh has been associated with YKA as a user and has consistently been writing on the issue MHM and its intersectionality with other issues in the society. Now as an MHM Fellow with YKA, he’s launched the Right to Period campaign, which aims to ensure proper execution of MHM guidelines in Delhi’s schools.

The long-term aim of the campaign is to develop an open culture where menstruation is not treated as a taboo. The campaign also seeks to hold the schools accountable for their responsibilities as an important component in the implementation of MHM policies by making adequate sanitation infrastructure and knowledge of MHM available in school premises.

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Harshita is a psychologist and works to support people with mental health issues, particularly adolescents who are survivors of violence. Associated with the Azadi Foundation in UP, Harshita became an MHM Fellow with YKA, with the aim of promoting better menstrual health.

Her campaign #MeriMarzi aims to promote menstrual health and wellness, hygiene and facilities for female sex workers in UP. She says, “Knowledge about natural body processes is a very basic human right. And for individuals whose occupation is providing sexual services, it becomes even more important.”

Meri Marzi aims to ensure sensitised, non-discriminatory health workers for the needs of female sex workers in the Suraksha Clinics under the UPSACS (Uttar Pradesh State AIDS Control Society) program by creating more dialogues and garnering public support for the cause of sex workers’ menstrual rights. The campaign will also ensure interventions with sex workers to clear misconceptions around overall hygiene management to ensure that results flow both ways.

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A student from Delhi School of Social work, Vineet is a part of Project Sakhi Saheli, an initiative by the students of Delhi school of Social Work to create awareness on Menstrual Health and combat Period Poverty. Along with MHM Action Fellow Sabna, Vineet launched Menstratalk, a campaign that aims to put an end to period poverty and smash menstrual taboos in society.

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As a Youth Ki Awaaz Menstrual Health Fellow, Nitisha has started Let’s Talk Period, a campaign to mobilise young people to switch to sustainable period products. She says, “80 lakh women in Delhi use non-biodegradable sanitary products, generate 3000 tonnes of menstrual waste, that takes 500-800 years to decompose; which in turn contributes to the health issues of all menstruators, increased burden of waste management on the city and harmful living environment for all citizens.

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A former Assistant Secretary with the Ministry of Women and Child Development in West Bengal for three months, Lakshmi Bhavya has been championing the cause of menstrual hygiene in her district. By associating herself with the Lalana Campaign, a holistic menstrual hygiene awareness campaign which is conducted by the Anahat NGO, Lakshmi has been slowly breaking taboos when it comes to periods and menstrual hygiene.

A Gender Rights Activist working with the tribal and marginalized communities in india, Srilekha is a PhD scholar working on understanding body and sexuality among tribal girls, to fill the gaps in research around indigenous women and their stories. Srilekha has worked extensively at the grassroots level with community based organisations, through several advocacy initiatives around Gender, Mental Health, Menstrual Hygiene and Sexual and Reproductive Health Rights (SRHR) for the indigenous in Jharkhand, over the last 6 years.

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