“Who Runs the World…Girls!” (Beyoncé) Feminist or Not?
“Who Runs the World…
Girls!” (Beyoncé)
Feminist or Not?
By Emmah Machokoto
Emmah Machokoto is a lawyer and holds a Bachelor of Laws (Hons) from the
University of Zimbabwe. She is currently studying towards a Master’s degree in the
Legal Aspects of HIV/AIDS with UNISA. She also works as a Research Associate for
Women Development a consultancy firm whose major focus is human rights and
gender-related issues.
Introduction
P
opular culture (pop culture) refers
to cultural activities or commercial
products reflecting, suited to, or aimed at
the tastes of the general mass of people.
Within the ambit of pop culture, exists
pop music, which has been described as
a slippery concept, perhaps because it is
so familiar and so easily used. It is music
accessible to a general public (rather
than aimed at elites or dependent on any
kind of knowledge or listening skill). It is
music that is produced commercially for
profit as a matter of enterprise not art.
Defined in these terms, pop music includes
all contemporary popular forms – rock,
country, reggae, rap and so on (S. Frith,
W. Straw, and J. Street 94). Because
sexual objectification, misogyny, violence
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and gender stereotypes have been abundant in pop music’s
lyrics and videos for many years, it is not surprising that
pop music has been labelled ‘un-feminist’ and criticised for
being one of the many factors that perpetuate misogynist
views of women. Some argue that pop music over the
past three decades has also been part of a larger cultural
resistance to feminism – an attempt to block progress
toward gender equality and resuscitate male domination.
As Lay argues, ‘popular music can be read as a vehicle for
heterosexual male concerns and, more importantly, for the
recuperation of hegemonic masculinity’. Stated differently,
this music can be seen as part of a larger ideological process
of persuading the population that heterosexual male
supremacy is natural and normal. But what can we make of
popular songs, such as Beyoncé’s ‘Run the world (Girls)’,
which appear to af firm women? This article explores the
dynamics that make the issue neither black nor white.
"This music is a reflection of
how women are viewed and
treated by society at large,
which is why fans are – in
most cases – not shocked by
the lyrical content of these
songs because it is merely
a translation of their dayto-day lived realities."
Women as objects
and popular usage as another term for ‘woman’. This raised a very
important question for me – what influences the other, music
or society? At first I thought this would be one of those chicken
and egg scenarios until I read the words of Adams and Fuller
(2006), who suggest that one of the reasons why rap artists use
misogynistic lyrics in their music is that they have internalised
negative stereotypes about women that are prevalent in society.
This music is a reflection of how women are viewed and treated
by society at large, which is why fans are – in most cases – not
shocked by the lyrical content of these songs because it is merely
a translation of their day-to-day lived realities. Therefore, it
is hardly surprising that their records artists have made these
artists both popular and millionaires. The likes of Jay-Z, Eminem
and Lil Wayne, to name just a few, are examples of rap artists
whose songs have been linked to violence and misogyny, yet
they continue to sell the most albums and to boast millions of
loyal fans (women, girls, men and boys alike) the world over. As
noted by Frith et al, pop music is not an art but a craf t as it is
not about realising individual visions or making us see the world
in new ways but about providing popular tunes and clichés that
express commonplace feelings, such as love, loss and jealousy.
In one research study, a content analysis of rock music videos
found that a majority (57 percent) presented women in a
‘condescending’ manner (e.g. unintelligent, sex object or victim)
and a fifth placed them in a traditional sex role (e.g. subservient,
nurturing or domestic), while eight percent displayed male
violence against women. Only 14 percent presented women as
fully equal to men. A more recent study of rock videos found that
traditional sex role stereotypes continue to predominate – with
57 percent of videos again depicting women in a ‘conventional’
manner (e.g. passive, dependent on men, accenting physical
appearance), while just a third presented them as strong and
independent. Country music also casts women in subordinate
roles. A study of 203 country music videos featuring male
performers found that two-thirds devalued women by portraying
them in a condescending manner or in traditional gender roles,
while only nine percent presented women as fully equal to men.
There have been suggestions that degrading sexual references
are far more common in some genres than others, with the vast
majority of such references being found in rap and R&B/Hip-Hop.
Interestingly, these happen to be the most popular genres among
young people today, regardless of demographic characteristics.
In Misogyny in Rap Music: A Content Analysis of Prevalence
and Meanings, the research identified five misogynistic themes
that appear with some frequency in rap music – (a) derogatory
naming and shaming of women; (b) sexual objectification of
women; (c) distrust of women; (d) legitimisation of violence
against women; and (e) celebration of prostitution and pimping.
For most people who are in love, it would be a dream come true
to have a partner who can put pen to paper, come up with a
wonderful love song and sing it for them. So you can imagine my
shock and disbelief when I heard that popular rapper Kanye West
had released a song titled ‘Perfect B***h’, which was specifically
dedicated to his girlfriend Kim Kardashian. I did not care to listen
to the song because the title itself put me off. However, I did
follow the debates surrounding this song and I gathered that
‘b***h’ has found some level of acceptance in hip hop culture
Come inside, pick up your bags off the sidewalk
Don't you hear sincerity in my voice when I talk?
Told you this is my fault, look me in the eyeball
Next time I'm pissed, I'll aim my fist at the drywall
Next time? There won't be no next time
I apologize, even though I know it's lies
I'm tired of the games, I just want her back, I know I'm a liar
If she ever tries to f**ng leave again, I'm a tie her to the bed
And set this house on fire.
Individuals, state actors, feminists, gender activists and many
other key players continue to grapple with violence against
women so it feels like a blow in the face to listen to the lyrics in
the song ‘Love the Way you Lie’ by Eminem featuring Rihanna:
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“Who Runs the World…Girls!” (Beyoncé) Feminist or Not?
This song tells the story of a serial woman batterer
and is loaded with violent lyrics – and clearly it is
opposed to everything that feminism stands for.
Can you be a feminist and enjoy pop music?
The ‘Perfect B***h’ debates also raised another question – can you
be a feminist and enjoy pop culture and pop music specifically?
Despite all the perceived and apparent misgivings about whether or
not there are feminist spaces within pop culture, I strongly believe
in the existence of such spaces. In the pop music arena there are
certain songs that are in sync with feminist goals and objectives.
I will use Katy Perry’s ‘I kissed a Girl’ and Lady Gaga’s ‘Born This
Way’ to explore feminist views on sexuality in pop songs:
I kissed a girl and I liked it,
the taste of her cherry chapstick.
I kissed a girl just to try it,
I hope my boyfriend don't mind it.
It felt so wrong,
it felt so right.
Don't mean I'm in love tonight.
I kissed a girl and I liked it (I liked it).
No matter gay, straight, or bi,
Lesbian, transgendered life,
I'm on the right track baby,
I was born to survive.
No matter black, white or beige
Chola or orient made,
I'm on the right track baby,
I was born to be brave.
Although feminist theories regarding sexuality vary widely, they all
seek to challenge and refute compulsory heterosexuality and heteronormativity, as this infringes each individual’s right to choose who
to be involved with sexually. I label both the above songs feminist as
they not only create a space through which sexuality can be discussed
but they also clearly challenge hetero-normativity. Katy Perry’s lyrics
point to a girl who kissed another girl and liked it. However, when she
accepted the Woman of the Year award from Billboard in 2012, Perry
stated that although she believes in the strength of women she is not a
feminist, while Lady Gaga is also on record as saying she is a ‘little bit
of a feminist’. Needless to say, there was a public outcry by declared
feminists following this public ‘denouncing’ of the movement.
This then brings to the fore questions that I personally like to keep
asking – is feminism in the labelling or in the actions? When does one
become a feminist? When women come out in the open and claim to
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be such? Or when they start believing that women and men are equal
and start pushing for equality whether it is the private or public spheres?
If one chooses to put the emphasis on the labelling then certainly a
non- feminist cannot sing a feminist song and so Katy Perry’s song is
of no benefit to the feminist movement. However, if one chooses to
focus on actions then these songs are as feminist as songs can get.
Beyoncé Knowles’ ‘Run the World (Girls)’ is one of her many
refreshing songs in terms of its lyrical content, as it actually
paints a picture of an empowered woman. The song's title and
lyrics are an unapologetically aggressive message promoting
female empowerment. The second verse of the song goes:
It's hot up in here
DJ don't be scared to run this, run this back
I'm reppin' for the girls who taking over the world
Help me raise a glass for the college grads
41 rollin' to let you know what time it is, check
You can't hold me (you can't hold me)
I work my 9 to 5, better cut my check
This goes out to all the women getting it in,
You're on your grind
To other men that respect what I do
Please accept my shine
Boy I know you love it
How we're smart enough to make these millions
Strong enough to bear the children
Then get back to business
In what may seem to some as a contradiction of terms, the song’s
video has scenes of scantily dressed women, including Beyoncé
herself, gyrating seductively to the beat of the song. Does the
video take away from the positivity of the title and lyrics? Or do the
images actually reinforce it? For me this question is answered by
how one interprets the on-going war on the female body. In many
African contexts, women continue to fight – among other battles
– the what-to-or-what-not-to-wear war. In a recent development,
which focussed the world’s attention on the kingdom of Swaziland,
the Swaziland Young Women’s Network organised a miniskirt
march during 2012’s 16 days of activism to protest against a law
making it a crime for women to wear miniskirts. Although the law
criminalising the wearing of miniskirts was promulgated in 1889,
a lot of people were openly supporting it and claiming that it was
still relevant more than a century later. Against this backdrop, my
interpretation of the dress code and dances in the video is that they
represent a celebration, and total ownership, of the female body.
While sexual objectification of women remains an issue in a
world that is increasingly becoming pro-choice, we should desist
from blindly assuming that every scantily clad female we see in
a pop video translates to sexual objectification. This undermines
the ability of such individuals to make informed and conscious
decisions regarding their bodies. As a musician, Beyoncé has
built up one of the largest fan bases not only in the United
States but also worldwide. She could sing or dance in a sack and
still make millions, which makes me doubt that her videos are
meant to portray her purely as an object for display and public
consumption. I see them as statements telling patriarchy that
you cannot tell me what to wear and how to carry my body.
As more and more women succeed in the music industry, we are
starting to see a lot of semi-naked men in their videos and already
there have been debates regarding male objectification. Females are
now being given the opportunity to gaze at bare chested males in
the same manner as males have long been able to stare at semi-clad
females. And this raises another intriguing question – should we
continue to bemoan female objectification in pop music videos or
we should celebrate the increasing number of scantily-clad males
as the first (dance) steps towards levelling the video playground?
Although many artists may choose not to be associated with
feminism, there are spaces within pop music that can be viewed
as feminist in terms of their lyrical content. Closer to home, I was
pleasantly surprised when I listened to a song entitled ‘Women’ by
Pro-verb, one of South Africa’s popular rap artists. He may not be
a feminist but his song speaks volumes about the empowerment of
girls and women, as it acknowledges that girls have to work twice as
hard in this patriarchal world. It also touches on domestic violence
and challenges the stereotypical views of women as housewives.
Remember your own goals and live your own
dreams too/ learn all of the lessons
That life is gon teach you/ cause Life’s good/
and I would take it back if I could/
To being a kid again remember to treasure your
childhood/ I can imagine growing
Up as a girl is hard/ you have to work twice
as hard/ cause this world is harsh/
But don’t ever let a man put his hands on you,
in fact warn him/ that if he touches
You I’ ll put my hands on him/ you don’t have
to be a housewife and stay at home/
And you don’t have to stay in the kitchen those days are gone/
you don’t have to get his money girl get paid on your own/ I’ ll
tell you all about the birds and bees the day you’re grown/
To all the women in my life and all the women in the
world/ the women that are wives and to all the little
girls/ still growing up to be women listen to the verb/
I appreciate you and I scribbled a little verse.
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Conclusion
Pop music undoubtedly contributes to the perpetuation of misogynist views of women
because some of its lyrical content celebrates and condones violence against women and
degrading sex. Although sexual objectification of women is a huge issue in the business,
there is a need to avoid assuming that all women in pop music are, or feel, objectified
because for some this is an avenue through which their empowerment and total ownership
of their bodies can be channelled. The reality is that, depending on one’s understanding
of feminism, there are spaces within pop music that can be described as being feminist.
References
1. http://dictionary.reference.com/browse/
popular+culture accessed 15 March 2013
Fuller, Journal of Black Studies, (Vol. 36,
No. 6, p. 938-957 – Sage Publications)
11.http://www.azlyrics.com/lyrics/ladygaga/
bornthisway.html accessed on 27 March 2013
2. The Cambridge Companion to
Pop and Rock (September 2001 –
Cambridge University Press)
6. Ibid p. 96
12.Noah Berlatsky in an article published
on Dec 5 2012 “Katy Perry’s aversion to
feminism shows feminism is still radical”
http://www.theatlantic.com/sexes/
archive/2012/12/ accessed on 27 March 2013
3. Misogyny in Rap Music: A Content Analysis
of Prevalence and Meanings – Ronald
Weitzer & Charis Kubrin, The George
Washington University, Washington, D.C.
4. Ibid
5. The Words Have Changed But the Ideology
Remains the Same: Misogynistic Lyrics in
Rap Music – Terri M. Adams & Douglas B.
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7. Degrading and Non-Degrading Sex
in Popular Music: A Content Analysis
– Brian Primack, Melanie Gold, Eleanor
Schwarz & Madeline Dalton
8. Ibid
9. http://www.azlyrics.com/lyrics/
eminem/lovethewayyoulie.html
10. http://www.azlyrics.com/lyrics/katyperry/
ikissedagirl.html accessed on 27 March 2013
13.Ann Powers in an article published
on 13 December 2009 “Frank Talk with
Lady Gaga” http://articles.latimes.
com/2009/dec/13/entertainment/
14. http://www.azlyrics.com/lyrics/
beyonceknowles/girlswhoruntheworld.html