Within this presentation exists a myriad of identity position dichotomy. The initial, and indeed most apparent, concerns male versus female sensibility – of which a female bias is evident criticising a series of stereotypical generalisations – and, secondly, an emphasis regarding the gender specific processes of economic labour (Men – Police and Women – Office). Both contribute to an overall sense of social and economic inequality towards women. Therefore, the presentations ideology demonstrates a shift from ‘Female Passivity’ to a collective stance of objection towards the implied dominant patriarchal society (Frith & McRobbie:1978). This is exemplified in two particular strong instances. The initial example concerns the MTV video scope of role reversal and, secondly, the presence of an all female band within a rock setting.
The question as to its relevancy to general society will, inevitably, lead to great debate. Indeed, if we analyse this from an economic standpoint, since the advent of a post-industrial society in the UK in the 1970s and the shift from mass production to more flexible forms of production (i.e. Fordism to Post-Fordism), women left what was regarded as the fifth world - the kitchen, garden and nursery – to participate in the service sector and indeed achieve greater levels of economic equality. Prior to this point in time, this theme of passivity would achieve greater relevancy as Strinati (2004) describes the industrial epoch of the UK as the ‘symbolic annihilation of women…. that the roles of wife, mother and housewife, etc., are the fate of women in a patriarchal society. Women are socialised into performing these roles by cultural representations which attempt to make them appear to be the natural prerogative of women’. This demonstrates, quite considerably, that over the past 50 years great strives towards the symbolic annihilation of women have been achieved without the help of Beyonce. However, in terms of social rituals, her mimesis does, to a large extent, achieve greater relevancy as Frith and McRobbie (1978) ‘boys can express their sexuality more directly than girls; they are allowed to display physical as well as spiritual desire’.
Another interesting and valid point made by the presentation, particularly by the live clip is with regards to the ensemble – an all women rock group which defies the view that ‘women musicians who make it are almost always singers’, (ibid). Indeed, if we analyse women within contemporary music, does the theory of Frith and McRobbie still retain relevance today? Beyonce as well as other female ‘artists’ such as Shakira, Leona Lewis, Britney Spears would certainly support this theory. Furthermore, the identification of a prominent women within rock instrumentation eludes me as it’s by far easier to identify classical women performers such as Evelyn Glynnie. This can be attributed to many reasons such as the assumed male dominated, testosterone fuelled realms of rock or as Bayton (1988) simply concludes; ‘Women are much less likely to be able to play already’.
The question as to its relevancy to general society will, inevitably, lead to great debate. Indeed, if we analyse this from an economic standpoint, since the advent of a post-industrial society in the UK in the 1970s and the shift from mass production to more flexible forms of production (i.e. Fordism to Post-Fordism), women left what was regarded as the fifth world - the kitchen, garden and nursery – to participate in the service sector and indeed achieve greater levels of economic equality. Prior to this point in time, this theme of passivity would achieve greater relevancy as Strinati (2004) describes the industrial epoch of the UK as the ‘symbolic annihilation of women…. that the roles of wife, mother and housewife, etc., are the fate of women in a patriarchal society. Women are socialised into performing these roles by cultural representations which attempt to make them appear to be the natural prerogative of women’. This demonstrates, quite considerably, that over the past 50 years great strives towards the symbolic annihilation of women have been achieved without the help of Beyonce. However, in terms of social rituals, her mimesis does, to a large extent, achieve greater relevancy as Frith and McRobbie (1978) ‘boys can express their sexuality more directly than girls; they are allowed to display physical as well as spiritual desire’.
Another interesting and valid point made by the presentation, particularly by the live clip is with regards to the ensemble – an all women rock group which defies the view that ‘women musicians who make it are almost always singers’, (ibid). Indeed, if we analyse women within contemporary music, does the theory of Frith and McRobbie still retain relevance today? Beyonce as well as other female ‘artists’ such as Shakira, Leona Lewis, Britney Spears would certainly support this theory. Furthermore, the identification of a prominent women within rock instrumentation eludes me as it’s by far easier to identify classical women performers such as Evelyn Glynnie. This can be attributed to many reasons such as the assumed male dominated, testosterone fuelled realms of rock or as Bayton (1988) simply concludes; ‘Women are much less likely to be able to play already’.
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