David Bowie and Performativity - Essay Example

David Bowie – Queen Bitch Introduction This essay looks into the per formative acts and gender constitution ofDavid Bowie’s song “Queen Bitch”. Gender is not stable or essential but is instead established through the repetition of culturally recognizable gestures as we see in this song, “Queen Bitch.” In other words, what is known as gender is not merely an expression of an essential identity, but is a system of social signs creating the illusion of gender through repeated per formative behaviors.

Rock music identity politics is the anti-thesis of traditional, British middle-class nationalism and decency. Notably, Rock music in the UK can be regarded a cultural and social phenomenon (Bowie 12). By conceptualizing gender acts, I will try to demonstrate some ways in which sexual conceptions of gender can be understood as demonstrated, thus being capable to be incorporated differently. In opposition to theatrical models in Bowies “Queen bitch” song that takes the gendered self prior to its acts, I’ll attempt to demonstrate the constituting theatrics not only as the constituting identity of the actors involved, but also as comprising that identity as a persuasive illusion, an object of belief.

When Bowie says “Shes so swishy in her satin” with a display of this particular woman brings forth from theatrical discourses, but mainly sexual phenomenology, showing that what is referred to as gender identity is a per formative accomplishment motivated by taboo and social sanction .Naturalistic explanations has often been criticized in the feminist theory when it comes to sex and sexuality which tends to make an assumption that the essence of womens social existence has its roots in their physiology which is evident in Queen bitch (Josh).

Gender: as a sexual Narrative Views of the aspects of class, culture and sexuality in Bowie’s song are greatly affected by how gender is portrayed in rock popular culture. Some of the well known understandings that inform these issues in the society, mainly the idea that woman are deceptive, sly and sex objects are also included. Sexual orientation here presents a channel through which Bowie’s song may be viewed as counter dialogue, especially in terms of rocks fundamental preoccupation with sex, sexuality, drug and alcohol abuse.

It is through the technology of media that we see such concerns being broadcasted to mass audiences thus fundamentally challenging the notions of a stable, straight forward and coherent Bowie’s identity (Josh). Feminism & Masculinity Bowies critique of feminism is very evident in this song, particularly where he says “Now shes leading him on, and shell lay him right down Yes shes leading him on, and shell lay him right down” Feminism in other words, here is used in portraying oppression and exploitation of men by women .

In queen bitch Bowie’s expression portrays him as being a master narrative of feminism in itself, and like other postmodernists, Judith Burtler believes that varying subject stand points within discourses pertaining feminism are sidelined by middle class dominance of British feminisms . These alternate subject positions portrayed in queen bitch according to postmodernism, thus, thwarts any chance whatsoever in rein scribing moral authority by insisting on the relevance of other types of feminisms in spite of their varied differences.

This song comprises of phenomenological Perception on “the sexual being of the body, according to its theatrics especially the dress code when” he has issues with accounts of bodily experience portraying the body as “a sexual idea” rather than “a natural species.” Significantly, it is this notion that David Bowie’s Queen bitch song content in terms of word together with also its title coupled with the theatrics that is assimilated that cites this sexual aspects especially feminism when he sets the stage for his artistic presentation which clearly portrays that “woman,” is a sexual being rather than a natural fact.

In most contexts, in the queen bitch song the presence and authenticity of the materials especially the fabrics in the dressing showing his adoration for feminity although we see that there is no denial of the body’s natural dimensions, and reconceived as part and parcel of the method through which the body bears sexual meanings (Thompson 21). Conclusion When it comes to rock music of his day, Bowie challenged it’s the core belief creating what was perhaps the largest cult in popular culture.

He had a fascination with the bizarre which was evident in his theatrics in Queen Bitch. Bowie was deeply involved in the creation of sexual personae. It was not surprising to see that he had interest in homosexual and bisexual behaviors which to a careful eye could be seen in queen bitch video mainly due to the costumes and make up. Perhaps this sexual aspect of him as seen in this song as in most of his other songs could be attributed to his compulsion in flouting moral codes. Works Cited Bowie, Angela.

Backstage Passes: Life on the Wild Side with David Bowie. London: Rowman & Littlefield, 2000. Print. Josh, Tyrangiel. All-TIME 100 Albums - Hunky Dory. TIME, 2006. Web. March 24, 2013. Thompson, Dave. 1000 Songs That Rock Your World: From Rock Classics to One-Hit Wonders, the Music That Lights Your Fire. Wisconsin: Krause Publications, 2011. Print.