The song Dressin Up by Katy Perry - Essay Example

The song Dressin Up by Katy Perry Introduction The song Dressin Up by Katy Perry contains lyrics which are very suggestive and is now of this discussion on the feminist theory. This song shall be critically analysed based on elements of feminism, sexuality, and gender difference. Points of discussion would include elements referring to how the song can be viewed based on feminist elements as well as gender equality. Discussion The feminist theory is considered an extension of feminism within the theoretical and philosophical discussion. It basically seeks to secure an understanding of the qualities which relate to gender inequality. It also assesses women’s social functions, including their experiences, their interests, as well as their politics in various fields including anthropology, sociology, communication, education, and philosophy (Chodorow, 1989). This feminist theory also highlights the analysis of gender inequality as well as the promotion of women’s rights and interests. These researchers allow for two main concepts – that their research must highlight the condition of women in society, and that their studies must also be founded on the fact that women are often subordinated to men (Chodorow, 1989). In effect, feminist research opposes Weber’s discussions on value-free orientation favouring the overtly political and the desire for gender equality. The discussions in the feminist theory instead include discrimination, the objectification of women, oppression, stereotyping, art history, and aesthetics (Macionis and John, 2010). In the song, ‘Dressin’ Up’ by Katy Perry, the lyrics of the song are very much sexually suggestive, and as it is sang by a female, the lyrics do not provoke as much controversy in relation to feminist concepts. Nevertheless, the lyrics do stir feminists and their general sensibilities. The lyrics also suggest the presence of an aggressive female sexual partner, one who has control over her body and the person with whom she can enjoy sexual encounters. She sends off sexual messages to the opposite sex by being an aggressor, and being sexually submissive in some fashion. This can be seen in the words: Pick a part, you dream it up/A dark vixen, a Lolita/ Oh boy tell me your fantasy, /Tonight’s the night/ I’m dressing up for you The feminist theory does not support sexual submission for women, arguing that sexual submissiveness refers to a subordinate position for women which can also set back the advantages which have been secured by women throughout the years (McRobbie, 2004). Such advantages include the fact that women are no longer sexual objects, they are individuals who are beyond such elements of sexual depravity and debasement. The feminist theory also glories in women fulfilling goals, regardless of traditional gender dictates (McRobbie, 2004). Bringing in sexuality to the discussion of feminine rights and qualities is a step back from the fulfilment of these goals, especially since sexuality objectifies women as nothing more than sexual objects. It is important however to note that in equalizing the sexuality of men and women, the lyrics of Katy Perry suggest the presence of a female sexual aggressor, one which is far removed from the sexually submissive individual (Hopkins, 1994). As opposed to the tradition of women being the sexually submissive parties, Katy Perry’s lyrics suggest a sexually active and sexually aggressive female partner, one who initiates the sexual experience with the male party. In general however, the tone of the song is opposed to the ideals of feminism and gender equality. The lyrics, ‘I’m dressin’ up for you’ evoke an act which to most feminists is contrary to what they seek for women – gender equality (Moi, 2008). The feminist theory objects to any action which is made for the opposite gender, and they point out that such actions degrade women. Women must do things to please themselves, not to please the opposite gender. This concept reverts back to the need to do away with the past traditions where women were made subservient to the desires of men, including their personal goals (Moi, 2008). The song also evokes some sexual bondage and masochism with the words ‘dominatrix’ and ‘tied.’ For feminists, sexual bondage implies a liberal practice among sexual partners where women are often given the function of sexual aggressor (Ardill and O’Sullivan, 2005). Although sexual bondage through the dominatrix role may indeed create power for the woman over the male partner, it also does not present women in a favourable light in terms of sexuality. Women have been accused of using their feminine wiles to get what they want, or using their sexuality as a tool to further their goals. This practice represents a setback for the women’s quest for gender equality, equality which is founded on how well they perform on a task regardless of their gender (Ardill and O’Sullivan, 2005). Taking on the role of a dominatrix would likely place a woman in a dominant position over a man, but not for progressive reasons. The dominance is based on sexual domination, not a domination founded on wit or mental ability, qualities which must be viewed asexually or without any trace of gender bias. The current feminist perspectives on bondage practices are very much controversial and sometimes self-contradictory (Deckha, 2007). Some feminists consider sexual masochism to be an ideal expression of sexual freedom for women; however, other feminists believe that bondage and sexual masochism further espouses patriarchy as these practices contradict the principles of feminism. Feminists who believe that bondage and sexual masochism are against feminism also point out that women who participate in these activities, especially those who play submissive roles have been influenced by the sexist hierarchies (Deckha, 2007). Such feminist perspective also argues that those who like being the submissive party only enjoy the process because they believe it is expected of them. This perspective also argues that if women were able to explore their sexuality without the sexist power hierarchies, a different conclusion about what they would enjoy may arise (Deckha, 2007). Conclusion Based on the above discussion, it can be concluded that Katy Perry’s song ‘Dressin Up’ does not support the strong feminist culture as it sexualizes and objectifies women and women’s role in relationships. Although a sense of dominance over men is noted in the song, it is a sexual dominance which does not support the feminist ideals needed to support gender equality. References Ardill, S. and O'Sullivan, S. 2005, Upsetting an applecart: Difference, desire and lesbian sadomasochism, Feminist Review 80: 98–126. Chodorow, N. 1989, Feminism and Psychoanalytic Theory, California: Yale University Press. Deckha, M. 2007, Pain, pleasure, and consenting women: Exploring feminist responses to S/m and its legal regulation in Canada through Jelinek's the piano teacher, Harvard Journal of Law & Gender, 2(30) 425–459. Hopkins, P.D. 1994, Rethinking sadomasochism: Feminism, interpretation and simulation, Hypatia, 1(9), 116. Macionis, G. and John, L. 2010, Sociology, Toronto, Ontario: Pearson Canada Inc.. McRobbie, A. 2004, Post-Feminism & Popular Culture, Feminist Media Studies, 4(3), 255-264 Moi, T. 2008, I am not woman writer: About Woman, Literature and Feminist Theory Today, Feminist Theory, 9(3), 259-271 Read More