Sexuality and Femininity in Madonna’s Songs

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Table of Contents

Introduction
Love and Sex Context in Madonna’s Songs
Conclusion
References

Introduction

For a long time, different areas of life, except childbirth and homecare, were primarily men’s prerogative. Many music genres, like opera and jazz, were mainly considered the male domain (McClary, 2002). However, some women changed these conventions and made society change their perception of feminine music. One such example is Madonna, known to the world as the “Queen of Pop,” who is not only a singer but also an actress and songwriter (McClary, 2002). Undoubtedly, she is not the first woman in music, but she was able to create a unique way of presenting her songs, femininity, and sexuality to her audience. Indeed, the latter is often considered inseparable in some music pieces because both possess the elements of love and desire (Hesmondhalgh, 2013). However, presenting sexuality in music is more difficult for women than men. They are often the targets of sexual abuse and assault because they are viewed as triggers of male desire (McClary, 2002). Nevertheless, Madonna was able to combine sexuality and femininity in her songs and videos, which made her one of the most famous music artists of the modern world.

Love and Sex Context in Madonna’s Songs

In a way, music and sex are close concepts since, in both cases, love plays an essential role in initiating the act of sexual interaction or writing a song. It is particularly evident in contemporary pop music because of its relationship to intimate and erotic experiences (Hesmondhalgh, 2013). For example, Madonna’s songs and music videos are filled with ideas about love and sexual attraction, eliciting an increased interest in naked parts of the body and the soul (McClary, 2002). She is not afraid to express her sexuality, but at the same time, she reveals to the world her thoughts and feelings in the songs that she wrote herself. Madonna explicitly highlights her femininity because she believes that being a woman, especially a public figure, is challenging since society still places various stereotypes about how females should behave and dress (McClary, 2002). Many of her songs were not only revelations about her emotions but the invocation for the world by presenting herself as an erotic figure.

“True Blue”

Madonna’s song “True Blue” is, on the one hand, a representation of deep feelings of love. If one listens to the lyrics, it is evident that the words of confessing love are addressed to a specific person. On the other hand, her costumes and style at the time of performing this song were a reference to Marilyn Monroe to show how women can be both idolized and victimized (McClary, 2002). It appears that by presenting herself as the target of male desires, Madonna wants to redefine the standards and stereotypes about women (McClary, 2002). The stigma is that females are wanted as erotic figures but still are blamed for not meeting the picture of looking like traditional mothers and housewives and criticized for triggering men.

“Live to Tell”

Similarly, Madonna’s “Live to Tell” is another song that represents how female music artists become the victims of commercial culture. Apart from re-creating Marilyn Monroe’s style in the music video, the lyrics also give the context of women being constantly mistreated by the male-dominated society (McClary, 2002). At the same time, the music is dynamic and active rather than static, implying that the world is changing, giving a woman more freedom to move forward and not be confined by societal stigma (McClary, 2002). The instrumental introduction of this song is set in D, which may be perceived as a fundamental or manly part (McClary, 2002). Still, there is an alteration between D minor and F major, a feminine element, suggesting that a balance is needed between female and male dominance, especially in the artistic realm.

“Like a Prayer”

Another Madonna’s song and music video, “Like a Prayer,” is a meditation for love and sexuality, which are shown to be inseparable and sacred. The latter is channeled through scenes filmed in a church, where Madonna enters while dressed in relatively erotic clothing. At the same time, her cross and innocent facial expressions seem to show that sexual desire between two individuals is divine since it stems from love. Notably, this song escapes the common conventional belief that popular music is the instrument to promote sex (Hesmondhalgh, 2013). Conversely, Madonna was able to convey romantic ideology and the importance of emotional context in “Like a Prayer.”

Conclusion

In summary, the issues of sexuality and femininity are tightly intertwined in the works of pop artists, and Madonna is one of the prominent examples of a female musician who can channel it openly. Many of the songs that she wrote were about love, which is demonstrated as an inevitable part of sexual relationships in her music videos. On the surface level, Madonna’s songs are dynamic because they are intended to be used for dancing. However, this dynamic represents a motion forward needed for a male-dominated society to realize the importance of change in the perception of women, who should be stopped from being stereotyped and victimized.

References

Hesmondhalgh, D. (2013). Why music matters. Wiley-Blackwell.

McClary, S. (2002). Feminine endings: Music, gender, and sexuality. University of Minnesota Press.

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