Spice World: Constructing Femininity the Popular Way Essay Example

that Madonna presents an image of independence and resistance against the binary opposition of virginity, which is an empowering force. According to Fiske, Madonna's popularity embodies a complexity of power and resistance, meaning and counter-meaning, pleasure, and the struggle for control.

There is a struggle between patriarchal control and feminine resistance, capitalism and the subordinate, and the adult and the young in Madonna's image (97). However, Kaplan suggests that Madonna's challenge to patriarchy is limited because she emphasizes the importance of female appearance for identity. In a recent analysis, Dibbed examines how music constructs gendered subjectivity (332). Using semiotics and Adorns critical theory, she explores how three pop songs encourage the audience to adopt a specific perspective on femininity. The first song, "Ooh, Aha Just a Little Bit" by Gina G., promotes a patriarchal view of femininity. The second song, "Dress" by P. J. Harvey, encourages a critical understanding of such a view. The third analysis focuses on the Spice Girls' "Say You'll Be There" video, which can be interpreted as both reinforcing or challenging traditional representations of femininity.

The detailed analysis of the lyrics, music, and images in that video suggests that the Spice Girls are deliberately presenting themselves for the male gaze, offering traditional images for masculine fantasy. However, they are also depicted as autonomous and expressive proud young women. The choice of musical material, such as rap, appropriates male meanings to signify power and group identity. In conclusion, Dibbed argues that the Spice Girls, like other popular texts, offer the power of evasion of discipline and control through exaggeration and fun. Additionally, they utilize patriarchal constructions of femininity in oppositional meanings, providing

the power of assistance. However, both approaches are problematic as they do not deny the dominant ideology, but instead work within it, reinforcing and sustaining it.

Conversely, analyzing female rockers and alternative music performers can contribute to the ongoing debate. For instance, Leonard's analysis of the Riot Girl movement's version of "girl power" highlights its role in sparking discussions about girls' positions as music creators and performers. Their unique music style, forms of performance, and body display, along with their celebration of shirttail and female friendship and networking, create a distinct space for a rebellious female voice.

Although the alternative discussed may not be widely recognized in popular genres, it represents a catalyst for changes in the feminine musical discourse of mainstream pop (Cooper). Hence, the Spice Girls can be viewed as a progression of female stardom in popular music, as they build upon the established image cultivated by Minnie.

The analysis of the Spice Girls as a significant case is based on an extensive study of various popular texts, which were clearly influenced by well-executed marketing strategies. These texts include the group's songs, music videos, MET specials, "official" Spice Girls videotape and book, the movie Spice World, posters, memorabilia, and Internet sites. In addition, all issues of the three major pre-teen and teen weekly magazines in Israel (approximately 150 issues) were examined for any material related to the Spice Girls.

This section offers a thematic semiotic analysis of "the feminine" portrayed in these Spice Girls' texts. It provides a broad overview by highlighting prominent motifs rather than delving into an intricate examination of each specific text (such as Dibbed's research).A previous study, mentioned

elsewhere as "Limits," was conducted before the current one and focused on Israeli pre-teen girls' reception of the Spice Girls. The insights gained from this focus group study helped in identifying certain themes as well as highlighting the similarities and differences between how scholars interpret the texts and how the intended audience does.

In terms of femininity, the Spice Girls each represent a different personality type and definition of femininity. Emma, known as "baby spice," portrays a childish and cute image with her blond hair in pigtails. She typically wears light cotton, pastel-colored short dresses with straps and a gold necklace that says "Baby." Additionally, she often holds a lollipop and presents a smiling baby face to the camera.

Geri, on the other hand, is known as the spicy ginger and is portrayed as a sexy exhibitionist. Her red hair and choice of tight, bright clothes such as corsets, raters, and stockings create a provocative image. Her suggestive stares towards the camera enhance this seductive portrayal.

Melanie B., the only woman of color in the group, takes on the persona of the "wild" and spontaneous member known as "Scary Spice." She has long, untamed curly dark hair that resembles a mane. Her clothing choices consist of tight slacks, revealing bras, and large overcoats.

Overall, these distinct portrayals exemplify various interpretations of femininity within the Spice Girls group.

The text presents different female personas, each with their distinctive characteristics, in terms of appearance and behavior. The first is "Baby Spice," who embraces a cute and innocent image with her blonde hair, short dresses, and platform shoes.

Then, there is "Ginger Spice," who stands out with her wild red hair

and revealing outfits that emphasize her sexuality.

Melanie C., also known as "Sporty Spice," portrays a sporty and athletic image with her workout suits and muscular body.

Finally, Victoria, or "Posh Spice," embodies an elegant and elitist persona with her black dresses, high heels, and cold demeanor. These variations of femininity are presented as valid modes, each characterized by certain behaviors, appearances, hairstyles, and accessories. The connection between how women are perceived and how they present themselves is a central concern.

As Token argues in her study on fashion and clothing, appearance codes play a crucial role in the struggles for self-definition and control (122). Throughout history, clothing has been used to define people's roles, social status, and gender identities.The use of preferential treatment in distinguishing between respectable and non-respectable women, married and single females, and high-class and lower-class individuals, among other social distinctions, was common. The Spice Girls, through their five unique symbolic appearances, exemplify the diverse and variable styles associated with femininity. They offer a range of appearance identities that collectively contribute to a fragmented definition of womanhood. Emma represents a cute and childish persona, while Melanie B embodies wild and crazy behavior. Geri portrays provocation and sexiness, whereas Victoria opts for snobbish elegance. Melanie C represents an athletic tomboy. The girls exploit their own stereotypes and manipulate them in oppositional ways. Examples include Enema's "naive" smile at a policeman to avoid punishment, Melanie B breaking the rules of a chess game purposely, and Victoria's serious facial expression as she discusses her fashionable dress scenes. The message conveyed is to be true to oneself and take advantage of who you

are. Additionally, once you have established your identity, change becomes difficult.When the girls amusingly attempt to swap roles based on their appearances, they realize they are not comfortable and return to their exaggerated nun-dimensional personas. The message seems to be that people do not change, which is reinforced by their own statements: "We haven't changed as people - we've retained our original personalities" (Spice Girls 48). One can choose to be any of the "girls" as long as they fit the conventional standards of attractiveness, just like all five Spices.

However, their attractiveness appears to stem from their abundant energy (sometimes leading to chaos), strong self-confidence and self-awareness, and their control over their behavior and appearance. "None of us are conventional beauties," declares the alluring Geri (Spice Girls 67). "That's inspiring for girls because it shows you don't have to be gorgeous to be up there doing it!" These are not typical Barbie dolls, which represent the exploited ideals of the "beauty myth" (Wolf). Instead, they are determined independent personalities, as emphasized by their slogan "Girl Power."

The official book of the Spice Girls (Spice Girls 7) starts with pink and black letters stating: Girl power is when... You help a guy with his bag. You and your friends respond to catcalls by shouting get your ears out!"You wear high heels and think on your feet. You know you can do it and nothing's going to stop you. You don't wait around for him to call. You stick with your mates and they stick with you. You're loud and proud even when you've broken out in spots. You believe in yourself and control your own life. 'Girl

Power,' so it seems, refers to both physical and mental strength.

Girls can help a guy with his bag, have painful tattoos like Geri, or do sit-ups like Melanie C. But it is also about standing up for your rights and dignity and having control over your life. 'Girl Power' is also about freedom of expression and inner peace, about standing up for one's opinions and beliefs. 'I'll tell you what I want, what I really really want,' say the words of their first record-breaking hit, 'Wannabe.' Control and independence seem to be crucial to the 'Spice' construction. It's looking at yourself in the mirror and saying, 'This is me... I'm not going to be dominated by anyone, especially not men' (Spice Girls 37).

A free spirit, self-acceptance, and self-fulfillment are crucial characteristics of 'Girl Power.' The fear of being out of control, argues Wolf, is characteristic of contemporary women since loss of control is understood to be inappropriate and severely punished if discovered."Being overweight or promiscuous are examples of gender-related phenomena that society typically disapproves of. However, the concept of "Girl Power" goes beyond personal and private matters. In a MET performance, the Spice Girls credited the late Princess Diana for inspiring and helping others with the notion of "Girl Power". Melanie B. from the group claims her talent is revitalizing people's zest for life. Although these statements may be rehearsed without much depth, they still convey an intriguing overall message.

The Spice Girls, a group of five successful and energetic young women, encourage nine or ten-year-old girls who are growing up in a world with unclear gender boundaries to join them in declaring independence and taking

control of their lives. "Girl Power" is interpreted by many girls as a representation of independence, strength, success, and self-worth. It signifies equality among girls, with each one showcasing their own unique strength. Some even consider the Spice Girls to be strong feminists.

That is how they present themselves and they are actively involved in various activities...The text discusses how the Spice Girls incorporate feminist discourse in their songs and image. This phenomenon is seen in various popular texts like television series and advertising campaigns. However, these texts have been criticized for reinforcing women's dependency on patriarchal systems. The inclusion of audience tastes in cultural products is seen as an economic strategy. The example of the Spice Girls is particularly striking because it highlights the conflict between their message of empowerment and the reality of them being controlled and marketed by male agents. In the movie, they are depicted as being controlled by a high-class, rich, and mature "father figure" who denies them any time off from work.This text discusses how the Spice Girls, in their imitation of the American series "Charlie's Angels", present themselves as talented policewomen who blindly follow the authority of an unseen male figure. The Spice Girls, however, disobey this male authority and do things on their own accord. They walk the thin line between obedience and resistance, fulfilling their obligations as performers while also asserting their independence. The text further suggests that the Spice Girls may be like figures in Plato's cave for their young musical audience, unaware of the reality outside and those who control them behind the scenes. Despite this, the Spice Girls emphasize sisterhood and female bonding in

their public appearances, drawing strength from friendship, unity, togetherness, and cooperation.

Geri (Spice Girls 34) declares that the Spice Girls are about unity and solidarity between female friends. Melanie C. (Spice Girls 48) adds that they all care about each other and want the best for each other, so they look after one another. The lyrics of "Wannabe" also emphasize the importance of friends, stating that if someone wants to be their lover, they have to get along with their friends as well. The Spice Girls challenge patriarchy in three ways: first, as an alternative to the stereotype of competitive and jealous females; second, as a counter model to the dominant masculine "Loner"; and finally, in opposition to feminist "Sisterhood" associated with war or criminal gangs. The fans also discuss how being together strengthens each member of the group.

According to a twelve-year-old, the Spice Girls support each other, making their friendship special. Another twelve-year-old adds that their singing came out of their cooperation (Limits 160-62). It is evident that the Spice Girls' friendship is portrayed as adolescent in nature. Numerous examples are shown in the movie, newspapers, and book photos, depicting typical girls' bedroom scenes. They are seen laying on bed covers or rugs, lightly touching each other, having pillow fights, sharing secrets, trying on each other's clothes, gossiping about boys, examining their appearances, teasing each other, and engaging in grooming rituals. In one scene from the movie, they are in bathrobes as if at a sleepover, and in another scene, they venture out into the menacing woods together, looking for a suitable place to pee as girls might do when camping out. This all-girl

subculture is described by Wolf from an adult, heterosexual perspective as a lost Eden of "a love at once so intimate and so charged....In a way, there will be nothing as exciting as this love between girls ever again" (55). The appeal of the Spice Girls incorporates key themes of young pre-teen girls' culture, legitimizing it and associating it with their popularity and fame, both for themselves and their fans.However, the Spice Girls' videodiscs portray them engaging in provocative behaviors such as roaming the streets, taking adventurous rides, and exploring urban spaces in the dark. These actions challenge the traditional gender-based division of private and public spaces. The Spice Girls defy societal norms by exhibiting their sexuality openly, which goes against the traditional idea of the "slut-virgin" binary. Instead, they provide young girls with alternative images of empowered femininity. The Spice Girls not only perceive being sexy as being observed, but also as taking control and manipulating the attention. Their sexuality is a source of pride rather than shame. They encourage breaking the rules and disregarding societal expectations. The Spice Girls' displays of nudity, such as exposed cleavages, stomachs, and legs, are not meant to signify availability but rather convey self-confidence and personal choice. While society often labels those who step outside sexual boundaries as "sluts," the Spice Girls present it as a defiant opposition.Rather than suppressing their sexuality in order to maintain a "virgin" image, they choose to openly express their sexual energy with pride. Instead of hiding it, control becomes a matter of displaying sexuality. In a world where girls receive conflicting messages about their appearance and worth, this alternative is challenging. However,

exaggerating feminine codes of appearance and openly displaying sexuality can be seen as forms of self-presentation (Lewis "Consumer"). Madonna, for example, may use sexual provocation as a way to mock societal views of women as either sluts or virgins, and challenge dominant definitions of femininity. Whether young girls are aware of these challenges or are influenced by consumer ideologies that tie female worth to sexual attractiveness is another question. Analysis of fans' discourse suggests an active struggle to interpret these ideas. Some younger girls may view the Spice Girls as both whores and idols, as one nine-year-old admitted: "I think she [Geri] is a whore. She is pretty, but I don't want to be a whore. I want to be like Geri."

The older girls who were torn between conflicting ideas of femininity had two ways to resolve the tension when it came to the Spice Girls. Firstly, they separated their personalities from their roles as performers. Secondly, they viewed their appearance in marketing terms as a means to attract audiences. This analysis shows that the Spice Girls became a battleground for navigating traditional norms of gendered appearances.

Douglass reflects on her own experiences growing up female with the mass media, and finds similarities with girl groups in the 1960s. Girl group music allowed girls to explore and act out various identities, from obedient girlfriends to rebellious independents. The Spice Girls fulfilled all these roles within one group. Interestingly, in interviews and official publications, there is an effort made to show that sexual appearances don't contradict one's intelligence and personality, contrary to popular belief. As one member of the Spice Girls says, "I've always

been a deep thinker. But then again, I'm loud and spontaneous and a bit of a twat sometimes.""Confesses Melanie B. (Spice Girls 20), and later on adds: "The strong will survive and the wise excel" (23). Wolf (215) recalls the common "Feminist or slut? Dichotomy in popular debate, whereas famous women-from anarchist Emma Goldman, to popular writer Eric Gong, to pop singer Madonna-have struggled to integrate both. For the Spice Girls, so it seems, passion and sexuality are not at war with rationality and dignity. In their relationships with men, they are clearly demanding respect and refusing to be taken for granted.""Stop right now, thank you very much, I need somebody with the human touch," they tell a lover in "Stop"; "l left you behind, boy you were a fool, to treat me that way," in "Saturday Night Divas," or "Who do you think you are? N a song of the same title. They seem to offer what Wolf (220) apparently craves: role models of women with both living minds and living bodies, and furthermore, women who are making room for that possibility in the lives of other girls! Motherhood A common construction of femininity suggests that there are sexy girls and there are mothers, but one can't be both. Motherhood is asexual and unattractive. While this is not a central theme in the Spice Girls' image, it comes through very clearly in a scene in the movie when the Spices fantasize about themselves in the future as mothers."

The women depicted in the text are all portrayed as being bloated and wearing unattractive clothes. Their faces and hair are neglected, and they appear tired

and unhappy. They are surrounded by clutter from baby products, highlighting the challenges of motherhood. Additionally, the text suggests that having babies is seen as opposed to sexual pleasure and can even be perceived as a form of punishment for it. An example of this is given through their movie friend of Asian origin, who was abandoned by her boyfriend while heavily pregnant. This implies a lack of trust in men. The text further suggests that women who become pregnant are no longer seen as sexually attractive and are therefore left by their partners.

On the other hand, the text also presents a complementary view of motherhood through the Spice Girls' song "Mama" and its accompanying video. The lyrics express the realization that their own mothers would become the friends they never had. The video includes childhood pictures of the Spice Girls and footage of their mothers in the audience. By showing their mothers in an elevated circle amidst a young audience, the Spice Girls convey the idea of passing down a secret revelation, similar to their experiences as girl scouts counselors. The message conveyed is that back then, they didn't understand why their mothers were misunderstood, but now they see through their mothers' eyes and appreciate the love and devotion they exhibited as mothers.

The text concludes by mentioning Geri's personal experience with bringing her mum to work. This comment further emphasizes how motherhood can be seen as an asexual state, as she found it strange to have her mother accompany her to work.

According to the Spice Girls (43), it was enjoyable for them to dress up, have their hair done, and feel

glamorous. However, this contradicts the struggles faced by adolescent girls in terms of their sexuality. It is widely acknowledged that sexuality poses significant challenges and conflicts for girls, not just in the USA but also in other parts of the world. Girls are taught to appear as sexual objects but are not encouraged to act upon their desires or provoke others. Instead, they rationalize and normalize their sexuality by associating it with love and fulfilling the desires of their partners, rather than embracing it as a natural aspect of their femininity (Durham; Wolf).

Teen magazines, which are popular among pre-teen girls, reinforce restrictive ideologies of femininity. They depict heterosexual romance as a primary objective for girls, promote male dominance in relationships, and emphasize the importance of beautification through consumerism (Price; Microbes; Mozzarella). These prevailing messages exclude discussions about the validity of girls' sexual feelings and desires independent from masculine desire, as pointed out by Durham.

In contrast to these prevalent ideas, the Spice Girls offer an alternative model that challenges traditional definitions of femininity and masculinity. Similar to Madonna, they seem to have control over their own image and the process of creating it, as analyzed by Fiske.The Spice Girls manipulate the traditional concept of the female "look" in three ways. Firstly, they manipulate what they physically look like. Secondly, they manipulate how they look at the camera and others. Lastly, they manipulate how others look at them. In contrast to Madonna, the Spice Girls celebrate their femininity in a playful and childlike manner. They exhibit boundless energy and girl-like mannerisms, defying authority in a playful way. This context suggests that their sexuality is part of an

independent self that is at peace with itself. However, the analysis of the Spice Girls' images reveals contradictory messages. Despite declaring independence from men, their songs often revolve around heterosexual love and longing for relationships with men. They defy masculine authority only enough to remind the audience that they ultimately submit to it. While they claim to have power and freedom of choice, they are still constrained by dominant notions of beauty and sexiness.

According to Dibbed, the idea of 'Girl Power' is a myth that actually reinforces the subordination of females in patriarchal society. It presents the illusion that 'Girl Power' is empowering and diverts any potential for real resistance (348). Moreover, the Spice Girls use persuasive language to encourage girls to go out and do something, without specifying what that something is or where it should take place. They offer the promise of freedom, but without any purpose or direction. There is no clear vision of a future or alternative paths, except for pursuing a glamorous career in female stardom, which relies heavily on appearances. This can be confusing for young girls who admire them. Another dominant theme is the glorification of female bonding. Unlike Madonna, the Spice Girls work together as a united group. On one hand, this perpetuates inner contradictions: girls can be independent, but success requires joining forces; girls can be anything, but only when they combine their individual identities to create an unrealistic expectation of being a "superwoman."

When their friend in the movie is debating which one of the Spice Girls to choose