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Setting the Stage’, ‘The Chanteuse’, ‘Perils in the Pursuit of the Personal’ and ‘She’S Got the Look’

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Setting the Stage’, ‘The Chanteuse’, ‘Perils in the Pursuit of the Personal’ and ‘She’S Got the Look’ Subversive Desires: Exploring the sexuality enacted by the musical performances of Liz Phair & P.J Harvey By Dhersen Moodley Student number: 0210248N A research report submitted to the Faculty of Humanities, University of the Witwatersrand Johannesburg, in partial fulfilment of the requirements for the Degree of a Master of the Arts in Community-Counselling Psychology November 2009 1 Note: The artwork on the cover page is from the following sources: http://www.last.fm/music/PJ+Harvey/+images/5962209 http://www.last.fm/music/PJ+Harvey/+images/2129190 http://www.last.fm/music/Liz+Phair/+images/75766 http://www.singerpictures.com/liz-phair-picture-25889.html 2 Declaration I declare that this research is an original piece of writing that belongs to the writer and all the external and published work that has been used to aid this research has been appropriately referenced. It has been submitted for the degree, Master of Arts in Community-Counselling Psychology to the University of the Witwatersrand, Johannesburg, South Africa. It has not been submitted previously for any other degree or examination at any other University. Dhersen Moodley Date 3 Abstract The idea of a subversive female sexual desire is certainly controversial as it begs the question how we can know and at what point(s) does this desire become subversive . The work of two female musicians: Liz Phair and PJ Harvey, specifically through their albums ‘Exile in Guyville’ and ‘Rid of Me’ respectively, are the inspiration behind a subversive female sexual desire . These two musicians appear to communicate through the mentioned albums a desire that contrasts the way in which female musicians traditionally express matters pertaining to their sexual desire. What emerges then are arguments surrounding the epistemological and ontological structures that underpin a female sexual desire , especially as the notion of subversion speaks to a convention that such structures maintain that is perhaps more exclusive than one imagines it to be. Music as a medium in which a female sexual desire is enacted is perhaps a way for women to exercise matters pertaining to their sexual desire, especially when one imagines how subversion hints at expressions of such a desire being more exclusive than inclusive for women. Music then becomes a mode of expression for women allowing them creativity, space and reflection to explore their sexual desires in a manner that is endless. Music however is not without its own prejudices and restrictions in terms of neutrality it may accord women in exploring their desire with a sense of authenticity. Music especially as an industry is riddled with tensions and struggles regarding the commodification of music, the overriding influence of popular culture and how this compromises the extent to which artistic integrity and honesty is maintained. Against the idea put forth of a subversive female sexual desire and the extent to which Liz Phair and PJ Harvey represent this as well as the implications such subversion has for a female sexual desire , seven participants three male and four female, from all racial groupings, and above the ages of twenty-one have been interviewed using a semi-structured interview. The interview sought to explore participant’s perceptions primarily on female musicians on matters pertaining to sexual desire using Liz Phair and PJ Harvey as models almost to explore the matter. 4 Acknowledgements I am indebted to my supervisor, Peace Kiguwa for amongst the numerous times she has inspired and assisted me through this process, has first and foremost been a springboard for this research in terms of her relentless support, commitment and enthusiasm. I entered this project from the time of mere conception with much ardour but rivalled equally with doubt and trepidation given raised eyebrows at the queer nature as well as the relevance of the topic I proposed within the discipline of psychology. I want to extend my heartfelt thanks to Peace for dismissing whatever fears and anxieties I had and for providing unwavering zeal and debate in continually developing this research from inception to end. Thank you once again to Peace for being a wellspring of strength, inspiration, insight and enthusiasm for myself and this research. I would not have gone as far I did without your instruction, receptivity and gentle nature. I would also like to extend thanks to Dr. Brett Bowman for his constructive criticism during earlier drafts of this research but also for his encouragement and shared passion for the subject matter being researched. Thanks also to Tanya Swart for her reflections and insight in assisting to sharpen and clarify the ethical considerations of this research as well as her aid in rethinking the research methodologies that were employed. Lastly but also importantly, thanking the seven individuals who participated in this research. I thank each and every one of you for your time, patience, reflections and insight, which has contributed richly to developing this research further perhaps at times into areas that were not anticipated but proved challenging and exciting. 5 Contents Chapter 1: Introduction 4 Chapter 2: Literature Review 11 Chapter 3: Methodology 36 Chapter 4: Analysis and Interpretation 47 Chapter 5: Discussion 94 Chapter 6: Conclusion 120 Reference List 125 Appendix A: Interview Schedule 135 Appendix B: Subject Information Sheet 137 Appendix C: Consent Form for Interview 139 Appendix D: Consent Form for Audio-Taping 140 Appendix E: Lyrics for Liz Phair 141 Appendix F: Lyrics for PJ Harvey 145 Appendix G: Images of Liz Phair 150 Appendix H: Images of PJ Harvey 155 Appendix I: Transcripts 161 6 Chapter 1 Introduction The idea of subversion is certainly controversial in that it denotes images, thoughts, actions or words that harkens instances – however subtle or overt – that resists what one may refer to as a general consensus of how one ought to do, be, think or feel. Controversial, because who defines what one considers an act of subversion ? What spaces exist within which we not only identify acts of ‘subversion’, but from which we also act out varied forms of defences against convention? Talk of subversion as well as the primary contention of this research, presupposes that there is in fact a general consensus that pervades this norm of conventionality. Talk then of subversion means that the general consensus is not fluid enough to accommodate for the nuances within and between doing, being, thinking and feeling. This means that these nuances escape the general consensus. What then are the implications of not being included, not recognised, not taken into account, not given a voice etc.? Is subversion then one of these outcomes of not being included within the general consensus? And if so, what is the implication for acts of subversion and their relationship to the general consensus? Certainly naming acts of subversion has the consequence of the latter occupying a particular relation to the general consensus – which means that it can only exist because of the peripheral relationship it occupies. Perhaps though, acts that are subversive – which are named through some rigorous justification – may become a way of informing us of the general consensus, as well as the implicit fallbacks. It may also importantly tell us – by exploring an act of subversion that speaks to a general consensus – why in fact we should speak of acts of subversion . Perhaps ‘acts of subversion ’ becomes clearer when one contextualises the act and naturally so for research purposes that demands specificity with regards to the vague treatment acts of subversion has been given thus far. Such an ‘act’ that this piece of writing is concerned with is a female sexual desire that has the appearance or rather resembles (once expressed) what this research has termed subversive . A subversive , female sexual desire is controversial in that it begs the question: how is it that one can know a subversive female sexual desire ? How does it manifest itself? How different is a subversive female sexual desire from other forms of desire defined as not subversive ? 7 What is important for now is the matter of subversive female sexual desire and how subversion introduces questions pertaining to ‘knowing’ and ‘knowledge’ that surround a female sexual desire that is subversive versus ones that are not. This speaks to matters that concern the epistemological and ontological structures that maintain a female sexual desire . What the matter of subversion does is that it takes a female sexual desire to its logical limit. Subversion challenges the logic of a female sexual desire i.e. calls into question its epistemological and ontological assumptions. Talk of subversion tells of a limit in fact to a female sexual desire but also a logic that underpins such a desire which echoes convention and that, has the appearance of a desire that is familiar and considered natural. The question then becomes: what can practices of subversion do for practices of female sexual desire ? The way in which this research has sought to measure so to speak a subversive female sexual desire is primarily through a sample generated from the broader population. This research presupposes that the sample represents the logic, is familiar with and considers natural the appearance of a female sexual desire especially when one does in fact talk of subversive female sexual desire . Not only then does it matter or not whether one presuppose that a sample from the broader population unquestionably accepts a female sexual desire , but it is talk of one that is subversive that comes to challenge the sample’s idea’s, thoughts and feelings regarding everything it is they have come to know about a female sexual desire . In other words, participants that this study has employed who represent this talk about a sample, provide a somewhat ideal setting in which one can test idea’s, thoughts and feelings regarding a female sexual desire and the extent to which the notion of subversion is totally divorced or not from a female sexual desire .
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