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The Spice Girls As a Case Study for Intersections Between Popular Ben-Gurion University of the Negev The Faculty of Humanities and Social Sciences Department of Politics and Government "Chicas to the Front": The Spice Girls as a Case Study for Intersections between Popular Culture and Feminism Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Arts Degree Maayan Padan Under the Supervision of Prof. Dani Filc and Dr. Catherine Rottenberg January 2017 I II Abstract Recent years have seen the emergence of a new analytical category in the field of critical media and cultural studies – Post-feminism. This category is claimed to be a sensibility, in which feminist notions are brought to center of attention in various venues only to be treated as ridiculous, irrelevant and unattractive. At the expense of radical feminism political agenda, a message of individualism and consumerism is stressed, transforming every aspect of life into a commodity. Post-feminism draws its prominence mostly from girls and young women, as it promises them an individual subjectivity, if only they renounce collective political demands. Many scholars argue that one of the main sites of post-feminism to operate is mainstream popular culture, due to its commercial character. This argument derives from the analysis of the moment of decoding messages from popular culture's texts. This study examines this observation, by exploring the relationship between popular culture and feminism while focusing in the moment of encoding messages, drawing on the Spice Girls as a case study. The questions that stimulate this study are concerned with feminism and post-feminism, with popular culture icons and the messages they encode, and with girl culture and its agentive possibilities. In order to conduct such an inquiry, an analysis of songs and videos by the band is performed. The findings show that the Spice Girls engaged in feminist debates, making clear statements regarding prominent feminist issues such as sisterhood, female sexual agency and the performative character of gender. Thus, this study shows that the Spice Girls, rather than embracing a post-feminist stand, actively embrace feminism and make it massively accessible. III Acknowledgments This thesis could have not been written without the guidance and assistance of many people, to whom I wish to extend my gratitude. First and foremost, I would like to thank my supervisors, Dr. Catherine Rottenberg and Prof. Dani Filc. I thank both of them for their generous and sensitive guidance throughout this process and for engaging in conversation with my ideas until they were clarified and consistent. I am in awe of their knowledge, curiosity and dynamic thought. Catherine's intellectual influence on me spans over various fields, from feminist theory, through critical theory and cultural theory, just to name a few. Not only did she give me the tools to analyze the reality surrounding me with those theories, she also taught me how to posit myself in them, make a critical claim in regard to one perspective, as I draw on others, without compromising the integrity of my argument or that of the theories I was thinking through. This lesson has challenged me in various ways, as I needed to learn how to refine my thoughts and articulate what I saw clearly but was not obvious. Thanks to Catherine's persistence and high standards, I acquired the skills I needed to question what seemed at first to be so simple, as she inspired me to do, and I am grateful for that. Dani's expertise in the fields of critical theory and popular culture enriched me tremendously, as did his commitment to the study of popular culture as an important political phenomenon. Investigating the intersections between culture and politics under Dani's guidance had truly been foundational for me, as a developing scholar who is interested in the possibilities for agency that I see in popular culture. I am thankful to Prof. Neve Gordon, Dr. Iddo Nevo, Dr. Becky Kook, Prof. Rene'e Poznanski, Prof. Sharon Pardo, Dr. Gal Ariely, and Mrs. Anat Segal from the department of Politics and Government, and Dr. Amalia Ziv from the Gender Studies IV Program, who honored me with their interest and encouragement in different points of this process. Special thanks are due to Atalia Israeli-Nevo, Tal'y Wozner, Shir Shimoni, Elior Cohen, Guy Fassler, Liraz Yaffe and Nitsan Shaul who graciously agreed to think through my ideas, read and comment on different parts of this work, and reminded me the importance and value of this thesis. Your love and friendship mean the world to me. I thank Tal Frydman for her endless patience in motivating me to write. I also thank Asaf Pren\Celine Le Devine, my teacher and queen, who has equipped me with a colorful tool box to deconstruct gender with. I especially thank my love, Ofer Dagan, for enduring me throughout this process of writing. Thank you for your comments, ideas and most of all, for your love and encouragement. To my wonderful family – my mom Riki, my dad Ori and my sister Hilla – thank you for supporting me through every step of the way, for your patience, for your encouragement, and for being proud of me and happy with my choices and accomplishments. Your love means the world to me. Last but not least, I want to thank the Spice Girls – Scary, Baby, Ginger, Posh and Sporty – for encouraging me to be a "power girl in a nineties world", an identity that has contributed significantly to the woman I am today. V Contents Preface ............................................................................................................................ 2 Introduction – Girl Power and Wonder Bras ................................................................. 4 Chapter 1– "Woman to Woman, We're Singing with You" .......................................... 9 Sisterhood as a Formative Principle of Feminism ..................................................... 9 Sisterhood, Scholars and the Spice Girls ................................................................. 16 Sisterhood and the Spice Girls ................................................................................. 19 Ordinariness and Stardom, Friendships and Heterosexual Relationships– "Wannabe" and "Stop" ......................................................................................... 19 Founding Mothers and Trans-Generational Continuation – "Mama" and "The Lady is a Vamp" ................................................................................................... 26 Conclusion ................................................................................................................ 34 Chapter two – "I Want a Man, Not a Boy Who Thinks He Can" ................................ 37 The Feminist Sex Wars ............................................................................................ 37 Sex, Scholars and the Spice Girls ............................................................................. 42 Sex and the Spice Girls ............................................................................................ 44 Conclusion ................................................................................................................ 60 Chapter 3 – "It's a Celebration, Motivation, Generation Next" ................................... 61 Gender, Performance and Parody ............................................................................. 62 The Characters .......................................................................................................... 66 Conclusion ................................................................................................................ 78 Conclusion – "So Glad We Made It, Time Will Never Change It" ............................. 81 Bibliography ................................................................................................................ 85 VI Preface May 29th 1998 stroke me as lightning. I had just turned eleven years old, and was already planning my Bat-Mitzvah party with my mother. It was obvious that its theme would be the Spice Girls, and that the school band I had formed with my friends, in which I had inhabited the role of Ginger Spice, would perform. My mother and I were debating on whether I can dye my hair red, orange and blond, to look exactly like Ginger's, or not, as the news came in. Geri Halliwell, also known as Ginger Spice, had announced via her solicitor that she is leaving the Spice Girls for good. The look in my mother's eyes was ratification as much as a command for me to grief. My father's teasing, following the news, had ridiculed my profound and sincere sense of loss. This experience laid the first foundation for me to connect femininity with contempt. I felt lost and betrayed and cried for days on end, sincerely incapable of grasping how Ginger Spice could do this to me, and why. As my tears started drying, a painful conclusion had come forth in my teenage ecstatic mind – women are not to be trusted. This conclusion had paved my way as I distanced myself from every cultural aspect that I identified with femininity, while also denying charm, beauty and interest of bodily gestures, clothing styles, TV series, movies, and music genres. Instead, I became fascinated with upscale music genres attributed to and inhabited primarily by men. My growing interest in various sub-genres of Rock, classical, jazz, and electronic music has proven itself useful in various social situations, assisting me in achieving higher social status among my male friends. Only this illusion had eventually been pushed
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