FKA twigs: Showcasing Sexuality without Succumbing to Self-Objectification

Music videos have been an established and massively distributed form of media for the past forty years (Boardman). Especially with the advent of music streaming and the rise of YouTube, music videos have transcended from just dance routines and flashy visuals to pieces of art that often comment on society as a whole, some reaching the length of feature films (Morrow). While this evolution has spawned a new genre of media and provided a creative outlet for some of the world’s most talented performers, it has also created a space for the objectification and misrepresentation of women. The increasing popularity of rap music in the mid-90s made obscene and derogatory lyrics commonplace and brought with it the frequent objectification of women in music videos, especially from male acts. In light of this, Aubrey and Frisby note in their meta-analysis of popular music videos that they are highly relevant as a medium for conversations around gender: “…music videos provide fertile grounds for examining how gender and sexuality are portrayed in media because not only are love and sex predominant as themes, but the visual nature of music videos make shortcuts and sexual stereotypes commonplace” (476). Female singers have also objectified themselves in their own music videos and lyrics in many ways, satisfying the male gaze by wearing revealing, oversexualized clothing solely for the shock value or flashy purpose of garnering the attention of the viewer (think ‘Wrecking Ball’ by Miley Cyrus, more recently ‘Twerk’ by City Girls feat. Cardi B, or ‘Anaconda’ by Nicki Minaj to name a few) (Aubrey and Frisby, Race and Genre in the…). Some would argue that this is a powerful form of self-expression; however, much of this self-objectification is harmful to women and the feminist movement overall. As Naomi Wolf argues throughout her novel The Beauty Myth, the new social power and liberation women have experienced in modern times has brought with it a crushing pressure to adhere to impossible societal standards for physical beauty. These female artists perpetuate this stigma through their videos by succumbing to this pressure and reducing themselves to only their physical appearance in both their lyrics and digital presence. Unlike many of these female singers, FKA twigs presents her sexuality on her own terms. She subverts common objectification of women in music videos through her unique imagery and lyrics which represent her voice and her emotions in a way that earns literary merit. Her sexuality serves a purpose in her lyrics and her videos, not just to catch the viewer’s eye, but to advance her art and comment on feminist ideals and representations in the media. This reclamation of her sexuality is an important feature of her work because it represents both her body and her emotions so the viewer receives a more complete picture of who she is which prevents her from being simply sexualized and proves that a female artist can showcase her sexuality without being trapped in self-objectification.

FKA twigs has long been lauded as one of the most visionary and convention-defying artists of the twenty-first century (Jones; Vozick-Levinson). Since the release of her second EP, EP 2, and first full length album, LP1, Twigs has received rave critical reviews for her genre blending, ethereal sound as well as her intensely understated lyrics and bold visual performances (Fantano; Sherburne). Many of her songs are accompanied by beautiful and often visceral music videos and short films that allow her to share the vision behind many of her songs. FKA twigs asserts her sexuality coyly at times in these videos through breathy lyrics and subtle innuendos (especially in her early work) but sharply at others with openly erotic lines and visuals. Unlike almost all other female artists today, Twigs writes all of her own music, records it, produces it, and releases it without a formal record deal which gives her the freedom to take her music in any direction she wants (Reed). She also directs, choreographs, produces, dances, and styles the majority of her music videos, including her longest, most critically feminist piece, M3LL155X (Jones). Twigs has the ability to represent herself the way she wants, to wear the clothing she wants, and to create the visuals for her music without the influence of corporate opinions that might try to keep her more rooted in predictable, less critically feminist media (Caston). This is important to note because it frames her discography and proves that the media she produces is truly under her control and accurately represents her in the way she chooses.

It is important to make a distinction between “sexuality” and “sexual objectification” before further arguments are made. As Karsay et. al describe in their meta-analysis, “sexuality [is defined] as neutral sexual acts that are non-degrading, are non-objectifying, and portray mutual consent” (347). This differs from sexual objectification which is “the cultural practice of regarding individuals exclusively as sexual bodies and thus ignoring their character” (347). They go on to note that sexual objectification is underscored by a lack of agency and personhood that entirely lacks a sense of mutuality or respect, the key element being the objectifying gaze which, “renders the observed individual a mere object of the spectator’s desire” (Karsay et. al, 347). The two key elements of sexuality are that it is non-degrading and non-objectifying which are ideals that many music videos do not hold up to.

FKA twigs’ first short film/long-form music video project, M3LL155X (pronounced “Melissa”) can strongly be categorized as appealing to Karsay et. al’s first definition of sexuality without succumbing to sexual objectification. It is the artist’s boldest statement on feminism that essentially follows Twigs’ journey through many of the fundamental moments of motherhood, like her own figurative inception, pregnancy, and birth, and also highlighting the dangers of being a woman in modern society through sequences of rape, abandonment, and the crushing weight of the male gaze. As Barret notes in her analysis, the thesis of the short film is, “the end goal of the female artist who must resist the repressive cultural and textual forces that attempt to metaphorically silence her, to deny her voice the ability to embody the space of a text” (53). This is clearly a thesis that rejects sexual objectification in favor of honest and thought-provoking portrayals of sexuality. The film begins with the song “Figure 8” and the only focus of this section is an old woman, played by fashion icon Michele Lámy, clad in eerie clothing with rings and gold teeth all capped by a phallic, anglerfish-like light on her head dangling in front of her face. Immediately, the film juxtaposes the sexual nature of the light right up against the face of the woman. By normative Western standards, older women are frequently not represented as attractive or sexual; yet, the woman swallows the light in a highly sexually tense moment, and when she breathes out, she gives birth to a blooming, plastic figure. The figure itself calls back to one of Twigs’ first videos, “How’s That”, where the plastic female form is manipulated and warped dramatically on screen. This first moment of the film, while highly sexual, immediately challenges the viewer’s own perceptions of objectification by sexualizing a figure who is not commonly presented as having sexual desires or agency. Twigs’ lyrics in this portion of the video are breathy and quiet, yet have a severe intensity to them as well. As Jones states in her analysis of this segment, “They’re lyrics that appear submissive, but sound dominant in their delivery; the perfect subversion of sexual politics, as if she is saying: You can control me, but only when I tell you to.” This masking of submissive sounds with dominant imagery and delivery coupled with the drama of this moment represents a common theme throughout Twigs’ work that further emphasizes her autonomy and resistance to base objectification.

Following her own inception, Twigs’ next vignette dramatically criticizes many of the issues brought up in Karsay et. al’s definition of sexual objectification. By representing herself as the ultimate sexual object, a sex doll, Twigs embodies a form whose only purpose is for the sexual pleasure of a man. She challenges the ironic perception of women’s bodies in mass media as if to argue that women in media are forced to behave or be viewed like sex dolls. Twigs’ non-white face is contrasted with the white body of the blow-up doll as well as the white body of the rapist which represents her frequent racial fetishization and othering from media representation (Barret). The man imagines her as perfectly feminine, doe-eyed, scantily clad, and entirely overly sexualized instead of as a human being. She represents “everything a man could want” stereotypically, and this seemingly gives him permission to take her body for his own pleasure without her consent (in doll form, twigs cannot give consent). Twigs is not so subtly showcasing the expectations of women’s bodies being solely for the pleasure of a man as well as how rape is problematically portrayed in the media (Ward). In doll form, she lacks any kind of emotion, thought, depth, and most importantly, agency. This mirrors the perception of women in many hip-hop/R&B music videos whose only purpose is to appear sexualized and degraded for the pleasure of men, devoid of personhood and animation.

The concept of sexual objectification is not just limited to instances where that objectification is satisfied. There are many cases that are not concurrent with the idealized female form in media representations of women (Contreras). Oftentimes, these differing representations surprise the viewer when the female on screen is portrayed sexually and yet doesn’t fit in to the idealized standards that the viewer is accustomed to. An example of these instances is previously stated in this paper when the older woman was shown in a sexually tense moment earlier in the film. However, another focus of this subversion is often depicted with pregnant women. According to the analysis of women in media done by Ward et. al, “dominant gender ideologies, as exemplified by the media, consistently paint women as sexual objects, highlighting their bodies as being mainly for the pleasure of men instead of as multidimensional (i.e., including both reproductive and sexual functions)” (704). Viewing media can lead to the adoption of idealized depictions of gender that inherently promote the idea of women’s bodies being sexual objects built for male pleasure only, entirely neglecting their biological capabilities for childbearing. When women are portrayed as pregnant in media forms, it is often encouraged for them to cover up their pregnancy and appear only in relation to motherhood, not sexuality (Bronstein). Thus, when women who are pregnant appear sexually on screen, it is often uncomfortable for a normative Western viewer to witness.

Twigs directly challenges this discomfort in the next vignette of M3LL155X, “In Time.” She awakens pregnant as a product of the rape from the previous sequence and the scene alternates between her dancing with her pregnant stomach on full display and also as being non-pregnant. The figure of a man circles around her on a floating screen throughout. His face watches her with clear arousal, and his gaze is omnipresent throughout this portion of the film. He clearly represents the assumed male viewer of the video who receives sexual pleasure from her dancing. Notably, he only hovers in the corners of the screen and moves swiftly around until assuming his place above her head, and he only watches the parts of her dance when she is portrayed as not being pregnant. At other moments, when he is not watching, her pregnant form stares directly into the camera and the eyes of the viewer with her stomach purposefully open and on display. Towards the end of the video, Twigs’ water breaks, and the man on the screen, now present, seems disgusted by this. He was “suddenly disabused of the hip hop ‘dreamworld’ fantasy in which women exist purely for sexual-recreational – as opposed to procreative or other – purposes” (Barret). Twigs highlights the disparity between the beauty of pregnancy and the lack of appreciation for it by hyper-masculine ideals. Furthermore, by choosing to tackle the concept of motherhood and pregnancy, she directly comments on the concepts of sexual objectification by presenting the viewer with a version of herself that is harder for them to immediately sexualize.

Continuing with the concept of discomfort around pregnancy in sexualized media, there is an irony present in that the primary biological function of sex is procreation. Very few sexualized music videos acknowledge this function and even less actually address birth and motherhood as themes at all (Bradby). In the final vignette of M3LL155X, Twigs somewhat violently gives birth to a multicolored array of fabric that grow into the vogue dancers featured in this segment. Through harsh, electronic, construction-like sounds, the camera purposefully maintains the attention and gaze of the viewer to the scene, juxtaposing unnatural sounds with a natural process. As Derbas comments, “Thus where women traditionally function in music videos to draw male viewers into the fantasy (Jhally 2007), twigs uses the feminine spectacle of pregnancy to disrupt the phallocentric order” (191). By showcasing pregnancy and the birthing process on screen, Twigs upsets the balance of classically sexualized female forms in music videos and forces the viewer to reconstruct their concepts of the female form as being more than just sexual but also biological and three-dimensional while occupying space in digital media.

Perhaps the best way to further examine the fine line between sexuality and sexual objectification is to look directly at artists who have been guilty of sexual objectification in their lyrics and videos before, and to highlight the key differences in moments where they do not succumb to this. A$AP Rocky is such a figure, with a history of questionable lyrics and representations surrounding women (Denham). However, his collaboration with FKA twigs, ‘Fukk Sleep,’ does not enter into territory that qualifies as sexual objectification. The song and the video are bold statements from each artist about their creative processes as well as the media’s unique perceptions and fixations on them. The premise of the video is Twigs and Rocky roaming the streets of a futuristic Manhattan breaking into cars, vandalizing stores, and invading elite ballrooms until finally entering their own space at a futuristic club. It is very unusual for a rap music video to feature a female artist without throwing her to the sidelines or simply showing slow motion shots of her twerking (Aubrey and Frisby, Race and Genre in the…). Twigs is the opposite of this; she is indelible to the video, and she and Rocky seem very equal throughout the film. Even though Twigs strips “for” Rocky at the end, there is a sense that this is her place of power and her stage judging by her direct and commanding movements. The lyrics heavily reinforce this idea, with Twigs’ opening line of her verse addressing negative associations with her presence in the media: “They call me witch” (“Fukk Sleep”). This line calls to mind the history of witches as empowered women who were often persecuted for their seemingly demonic and feminine ways that represented threats to the patriarchy (Reis, 93-121). As is most notable in Arthur Miller’s The Crucible, oftentimes the title of “witch” was used to scapegoat women for being too empowered or going against society (Tunc, 266-70). Twigs is certainly referencing this tongue-in-cheek to reflect on how her perceived “weirdness” has othered her when in actuality it has garnered her immense critical acclaim and success. She redirects gendered criticism launched at her back at her oppressors which gains her more autonomy and power in her self-representation.

Her next line, “Burn me like saffron,” continues with this idea (“Fukk Sleep”). Many witches were burned at the stake for their assumed crimes (Andrews). Saffron is also the most expensive spice in the world, so by telling the listener to burn her like it, she shows that she is the rarest and most valuable artist, and that she stands out. Saffron can also be used as a dye which produces a golden color just like her “Midas touch” of turning things to gold (Still). Both Twigs and Rocky assert that they are “golden” several times throughout the song which reemphasizes an equality between them. In the video, this is most evident in the scene in the elite dining room where both Twigs and Rocky clearly make the room of high-class people uncomfortable together with their presence and behavior. Both Twigs and Rocky are black, and the majority of the patrons of the room are wearing white, so the contrast between the diners and them emphasizes their equality through their disparaging appearances in the scene.

This example serves to highlight the main difference between “Fukk Sleep” and other rap videos, even A$AP Rocky’s own: Twigs and Rocky seem entirely equal throughout. This film was directed by a woman, and both Twigs and Rocky brought their own stylists who designed their individual looks for the film (Brumfitt). Twigs trained for over a year to master the art of pole-dancing for this video and her own video, “Cellophane” (Valenti). The decision to wear less clothing, be sexual, or pole dance was entirely on Twigs. She made the decisions to appear how she wanted, and her actions throughout the film reinforce this. Twigs has a platform and a definitive presence in both the song and the video which is something most women in hip-hop videos cannot gain. While appearing sexualized, it serves the artistic purpose of channeling her own sexuality to represent her creative process and her perceptions in the media, not just to catch the eye of the viewer. This is exactly the fine line between sexuality and sexual objectification, and here, Twigs has chosen to represent her sexuality without succumbing to base sexual objectification.

Twigs’ presentation of her sexuality which avoids objectification changes the way in which viewers receive her media; it forces them to digest her art in its entirety. Her videos directly challenge the viewer’s mindset on many feminist issues, and its complexity and intrinsic commentary prevent her from being reduced to just her physical attractiveness like so many other female artists. This is crucial to the advancement of the healthy representation of women in future media that can be generalized to both current and future artists in the industry. Sexual objectification of women remains one of the most widespread and accepted forms of misogyny in Western culture (Berberick). It is highly debated on and often difficult to differentiate from purer representations of sexuality. However, through her music videos and lyrics, FKA twigs subverts common sexual objectification by choosing to represent herself as more than just her body. She reclaims her sexuality in order to prove that she can be a sexual being independent of the pleasure of a man. The male gaze is broken by her artwork because she directly challenges it by operating in the spaces where it is the most common and directly tackling it in her own expressions. The media she has produced serves to show that it is possible for a woman to remain a sexual being and assert her sexuality on her own terms without succumbing to self-objectification and remaining rooted in feminist ideology. Appearing sexually and presenting one’s sexuality on screen does not automatically reduce oneself to objectification. It is possible and actually constructive to create media and showcase sexuality without having to surrender one’s own autonomy.

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Originally Written For ENG 450V: Media and Politics (Senior Seminar)