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Discussing on BoA’s Girls On Top with Body Discourse and Feminism

  • Journal of the Korean Society for Musicology
  • Abbr : JKSM
  • 2023, 31(1), pp.7~52
  • DOI : 10.34303/mscol.2023.31.1.001
  • Publisher : The Korean Society for Musicology
  • Research Area : Arts and Kinesiology > Musicology > Other Musicology
  • Received : April 15, 2023
  • Accepted : June 1, 2023
  • Published : June 30, 2023

Byeon, HwaEum 1

1이화여자대학교 음악대학

Accredited

ABSTRACT

This paper is a music critique of singer BoA (권보아, 1986~ )’s Girls On Top (2005) based on body discourse and feminism. This paper aims to analyze sound, music videos, and performance on the live stage from a feminist point of view and reveal the value and significance of Girls On Top, which presents an independent and resistant female image in the K-pop music industry. For a long time, popular music, especially dance music, has not been considered the subject of serious music research, one of the reasons is that dance music is based on the movement of the human ‘body’. Western philosophical thinking, which distinguishes the body from the mind and considers the body inferior, is repeated in music discourse, especially in Eduard Hanslick’s musical aesthetics, and the transformation of be-bop and Rock. On the other hand, according to the dichotomous thinking system of Western philosophy, women have been reduced to men’s others and the body itself. In particular, in the structure of the music industry, women’s bodies are easily fragmented and commercialized and reproduced as sexual objects in accordance with “Male Gaze”. In addition, in a reality where the standard of beauty is strictly required compared to male singers, female singers are often illuminated by their appearance and body rather than their creative and musical abilities and consumed as images. As such, female singers in the music industry structure stand in a vulnerable place under the double oppression of ‘body’ and ‘women’. Despite the double oppression of being a ‘body’ that is inferior to the spirit, and a ‘female’ singer who is required and consumed by beautiful appearance, BoA’s Girls On Top presented an independent and confident woman image that is not easily included. This paper attempts to analyze based on intellectual foundations through body discourse and feminism while examining sound, music videos, and performance on the live stage. In particular, I will pay attention to BoA’s creative activities and utterances that actively presented and participated in the production process of Girls On Top. Through this, the meaning of BoA’s Girls On Top, which completed resistant and subjective music and performance, is dealt with from a feminist point of view.

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