THROUGHOUT the centuries, the role of music has played an integral part in human societies. In our current age, it is often seen as merely something that provides entertainment and while it does provide that, it does much more. Music is an art form that helps to shape not only conscious and unconscious thought, it is also emotionally and intellectually stimulating. It can even be argued that music can often be almost spiritual. I have always been fascinated by the role music plays in reflecting cultures however, and how music can help us to form dialogue and address systemic issues that are presented to us. One of the most recent examples of the role of music in addressing social practices and problems was shown to me through Jamaican artiste, Ishawana’s song, “Equal Rights.”

The song addresses the issue of female sexual pleasure, particularly oral, and reciprocity of that pleasure in sexual relationships. It is the song’s message of “equal rights” in the bedroom that has revealed how women’s sexuality is still hidden under a cloak of shame and how amazingly fragile the concept of masculinity is when reactions to the song are seen.

Any fan of dancehall music knows that lyrics are often raunchy and often go out of its way to describe (hetero) sexual acts. This is often the case with male dancehall artistes eager to show off their sexual prowess to their fans. Women in dancehall however, are not afforded the same celebration when they sing about their sexual escapades or preferences. This, of course is rooted in the deep-seated patriarchal beliefs that women should not be as free or as “loose” with their sexuality as men. Even if they are, this should be something they are ashamed of and not something that should be broadcast across airwaves. This was exactly the argument of Jamaican artiste, “Prince Pin,” who sang a ‘diss’ track against Ishawana for her song. He opens the song wondering why men are so silent concerning Ishawana’s disrespect and attempts to use her comfort in her sexuality against her. Even famed dancehall veteran Bounty Killer, came out in condemnation of Ishawana’s song, claiming that it is disrespectful to men. It shows how even when women are comfortable with themselves and their sexuality they still have larger societal perceptions working against them.

What this clash of views lays bare is not only the double standards related to men and women when it comes to their sexuality and them talking about it. The song is also instrumental in revealing how masculine fragility is alive and well.

There are always some misconceptions when issues such as the rape culture, patriarchal systems and masculine fragility come up. Often, the need is felt to either say “not all men,” or to attack any commentary on the issue as ‘feminist,’ or ‘liberal’ propaganda. But I want to spew both feminist and liberal ‘propaganda’ right now and state that addressing masculine fragility does not have to do with an attack on men, but rather the unfair concepts and responsibilities society places upon the male. These concepts such as, men should not wear pink or show emotions can be destroyed easily, hence why they are considered fragile. It is not meant to denigrate, but rather, show that they and by extension, we are much more than society tells us to be.

Men are taught from childhood that the true way to be a man is to be aggressive, domineering, violent and risky, as these are the parameters in which masculinity is set. Any deviation from that can be attacked as feminine, because having “feminine qualities” might be one of the worst things you can say to a man not comfortable in his sexuality. Not all of masculinity’s fragility can be seen in the almost comedic stance of not engaging in oral sex with a partner however, and it can become dangerous very quickly. The rigidity of the concept of ‘maleness,’ not only cuts men off from addressing their emotions and experiences in healthy ways, but also ingrains in them a desire to harm and conquer that which they deem weaker. Hence, when we think about the rampant violence, misogyny and homophobia that often permeate male spaces and ideologies, we begin to see how harmful imposing these concepts on men are.

Ishawana’s song was not meant as an insult to men I’m sure, even though the reaction would have been expected. What it does show is how shallowly masculinity is defined when a woman singing about oral sex and reciprocity can conjure such annoyance. It shows their sensitivity at not being at the top of a sexual pyramid that has always been skewed in their favour. Largely however, it reveals what we have already known: a woman’s sexuality can never be seen as just that. It always has to be an act of rebellion; a revolution in itself and while this can be good, in and of itself, it can also be inherently dangerous.