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Mother revolution: representations of the maternal body in the work of Tori Amos

Published online by Cambridge University Press:  30 April 2015

Sarah Boak
Sarah Boak*
Affiliation:
Department of Music, University of Southampton, Highfield Campus, Southampton, SO21 1BJ E-mail: [email protected]
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Abstract

The pregnant or maternal body is conspicuously absent within popular music. The dominant representation of female bodies – sonically, visually and spatially conceived – is that of a sexualised body, available to men and existing under the male gaze. The figure of the pregnant, maternal or motherly body is marked as Other – not desirable and therefore not marketable. Looking at the work of Tori Amos, I demonstrate how she makes the maternal body both audible and visible through a number of musical and extra-musical strategies. Theorising the maternal body in a series of overlapping stages – from the pregnant body to the maternal body, through liminal stages such as miscarriage and birthing – I highlight how Amos uses the figure of the maternal body not only to challenge dominant tropes of sexuality, but to create an embodied space where normative conceptions of ‘mother’ and ‘mothering’ can be troubled.

Type
Articles
Information
Popular Music , Volume 34 , Issue 2 , May 2015 , pp. 296 - 311
Copyright
Copyright © Cambridge University Press 2015 

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Discography

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