Let’s. Keep. It. 100. I refuse to believe that I’m the only one who has feminist ideals and struggles with liking this genre that, for many years, has been known for being so explicit, dirty, offensive, and dehumanizing towards women. Why on earth do we support this music by listening, singing, and dancing to it? Because, I know, and girl, don’t even try to deny it, that if someone plays Daddy Yankee or Ozuna, we’ll be at least tapping our foot, if not shaking some other parts of our bodies. I mean, not everyone, of course, many of us,*wink, wink*. I’m still struggling and questioning whether I should keep on typing.
I listened to the genre for the past two years (when I started, oh, and mostly the “new school” of uprising artists). My guess is that other than its catchy tunes, fun beat, and rhythm, subconsciously (or consciously) we’re receiving a message that may resonate with us. This article pertains to the themes in reggaetón that are misogynistic not the politically-inclined genre in its beginnings. Reggaetón has become more highly-sexualized in the 2000s. Of course, there are always exceptions to the norm, one of the glaring and obvious exceptions being Ivy Queen.
Now, listen, I’m not here to entirely defend the genre or claim that every song is the same, because you’ll find a bit of everything: machismo, love, heartbreak, partying, relationships, friends with benefits, sex, drugs, violence, money, and even feminism. I will only highlight a few that may align with the message I want to convey. You might be expecting to read about female artists, hence the title, but, as a male-dominated genre, I will focus solely on males because I want to project the ones who could be seen as allies (more or less). They too could hold feminist ideals, as seen through their lyrics. I’m looking to provide a different perspective on why people that have feminist views, such as myself, might groove and dance to it (and YES, people, even go to a trap or reggaetón concert and leave our vocal chords at the Choli. See y’all at Daddy Yankee’s concert this December!).
One of the stigmas that reggaetón and trap have slowly broken is sex and one of the criticisms that the genre attracts its that it’s too explicit. And hey, I get it. Some of the word choices can make us feel uncomfortable. It’s important to be very aware of what you decide to support by listening and later on repeating. When we say things, they have a heavier meaning. We should understand that explicitness is simply part of this genre (although not all music within the genre is the same). Whether we like it or hate it, we shouldn’t always accept or support it.
With the evolution of urban music, many artists in their songs have adopted a new and different way to portray and talk about women. With songs like “Callaita” by Bad Bunny, for example, we hear about a pretty average woman, without a voluminous body, who focuses on studying, has a social life, explores her sexuality, and shines by her simplicity. This unnamed muse breaks the stereotypical expectations (such as having a big or large chest and butt) of beauty and of the “perfect” woman.
These new songs also project a woman who’s more in control because she’s fully aware that she has the power to say yes or no; because she knows her body doesn’t belong to anyone else but herself, as Bad Bunny in “Solo de mi” says, “yo soy solo de mi” and because she chooses her sexual partner as Rauw Alejandro in “Que somos” claims: “estoy en su lista de espera, esta espera, baby, desespera.” She’s also in control because she determines how the encounter will go through, as many lyrics will express waiting for her call, text, location, day, time, and the details in general, when Myke Towers in “Sígueme bailando,” for example, tells her “dime a donde quieres que le caiga.”
Along those lines, some of these lyrics also portray a woman that knows what she likes, has initiative, and is not afraid to say what she wants and needs in bed. For example, Jowell in “Hay que celebrar” sings ”le gusta suavecito, le gusta pegaito” and Nicki Jam alongside Rauw Alejandro in “Que le dé” shares “mi ninfa pide que le dé…sexo salvaje.”
It’s also safe to highlight, that with many cases of sexual abuse, some lyrics also show consent, as every sexual act should be, when Sech in “Cosita,” for example, makes it clear that “la decisión la tuvimos los dos, no solo lo hice yo y tengo grabada tu nota de voz.” Not only there’s consent, but they’re creating awareness that sex is not merely for men’s pleasure or for a selfish pleassure, but it’s a team effort and they show themselves wanting to give the other person an unforgettable moment. For example, Jay Menez in “No me ignores” confesses, “quiero cumplir en una noche tus fantasías,” and Darkiel in “Roadtrip” states, “cositas ricas te voy a hacer.” Though Dalex showed more compliance with her desires when he sang in “Lo que le gusta,” “voy a hacer lo que te gusta, vamos a hacerlo a tu modo,” there has been a better awareness that sexual pleasure should be mutual because “en la cama se complace cada cual,” as Myke Towers firmly sang in “No me ignores.”
Another typical convention, the one that women should only have sex in marriage, is broken with lyrics that encourage women to enjoy sex the way men have done so: with whom they choose to, when, and where without having a negative conception about themselves. Though some could argue that men are providing sexual liberation when it’s only juxtaposed to their own desires: remember it’s your body and your choice. Sexual liberation implies that you can choose to have sex or not have sex and that each choice is equally valid.
Songs like “Date Tu Guille,” “Dollar,” “Nadie,” “Hay que celebrar,” and “Soltera” enhance our uniqueness and individuality, while celebrates friendships and the beautiful-powerful force that is created when women get together. They encourage us not to conform to mediocrity in bed, in love, and how we’re treated. On the contrary, we should know and demand what we deserve and not settle for anything less because we don’t need any man to validate us. Whoever wants to be around can stay and whoever doesn’t can leave. Simple as that.
In truth, this genre embodies many aspects that are positive and negative. They can also be ironic and are subjective to interpretation. We each see and find in lyrics what we want and take away from it what speaks out the most to us. Whatever it is, I’m sure that, to many people, some of these songs can be liberating. It can lift our spirits and self-esteem by making us feel sexy, irresistible, empowered, desired, beautiful, and/or in control. It can awaken our sexual curiosities, entertain us, and can even open a space for critical analysis: linguistically, sexually, socially, and of gender. It’s just about being open-minded and critical about what we’re listening to and why.