For years, female representation in music videos has been heavily influenced by the concept of the "male gaze," a term introduced by film theorist Laura Mulvey in her seminal essay Visual Pleasure and Narrative Cinema (1975).
Let's analyze it together and see if it’s still like this or if we are moving away from this concept.
The Evolution of Female Representation in Music Videos
Mulvey argues that traditional cinema and many other media are constructed around a male perspective of femininity, where men are the spectators and women are mere objects meant to satisfy male desire.
This dynamic has often been replicated in the music industry, particularly in music videos, where the female figure is depicted as passive and subordinate, with the woman's body serving as the focal point of a sensuality that ultimately belongs to men. One of the most evident examples of this objectifying portrayal of women is reggaeton, a genre in which images of scantily clad women performing sensual dance moves have become a staple. These videos emphasize female sexuality as an integral part of a song’s commercial success. Reggaeton’s iconography has long been shaped by stereotypes that reduce women to mere objects of desire, reinforcing the broader cultural notion that femininity is something to be possessed.
To better understand how female representation in reggaeton has evolved, it is useful to analyze some emblematic videos from the past and compare them to more recent productions. In 2013 Daddy Yankee released Limbo, a video characterized by exotic settings and sensual choreography, where women frequently appear in revealing outfits, engaged in dances that highlight their sexuality reflecting the industry’s tendency to objectify the female body. Similarly, Don Omar’s Salió el Sol (2010) features party scenes where women in bikinis are primarily depicted as decorative elements surrounding the male artist.
In recent years, however, a significant shift has taken place. J Balvin’s Azul (2021) presents a more balanced and respectful representation of women, portraying them in everyday contexts where they are no longer simply objects of male desire but individuals with personalities and active roles in the narrative. Likewise, Maluma’s Cosas Pendientes (2025) depicts women as equal partners, emphasizing emotional connection rather than focusing solely on physical appearance or sensuality.
Developments and New Perspectives
Over the years, new voices in the music industry have begun challenging these traditional representations. Most notably, the concept of female empowerment has gained traction, with many female artists reclaiming their bodies and their sexuality, questioning the power dynamics that have historically shaped music videos.
A prime example of this new trend is Cardi B’s Bodak Yellow (2018) which subverts the idea of objectification. In the video, the rapper presents herself as a dominant figure, not only does she sing about success and independence but also portrays herself as the owner of her body, suggesting that female sensuality can be controlled by women themselves rather than serving as a mere tool for male pleasure. The video serves as an act of reclamation, featuring the rapper in a luxurious and powerful setting, conveying a vision of self-discovery and autonomy.
Similarly, Beyoncé’s Formation (2017) showcases women as forces of change, proud of their identities and aware of their bodies. The video blends political and cultural imagery, portraying Beyoncé as a sovereign figure far removed from the role of a passive object of desire. Her dance, posture, and styling, all elements of the video serve as a declaration of strength and agency.
The shift toward a more balanced and respectful representation of femininity is underway, though there is still a long way to go. Female empowerment is gaining more visibility, with female artists asserting control over their own image and male artists, with some resistance, starting to reshape narrative dynamics in their videos.
This does not mean that sexualization has disappeared, but rather that its portrayal is evolving. The female body is no longer necessarily a tool for the male gaze but can instead be a medium for self-expression and self-determination. It is crucial to continue questioning these dynamics and promoting authentic and diverse representations of femininity so that music can truly reflect society’s evolution and cultural sensitivities.