In recent years, symbolic violence has increasingly become a focal point in discussions about the global entertainment industry, especially concerning female entertainers. Coined by sociologist Pierre Bourdieu, symbolic violence refers to a type of non-physical violence embedded in cultural practices, norms, and representations that reinforce power imbalances. In entertainment, this manifests as subtle, often invisible forms of dominance that legitimize inequality, subjugation, and oppression without overt aggression.

Female entertainers such as Aya Nakamura, Beyoncé, and K-pop idol Fatou are subjected to symbolic violence that shapes how they are perceived, valued, and treated in a male-dominated world.

So lets talk about how symbolic violence operates in entertainment, focusing on the experiences of female artists, particularly women of color.

Through the lens of Bourdieu’s theory, we will analyze how global cultural norms, racial and gendered stereotypes, media representation, and patriarchal systems have contributed to the subjugation of women in the entertainment industry. Specifically, we will examine the career of Aya Nakamura, a French-Malian singer, and Fatou, a Gambian K-pop idol, both of whom represent how symbolic violence manifests through racialized and gendered expectations within an industry predominantly controlled by men.

The Subtle Forms of Symbolic Violence in Entertainment

Symbolic violence is especially pervasive in entertainment because it is often concealed under the guise of “artistic critique” or “cultural preferences.” Rather than relying on direct oppression, symbolic violence weaves itself into everyday cultural symbols through media, language, and gestures that normalize inequitable power dynamics. Some of the common ways symbolic violence manifests in the entertainment industry are:

• Media Representation and Objectification: Female entertainers are frequently objectified, reduced to their physical appearance, or hyper-sexualized. For women of color like Aya Nakamura and Fatou, these portrayals often lean into racialized and exoticized stereotypes. Nakamura is frequently depicted as the “seductive Black woman” while Fatou, a Gambian K-pop star, is subjected to comments about her dark skin tone and treated as a “novelty” in the industry. These objectifications limit how they are perceived, trapping them in specific, often demeaning roles.
• Sexist and Racialized Criticism: The language used to critique women in entertainment is often laced with sexism and racism. Aya Nakamura has faced backlash for being “aggressive” or “loud,” typical descriptors used to vilify Black women who refuse to conform to submissive roles. Similarly, Fatou has endured both overt racism and microaggressions in the K-pop scene, where her dark skin and non-Korean heritage are frequently commented on negatively. These criticisms shape how they are seen and subtly reinforce the idea that they do not belong or deserve recognition.
• Industry Gatekeeping: In entertainment, industry executives, mostly men, control which voices are amplified and which are suppressed. Female entertainers, especially those from marginalized racial backgrounds, must navigate additional layers of gatekeeping to succeed. Aya Nakamura’s global success as the most-streamed French female artist has been downplayed in France, where she has been systematically excluded from major awards and events. Fatou, the first and only Black K-pop idol in her group BLACKSWAN, faces similar struggles, with the Korean industry treating her as an outsider, despite her fanbase’s growing international support.
• Cultural Erasure and Appropriation: Symbolic violence is also seen in the appropriation of the work of female artists of color. From fashion to music, Black and minority women often create trends that are then co-opted by white, male, or mainstream artists who are given the credit. In South Korea, the success of K-pop is built on a blend of global cultures, but Black contributions to music and dance styles are often unacknowledged. Fatou’s experience as a Gambian K-pop idol sheds light on this dynamic, as her presence is sometimes celebrated for being “diverse” while her influence remains marginalized.

Aya Nakamura: A Case Study in Symbolic Violence

Aya Nakamura’s career exemplifies how symbolic violence operates within a predominantly white, Eurocentric entertainment industry. Born Aya Danioko in Mali, Nakamura moved to France as a child, where she started her music career blending Afrobeat, R&B, and French pop. Despite her success, earning multiple platinum albums and topping global charts, Nakamura is frequently sidelined in France, where her race and gender have influenced the way she is perceived and treated.

When it was announced that Aya Nakamura would be performing at the Olympics, the reaction from the French bourgeois elite and certain media outlets reflected deep-rooted biases. Many among the French upper class were critical of the decision, expressing discomfort with Nakamura’s style, which they viewed as too urban and “vulgar” for an event of such global prestige. Some argued that her lyrics, often dealing with themes of love, desire, and independence from a distinctly Afro-diasporic perspective, clashed with their vision of French culture, which has historically leaned toward more classical, “refined” representations.

These criticisms often reflected underlying racial and class prejudices, with some traditionalists subtly questioning whether an artist with her background truly represented the values of France.

Media Discrimination: In France, Nakamura’s success is often trivialized. From snubbing her at award shows to consistently mispronouncing her name, the media has played a significant role in perpetuating symbolic violence against her. She has been called “aggressive” and “difficult” for asserting her independence, critiques that are not typically levied at male or white artists. These microaggressions serve as reminders of the structures of power that dictate whose success is valid and whose is dismissed.

Race and Gender Expectations: Nakamura’s image as a powerful, independent Black woman has been met with resistance. Her unapologetic embrace of her African heritage and her refusal to conform to French ideals of femininity have often been criticized, with media outlets accusing her of being “too urban” or “too different” for mainstream French audiences. This, despite her massive international success, shows how symbolic violence subtly marginalizes her as “other,” even when she surpasses her peers in terms of commercial success.

Reclaiming Power Through Music: Despite facing constant symbolic violence, Nakamura has resisted through her music, creating powerful anthems of self-empowerment. Songs like “Djadja” and “Pookie” celebrate female autonomy and challenge patriarchal expectations, resonating with audiences who see themselves reflected in her music. Through her art, Nakamura disrupts the systems that seek to oppress her, reclaiming control over her narrative.

Fatou: Navigating the Korean Entertainment Industry as a Black K-pop Idol

While Aya Nakamura faces racial and gender-based symbolic violence in France, Fatou’s experiences highlight the additional layer of symbolic violence that arises when an outsider attempts to navigate the highly structured, nationalistic K-pop industry. As the first Black K-pop idol, Fatou has had to contend with not only the strict beauty standards of South Korea but also deep-seated racism and xenophobia.

Racialized Beauty Standards: The K-pop industry is notorious for its rigid and uniform beauty standards, which favor light skin, slim figures, and Eurocentric features. As a dark-skinned African woman, Fatou represents a stark deviation from this standard, which has made her the subject of racist commentary online and in the media. Fans and industry insiders alike have commented on her skin tone, treating her as an anomaly in a world where diversity is rarely celebrated. These comments, often framed as “well-meaning,” contribute to the symbolic violence that positions Fatou as an outsider.

Cultural Tokenism: While Fatou’s presence in K-pop is hailed by some as a sign of increasing diversity, she is often tokenized, with her race treated as a novelty rather than a legitimate part of her identity. This tokenism places her in a difficult position: she is both celebrated for her difference and simultaneously isolated because of it. Fatou’s identity as a Gambian woman is often overshadowed by the industry’s focus on her as a “Black K-pop idol,” reducing her multifaceted identity to a single aspect of her race.

Resilience and Fan Support: Despite the symbolic violence she faces, Fatou has found strength in her fanbase, which has been instrumental in pushing back against the racism she experiences. Much like Aya Nakamura, Fatou uses her platform to resist the structures that seek to limit her. While the K-pop industry remains restrictive, Fatou’s success as part of BLACKSWAN is a sign that change, however slow, is possible.

Symbolic Violence and Female Artists Worldwide

While Aya Nakamura’s experience is rooted in the specific cultural context of France, symbolic violence affects female entertainers globally, from the United States to South Korea, and beyond.

Beyoncé and the Policing of Black Femininity: Beyoncé, despite being one of the most successful entertainers of all time, has also faced symbolic violence throughout her career. Early on, she was subjected to scrutiny over her body, her hair, and her perceived “appropriateness” as a Black woman in mainstream American culture. She was often praised for being “palatable” to white audiences, while her Blackness was downplayed or used to exoticize her image. Over time, Beyoncé has taken ownership of her Black femininity, using her platform to uplift Black culture and challenge stereotypes, as seen in her album Lemonade, which is a powerful reclamation of Black womanhood.

Cardi B and the Sexualization of Female Rappers: Cardi B’s rise to fame has been accompanied by extensive criticism of her sexualized image and explicit lyrics, a form of symbolic violence that targets women in hip-hop. While male rappers have long been celebrated for their sexual exploits and “hustler” personas, female rappers like Cardi B are often condemned for embracing their sexuality and success. Cardi B has publicly pushed back against this double standard, asserting her right to express herself freely, but the scrutiny she faces is indicative of the larger gendered and racialized dynamics in the music industry.

The Far-Reaching Effects of Symbolic Violence

The experiences of Aya Nakamura and Fatou highlight the global reach of symbolic violence, showing that it affects women across different cultures and industries. Whether it’s the hyper-sexualization of Black women in the West or the rigid beauty standards in East Asia, the mechanisms of symbolic violence are often culturally specific but share underlying similarities.

Intersectionality and Representation: Women of color in entertainment face unique challenges at the intersection of race, gender, and industry expectations. In many cases, their race and gender work together to compound the symbolic violence they experience. For artists like Aya Nakamura and Fatou, their identities are not only a source of pride but also a battleground where they must constantly defend their legitimacy as artists. Their success, despite these challenges, is a testament to their resilience and the power of representation.

Challenging Power Structures: One of the most effective ways to combat symbolic violence is to challenge the power structures that uphold it. This can be done by increasing diversity in positions of power i.e. more female producers, directors, and media executives, and by holding those in power accountable for their actions. Additionally, fans have a critical role to play in pushing back against the racism and sexism that female entertainers face.

Combating Symbolic Violence in the Entertainment Industry

Addressing symbolic violence requires a multi-faceted approach. One crucial step is creating more inclusive spaces in media and entertainment, where diverse voices can be heard and celebrated without being subjected to sexist or racist narratives. It is essential that more women, particularly women of color, are represented not only on stage but also in positions of power as producers, directors, and media executives.

Furthermore, educating the public about symbolic violence and its subtle forms can empower audiences to recognize and challenge these power dynamics. Social media has already become a powerful tool for marginalized communities to call out injustice and support their favorite artists. Fans of Aya Nakamura, for example, have consistently defended her online, pointing out the racist and sexist undertones of the criticism she faces.

Finally, female entertainers themselves must continue to push back against the boundaries imposed upon them. Artists like Aya Nakamura, Beyoncé, and Cardi B are at the forefront of this movement, using their platforms to challenge the systemic inequalities they face while inspiring a new generation of women to do the same.

Conclusion

Symbolic violence in the global entertainment industry is a pervasive issue that disproportionately affects female entertainers, especially women of color. Through media representation, racialized and gendered stereotypes, and gatekeeping mechanisms, the industry perpetuates harmful power dynamics that devalue and marginalize female artists.

As female entertainers continue to challenge these structures of power and assert their autonomy, they not only redefine cultural norms but also inspire a broader conversation on equity and representation. By reclaiming their narratives and using their platforms to resist oppression, these women pave the way for more inclusive and empowering spaces in entertainment.