Ostentatious, demanding, temperamental, spoilt, tempestuous: all adjectives that spring to mind at the mention of a ‘diva’. The eye-rolling complaint of ‘she’s such a diva’ reveals how far the term has strayed from its original meaning. It now occupies a spot on the never-ending list of misogynistic insults

“Once one of empowerment, the diva tag was now a loaded term”

Diva can be translated from the Italian ‘dive’ meaning goddess, an expression coined in the 18th century when talented female opera singers captured the hearts of audiences, elevating them to a divine status. Once a male-dominated realm, the world of theatre and performance revered these divas so much that they were among the few women granted financial autonomy. This exhibition at the Victoria & Albert Museum traces how the idea of a female performer, adored for her overall persona (and not just a particular talent/skill), could be warped into a vehicle for the belittlement of her creative power.

As the haunting echoes of past virtuosos begin to fade away, you find yourself surrounded by iconic images of Hollywood glamour. Bedazzled costumes cannot help but catch your eye, yet the stars that wore them were no longer the image of unmarred perfection. Once one of empowerment, the diva tag was now a loaded term. Standards of perfection had become every female performer’s ball and chain. The interviews and gossip magazines defining the Golden Age of Hollywood barred these performers from distinguishing between their public, onstage persona and private lives. While some leaned into their trouble-making reputation, others crumbled under the constant scrutiny of their image by management and the public alike. A singular glimpse of Marylin Monroe’s sequined flapper dress from Some Like It Hot prompts an uncomfortable reminder of the dark underbelly of Hollywood glitz and glamour. What was originally a source of autonomy, is now the divine persona of a female performer robbed her of said autonomy. Diva was code for trouble, someone who confidently took up space in an industry favouring submission.

Act two of the exhibition gives the stage to the modern diva who reclaims her title. She shocks, shatters conventions and epitomises originality, but overall, she enthrals. Being a diva is not such a bad thing, after all. Her persona, no longer under management’s tight control, is strengthened after breaking free from bands or partnerships. For this persona is not so much of a persona but an expression of the authentic self, embodying the perfect harmony between private and public life.

“She shocks, shatters conventions and epitomises originality, but overall, she enthrals”

The stairs up to the exhibition’s upper floor could only be likened to an ascent to heaven, except that the ‘light at the end of the tunnel’ was not some godly figure but Rihanna’s 200,000 Swarovski nude dress. Based on Diana Ross’s iconic outfit, Rihanna incorporates a diamond-encrusted durag into the look, making it undeniably her own. From Janelle Monae’s vulva pants to Doja Cat’s ridiculously broad-shouldered power suit, stars are now hijacking their pristine image to make a statement. After being warped, cajoled and contorted into various definitions, the title of ‘diva’ now bestows star quality only upon those with an exceptional sense of self and originality.

DIVA at the V&A is a perfect antidote to the three-month-long malaise that is inevitable for every overachieving student who does not understand the meaning of relaxation. Both visually and intellectually stimulating, DIVA challenges our historical conception of celebrities, whom we’ve decided to celebrate and subsequently condemn. The spectacular soundtrack made me temporarily forget I was in a prestigious museum and not a Beyoncé music video.

The exhibition will be running until April 2024, so there is absolutely no excuse to miss it!