Zeitschriftenartikel: „Feminism and music“

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Rahmawati, Gema Ariani, und Ichwan Suyudi. „Feminism in God is A Woman MV: A Multimodal Critical Discourse Analysis“. Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 6, Nr. 1 (12.05.2023): 57. http://dx.doi.org/10.20527/jetall.v6i1.15279.

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Music as one of the largest media is used to influence audiences, which in this case is woman portrayal or feminism. Ariana Grande released a woman empowerement song and its music video entitled that portrays feminism. The goal of this study is to examine the portrayal of feminism in Ariana Grande's God Is a Woman MV. The data in this qualitative research is analyzed using Multimodal Critical Discourse Analysis (MCDA). The findings revealed that the God is a Woman MV symbolizes post-modern feminism ideology, as shown by Ariana as the primary character who has the freedom to express herself, full authority over her body, and the power or strength to confront patriarchy. Furthermore, the music video depicts radical feminism ideology by depicting woman superiority over man. Ariana impact audiences by messages given, which are a post-modern feminist concept and radical feminism ideology, through using music videos as a platform to influence audiences.

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Diana, Aprilia Nur, und Murni Fidiyanti. „Liberal Feminism’s Representative of Visual Signs in Katy Perry’s Music Video “Dark Horse”“. Journey: Journal of English Language and Pedagogy 6, Nr. 3 (22.11.2023): 605–17. http://dx.doi.org/10.33503/journey.v6i3.3647.

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Liberal feminism, a prominent faction within the feminist movement, advocates gender equality, individual freedom, and women's rights. Modern artistic works, notably music videos, often act as implicit visual manifestos for promoting these ideals. This study aimed to analyze visual signs representing liberal feminism in Katy Perry's "Dark Horse" music video and identify the predominant aspects of liberal feminism depicted in it. Employing a qualitative descriptive method, data was collected by downloading a music video and watching it repeatedly to find elements of visual signs in the form of screenshots. The data was then analyzed to reveal the meaning that represents liberal feminism using Charles Pierce's triangle of meaning, along with various liberal feminist theories, including those by Tong, Worell, Hanifah, et al. The results found 11 visual signs representing the dual objectives of liberal feminism—freedom, liberality, and individuality, as well as equal rights and opportunities in political and social contexts. The second goal, emphasizing equality of rights and opportunities, was particularly prominent. As a result, "Dark Horse" implied that women possess the capability and entitlement to attain parity with men in various facets of life, as their abilities are comparable, if not superior.

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Lamb, Roberta. „The Possibilities of/for Feminist Music Criticism in Music Education“. British Journal of Music Education 10, Nr. 3 (November 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. For example, just as feminist musicology provides music education with the possibilities of new content, is it not likely that feminist criticism in music education could assist musicology in coming to terms with making musical sense, collectively, through cultural institutions? In beginning to work with such a question of criticism, it is suggested that institutional issues of power, as played out through who teaches and sexual harassment of student, are evident and require attention.

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Murphy, Brooklyn. „She Creates, She Controls, She Commands Respect:“. Crossings: An Undergraduate Arts Journal 4, Nr. 1 (07.07.2024): 17–21. http://dx.doi.org/10.29173/crossings281.

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This essay examines how women have been represented in Western rock music through their role as deities. In particular, it aims to understand how these portrayals can reflect the evolution of feminist thought and theory in the Western world. A comparative analysis of Rhiannon by Fleetwood Mac and Lazaretto by Jack White aims to demonstrate how these depictions connect with and respond to Western feminist thought from the second wave of feminism in the 1970s to the fourth wave of feminism in the 2010s. Along with musical characteristics, the analysis of these portrayals focuses on spatial and temporal factors regarding the relation of the deity to the narrator while incorporating discussions of systemic issues that have impacted women in both the music industry and general Western society.

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Sabo, Adriana. „“I’m a feminist, do you hate me?”: Constructions of Feminism by Sajsi MC“. IASPM Journal 12, Nr. 1 (16.12.2022): 99–112. http://dx.doi.org/10.5429/2079-3871(2022)v12i1.7en.

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The paper focuses on the public persona of a popular female rapper from Serbia, Ivana Rašić, performing under the stage name Sajsi MC. As she openly calls herself a feminist, my goal will be to shed light onto how feminism is constructed in her discourse and music, taking into account the specificities of the post-socialist Serbian society and the transformation of the market (and life in general) into a neoliberal one, as well as certain strategies of the popular music industry. Given that she is active within the music market, and is involved in the creation of various products offered for consumption to audiences in the region, my goal will be to understand how feminism, as a category and a label, is envisioned, appropriated, reimagined and renegotiated within such a context, and how it is used by Sajsi MC as a strategy for positioning herself within the local music industry.

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Orr, Catherine M. „Charting the Currents of the Third Wave“. Hypatia 12, Nr. 3 (1997): 29–45. http://dx.doi.org/10.1111/j.1527-2001.1997.tb00004.x.

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The term “third wave” within contemporary feminism presents some initial difficulties in scholarly investigation. Located in popular-press anthologies, tines, punk music, and cyberspace, many third wave discourses constitute themselves as a break with both second wave and academic feminisms; a break problematic for both generations of feminists. The emergence of third wave feminism offers academic feminists an opportunity to rethink the context of knowledge production and the mediums through which we disseminate our work.

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Rahayu, Sukesi, Katrhryn Emerson und Phakkharawat Sittiprapaporn. „Feminism in song of jineman kenya ndesa laras slendro pathet sanga“. Gelar : Jurnal Seni Budaya 19, Nr. 2 (01.12.2021): 154–58. http://dx.doi.org/10.33153/glr.v19i2.3558.

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AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting sources. The results of this study indicate that in Sukesi Rahayu's Jineman Kenya Ndesa Slendro Sanga, there is feminist content, namely an attempt to elevate the dignity of women, which in this case is sindhen, within the scope of Javanese art culture as well as women in general.Keywords: Feminism; Sindhenan; Javanese culture

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Josephine, Josephine, und Gregorius Genep Sukendro. „Representasi Feminisme dalam Film Seri Marvel (Analisis Semiotika John Fiske pada Film Serial She-Hulk: Attorney at Law)“. Koneksi 7, Nr. 2 (05.10.2023): 481–90. http://dx.doi.org/10.24912/kn.v7i2.21612.

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The film is one form of popular mass media which is packaged in such a way that the message it carries can be conveyed. A Film is a popular form of mass media that is widely used by the public. A film's story is packaged in such a way that the message it conveys is conveyed. The film's values can have cognitive, affective, and conative effects on the audience. She-Hulk: Attorney at Law, a 2022 Marvel Cinematic Universe production, is no exception. What is interesting to examine is how the film portrays feminism. The goal of this research is to determine the meaning of the semiotic code in relation to feminism at three levels: reality, representation, and ideology. This study employed descriptive qualitative methods, with John Fiske's semiotic theory approach, such as the codes of television. The result of this research shows that the values of feminism at the reality level are shown through appearance, costume, make-up, behavior, dialogue, and expression code. At the representation level, the values of feminism are shown through camera, lighting, music and sound, conflict, and action. Liberal feminism is the ideological value of feminism that is represented, for which women can claim equality with men based on essential human capitalism as a moral reasoning agent. Film merupakan salah satu bentuk media massa populer yang dikemas sedemikian rupa agar pesan yang dibawa dapat tersampaikan. Pesan-pesan dan nilai-nilai yang terkandung dalam film dapat mempengaruhi penonton baik secara kognitif, afektif dan konatif. Tak terkecuali film seri produksi Marvel Cinematic Universe pada tahun 2022 berjudul She-Hulk: Attorney at Law. Yang menjadi menarik untuk diteliti adalah bagaimana representasi feminisme ditampilkan melalui film tersebut. Tujuan dari penelitian berikut adalah mencari tahu arti kode-kode semiotika tentang feminisme pada level realitas, level representasi dan level ideologi. Analisis ini dilakukan dengan metode kualitatif deskriptif, dengan pendekatan teori semiotika John Fiske, dan menggunakan teori kode televisi. Hasil penelitian ini merepresentasikan beberapa nilai feminisme pada level realitas berdasarkan penampilan, kostum, riasan wajah, tingkah laku, dialog, dan kode ekspresi. Pada level representasi nilai-nilai feminisme direpresentasikan melalui kamera, pencahayaan, musik dan suara, konflik, narasi, dan aksi. Serta level ideologi, yang memuat nilai-nilai feminisme direpresentasikan adalah aliran feminisme liberal, hal ini mengartikan bahwa perempuan dapat menuntut hak yang sama dengan laki-laki dalam argumen moral yang dapat dibenarkan dari esensi kapitalis laki-laki.

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Ljubijankic, Miriam Lisa. „Plot Twist: Unexpected twists in the sexist narrative of reggaetón“. Ensayos: Historia y Teoría del Arte 26, Nr. 42 (10.05.2024): 97–119. http://dx.doi.org/10.15446/ensayos.v26n42.114129.

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Building on ideas of feminism and post-feminism, this paper looks at the development and reception of reggaetón, which has been associated with buzzwords such as machismo and sexism, especially at the beginning of its emergence around the turn of the millennium. Its aim is to show what roles these two concepts have played in this Latin American pop music genre since its emergence. It discusses and illuminates ambivalences within the genre on an artistic level as well as impulses and turning points in its reception using examples from artistic projects and post-feminist voices of women who experience reggaetón as positive for themselves and have been able to establish new perspectives in the context of sexism, feminism and the freedom of female sexuality through it.

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Bradby, Barbara. „Sampling sexuality: gender, technology and the body in dance music“. Popular Music 12, Nr. 2 (Mai 1993): 155–76. http://dx.doi.org/10.1017/s0261143000005535.

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Bayton (1992) is right to be preoccupied by the mutual blindness between feminism and popular music. For if pop music has been the twentieth-century cultural genre most centrally concerned with questions of sexuality, one would expect more feminist critique and engagement with it. It is undoubtedly true that feminists have often been suspicious of pop music as typifying everything that needs changing for girls in society (McRobbie 1978), and of rock music as a masculine culture that excludes women (Frith and McRobbie 1979). Conversely, those who wished to celebrate the political oppositionality of rock music have often had to draw an embarrassed veil around its sexual politics, and have had good reason to be wary of feminism's destructive potential. Nevertheless, Bayton's own bibliography shows the considerable work that has been done by feminists on popular music, and the problem is perhaps better seen as one of marginalisation of this work within both feminist theory and popular music studies. In addition, I would argue that the work of Radway (1987), Light (1984), Modleski (1984) and others, in ‘reclaiming’ the popular genres of romance reading and soap opera for women, does have parallels in popular music in the work of Greig (1989) and Bradby (1990) on girl-groups, or McRobbie on girls and dancing (1984). Cohen (1992) shows some of the mechanisms through which men exclude women from participation in rock bands, while Bayton's own study of women musicians parallels other sociological work on how women reshape work roles (1990). And the renewed interest in audience research in cultural studies has allowed a re-valorisation of girls' and women's experience as fans of popular music (Garratt 1984; Lewis 1992), and as creators of meaning in the music they listen to (Fiske 1989; Bradby 1990).

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Doktor, Stephanie. „On the Failure of White Feminism: When PJ Harvey and Björk Covered the Rolling Stones’ “Satisfaction”“. Journal of the American Musicological Society 77, Nr. 1 (2024): 103–61. http://dx.doi.org/10.1525/jams.2024.77.1.103.

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Abstract In 1994, PJ Harvey and Björk covered the Rolling Stones’ “(I Can’t Get No) Satisfaction” (1965) at the BRIT Awards ceremony. As part of the mainstreaming of cultural feminism, cross-gender cover songs became more common in the 1990s, effectively challenging women’s exclusion from popular music canons. Björk and Harvey’s cover was unconventional, however, in that it shifts from distorting the original music at the beginning of the song to directly imitating it by the end. Drawing on Black feminist theory, I argue that this change in intertextual approach resonates with white feminist ambivalence. Detailed intertextual analysis, backed by consideration of reception and creative output, demonstrates how Björk and Harvey, in their critique of rock’s patriarchal structures, replicate its racist architecture. Using the cover song as an analytical point of entry, whereby the past is continually evoked by the present, this article suggests new ways of listening through an antiracist framework. Its conclusion explains why these white feminist movements fail to produce transformative justice, leaving the contemporary music industry woefully male-dominated.

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Araüna, Núria, Iolanda Tortajada und Mònica Figueras-Maz. „Feminist Reggaeton in Spain: Young Women Subverting Machismo Through ‘Perreo’“. YOUNG 28, Nr. 1 (25.03.2019): 32–49. http://dx.doi.org/10.1177/1103308819831473.

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This article explores the feminist potential of the Spanish ‘reggaeton’ movement led by young women through the song lyrics and public discourses of artists Brisa Fenoy, Ms Nina and Tremenda Jauría. These three singers and composers have been categorized as belonging to reggaeton genre, in a context in which Feminism is widespread among young people in Spain. Reggaeton is commonly considered (both in popular culture and academic studies) a sexist musical style, inherently male-centred in the way its songs and its ‘perreo’ dancing style are performed, and also in the pleasure provided to their audiences. Three feminist music projects from diverse backgrounds give voice to the artists themselves and use this music style as a parody and as a way of responding to everything they dislike about reggaeton and society, while at the same time resignifying this music genre and opening up an opportunity to deliver a feminist message.

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van den Toorn, Pieter C. „Politics, Feminism, and Contemporary Music Theory“. Journal of Musicology 9, Nr. 3 (1991): 275–99. http://dx.doi.org/10.2307/763704.

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Oliveros, Pauline, und Fred Maus. „A Conversation about Feminism and Music“. Perspectives of New Music 32, Nr. 2 (1994): 174. http://dx.doi.org/10.2307/833606.

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Toorn, Pieter C. van den. „Politics, Feminism, and Contemporary Music Theory“. Journal of Musicology 9, Nr. 3 (Juli 1991): 275–99. http://dx.doi.org/10.1525/jm.1991.9.3.03a00010.

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Gans, Eric. „Remarks on Originary Feminism“. Perspectives of New Music 32, Nr. 1 (1994): 86. http://dx.doi.org/10.2307/833153.

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Jin, Hanlin. „An Analysis of the Influence of K-pop on the Development of Feminism in China“. Communications in Humanities Research 17, Nr. 1 (28.11.2023): 6–10. http://dx.doi.org/10.54254/2753-7064/17/20230735.

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In China, in recent years, feminist content has been on the rise on social media platforms, and many female social media users have begun to recognize and support feminist views. In China, K-pop music and idol, which are also more widely known, have also influenced the perceptions and thoughts of many Internet users. This paper focuses on the influence of K-pop on Chinese social media users perceptions of feminism. The research methodology of post-subcultural and transcultural studies will help this paper study the changes in K-pop culture and feminist concepts. The conclusion of the study is that the behavior and speech of K-pop fans and the content of the songs in K-pop culture can influence the concepts and behaviors of Chinese Internet users and K-pop fans, and as a result, K-pop culture has contributed to the development of feminism in China.

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McNutt, Myles. „From “Mine” to “Ours”: Gendered Hierarchies of Authorship and the Limits of Taylor Swift’s Paratextual Feminism“. Communication, Culture and Critique 13, Nr. 1 (März 2020): 72–91. http://dx.doi.org/10.1093/ccc/tcz042.

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Abstract This article analyzes paratextual strategies deployed by Taylor Swift in her transition from country to pop in the context of her articulation of her authorship as a female songwriter. This was a transition complicated by the gendered hierarchies of pop music, wherein male producers carry significant discursive weight. The article frames the “Voice Memos” included with her 2014 album 1989 as a form of paratextual feminism, reiterating the authenticity she developed as a country star and pushing back against claims her collaboration with male producers like Max Martin and Ryan Tedder threaten her autonomy as a female voice in the music industry. However, the article goes on to consider how these and other paratextual feminisms are inherently tied to neoliberal values of post-feminism, demonstrating that their potential as a gendered critique of the media industries is limited by the lack of actualization within Swift’s broader star text and industry practice.

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Łyszko, Paulina. „Around the Issue of the Body in Feminist Narratives of Selected Pop Artists of the Young Generation“. Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 13, Nr. 2 (30.06.2021): 102–13. http://dx.doi.org/10.24917/20837275.13.2.8.

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Feminism in music is not a new concept, but we can observe a new wave of pop feminism in pop music, in a younger generation of female artists. They are open to discuss taboo topics, connected to carnality, sexuality, body positivity or feminism. The artists such as Miley Cyrus, Beyoncé, Pink, Avril Lavigne or Taylor Swift, with more courage are presenting in their creation, until now – taboo topics, rejected in mainstream music. They are not afraid of portraying topics, such as: sexual freedom, women’s rights, the objectification of women, men power and domination, social injustice, fat shaming, slut-shaming, or existence of unfair stereotypes. They are also advocating the legalization of homosexual relationships, race equality and human rights.

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Li, Sitian, Yaxuan Wang und Muyi Xie. „Girls Power: Analysis of Feminist Expression in the Hip-hop Garments Culture“. Lecture Notes in Education Psychology and Public Media 4, Nr. 1 (17.05.2023): 579–84. http://dx.doi.org/10.54254/2753-7048/4/2022221.

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The issue of gender has become increasingly socially sensitive in recent years. There is a high level of conversation about feminism, and discussions of feminism are beginning to emerge in hip-hop culture, where, for example, female performers express their feminist attitudes through their dress code. The female performers of today typically wear two types of clothing: sexy and baggy. In this study, each of these styles is discussed separately to determine why these two outfits are the most representative feminist symbols in hip-hop culture. Additionally, how do these two outfits convey the importance of feminism and gender equality? The purpose of this study is to convey the efforts of female rappers to change the current patriarchy in hip-hop culture. Furthermore, hip-hop clothing can be used to create a sense of self-awareness in others and break stereotypes. It is the purpose of this study to integrate the gender elements contained in hip-hop music to ultimately contribute to the achievement of gender equality in society.

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Salsabila, Fallah, und Ichwan Suyudi. „LIBERAL FEMINISM REFLECTED IN KATY PERRY’S PART OF ME MUSIC VIDEO: A Multimodal Critical Discourse Analysis.“ Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 6, Nr. 1 (12.05.2023): 65. http://dx.doi.org/10.20527/jetall.v6i1.15283.

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This research aims to find and elaborate the visual grammar found in Katy Perry’s Part of Me Music Video and which scenes from the video contain Liberal Feminism values. This research employed descriptive qualitative method. The data of this research are visual images from a music video. The data were obtained from several scenes of Katy Perry’s Music Video titled Part of Me that were being captured by the researcher. The researcher used theory of visual grammar by Kress and Leeuwen and Fairclough’s theory regarding critical discourse analysis. The result of this research showed that there were 5 scenes that have liberal feminism values from a 4 minutes long music video.

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Winters, Joseph. „resilience and melancholy: pop music, feminism, neoliberalism“. Feminist Review 112, Nr. 1 (Februar 2016): e23-e24. http://dx.doi.org/10.1057/fr.2015.67.

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MILLER, JANICE. „The Runaways: Music, fashion and 'post-feminism'“. Film, Fashion & Consumption 1, Nr. 2 (09.02.2012): 187–201. http://dx.doi.org/10.1386/ffc.1.2.187_1.

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Vesey, Alyxandra. „Mixing in Feminism“. Popular Music and Society 39, Nr. 2 (19.06.2015): 202–21. http://dx.doi.org/10.1080/03007766.2015.1055919.

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Jocson-Singh, Joan. „Vigilante feminism as a form of musical protest in extreme metal music“. Metal Music Studies 5, Nr. 2 (01.06.2019): 263–73. http://dx.doi.org/10.1386/mms.5.2.263_1.

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Drawing on my 2016 ethnographic research on women in New York’s extreme metal music scene, this short article discusses the emerging concept of vigilante feminism; a term first coined by American Studies professor Laura D’Amore in her 2017 study, Vigilante Feminism: Revising Trauma, Abduction, and Assault in American Fairy Tale Revisions. Through interviews with the death metal band Castrator, the role of the female musician and fan in the extreme metal music (EMM) scene is explored. Using the lens of vigilante feminism as a form of musical protest, I analyse lyrical content, performativity and the ways in which female musicians navigate the traditionally masculine-coded subculture. I argue that for some female death metal musicians, vigilante feminism acts as a form of empowerment which enables them to coexist in a liminal space so often dominated by their male counterparts.

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Alonso Alconada, Soraya. „Reformulating the Riot Grrrl Movement: Space and Sisterhood in Kathleen Hanna’s Lyrics“. Clepsydra. Revista de Estudios de Género y Teoría Feminista, Nr. 20 (2021): 99–119. http://dx.doi.org/10.25145/j.clepsydra.2021.20.05.

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Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a significant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music

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Cleveston Gelain, Gabriela, Milene Migliano und Pedro De Assis Pereira Scudeller. „Experiências de uma Riot Grrrl: Kathleen Hanna, feminismo, DIY e cultura remix“. Revista PHILIA | Filosofia, Literatura & Arte 2, Nr. 2 (10.11.2020): 152–88. http://dx.doi.org/10.22456/2596-0911.104017.

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Por meio dos fragmentos de narrativas da trajetória da musicista e ativista Kathleen Hanna, pioneira do movimento Riot Grrrl, remontamos, a partir do documentário The Punk Singer, a terceira onda do movimento feminista, evidenciando a interseccionalidade e protagonismo juvenil. Através de fanzines, arte, colagens, letras de música, performances e formação de bandas a partir de uma filosofia punk do it yourself (DIY), salientamos a ampla contribuição de Hanna para o feminismo contemporâneo ao desafiar um cenário opressor dentro do movimento punk, estimulando o surgimento de outras iniciativas feministas, rebeldes e riot grrrls. Sua prática e performance artística são abordadas pelo viés das culturas DIY e remix, potencializando partilhas do sensível e politicidades no engajamento de subjetividades que superam a contenção dos imaginários vigentes.Palavras-chave: Feminismo. Riot Grrrl. Kathleen Hanna. Cultura remix. Imaginário político. AbstractThrough fragments of narratives gathered from the documentary The Punk Singer, based on the life and career of musician and activist Kathleen Hanna, pioneer of the Riot Grrrl movement, we refer to the third wave of the feminist movement, by demonstrating the dimensions of intersectionality and youth protagonism within her work. Ranging from fanzines, art, collages and lyric-making to performance and music groups based on a punk "do it yourself" (DIY) philosophy, we highlight Hanna's broad contribution to contemporary feminism by challenging an oppressive scenario within the punk movement, and by stimulating the emergence of other feminist, rebel and riot grrrls initiatives. Her artistic practice and performance are analyzed through the bias of DIY and remix cultures, thus potentializing distributions of the sensible and politicities in the engagement of subjectivities that surpass the containment of current imaginaries.Keywords: Feminism. Riot Grrrl. Kathleen Hanna. Remix culture. Political imaginary.

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Russworm, TreaAndrea M., und Samantha Blackmon. „Replaying Video Game History as a Mixtape of Black Feminist Thought“. Feminist Media Histories 6, Nr. 1 (01.01.2020): 93–118. http://dx.doi.org/10.1525/fmh.2020.6.1.93.

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This article, a Black feminist mixtape, blends music, interviews, and critical analysis in order to demonstrate some of the ways in which Black women have impactfully engaged with the video game industry. Organized as musical “tracks,” it uses lyrics by Black women performers as a critical and cultural frame for understanding some of the work Black women have done with video games. In prioritizing the personal as not only political but also instructive for how we might think about digital media histories and feminism, each mixtape track focuses on Black women's lived experiences with games. As it argues throughout, Black feminism as defined and experienced by the Combahee River Collective of the 1970s has been an active and meaningful part of Black women's labor and play practices with video games.

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Miller, Alexandria. „“Lioness Order”: The Women of the Reggae Revival Speak“. Women, Gender, and Families of Color 9, Nr. 2 (01.10.2021): 152–66. http://dx.doi.org/10.5406/23260947.9.2.03.

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Abstract This article investigates the role of contemporary women in reggae music and details the unexpectedness of their growing role in the current industry, given their relative absence since the 1970s. Through critical studies of singers Janine “Jah9” Cunningham and Kelissa [McDonald], I historicize the evolution of female songstresses and their contributions to changing the rhetoric around women's positionalities in music and their relationship to Caribbean feminisms. Using an interdisciplinary framework that incorporates an intersectional lens with focuses on race, gender, and class, I analyze song lyrics and visual imagery that illuminate Caribbean womanhood. By critically analyzing music lyrics and videos of this movement, this essay builds on Jamaica's far-reaching history of Black resistance and highlights Jamaican twenty-first-century conversations about anti-imperialism, Rastafari, Afrocentricity, and poverty within Black feminism and women's empowerment. Lastly, I theorize concerning these women's cultural contributions as intellectual property, helping to shape the Black radical tradition through music and politics.

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Orlov, Vladimir S. „Feminism and Music. A Discourse on the Feminine Nature in the “New Musicology”“. Music Scholarship / Problemy Muzykal'noj Nauki, Nr. 1 (März 2017): 46–51. http://dx.doi.org/10.17674/1997-0854.2017.1.046-051.

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Munoz-Garcia, Rebeca, und Constanza Tobio-Soler. „Gender and jazz research in Spain“. Jazz Research Journal 16, Nr. 2 (08.03.2024): 107–28. http://dx.doi.org/10.1558/jazz.26638.

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During the last two decades, the little jazz research that has been conducted in Spain has focused on examining both flamenco jazz, as the most important contribution of Spanish culture to jazz, and sociocultural meanings of jazz development, mainly from a political and historical perspective. This period has also coincided with a significant development in jazz studies outside of the United States, and a key juncture for gender and feminist studies in Spain that concurred with the emergence of fourth-wave feminism. Spanish gender research in music has traditionally focused on written music, paying scant attention to jazz, although popular music is slowly becoming a significant focus of research. Far from seeing this as a drawback, we propose that the underdevelopment of knowledge production is an opportunity for a feminist-inspired overview, and a re-reading of jazz cultures and jazz research in Spain as we ‘listen’ for the relationships between gender and jazz as interdisciplinary fields of research. The article concludes that Spain presents fertile ground for a comprehensive exploration of its own jazz culture as research here strives to find its own voice.

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Kim, Gooyong. „Neoliberal feminism in contemporary South Korean popular music“. Politics of Sound 18, Nr. 4 (12.06.2019): 560–78. http://dx.doi.org/10.1075/jlp.18058.kim.

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AbstractThis paper examines how South Korean popular music (K-pop) promotes neoliberal feminism by a discourse of resilience. In a therapeutic narrative of overcoming obstacles and achieving goals, K-pop videos deliver a hegemonic message that individuals have to be responsible for their success and well-being rather than blaming external, institutional conditions. While ostensibly promoting female empowerment, the videos update and reinforce patriarchal gender norms and expectations. To substantiate this point, I analyze music videos of the most successful K-pop group, Girls’ Generation’s “Into the New World” (2007) and “All Night” (2017) to investigate how they promote resilience discourse along with neoliberal positive psychology as a hegemonic ideal of female subjectivity.

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Lee, Hye-Won. „A Study on the Dialectic Female Narrative in Korean Idol Music Video: Focused on the girl group “Red Velvet”“. K-Culture·Story Contents Reasearch Institute 2 (31.01.2023): 9–38. http://dx.doi.org/10.56659/kcsc.2023.1.9.

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The purpose of this study is to examine the dialectical female narrative that appears in the music video of the girl group “Red Velvet” through Hegel's dialectic. In the red velvet song with the velvet concept targeted in this study, “Women's narrative,” in which women become the subject of narrative and express the self-realization of the female subject, is a central element. Macroscopically, these songs form a “These-Antithese-Synthese” relationship, and epicly, they consist of a “divide-integration-divide-integration” aspect. In general, “These” is a hesitation to return to a patriarchal and male-centered society, and “Antithese” is symbolized by a determination to overcome this hesitation and build an independent and independent self. In other words, in the case of “divide”, hesitation was resolved or completed without being overcome, and in the case of “integration”, hesitation was overcome and self-identity was found. Given that the relationship between the four songs ends in an anti-harmony relationship, it can be seen that the female community represented by Red Velvet overcame this hesitation, solidified its identity, and achieved self-realization. This logic of “These-Antithese-Synthese” in Red Velvet's music video can be expanded further from Red Velvet to a metaphor for the situation that girl groups face in Korean society. For girl groups aimed at commercialism, feminism tended to be taboo in itself, but since the mid-2010s, gender issues have emerged as socio-cultural issues, and girl groups have also begun to change. Girl group members show direct or indirect support for feminism, and the agency that plans girl groups has also introduced girl crush and girl group that advocates feminist concepts. However, this move remains at the commercial level, and the girl group's utterance on feminism is becoming more cautious than before. As such, the situation facing girl groups in Korean society is very complicated, so girl groups are constantly repeating their attitude of conformity and rejection to the patriarchal society. When there is constant reflection and concern about feminism socially, girl groups will be able to add sincerity to their music.

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Browne, Kath. „Lesbian separatist feminism at Michigan Womyn’s music festival“. Feminism & Psychology 21, Nr. 2 (05.12.2010): 248–56. http://dx.doi.org/10.1177/0959353510370185.

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Whiteley, Sheila. „Disruptive Divas: Feminism, Identity and Popular Music (review)“. Notes 59, Nr. 2 (2002): 320–23. http://dx.doi.org/10.1353/not.2002.0197.

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Cimini, Amy Marie. „Music Theory, Feminism, the Body: Mediation’s Plural Work“. Contemporary Music Review 37, Nr. 5-6 (02.11.2018): 666–83. http://dx.doi.org/10.1080/07494467.2018.1577642.

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Rainwater, Crescent. „Netta Syrett, Nobody’s Fault, and Female Decadence: The Story of a Wagnerite“. Journal of Victorian Culture 25, Nr. 2 (14.12.2019): 185–99. http://dx.doi.org/10.1093/jvcult/vcz057.

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Abstract Scholars have traditionally associated decadence with misogyny, and therefore it has typically been perceived as antithetical to feminism. Nobody’s Fault (1896), Netta Syrett’s first novel, complicates this perception through the way in which the self-assertive protagonist, Bridget Ruan, finds in the decadent music of Richard Wagner a liberating form of aesthetic experience. In this essay, I argue that encountering Wagner’s music marks Bridget’s immersion into a form of decadent culture that affirms her aesthetic longings and awakens her erotic desires. At the same time, the novel condemns an antifeminist form of decadence that is associated with elitist male artists who indulge in a superficial manipulation of language and treat women as art objects. The novel’s resistance to exclusionary forms of aesthetic experience is modelled in its straightforward narrative style and strategic engagement with familiar New Woman themes. This middlebrow narrative thus made Syrett’s intervention into debates about women and decadence accessible to a middle-class female audience. When we recognize that the history of decadence includes its appeal to feminist writers such as Syrett rather than an exclusively antifeminist legacy, we can begin to uncover a more nuanced history of feminism and decadence in England at the fin de siècle.

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Walkowitz, Judith R. „COSMOPOLITANISM, FEMINISM, AND THE MOVING BODY“. Victorian Literature and Culture 38, Nr. 2 (06.05.2010): 427–49. http://dx.doi.org/10.1017/s1060150310000100.

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In October 1894, Mrs. Laura OrmistonChant, a feminist purity reformer, successfully challenged the music and dancing license of the Empire Theatre of Varieties before the licensing committee of the London County Council. Mrs. Chant raised two objections to the management of the Empire: first, that “the promenade, an open space behind the dress circle in front of the bar,” where 500 people circulated nightly, was used “as the habitual resort of prostitutes in pursuit of their traffic.” Her “second indictment” was that parts of the performance on stage were exceedingly indecent, including the costumes of the ballet dancers (“London County Council”). Chant had gone to the Empire promenade, twice dressed in her “best” evening gown, and been herself accosted. Her protest, declaredThe Sketch, provoked the “battle of the Empire,” a “great fight . . . waged with a war of words, a battery of correspondence, and a skirmish of sketches” (qtd in Faulk 77). Visually commemorated in the illustrated press and in numerous music hall spoofs, the “Battle of the Empire” was most extensively covered in the correspondence columns of theDaily Telegraph, under the heading, “Prudes on the Prowl.”

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Werner, Ann, und Marika Nordström. „Starka kvinnor? Förebilder och tjejer i musikproduktion och musikkonsumtion“. Tidskrift för genusvetenskap 34, Nr. 2-3 (13.06.2022): 113–29. http://dx.doi.org/10.55870/tgv.v34i2-3.3373.

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This article focuses on the concept of ”strong women” in popular music and interrogates the idea of role models. Ideas of ”strong women” are analysed in the context of a contemporary Western society characterised by neo-liberalism and post-feminism. Advocacy of role models is regarded as an example of a political strategy that places the responsibility for social change on the individual. This is done from a feminist cultural theoretical perspective where discourse is seen as having an impact on material subject positions and where post-feminist culture is seen as part of contemporary discourse about Western women. The issue is discussed through the analysis of two empirical materials consisting of interviews; one about teenage girls’ music use and gender in everyday life and the other about female rockmusicians, mainly in their early twenties, participating in feminist music associations. In both studies the participants testify to a positive influence from female singers and musicians as role models, where these artists and musicians in different ways provide strength to the individual girl/woman. The authors regard this mediatised discourse as problematic but it is juxtaposed against the individual narratives where role models are regarded as very important. Questions concerning authenticity, politics and identification are vital themes in our analysis of these narratives. Popular music is, in some respects, described as an arena dominated by white men. Furthermore the research and public discussion about “strong women” and role models take part in reproducing the hierarchies of popular music genres. These hierarchies are understood by the authors as representing asymmetrical power relations of gender, ethnicity/race and class.

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Webster-Kogen, Ilana. „Engendering homeland: migration, diaspora and feminism in Ethiopian music“. Journal of African Cultural Studies 25, Nr. 2 (29.05.2013): 183–96. http://dx.doi.org/10.1080/13696815.2013.793160.

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Reger, Jo. „Where Are the Leaders? Music, Culture, and Contemporary Feminism“. American Behavioral Scientist 50, Nr. 10 (Juni 2007): 1350–69. http://dx.doi.org/10.1177/0002764207300159.

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Judkins, Jennifer, und Maggie Humm. „Feminism and Film“. Journal of Aesthetics and Art Criticism 57, Nr. 4 (1999): 475. http://dx.doi.org/10.2307/432158.

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Coleman, Debra, Elizabeth Danze, Carol Henderson und Courtney Mercer. „Architecture and Feminism“. Journal of Aesthetics and Art Criticism 57, Nr. 4 (1999): 483. http://dx.doi.org/10.2307/432164.

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Noble, Fiona. „New feminist voices in Spanish audio-visual cultural production: Vis a vis (Locked Up) (Antena 3 and Globomedia, 2015–19) and La casa de papel (Money Heist) (Antena 3 and Netflix, 2017–21)“. Journal of European Popular Culture 13, Nr. 2 (01.10.2022): 83–102. http://dx.doi.org/10.1386/jepc_00044_1.

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This article maps an emerging engagement with intersections amongst gender, voice/sound and feminism in the context of contemporary Spanish audio-visual cultural production. I locate the voice at the nexus of contemporary feminisms as these manifest through popular, public and theoretical means. Taking two recent internationally successful Spanish series (Vis a vis [Locked Up] and La casa de papel [Money Heist]) as examples, I contend that female voices and their treatment within contemporary Spanish audio-visual cultures constitute an important site within which female subjectivities emerge and are claimed. I analyse the importance of gender representations on- and off-screen in these works and attend to the use of music and voice-over in these shows as exemplifying the contradictory character of the voice within contemporary feminisms, both in and beyond Spain.

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Hines, Jasmine. „Incorporating intersectional musicality within the classroom: Black feminism through Nina Simone and Janelle Monáe“. Journal of Popular Music Education 4, Nr. 3 (01.11.2020): 311–28. http://dx.doi.org/10.1386/jpme_00034_1.

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In an age of social justice advocacy within education, the work of Black women continues to be excluded from the hegemonic educational canon despite the long history of Black feminists advocating for the eradication of systemic oppressive systems in education. By examining the livelihoods and music created by Black feminist musicians, music educators may begin to reflect on how Black women’s positionality within society has had a direct influence on the music they created within a White culturally dominant society. The purpose of this article is to conceptualize how the intersectional musicality of Nina Simone and Janelle Monáe – informed by the conceptual framework of Black Feminist Thought – can speak to the experiences that Black girls and women face within music education and society.

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Autry, Evelyn Saavedra. „Singing Feminist Ch'ixi+Art Music from las Rajaduras: Renata Flores, Isqun , and the Fractured Locus“. Feminist Formations 35, Nr. 3 (Dezember 2023): 1–27. http://dx.doi.org/10.1353/ff.2023.a916568.

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Abstract: With music album Isqun , nine in Quechua and meaning mirror of the soul, Quechua singer Renata Flores aims to trace the journey of Indigenous women from the Andes in Peruvian history: the Inca era, colonialism, independence, and Republic. Combining sounds of the Andean countryside and the beats of Latin rap, trap, and hip-hop, her nine songs written in Quechua and Spanish represent a decolonial turn towards undoing westernized epistemologies of knowledge. This article explores Flores's potential contributions to decolonial feminism through the lens of Gloria Anzaldúa's theoretical framework of Nepantla (in-between), María Lugones's fractured locus, and Catherine Walsh's decolonial insurgency. The author argues that Flores's feminist ch'ixi+art music and songs "Chañan Cori Coca," "Beatriz Clara Coya," "María Parado de Bellido," and "Rita Puma Justo" not only reclaim spaces for the language of Quechua in contemporary Peru, but also contribute to remapping Indigenous women's herstories of resistance, disobedience, survivance, and empowerment. Ultimately this article illustrates how Flores's feminist decolonial pedagogies of interweaving memorias cortas and memorias largas denote an action of creation and intervention, opening paths to resignify historically excluded Indigenous women in Peru.

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Farrimond, Katherine. „‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences“. Horror Studies 11, Nr. 2 (01.10.2020): 149–68. http://dx.doi.org/10.1386/host_00016_1.

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Horror has long been understood as a ‘bad object’ in relation to its audiences. More specifically, this presumed relationship is a gendered one, so that men are positioned as the genre’s natural audience, while women’s engagement with horror is presented as more fractious. However, those horror films framed as feminist require a reorientation of these relations. This article foregrounds the critical reception of a ‘conspicuously feminist’ horror film in order to explore what happens to the bad object of horror within an opinion economy that works to diagnose the feminism or its absence in popular culture. Reviews of Teeth (2007), a ‘feminist horror film’ about vagina dentata, illustrate the push and pull of gendered power attached to feminist media, where empowerment is often understood in binary terms in relation to its gendered audiences. The assumed disempowerment of male audiences takes precedence in many reviews, while other narratives emerge in which Teeth becomes an educational tool that might change gendered behaviours, which directly empowers female audiences or which dupes women into believing they have been empowered. Finally, Teeth’s reviews expose a language of desire and fantasy around vagina dentata as an automated solution to the embodied experiences of women in contemporary culture. Teeth’s reviews, I argue, offer a valuable case study for interrogating the tensions in discourse when the bad object of horror is put to work for feminism.

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Powell, Elliott H. „Resilience and Melancholy: Pop Music, Feminism, Neoliberalism by Robin James“. philoSOPHIA 7, Nr. 7 (2017): 179–85. http://dx.doi.org/10.1353/phi.2017.0017.

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Saucier, Paul Khalil. „Feminism and Hip-Hop Conference, University of Chicago (April 2005)“. Journal of Popular Music Studies 18, Nr. 1 (April 2006): 94–101. http://dx.doi.org/10.1111/j.1524-2226.2006.00077.x.

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Ballet, Nicolas. „“Alpha Females”: Feminist Transgressions in Industrial Music“. Arts 11, Nr. 2 (24.02.2022): 37. http://dx.doi.org/10.3390/arts11020037.

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Recycled, re-engineered and transformed pornography has often been appropriated by many of the industrial music movement’s female personalities who are invested in an anti-censorship discourse. This contrasts with the dominant form of feminism in the 1970s, which railed against the depiction of all aspects of sexuality. Artists Cosey Fanni Tutti, Lisa Carver, Diamanda Galás, Mïrka Lugosi, Antal Nemeth, Diana Rogerson and Jill Westwood challenged the codes of male domination by reconfiguring gender and overturning the violence perpetrated by men within the industrial movement. Following the artistic and cultural context of the 1970s and 1980s, such issues gave rise to the radical performances that are discussed throughout this article.

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