Staging The ‘Street Boy’

Sandve, Birgitte

doi:10.4324/9781315613437-15

Cited by 2 publications

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“…Far from engaging with feminine grace, Barrowclough (1993) reports of their extreme on-stage behavior that “They screech, they spit, they swear. Every word they scream is a prayer against men.” Sandve (2017) refers to “iconographic gestures of crotch grabbing” as an integral part of their performance patterns.…”

Section: Discussionmentioning

confidence: 99%

“…Seidman (1992) reports that male characters appeared nearly twice as often as females, and he confirms Utterbach’s observations of differential characterization of males and females and the presentation of women in subservient behaviors, and their subjection to sexual depredation. Sandve (2017) refers to “iconographic gestures of crotch grabbing” as an integral part of hardcore videos, and other studies (Aubrey et al, 2011; Baxter et al, 1985; Brown & Campbell, 1986; Dibben, 1999; Seidman, 1992; Sherman & Dominick, 1986; Signorielli et al, 1994; Vandenbosch, 2017; Vincent et al, 1987; Wallis, 2011) have been unanimous in reporting music videos as representing women as sexual objects, dressed in sexually provocative clothing, showing sexually attractive bodies that equate to western body ideals, engaging in sexually provocative actions, shown in inferior, subservient roles, conveying notions of female inferiority, and often subject to sexual violence. Whiteley’s (2000) account of Madonna’s music video “Like a virgin” epitomizes the style of sexual innuendo that underlies many music videos in this genre.…”

Section: Discussionmentioning

confidence: 99%

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Performing sex: The representation of male and female musicians in three genres of music performance

Sergeant

Himonides

2022

Psychology of Music

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In this article, the representation of male and female musicians is compared between three major genres of music performance and across three geographical regions: the United Kingdom, Europe, and the United States. Relevant data of artists from 40 world-class orchestras, 40 competition brass bands, and 40 top-selling recorded popular music groups were obtained from the websites of the respective organizations and from other authenticated sources. Information collected included the instruments played by each artist, the artist’s status in the ensemble (e.g., principal/section leader/rank and file player). The membership of each instrumental section was then analyzed for balance of sex representation. Overall, across all three genres, male musicians considerably outnumbered females, but this imbalance was moderated by genre and regional differences. The lowest level of imbalance of sexes was observed in orchestras, with males occupying 60% of orchestral chairs compared with females 40%, but principal chairs/section leaders were found to be predominantly male. In brass bands, males predominated by a ratio of 76% males to 24% females, and section leader chairs were almost invariably occupied by males. In the genre of popular music, male performers massively outnumbered females by 85%–15% in every aspect of performers and group leader roles by 90% to 10%. Possible causes of these imbalances are explored for each genre. In all three genres representation of males and females was found to be closely related to the instruments played, for example, many more females than males were harpists, and many more males were trombonists and tuba players than were females. Reasons for these differences are explored with particular reference to differential patterns of education and musical training and to underlying historical and sociological issues.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Performing sex: The representation of male and female musicians in three genres of music performance

Sergeant

Himonides

2022

Psychology of Music

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Musik-Filmische Teilhabekonstellationen als Partizipationsversprechen und situiertes Wissen inThe Queen of Silence(2014) undAnd-Ek Ghes… (2016)

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2019

Paragrana

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Die fünfte Folge der Dokumentar-Miniserie "Sound System" (Frankreich 2016), ausgestrahlt vom Sender arte, trägt den Titel "Rastaman Migration". Die Produktion zeichnet die Entstehung und den Weg von Soundsystemen nach und begibt sich dafür in Städte der Karibik, den USA, Südamerikas, Asiens und Europas. Einer der Orte, an dem sich die globale Story von Dancehall-Klängen verdichtet, ist London. Der dort seit den 1960er Jahren stattfindende Notting Hill Carnival kann als ein exemplarisches Beispiel für die Art begriffen werden, wie sich im postkolonialen Vereinigten Königreich soziale Zugehörigkeiten, Musikkulturen, Kostüme, Beschallungssysteme und städtische Räume sowie deren Kommerzialisierung oder Gentrifizierung prozessual herausbilden und performativ miteinander verweben (Klöß 2014, S. 451-461). Diesen konfliktreichen Aushandlungsprozess, der sich mit dem Karneval verbindet, bezeichnet Paul Gilroy mit Blick auf die 1970er und 1 Dieses Kapitel entstand im Rahmen des Projekts "Recht auf Mitsprache: Das Cochlea-Implantat und die Zumutungen des Hörens", Teilprojekt 2 der Forschungsgruppe "Mediale Teilhabe. Partizipation zwischen Anspruch und Inanspruchnahme", gefördert von der Deutschen Forschungsgemeinschaft (DFG), Projektnummer 272138722.

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Staging The ‘Street Boy’

Cited by 2 publications

References 0 publications

Performing sex: The representation of male and female musicians in three genres of music performance

Performing sex: The representation of male and female musicians in three genres of music performance

Musik-Filmische Teilhabekonstellationen als Partizipationsversprechen und situiertes Wissen inThe Queen of Silence(2014) undAnd-Ek Ghes… (2016)

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