Women and Music-A Journal of Gender and Culture最新文献

{"title":"The Impact of Two-Child Policy on Discrimination against Women Workers in China","authors":"Mengyao Hu, Joohee Lee","doi":"10.20992/gc.2023.06.16.1.117","DOIUrl":"https://doi.org/10.20992/gc.2023.06.16.1.117","url":null,"abstract":"","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85505924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Engraving Obscenity on Bathing Woman\"s Body","authors":"Hongchul Bae","doi":"10.20992/gc.2023.06.16.1.153","DOIUrl":"https://doi.org/10.20992/gc.2023.06.16.1.153","url":null,"abstract":"","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89967483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Experiences of Women in their 50s and 60s During Overseas Free Travel : Rest, Healing and Self-Recognition","authors":"Dong-ok Lee","doi":"10.20992/gc.2023.06.16.1.79","DOIUrl":"https://doi.org/10.20992/gc.2023.06.16.1.79","url":null,"abstract":"","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"886 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79344966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Doing and Being-with in Caring Labor : Reflections from a Paid Caregiver Writing Workshop","authors":"Jieun Lee","doi":"10.20992/gc.2023.06.16.1.7","DOIUrl":"https://doi.org/10.20992/gc.2023.06.16.1.7","url":null,"abstract":"","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"432 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77133682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Unveiling the Housing Experiences of Unmarried Women in Their 20s and 30s : Reconstructing the Discourse of Housing for Vulnerable Youth","authors":"Mirok Baek","doi":"10.20992/gc.2023.06.16.1.43","DOIUrl":"https://doi.org/10.20992/gc.2023.06.16.1.43","url":null,"abstract":"","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73876197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Unlikely Angel: The Songs of Dolly Parton by Lydia R. Hamessley (review)","authors":"Annie Janeiro Randall","doi":"10.1353/wam.2023.a912258","DOIUrl":"https://doi.org/10.1353/wam.2023.a912258","url":null,"abstract":"Reviewed by: Unlikely Angel: The Songs of Dolly Parton by Lydia R. Hamessley Annie Janeiro Randall Unlikely Angel: The Songs of Dolly Parton. By Lydia R. Hamessley. Urbana: University of Illinois Press, 2020. 312 pp. Unlikely Angel succeeds in its aim to focus on Dolly Parton’s music and creative process rather than the caricatured elements that have dogged the artist’s public persona since the start of her career ca. 1960. Lydia R. Hamessley’s book is a thoroughgoing response to the dilemma described in the opening paragraph by Dolly’s producer, Steve Buckingham: “Over the decades Dolly and I sometimes talked about how the ‘cartoon’ she had created (her word not mine) often overshadowed her talent as a songwriter and musician. We always strove to put the music first” (Foreword). Unlikely Angel plants its flag firmly on “the music first” and maintains sharp focus on the songs for each of the book’s 286 pages yet also addresses Dolly Parton’s clear-eyed relationship to the cartoon, revealing her agency in deploying it commercially while using it as a shield to protect her imaginative world. Hamessley scored a rare coup for an academic by securing Parton’s participation in the book. Thus supported by the artist herself in the form of extensive, tape-recorded answers to the author’s written questions, Hamessley guides us expertly on a journey to, and through, Dolly’s musical imagination. She creates the term “Dolly’s Songwriting Workshop” to represent the imagined “place” where Dolly goes to create her songs; the conceit is effective on many levels, mainly because it spotlights the serious work behind Dolly Parton’s songwriting craft, something that has been glaringly absent from most journalistic writing about her music. We learn, in close detail, what goes on in Dolly’s workshop through careful examination of representative works drawn from the more than 3,000 songs and 450 recordings that Parton has created in her long career. We begin to grasp the reasons for her career’s extraordinary longevity: Parton’s persistent return to the musical well of her Appalachian heritage and her ability to extract material of astonishingly broad appeal from it. Her cross-cultural fan base is witness to this fact. Indeed, very few singer-songwriters have maintained a loyal fan base and international appeal for six decades. Hamessley takes us through the workshop with a mass of carefully curated materials that include contextualized discussions of songs, multiple listening guides, notated examples, and harmonic and melodic analyses. These crisp pedagogical elements display the author’s abundant expertise; fans need not fear that their beloved music will emerge diminished at the end of a reductionist critique. Dolly’s enthusiastic participation in the project would seem to further guarantee it. Steve Buckingham, too, contributes commentary and has allowed Hamessley to publish studio notes and producers’ handwritten lead sheets that provide an insider’s perspective o","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"2010 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Keynote Talk at Berklee Institute of Jazz and Gender Justice: October 30, 2018","authors":"Farah Jasmine Griffin","doi":"10.1353/wam.2023.a912248","DOIUrl":"https://doi.org/10.1353/wam.2023.a912248","url":null,"abstract":"Keynote Talk at Berklee Institute of Jazz and Gender JusticeOctober 30, 2018 Farah Jasmine Griffin Edited Transcription I would be remiss if I did not say that this is a very celebratory occasion for us, but it falls in the midst of some pretty dark and difficult times for our nation, as we are witnessing horrific acts of violence across the country. I think we need to acknowledge when these kinds of things happen: the terrible loss of life, the senseless loss of life we have experienced. That is even more reason why our being here together is important, because we need, especially in times like these, to join together in community, to create community, to sustain it, to share in activities that remind us of our common humanity. Whenever we celebrate art, perhaps especially music, we are reminded of those things that connect rather than divide us. And jazz has always just been that capacious, bringing cultures and peoples in. It is deeply grounded in a specific history and culture, but it has always reached out and welcomed people and influences from far and wide. The music says, “Come in, tell your story, we want to hear it, we want to be in conversation with you.” That is jazz at its best and that is what we are here to do. A second reason why I think it is important that we come together to celebrate the Institute is because it is also a moment of institution building: the opening of this institute occurs at a moment of paradox. On the one hand, the opening is in the midst of the #MeToo movement, a moment of reckoning with issues around sexual harassment and sexual assault. If not a specific product of that movement, it is nonetheless part of the same historic moment that gives it birth, and it too asks that we take a look at questions of gender-based inequality, that we do the work of forging gender justice, together. It appears at the same time as the We Have Voice Collective, a group of fourteen female and nonbinary musicians in jazz and experimental music including Terri Lyne Carrington, Nicole Mitchell, Imani Uzuri, are challenging predatory and sexist behavior, articulating what a [End Page 1] more equitable workplace in music might look like;1 and also the birth of the Women in Jazz Organization, an advocacy group that was founded in 2017.2 It is a paradox, but not without precedent, because an ironic fact of life in America, particularly life for African Americans and for women, is that at times of deepest repression we have given birth to extraordinary cultural forms, contributions, innovations, and institutions committed to justice. The work of social change is the work of individuals joined together for a common goal, sustained by institutions like this one that support and provide space for people to organize, to research, to think, to analyze, and to be together. So we do have much to celebrate today. Not in spite of the horrible things happening in our nation, but because our gathering is actually an antidote to them, a pushback ","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound by Daphne A. Brooks (review)","authors":"Shanice Wolters","doi":"10.1353/wam.2023.a912260","DOIUrl":"https://doi.org/10.1353/wam.2023.a912260","url":null,"abstract":"Reviewed by: Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound by Daphne A. Brooks Shanice Wolters Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound. By Daphne A. Brooks. Cambridge, MA: Belknap Press / Harvard University Press, 2021. 598 pp. Daphne Brooks professes that “Black women of sound have a secret. Theirs is a history unfolding on other frequencies while the world adores them and yet mis-hears them, celebrates them, and yet ignores them, heralds them, and simultaneously devalues them” (1). Liner Notes for the Revolution: The Intellectual Life of Black Feminist Thought is an astonishingly extensive monograph dedicated to Brooks’s interrogation of the secret histories of Black women’s sounds, and consequently, the intellectual labor that engages with these Black women’s sonic cultural histories. This silenced history of Black women’s sounds, and the intellectual labor that created it, Brooks asserts, has resulted in what she calls as a “grossly unacknowledged revolution” (7) in Black women’s sonic culture. Liner Notes for the Revolution is drawn from Brooks’s lived experiences as an avid music fan, student, teacher, scholar, and critic. In her contextualizing introduction, Brooks describes herself as someone “who grew up making regular pilgrimages to the now-defunct Tower Records and loitering at the magazine rack reading rock rags” (34). Brooks’s palpably passionate approach to her research objectives is evidenced by the breadth of historical knowledge she draws on to craft the “first extensive archival interrogation” of the “musicking” of “women who have been overlooked or underappreciated, misread and sometimes lazily mythologized, underestimated and sometimes entirely disregarded, and–above all else–perpetually undertheorized by generations of critics for much of the last one hundred years” (2). While this counter-history cannot be told without acknowledging the hegemonic structures that give acclaim [End Page 112] to the (mostly) white male critics while simultaneously silencing the paramount cultural contributions of Black women, Brooks makes it unmistakably clear that Liner Notes for the Revolution is not about these critics. It is a story about the “remarkable sisters who have both made and have been thinking and writing about Black women’s music for over a century” (2). Brooks argues that these women are the culture makers “who often labor right before our very eyes and ears without our recognition of the magnitude of their import” (2). Liner Notes for the Revolution builds upon a myriad of canonical Black feminist scholars and theorists such as Angela Davis, Toni Morrison, Kara Keeling, Said-iya Hartman, Hortense Spillers, and Christina Sharpe. However, Brooks also gives space to lesser-known individuals whose voices often exist on a lower frequency: the women who have been trivialized and minimized but who push the boundaries of musical experimentation and invention to produ","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lessons in Black Women’s Laughter: A Play-Essay on Parisian Jazz Journeys","authors":"Rashida K. Braggs","doi":"10.1353/wam.2023.a912253","DOIUrl":"https://doi.org/10.1353/wam.2023.a912253","url":null,"abstract":"Lessons in Black Women’s LaughterA Play-Essay on Parisian Jazz Journeys Rashida K. Braggs In my research on the migrations of Black jazz performers to Paris, the archives reveal little about women. For this reason, I rely on interviews to investigate their migration narratives and survival strategies away from home. When I first interviewed singer Viktor Lazlo in 2015, I asked if she had experienced racism or sexism when she moved to Paris in 1988. She answered: “I had suffered racism as a young woman. Not in Paris; I used to live in Brussels.” Then she quickly added, “Yeah, one thing, it’s so funny.”1 In this article, I explore the lived experience wrapped up in the funny. I argue that in order to excavate the unspoken or minimized emotional and embodied knowledges of Black women performers, jazz scholars can learn a lot from interdisciplinary, performative methodologies. With this article, I offer a play-essay—my term for merging expository prose with theater—as a helpful approach full of lessons for uncovering and articulating Lazlo’s “funny” experience. Viktor Lazlo was born in Lorient, France, in 1960; her Grenadian mother and Martinican father welcomed her into the world. They soon moved and she was raised in Brussels, Belgium. At eleven years old, Lazlo was already gravitating to the stage when she participated in her first musical competition. She started off studying archaeology and art history at university, but quickly found a love for modeling, singing, acting, and playing the violin. Throughout the 1980s she modeled for Chantal Thomas and Thierry Mugler, and she was a background singer for Lou and the Hollywood Bananas. Then she was discovered by Lou Deprijck, which ended up being a major sea change—starting with a professional name change. While her given name was Sonia Dronier, she altered her stage name to “Viktor Lazlo” based on one of the white, male characters in the 1942 film classic [End Page 68] Casablanca played by Paul Henreid. The name created tension between the public’s expectations for Black women performers and Lazlo’s own self-presentation. Even early in her career, she made a choice that resisted the jazz industry’s silencing of Black women. Years later she recalled her decision in a 1999 interview for the Belgian journal De Morgen: I’ve been wondering for 15 years already why I chose Viktor Lazlo as a pseudonym: it took me years to figure it out: My parents had a daughter, but wanted a son. My mother cried when I was born, not another girl . . . That’s the sort of thing you carry with you in your life, and I did that with my name. I wanted to confirm the male part of me, to cover my female side: Sonia stayed at home, was introverted, shy, loved to cook, sat in front of the fireplace; While Viktor stood on stage, was brave, vindictive, played the role everybody wanted her to.2 With the pseudonym, management, and her talents and experience, Lazlo rose to fame in the mid-1980s with songs such as “Canoë Rose,” “Pleurer","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"129 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712608","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Letter from the Guest Editors","authors":"Terri Lyne Carrington, Aja Burrell Wood, Tracy McMullen","doi":"10.1353/wam.2023.a912247","DOIUrl":"https://doi.org/10.1353/wam.2023.a912247","url":null,"abstract":"Letter from the Guest Editors Terri Lyne Carrington, Aja Burrell Wood, and Tracy McMullen In the summer of 2021, the Berklee Institute of Jazz and Gender Justice held its first symposium, Return to the Center: Black Women, Jazz, and Jazz Education, two inspiring days of talks, discussion, and music by and with distinguished scholars, students, journalists, musicians, and artists, all gathered to reflect on the power of Black women in jazz—past, present, and future. The symposium title, Return to the Center, and programmed proceedings intentionally reclaimed the accurate historical centrality of the many—and far too often, undervalued—contributions and labor of Black women to the rich artform and cultural heritage of jazz. As Angela Y. Davis states in this issue, “Women have always been inside jazz and have always helped to produce the field that we call jazz, but precisely because of patriarchy, are continually imagined as on the margins, outside of jazz, as having to fight to even be included within the category.” When jazz education became formalized in predominantly white colleges and universities, the values and processes of Black women were part of what was left out of that institutionalization and new definition of the form. The Berklee Institute of Jazz and Gender Justice returns these values and processes to the center in its mission and work, seeking to create systemic change inside the institutionalized process and practices that have governed jazz education for decades. Terri Lyne Carrington founded The Berklee Institute of Jazz and Gender Justice (JGJ) in 2018 on the premise of one question: What would jazz sound like in a culture without patriarchy? This encouraged other approaches for how we consider, examine, and even challenge the dominant narrative of jazz. Asking such a question creates “a terrain of practicing freedom,” as Gina Dent suggests, where we continually challenge what has been accepted as “normal” on the jazz stage, in the jazz classroom, and in all other branches of the jazz ecosystem. [End Page vii] In this special issue we hear directly from artists, scholars, journalists, and thought leaders—Rashida Braggs, Paula Grissom Broughton, Terri Lyne Carrington, Angela Y. Davis, Gina Dent, Jordannah Elizabeth, Farah Jasmine Griffin, Robin D. G. Kelley, Tracy McMullen, Shana Redmond, Nichole Rustin, Sherrie Tucker, Carrie Mae Weems, and Aja Burrell Wood—together with the affirmation and evocation of the continued guiding influence and inspiration of the intergenerational contributions of Geri Allen, Mary Lou Williams, Nina Simone, Sarah Vaughn, Melba Liston, and Billie Holiday, all engaging with “jazz without patriarchy . . . as something that’s transformative from the root” (Griffin). In June 2021 we were still in the era of intense COVID protocols, and like much else at the time, what would have been previously organized as an in-person event was held remotely online. Within this unprecedented context, as Nichole Rustin ","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135712612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}