Pub Date : 2022-11-14DOI: 10.28939/iam.debats-136-2.5
Anna Villarroya, Marta Casals-Balaguer
En els últims anys, molts països i governs locals han prestat especial atenció a les circumstàncies i necessitats de les dones com a creadores i productores d'expressions artístiques diverses. La inclusió de la igualtat de gènere a l'agenda política ha emergit, en moltes ciutats, de la mà de moviments feministes i de l'activisme de professionals del sector cultural. Aquest article té com a objectiu explorar el paper de Barcelona com a ciutat laboratori de bones pràctiques en el camp de la cultura i el gènere. A partir d'un diagnòstic previ sobre les desigualtats de gènere en l'àmbit de les arts i la cultura a la ciutat de Barcelona i una recerca original enfocada des d'una metodologia qualitativa, basada en una sèrie d'entrevistes semi-estructurades amb professionals del sector referents dins l'àmbit de la cultura i el gènere, s'analitzen diferents casos d'experiències innovadores en el camp cultural localitzades en diversos barris de la ciutat. L'article conclou que, si bé els moviments feministes i el sector cultural de Barcelona han treballat per situar la igualtat de gènere a l'agenda política i institucional, encara queda un llarg camí per recórrer en la implementació d'accions programàtiques transformadores de la societat.
{"title":"Cultura i perspectiva de gènere a la ciutat de Barcelona","authors":"Anna Villarroya, Marta Casals-Balaguer","doi":"10.28939/iam.debats-136-2.5","DOIUrl":"https://doi.org/10.28939/iam.debats-136-2.5","url":null,"abstract":"En els últims anys, molts països i governs locals han prestat especial atenció a les circumstàncies i necessitats de les dones com a creadores i productores d'expressions artístiques diverses. La inclusió de la igualtat de gènere a l'agenda política ha emergit, en moltes ciutats, de la mà de moviments feministes i de l'activisme de professionals del sector cultural. Aquest article té com a objectiu explorar el paper de Barcelona com a ciutat laboratori de bones pràctiques en el camp de la cultura i el gènere. A partir d'un diagnòstic previ sobre les desigualtats de gènere en l'àmbit de les arts i la cultura a la ciutat de Barcelona i una recerca original enfocada des d'una metodologia qualitativa, basada en una sèrie d'entrevistes semi-estructurades amb professionals del sector referents dins l'àmbit de la cultura i el gènere, s'analitzen diferents casos d'experiències innovadores en el camp cultural localitzades en diversos barris de la ciutat. L'article conclou que, si bé els moviments feministes i el sector cultural de Barcelona han treballat per situar la igualtat de gènere a l'agenda política i institucional, encara queda un llarg camí per recórrer en la implementació d'accions programàtiques transformadores de la societat.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44856169","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}
Pub Date : 2022-11-14DOI: 10.28939/iam.debats-136-2.4
Jordi Balta Portoles, Gigi Guizzo, À. Mestres
La incorporació d’una perspectiva interseccional en l’anàlisi i la resposta a les desigualtats i discriminacions ha guanyat presència en els darrers anys, a partir de la constatació que calen aproximacions més complexes en aquests àmbits. Aquest article vol oferir una reflexió i aproximació inicial per tal de traslladar aquestes reflexions a la pràctica dels equipaments culturals de proximitat (centres cívics, ateneus, etc.). Per tal de fer-ho, el text defineix la perspectiva interseccional i les seves implicacions, l’apropa a la realitat de la gestió cultural de proximitat, tot identificant-hi els principals reptes conceptuals i operatius, i conclou amb la identificació dels aspectes de la gestió dels equipaments culturals de proximitat als quals caldria incorporar la interseccionalitat de manera prioritària: diagnosi del context, formació, mecanismes de consulta i participació, programació, mediació i processos d’avaluació i aprenentatge. Malgrat la complexitat del procés, l’article suggereix entendre la interseccionalitat com un procés d’aprenentatge progressiu, que pot treure profit d’iniciatives i coneixements ja existents, en àmbits com els drets culturals, la perspectiva de gènere o la gestió de la diversitat.
{"title":"La incorporació d’una perspectiva interseccional als equipaments culturals de proximitat: identificació d’àmbits prioritaris","authors":"Jordi Balta Portoles, Gigi Guizzo, À. Mestres","doi":"10.28939/iam.debats-136-2.4","DOIUrl":"https://doi.org/10.28939/iam.debats-136-2.4","url":null,"abstract":"La incorporació d’una perspectiva interseccional en l’anàlisi i la resposta a les desigualtats i discriminacions ha guanyat presència en els darrers anys, a partir de la constatació que calen aproximacions més complexes en aquests àmbits. Aquest article vol oferir una reflexió i aproximació inicial per tal de traslladar aquestes reflexions a la pràctica dels equipaments culturals de proximitat (centres cívics, ateneus, etc.). Per tal de fer-ho, el text defineix la perspectiva interseccional i les seves implicacions, l’apropa a la realitat de la gestió cultural de proximitat, tot identificant-hi els principals reptes conceptuals i operatius, i conclou amb la identificació dels aspectes de la gestió dels equipaments culturals de proximitat als quals caldria incorporar la interseccionalitat de manera prioritària: diagnosi del context, formació, mecanismes de consulta i participació, programació, mediació i processos d’avaluació i aprenentatge. Malgrat la complexitat del procés, l’article suggereix entendre la interseccionalitat com un procés d’aprenentatge progressiu, que pot treure profit d’iniciatives i coneixements ja existents, en àmbits com els drets culturals, la perspectiva de gènere o la gestió de la diversitat.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46344471","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}
Pub Date : 2022-11-14DOI: 10.28939/iam.debats-136-2.1
Iva Nenić, T. Nikolic
Here we explore the contemporary practices of female participation in the music scenes in Serbia, and to an extent, in the Balkans. This research identified and described the possibilities, gendered constraints, and acts of transgressions that together weave a complex dynamic of female participation in popular music, in relation to the changing field of dominant gender ideologies in Serbia and the surrounding region. This work provides a critical analysis of gender issues in music-making and performing and of the topic of gendered labour in music, by relying on multiple case studies grounded in local contexts. We consider the mores and demands of the music market and everyday culture, their link to personal experiences, and the reach of the social institutions regarding music.Either as role models or cherished leaders, female musicians employ different tactics to fight stereotypes, strengthen communities, and ensure female participation. This work maps the strategies and tools they have been putting in place in order to sustain their audience, income, and presence to the best possible extent. Bearing in mind the imperative of transforming a standard way of working, communicating with audiences, and maintaining earning potential, this text singles out practices that could be recognised as (female) leadership in contemporary circumstances. We also consider a wider spectrum of roles that female musicians and music professionals have taken on or were awarded within their professional circles, local scenes, communities, or wider society.
{"title":"Female labor and leadership in music","authors":"Iva Nenić, T. Nikolic","doi":"10.28939/iam.debats-136-2.1","DOIUrl":"https://doi.org/10.28939/iam.debats-136-2.1","url":null,"abstract":"Here we explore the contemporary practices of female participation in the music scenes in Serbia, and to an extent, in the Balkans. This research identified and described the possibilities, gendered constraints, and acts of transgressions that together weave a complex dynamic of female participation in popular music, in relation to the changing field of dominant gender ideologies in Serbia and the surrounding region. This work provides a critical analysis of gender issues in music-making and performing and of the topic of gendered labour in music, by relying on multiple case studies grounded in local contexts. We consider the mores and demands of the music market and everyday culture, their link to personal experiences, and the reach of the social institutions regarding music.Either as role models or cherished leaders, female musicians employ different tactics to fight stereotypes, strengthen communities, and ensure female participation. This work maps the strategies and tools they have been putting in place in order to sustain their audience, income, and presence to the best possible extent. Bearing in mind the imperative of transforming a standard way of working, communicating with audiences, and maintaining earning potential, this text singles out practices that could be recognised as (female) leadership in contemporary circumstances. We also consider a wider spectrum of roles that female musicians and music professionals have taken on or were awarded within their professional circles, local scenes, communities, or wider society.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47266689","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}
Pub Date : 2022-11-14DOI: 10.28939/iam.debats-136-2.6
J. Pecourt, Sandra Obiol
En este artículo, abordaremos la lógica específica de la precariedad cultural, incidiendo en los factores de género que sitúan a las mujeres que se dedican en posiciones de debilidad estructural. Se trata de un fenómeno complejo y multidimensional. En nuestro análisis nos hemos centrado en la relación entre trabajo creativo y trabajo de cuidados como espacios sociales diferenciados. Entendemos el “trabajo de cuidados” como la gestión del bienestar de las personas, imprescindible para la sostenibilidad de la vida y la reproducción de la fuerza de trabajo. Por otro lado, el “trabajo creativo” es la dimensión más visible de la actividad artística e implica la producción de obras que obtienen una valoración social y son reconocidas como artísticas. Incluye, sobre todo a raíz de los recientes los procesos de precarización, un importante componente de “trabajo gratuito”, el trabajo de fondo individual orientado a proveer las condiciones adecuadas para la creación y que hoy se centra en la construcción y mantenimiento de las redes sociales y de una e-reputación. En definitiva, mientras que el trabajo creativo constituye la parte visible y socialmente reconocida de la práctica artística, el trabajo gratuito y el trabajo de cuidados forman la parte oculta, sin reconocimiento social, pero que determinan en gran medida los logros individuales, más allá de las concepciones románticas del “genio” centradas en el ámbito estrictamente creativo. En nuestro artículo reflexionamos acerca de la relación entre ambos trabajos, la construcción de sus lógicas constitutivas, generalmente incompatibles entre sí, e identificamos sus principales contradicciones.
{"title":"¿Devociones opuestas?","authors":"J. Pecourt, Sandra Obiol","doi":"10.28939/iam.debats-136-2.6","DOIUrl":"https://doi.org/10.28939/iam.debats-136-2.6","url":null,"abstract":"En este artículo, abordaremos la lógica específica de la precariedad cultural, incidiendo en los factores de género que sitúan a las mujeres que se dedican en posiciones de debilidad estructural. Se trata de un fenómeno complejo y multidimensional. En nuestro análisis nos hemos centrado en la relación entre trabajo creativo y trabajo de cuidados como espacios sociales diferenciados. Entendemos el “trabajo de cuidados” como la gestión del bienestar de las personas, imprescindible para la sostenibilidad de la vida y la reproducción de la fuerza de trabajo. Por otro lado, el “trabajo creativo” es la dimensión más visible de la actividad artística e implica la producción de obras que obtienen una valoración social y son reconocidas como artísticas. Incluye, sobre todo a raíz de los recientes los procesos de precarización, un importante componente de “trabajo gratuito”, el trabajo de fondo individual orientado a proveer las condiciones adecuadas para la creación y que hoy se centra en la construcción y mantenimiento de las redes sociales y de una e-reputación. \u0000En definitiva, mientras que el trabajo creativo constituye la parte visible y socialmente reconocida de la práctica artística, el trabajo gratuito y el trabajo de cuidados forman la parte oculta, sin reconocimiento social, pero que determinan en gran medida los logros individuales, más allá de las concepciones románticas del “genio” centradas en el ámbito estrictamente creativo. En nuestro artículo reflexionamos acerca de la relación entre ambos trabajos, la construcción de sus lógicas constitutivas, generalmente incompatibles entre sí, e identificamos sus principales contradicciones.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48414857","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}
Pub Date : 2022-11-14DOI: 10.28939/iam.debats-136-2.2
Angels Bronsoms, P. Guerra
Gender issues have fortunately become a topic of growing interest in research into contemporary music and artistic scenes. With the aim of obtaining data on the exclusion of gender in the current conditions imposed by COVID-19, the investigation is focused on learning how women in the cultural and artistic sector have offered resistance to the cultural policies that continue to discriminate them. The methodology focal point is geared to examine the issues related to the practices that have condemned women by history and how gender inequalities are expressed in the 21st century. The study’s base is an intersectional sample of 20 female interpreters and professionals of the musical industry in the Spanish territory in different roles and genres: producers, managers, singers, composers and music critics. The answers were drawn first from radio interviews with a qualitative slant during 2018-19 and later in the post COVID scenario in spring of 2021, and organized in three analytical categories: profession, prestige and recognition of women's musical creations/productions and how their representation was portrayed by media/public. The results provided some meanings relevant to the opportunities and careers they could access. Although the arts and culture are women's worlds are pierced by cumulative disadvantages: gender stereotypes, difficulties in reconciling work and family life, objectification and sexual harassment, the conclusions extracted divulge claims in synthony with their own responses: the more i fight, the more i feel alive!; what if women had the power?; and no more twenty feet from stardom.
{"title":"Shatter silence, raise hell and run riot: music and gender in Spain 2018–2021","authors":"Angels Bronsoms, P. Guerra","doi":"10.28939/iam.debats-136-2.2","DOIUrl":"https://doi.org/10.28939/iam.debats-136-2.2","url":null,"abstract":"Gender issues have fortunately become a topic of growing interest in research into contemporary music and artistic scenes. With the aim of obtaining data on the exclusion of gender in the current conditions imposed by COVID-19, the investigation is focused on learning how women in the cultural and artistic sector have offered resistance to the cultural policies that continue to discriminate them. The methodology focal point is geared to examine the issues related to the practices that have condemned women by history and how gender inequalities are expressed in the 21st century. The study’s base is an intersectional sample of 20 female interpreters and professionals of the musical industry in the Spanish territory in different roles and genres: producers, managers, singers, composers and music critics. The answers were drawn first from radio interviews with a qualitative slant during 2018-19 and later in the post COVID scenario in spring of 2021, and organized in three analytical categories: profession, prestige and recognition of women's musical creations/productions and how their representation was portrayed by media/public. The results provided some meanings relevant to the opportunities and careers they could access. Although the arts and culture are women's worlds are pierced by cumulative disadvantages: gender stereotypes, difficulties in reconciling work and family life, objectification and sexual harassment, the conclusions extracted divulge claims in synthony with their own responses: the more i fight, the more i feel alive!; what if women had the power?; and no more twenty feet from stardom.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47703575","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}
Pub Date : 2022-11-14DOI: 10.28939/iam.debats-136-2.3
M. Escribano, Dafne Muntanyola, J. Gallego
En la actualidad de la industria musical, muchas mujeres trabajadoras viven experiencias de injusticia y desigualdad que, percibidas o no, están causadas y afectan simultáneamente al sistema de relaciones de producción y la vida cotidiana. Y tales experiencias ya se hacen evidentes desde el estado de desconocimiento que conlleva la inexistencia de bases de datos y registros de las actividades económicas por género en esta industria. Se intenta responder así a una pregunta: ¿cómo podemos investigar las posibles experiencias de injusticias y desigualdades de género cuando no hay registros oficiales que nos esclarezcan las estructuras básicas que ordenan las relaciones de producción que afectan a la vida cotidiana? Más aún cuando hoy existe evidencias de sobra de la desigualdad histórica de las mujeres frente a los hombres en el terreno laboral. La metodología mixta responde, por tanto, a la situación de injustica e ignorancia epistémica que subyace a la presente estructura de relaciones laborales y conciliación familiar, permitiendo realizar un análisis exploratorio y descriptivo de su situación desde tal premisa inicial. El objetivo de este artículo nace de la necesidad de presentar y justificar el uso y procedimientos de una metodología mixta de carácter cualitativo y cuantitativo, como herramienta necesaria para abordar la investigación sobre la situación de la mujer trabajadora de la industria musical en España.
{"title":"Las desigualdades de género en la industria de la música en España.","authors":"M. Escribano, Dafne Muntanyola, J. Gallego","doi":"10.28939/iam.debats-136-2.3","DOIUrl":"https://doi.org/10.28939/iam.debats-136-2.3","url":null,"abstract":"En la actualidad de la industria musical, muchas mujeres trabajadoras viven experiencias de injusticia y desigualdad que, percibidas o no, están causadas y afectan simultáneamente al sistema de relaciones de producción y la vida cotidiana. Y tales experiencias ya se hacen evidentes desde el estado de desconocimiento que conlleva la inexistencia de bases de datos y registros de las actividades económicas por género en esta industria. Se intenta responder así a una pregunta: ¿cómo podemos investigar las posibles experiencias de injusticias y desigualdades de género cuando no hay registros oficiales que nos esclarezcan las estructuras básicas que ordenan las relaciones de producción que afectan a la vida cotidiana? Más aún cuando hoy existe evidencias de sobra de la desigualdad histórica de las mujeres frente a los hombres en el terreno laboral. La metodología mixta responde, por tanto, a la situación de injustica e ignorancia epistémica que subyace a la presente estructura de relaciones laborales y conciliación familiar, permitiendo realizar un análisis exploratorio y descriptivo de su situación desde tal premisa inicial. El objetivo de este artículo nace de la necesidad de presentar y justificar el uso y procedimientos de una metodología mixta de carácter cualitativo y cuantitativo, como herramienta necesaria para abordar la investigación sobre la situación de la mujer trabajadora de la industria musical en España.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45292163","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}
Pub Date : 2022-05-24DOI: 10.28939/iam.debats-136-1.4
Sumedha Bhattacharyya
In the midst of a COVID-19 pandemic-struck India, this paper was born as an autoethnographic and analytical inquiry; it presents qualitative and multimodal research into a martial arts dance tradition, Lathi Khela, conducted from 2017 to 2018. This practice developed as a martial art, with little or no patronage, during the colonial days of the still undivided Bengal. Indeed, it still lives on as a popular martial arts dance tradition in many districts and rural communities of Bengaluru, Bangladesh. Compared to other districts, the Lathi Khela group from the Narail district has continued this practice through innovative methods. The distinctive character of the district is governed by the multi-generational practitioners of Lathi Khela and their creative choreographies, as well as the knowledge it articulates and embodies. Moreover, in Narail, this previously male-dominated profession has also included women since 2008. The focus of this work was the role of gender in the continuity of the Lathi Khela tradition in this district. This was achieved through five semi-structured, demonstrative interviews intuitively applied in the field. The research also drew on an ongoing conversation on Facebook with Rahat, a veteran Lathi Khela practitioner, who took stock of the current cultural landscape in the context of COVID-19. On the one hand, the women of this district occupy a contested space when representing this male-dominated tradition, and on the other, they physically embody lives within the patrilineal boundaries of kinship and marriage. The performativity of gender is thus directly connected to the symbolic meaning of maan, that is, the prestige attributed to the female body within the sociocultural contexts of the Lathi Khela.
{"title":"The gender paradox: professionalisation of a form of traditional martial arts, Lathi Khela, in the sociocultural context of Bangladesh","authors":"Sumedha Bhattacharyya","doi":"10.28939/iam.debats-136-1.4","DOIUrl":"https://doi.org/10.28939/iam.debats-136-1.4","url":null,"abstract":"In the midst of a COVID-19 pandemic-struck India, this paper was born as an autoethnographic and analytical inquiry; it presents qualitative and multimodal research into a martial arts dance tradition, Lathi Khela, conducted from 2017 to 2018. This practice developed as a martial art, with little or no patronage, during the colonial days of the still undivided Bengal. Indeed, it still lives on as a popular martial arts dance tradition in many districts and rural communities of Bengaluru, Bangladesh. Compared to other districts, the Lathi Khela group from the Narail district has continued this practice through innovative methods. The distinctive character of the district is governed by the multi-generational practitioners of Lathi Khela and their creative choreographies, as well as the knowledge it articulates and embodies. Moreover, in Narail, this previously male-dominated profession has also included women since 2008. The focus of this work was the role of gender in the continuity of the Lathi Khela tradition in this district. This was achieved through five semi-structured, demonstrative interviews intuitively applied in the field. The research also drew on an ongoing conversation on Facebook with Rahat, a veteran Lathi Khela practitioner, who took stock of the current cultural landscape in the context of COVID-19. On the one hand, the women of this district occupy a contested space when representing this male-dominated tradition, and on the other, they physically embody lives within the patrilineal boundaries of kinship and marriage. The performativity of gender is thus directly connected to the symbolic meaning of maan, that is, the prestige attributed to the female body within the sociocultural contexts of the Lathi Khela.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45523549","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}
Pub Date : 2022-05-24DOI: 10.28939/iam.debats-136-1.2
Emanuela Naclerio
From the lifting of the ban on women from theatrical plays in mid-1600s England to the communicative impact of the #MeToo campaign, actresses’ presence on the stage has always had the capacity to profoundly question and shrink societal norms related to gender and cultural space. Using a qualitative methodology, the paper analyses young actresses’ experiences of work in the Italian performing arts’ sector, considering aesthetic and emotional aspects related to theatre work. The occupational environment, described through the sector’s specific datasets and surveys, appears to be characterised by marked power asymmetries in terms of age and gender which, in turn, is embedded in young actresses’ everyday bodily and emotional experiences of work.
{"title":"Young actresses’ experiences of work in the Italian theatrical sector","authors":"Emanuela Naclerio","doi":"10.28939/iam.debats-136-1.2","DOIUrl":"https://doi.org/10.28939/iam.debats-136-1.2","url":null,"abstract":"From the lifting of the ban on women from theatrical plays in mid-1600s England to the communicative impact of the #MeToo campaign, actresses’ presence on the stage has always had the capacity to profoundly question and shrink societal norms related to gender and cultural space. Using a qualitative methodology, the paper analyses young actresses’ experiences of work in the Italian performing arts’ sector, considering aesthetic and emotional aspects related to theatre work. The occupational environment, described through the sector’s specific datasets and surveys, appears to be characterised by marked power asymmetries in terms of age and gender which, in turn, is embedded in young actresses’ everyday bodily and emotional experiences of work.","PeriodicalId":42203,"journal":{"name":"Debats-Revista de Cultura Poder i Societat","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46709650","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}
Pub Date : 2022-05-24DOI: 10.28939/iam.debats-136-1.3
João Oswaldo Leiva Filiho
The aim of this article was to provide quantitative information about the gender gap in theatre production in the city of São Paulo (Brazil), thereby helping to raise awareness of the inequalities faced by women in the field. The text compares the opportunities available to men and women working in seven different theatre-related occupations and is underpinned by a mapping of 1,466 plays performed in the city throughout 2018. The data were collected from three weekly guides published by the local media and two monthly publications: a theatre guide and a magazine from a cultural institution that ran 20 cultural venues in the city. Any gaps were then filled by directly contacting theatre venues and the producers of the plays. There was a significant imbalance towards men in the two most strategic theatre production jobs: men wrote 77% of the plays and directed 78% of them. Thus, male professionals were a huge majority precisely in the functions responsible for building the discourse that reaches audiences. Compared to women, this left them in a much better position to express their values, ideas, and perspectives. This gap was smaller when considering performers, of which 46% were female. Women were also largely absent in technical occupations given that they were a minority among lighting directors and set designers. However, women represented the majority among costume designers. The most unexpected result was the parity among producers, with 52% being women. All the aforementioned gaps increased when the number of performances were considered. On average, women worked less in plays that provided more working time that were therefore, more likely tohave higher salaries. The study also showed that when women were responsible for writing, directing, or producing a play,the gap was reduced in all the other functions.
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