“为每个人提供更安全的空间”?Ladyfest场景是现场音乐行业打击性别暴力的创新领域

IF 0.7 Q4 BUSINESS Arts and the Market Pub Date : 2020-12-21 DOI:10.1108/aam-09-2020-0042
Louise Barrière
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引用次数: 1

摘要

目的现场音乐活动最近越来越意识到打击性别暴力的必要性。与此同时,对现场音乐活动中性别暴力的研究也越来越引起人们的兴趣。Ladyfest和其他朋克风格的酷儿和女权主义者自己动手音乐节经常被视为“安全空间”,包括在学术研究中。然而,建立这种安全空间的确切目标和方式大多被忽视了。在这篇文章中,作者建议弥合这一差距。设计/方法论/方法在本文中,作者依赖于两个信息来源:第一个是文献,第二个是民族志。作者首先考虑了节日档案(传单、演示文本、节目小册子、网站等等),以分析节日的身份和目标(“谁是”和“我们的目标是做什么”)。将这些信息来源与2017年至2019年间发生在法国和德国的10次Ladyfest的民族志实地调查相交叉,作者观察了为实现这些目标而采取的措施(“我们是如何做到的”)。发现作者首先详细介绍了安全空间政策的功能,并表明节日将自己定位为实现更安全夜生活的变革力量。然后,作者介绍了节日制定更安全空间政策的手段。作者特别强调了发展旁观者干预以及自我管理的安全团队的关键作用。最后,作者阐明了更安全空间政策的局限性,并认为创造一个更安全的环境需要不断努力,以远离父权制结构。原创性/价值很少有研究关注现场音乐、性别暴力和安全空间。通过这篇文章,作者旨在通过观察一个创新的女权主义现场音乐场景,为这些主题在过去几年中日益增长的兴趣做出贡献。
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“Safer spaces for everyone”? The Ladyfest scene as an innovative field for the fight against gendered violence in the live music industry
PurposeLive music events have recently become more and more aware of the necessity to fight against gendered violence. In the meantime, research on gendered violence at live music events is also gaining a growing interest. Ladyfests and other punk-inspired queer and feminist do-it-yourself music festivals have often been presented as “safe spaces”, including in academic research. Yet, the exact goals and modalities of enactment of such safe spaces have mostly been overlooked. In this article, the author proposes to bridge this gap.Design/methodology/approachIn this article, the author relies on two sources of information: the first one is documentary and the second is ethnographical. The author first considers the festivals archives (flyers, presentation texts, programs booklets, websites and so one) to analyze the identities and goals of the festivals (“who were are” and “what we aim to do”). Crossing these sources of information with ethnographical fieldwork in 10 Ladyfests that happened in France and Germany between 2017 and 2019, the author observed the measures taken to reach such goals (“how we do it”).FindingsThe author begins with detailing the functions of safer spaces policies and shows that the festivals position themselves as transformative forces toward a safer nightlife. Then, the author introduces the means established by the festivals to enact their safer space policies. The author specifically underpins the crucial role of developing bystander intervention as well as self-managed security teams. Finally, the author sheds light on the limits of the safer spaces policies and posits that creating a safer environment demands a constant hard work to keep patriarchal structures away.Originality/valueVery few research studies have focused on live music, gendered violence and safe spaces. With this article, the author aims to contribute to the growing interest that these topics have gained in the last few years, by looking at an innovative feminist live music scene.
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来源期刊
CiteScore
1.60
自引率
28.60%
发文量
13
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