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The Negative Effects of Gender Stereotypes on Female Performers in Popular Music
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The Negative Effects of Gender Stereotypes on Women in Popular Music
Hannah Perry
Thought Experiment
THOUGHT EXPERIMENT
Thought
Experiment
What is a Thought Experiment?
- A device by which one performs an intentional, structured process of intellectual deliberation.
- Used by Einstien to determine the Theory of Relativity.
Title
If you were to hear the same riff played by two guitarists, would you be able to tell the sex or gender of the performers?
Identity Definition
Gender Identity
- Stuart Hall's definition:
Identities are, more often than not, formed out of difference and exclusion as opposed to the traditional definition of identity that explores sameness and unity
- HOWEVER:
We all use different identities dependent on contexts, however, this does not take into account the identities placed upon us by society that are determined by culture. Therefore, I determine that identity is made out of difference and is self-formed but is manipulated by social and cultural contexts when under the “gaze” of others.
Gender
Gender in mainstream thought is, more often than not, attached to sex - Masculine is Male, Feminine is female.
Why is this problematic?
What is a Stereotype?
What is a Stereotype?
Oxford English Dictionary Definition:
"a fixed idea or image that many people have of a particular type of person or thing, but which is often not true in reality"
Despite Oxford English Dictionary highlighting that stereotypes are often not true, they can still govern what is expected of people in society and culture based on certain attributes.
Where Does Feminist Theory Fit In?
Not just applied to women, but can be applied to any area where where gender inequality can be an issue.
Where Does Feminist Theory Fit In?
Can you think of any Stereotypes that have negative effects in other areas of our society?
Why a Multi-Faceted Approach?
Multifaceted Approach
- There is always several views to every issue.
- Identity especially!
Philosophy
Philosophy
"Docile Body" Theory - Foucault
Gaze Theory - Laura Mulvey
Psychology Identity Models
Psychology
Multifactorial Gender Identity Theory - Cody & Kalbfleisch
Psychological studies focus on finding difference between men and women
Ann Oakley - Sex, Gender and Society
Ann Oakley
“In word association females tend to choose words for articles of dress, personal adornment, colours, aesthetic appraisal, domestic things and happenings, and words indicating a ‘kind’ and ‘sympathetic’ social orientation. Conversely, male preference is for words describing outdoor phenomena, activity and adventure, science and machinery, and political, business and commercial enterprises”
Lyrical Analysis
Bratmobile - Stab: "Stab me and F**K the wounds" and "You shut me off"
Hole - Doll Parts: "It stands for knife" & "I fake it so real, I am beyond fake”
Stab - Bratmobile (1993)
Stab
Doll Parts - Hole (1994)
Doll Parts
Culturalism
"By investigating culture in general, and popular culture more specifically, dominant narratives, images, ideas and stereotyped representations can be exposed and challenged" - Leavy & Hesse-Biber, 2007
Lyrical, Literary, Imagery
Lyrical
Analysis
Joan Jett - Love is Pain: "I know you hate and love me"
Hole - Doll Parts: "I love him so much it turns to hate"
Love is Pain - Joan Jett (1981)
Love is Pain
Literary
Romeo and Juliet (Shakespeare, 1597)
Much Ado About Nothing (Shakespeare, 1612)
Frankenstein (Shelley, 1818)
All display the dichotomy of the cultural love and hate relationship between men and women in Anglo-American culture.
Imagery
Imagery
Conclusion
there are negative effects of gender stereotypes on female performers in the rock music.
The effect of these stereotypes has proven detrimental to the representation and acknowledgement of female performers in rock and wider popular music.
Conclusion
Final Thoughts
Final Thought to End...
"I look forward to a day when there will be as many women playing electric guitar in bands as men... I want to see an end to sexist constraints on women... In a non-sexist world half of all electric guitarists would be women" (Bayton, 1997, p. 48)
Questions?
Questions
References
References 1
Austen, J., 1813. Pride and Prejudice. London: Thomas Egerton.
Bartky, S. L., 1988. Foucault, Femininity, and the Modernisation of Patriarchal Power. In: I. Diamond & L. Quinby, eds. Feminism and Foucault: Reflections of Resistance. Boston: Northeastern University Press, pp. 61-86.
Bayton, M., 1997. Women and the Electric Guitar. In: S. Whiteley, ed. Sexing the Groove: Popular Music and Gender. London: Routledge, pp. 37-49.
Bourdage, M., 2010. “A Young Girl’s Dream”: Examining the Barriers Facing Female Electric Guitarists. Journal of the International Association for the Study of Popular Music, 1(1 ).
Bradley, S., 2011. Lost Women of Rock: Female Musicians of the Punk Era [Interview] (15 October 2011).
Brown, J. R., 1995. Critical Notice. Canadian Journal of Philosophy , 25(1), pp. 135- 142.
Butler, J., 2004. Undoing Gender. New York: Routledge.
Chomsky, N. et al., 1986. Liberating Theory. Boston: South End Press.
Cody, M. J. & Kalbfleisch, P. J., 1995. Gender, Power, and Communication in Human Relationships. New Jersey: Lawrence Erlbaum Associates.
Cohen, S., 1997. Men Making a Scene. In: S. Whiteley, ed. Sexing the Groove: Popular Music and Gender. London: Routledge, pp. 17-36.
Downes, J., 2012. Women Make Noise: Girl Bands from Motown to the Modern. Twickenham: Supernova Books.
Fontanella, L., Maretti, M. & Sarra, A., 2014. Gender Fluidity Across the World: A Multilevel Item REsponse Theory Approach. Quality & Quantity: International Journal of Methodology, 48(5), pp. 2553 - 2568.
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Foucault, M., 1977. Dicipline and Punish: The Birth of the Prison. Toronto: Vintage Books.
Gaar, G. G., 1992. She's A Rebel: THe History of Women in Rock and Roll. Washington: Seal Press.
Glastonbury Festivals, 2019. Glastonbury Festivals. [Online]
Available at: https://www.glastonburyfestivals.co.uk/history/
[Accessed 12 03 2019].
Green, L., 1997. Music, Gender, Education. London: Cambridge University Press. Halberstam, J., 1998. Female Masculinity. Duhram: Duke University Press.
Hall, S., 2000. Who Needs 'Identity'?. In: Identity: A Reader. London: Sage Publications, pp. 15-30.
Ingham, J., 1976. Rock Special. Sounds, 2 October, p. 22.
Kruse, H., 2002. Abandoning the Absolute: Transcendence and Gender in Popular Music Discourse. In: S. Jones, ed. Pop Music and the Press. Philadelphia: Temple University Press, p. 136.
Leavy, P. L. & Hesse-Biber, S. N., 2007. Feminist Research Practice: A Primer. London: Sage Publications.
Marcus, S., 2010. Girls to the Front: The True Story of the Riot Grrrl Revolution. New York: Harper Collins Publishers.
McClary, S., 2002. Feminine Endings: Music, Gender, & Sexulaity. Mineapolis: University of Minnesota Press.
Oakley, A., 1975. Sex, Gender and Society. New York: Routledge.
References 2
Oxford Dictionaires, 2019. English Oxford Living Dictionaries. [Online] Available at: https://en.oxforddictionaries.com/definition/gender
[Accessed 6 February 2019].
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Oxford Dictionaries, 2019. English Oxford Living Dictionaries. [Online] Available at: https://en.oxforddictionaries.com/definition/femininity [Accessed 1 04 2019].
Oxford Dictionaries, 2019. English Oxford Living Dictionaries. [Online] Available at: https://en.oxforddictionaries.com/definition/masculinity [Accessed 2 February 2019].
Oxford Dictionaries, 2019. Oxford Living Dictionaries. [Online]
Available at: https://en.oxforddictionaries.com/definition/culturalism
[Accessed 29 April 2019].
Rampton, M., 2015. Pacific University Oregon: Four Waves of Feminism. [Online] Available at: https://www.pacificu.edu/about/media/four-waves-feminism
[Accessed 7 December 2018].
Reddington, H., 2012. The Lost Women of Rock Music: Female Musicians of the Punk Era. Sheffield: Equinox Publishing.
Richards, C. et al., 2016. Non-Binary or Genderqueer Genders. International Review of Psychiatry, 28(1), pp. 95-102.
Rock & Roll Hall of Fame, 2019. Rock & Roll Hall of Fame: Induction Process. [Online]
Available at: https://www.rockhall.com/inductees/induction-process
[Accessed 15 02 2019].
Rock and Roll Hall of Fame, 2019. Rock and Roll Hall of Fame. [Online]
Available at: https://www.rockhall.com/
[Accessed 29 1 2019].
Shakespeare, W., 1597. Romeo and Juliet. London: s.n.
Shakespeare, W., 1602. Twelfth Night. England: s.n.
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Shakespeare, W., 1612. Much Ado About Nothing. England: s.n.
Shelley, M., 1818. Frankenstein. London: Lackington, Hughes, Harding, Mavor, & Jones.
Spender, D., 1990. Man Made Language. London: Pandora.
Storr, A., 1970. Human Agression. London: Penguin Books.
Thackeray, W. M., 1848. Vanity Fair. London: Bradbury and Evans.
Toothpaste, L., 1980. Bodysnatchers. Spare Rib 100, November, pp. 13-14. Trier-Bieniek, A., 2015. Femininst Theory and Pop Culture. Rotterdam: Sense Publishers.
Whiteley, S., 1997. Sexing the Groove: Popular Music and Gender. London: Routledge.
Whiteley, S., 2000. Women and Popular Music: Sexuality, Identity and Subjectivity. London: Routledge.