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Journal articles on the topic 'Feminism and music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Rahmawati, Gema Ariani, and Ichwan Suyudi. "Feminism in God is A Woman MV: A Multimodal Critical Discourse Analysis." Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 6, no. 1 (May 12, 2023): 57. http://dx.doi.org/10.20527/jetall.v6i1.15279.

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Music as one of the largest media is used to influence audiences, which in this case is woman portrayal or feminism. Ariana Grande released a woman empowerement song and its music video entitled that portrays feminism. The goal of this study is to examine the portrayal of feminism in Ariana Grande's God Is a Woman MV. The data in this qualitative research is analyzed using Multimodal Critical Discourse Analysis (MCDA). The findings revealed that the God is a Woman MV symbolizes post-modern feminism ideology, as shown by Ariana as the primary character who has the freedom to express herself, fu

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Diana, Aprilia Nur, and Murni Fidiyanti. "Liberal Feminism’s Representative of Visual Signs in Katy Perry’s Music Video “Dark Horse”." Journey: Journal of English Language and Pedagogy 6, no. 3 (November 22, 2023): 605–17. http://dx.doi.org/10.33503/journey.v6i3.3647.

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Liberal feminism, a prominent faction within the feminist movement, advocates gender equality, individual freedom, and women's rights. Modern artistic works, notably music videos, often act as implicit visual manifestos for promoting these ideals. This study aimed to analyze visual signs representing liberal feminism in Katy Perry's "Dark Horse" music video and identify the predominant aspects of liberal feminism depicted in it. Employing a qualitative descriptive method, data was collected by downloading a music video and watching it repeatedly to find elements of visual signs in the form of

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Lamb, Roberta. "The Possibilities of/for Feminist Music Criticism in Music Education." British Journal of Music Education 10, no. 3 (November 1993): 169–80. http://dx.doi.org/10.1017/s0265051700001728.

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The essay sets the context and identifies some possibilities this music educator/feminist theorist currently finds in music, whilst applying the framework of sociologist Dorothy Smith's standpoint feminism to music as constituted within the ideology of particular institutions and practices. Contributions of feminist musicology, in terms of documentation of women's experience in and with music, women's status, and perspectives of feminist music criticism, are summarized. Considering these contributions and framework as a basis to this contextualized critical stance leads to further questions. F

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Murphy, Brooklyn. "She Creates, She Controls, She Commands Respect:." Crossings: An Undergraduate Arts Journal 4, no. 1 (July 7, 2024): 17–21. http://dx.doi.org/10.29173/crossings281.

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This essay examines how women have been represented in Western rock music through their role as deities. In particular, it aims to understand how these portrayals can reflect the evolution of feminist thought and theory in the Western world. A comparative analysis of Rhiannon by Fleetwood Mac and Lazaretto by Jack White aims to demonstrate how these depictions connect with and respond to Western feminist thought from the second wave of feminism in the 1970s to the fourth wave of feminism in the 2010s. Along with musical characteristics, the analysis of these portrayals focuses on spatial and t

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Sabo, Adriana. "“I’m a feminist, do you hate me?”: Constructions of Feminism by Sajsi MC." IASPM Journal 12, no. 1 (December 16, 2022): 99–112. http://dx.doi.org/10.5429/2079-3871(2022)v12i1.7en.

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The paper focuses on the public persona of a popular female rapper from Serbia, Ivana Rašić, performing under the stage name Sajsi MC. As she openly calls herself a feminist, my goal will be to shed light onto how feminism is constructed in her discourse and music, taking into account the specificities of the post-socialist Serbian society and the transformation of the market (and life in general) into a neoliberal one, as well as certain strategies of the popular music industry. Given that she is active within the music market, and is involved in the creation of various products offered for c

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Orr, Catherine M. "Charting the Currents of the Third Wave." Hypatia 12, no. 3 (1997): 29–45. http://dx.doi.org/10.1111/j.1527-2001.1997.tb00004.x.

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The term “third wave” within contemporary feminism presents some initial difficulties in scholarly investigation. Located in popular-press anthologies, tines, punk music, and cyberspace, many third wave discourses constitute themselves as a break with both second wave and academic feminisms; a break problematic for both generations of feminists. The emergence of third wave feminism offers academic feminists an opportunity to rethink the context of knowledge production and the mediums through which we disseminate our work.

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Rahayu, Sukesi, Katrhryn Emerson, and Phakkharawat Sittiprapaporn. "Feminism in song of jineman kenya ndesa laras slendro pathet sanga." Gelar : Jurnal Seni Budaya 19, no. 2 (December 1, 2021): 154–58. http://dx.doi.org/10.33153/glr.v19i2.3558.

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AbstractFeminism in Sukesi Rahayu's Jineman Kenya Ndesa laras slendro pathet sanga is a study that reviews feminist discourses on the creation of gamelan music based on the issues of gender equality between women and men. The purpose of this research is to prove and show that the creation of Javanese karawitan is not only based on male paradigm domination, but women also have a role in speaking out about feminism through karawitan works. The research methodology used is descriptive qualitative by positioning the object of study as the primary focus and writings on feminism as supporting source

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Josephine, Josephine, and Gregorius Genep Sukendro. "Representasi Feminisme dalam Film Seri Marvel (Analisis Semiotika John Fiske pada Film Serial She-Hulk: Attorney at Law)." Koneksi 7, no. 2 (October 5, 2023): 481–90. http://dx.doi.org/10.24912/kn.v7i2.21612.

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The film is one form of popular mass media which is packaged in such a way that the message it carries can be conveyed. A Film is a popular form of mass media that is widely used by the public. A film's story is packaged in such a way that the message it conveys is conveyed. The film's values can have cognitive, affective, and conative effects on the audience. She-Hulk: Attorney at Law, a 2022 Marvel Cinematic Universe production, is no exception. What is interesting to examine is how the film portrays feminism. The goal of this research is to determine the meaning of the semiotic code in rela

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Ljubijankic, Miriam Lisa. "Plot Twist: Unexpected twists in the sexist narrative of reggaetón." Ensayos: Historia y Teoría del Arte 26, no. 42 (May 10, 2024): 97–119. http://dx.doi.org/10.15446/ensayos.v26n42.114129.

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Building on ideas of feminism and post-feminism, this paper looks at the development and reception of reggaetón, which has been associated with buzzwords such as machismo and sexism, especially at the beginning of its emergence around the turn of the millennium. Its aim is to show what roles these two concepts have played in this Latin American pop music genre since its emergence. It discusses and illuminates ambivalences within the genre on an artistic level as well as impulses and turning points in its reception using examples from artistic projects and post-feminist voices of women who expe

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Bradby, Barbara. "Sampling sexuality: gender, technology and the body in dance music." Popular Music 12, no. 2 (May 1993): 155–76. http://dx.doi.org/10.1017/s0261143000005535.

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Bayton (1992) is right to be preoccupied by the mutual blindness between feminism and popular music. For if pop music has been the twentieth-century cultural genre most centrally concerned with questions of sexuality, one would expect more feminist critique and engagement with it. It is undoubtedly true that feminists have often been suspicious of pop music as typifying everything that needs changing for girls in society (McRobbie 1978), and of rock music as a masculine culture that excludes women (Frith and McRobbie 1979). Conversely, those who wished to celebrate the political oppositionalit

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Doktor, Stephanie. "On the Failure of White Feminism: When PJ Harvey and Björk Covered the Rolling Stones’ “Satisfaction”." Journal of the American Musicological Society 77, no. 1 (2024): 103–61. http://dx.doi.org/10.1525/jams.2024.77.1.103.

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Abstract In 1994, PJ Harvey and Björk covered the Rolling Stones’ “(I Can’t Get No) Satisfaction” (1965) at the BRIT Awards ceremony. As part of the mainstreaming of cultural feminism, cross-gender cover songs became more common in the 1990s, effectively challenging women’s exclusion from popular music canons. Björk and Harvey’s cover was unconventional, however, in that it shifts from distorting the original music at the beginning of the song to directly imitating it by the end. Drawing on Black feminist theory, I argue that this change in intertextual approach resonates with white feminist a

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Araüna, Núria, Iolanda Tortajada, and Mònica Figueras-Maz. "Feminist Reggaeton in Spain: Young Women Subverting Machismo Through ‘Perreo’." YOUNG 28, no. 1 (March 25, 2019): 32–49. http://dx.doi.org/10.1177/1103308819831473.

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This article explores the feminist potential of the Spanish ‘reggaeton’ movement led by young women through the song lyrics and public discourses of artists Brisa Fenoy, Ms Nina and Tremenda Jauría. These three singers and composers have been categorized as belonging to reggaeton genre, in a context in which Feminism is widespread among young people in Spain. Reggaeton is commonly considered (both in popular culture and academic studies) a sexist musical style, inherently male-centred in the way its songs and its ‘perreo’ dancing style are performed, and also in the pleasure provided to their

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13

van den Toorn, Pieter C. "Politics, Feminism, and Contemporary Music Theory." Journal of Musicology 9, no. 3 (1991): 275–99. http://dx.doi.org/10.2307/763704.

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Oliveros, Pauline, and Fred Maus. "A Conversation about Feminism and Music." Perspectives of New Music 32, no. 2 (1994): 174. http://dx.doi.org/10.2307/833606.

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Toorn, Pieter C. van den. "Politics, Feminism, and Contemporary Music Theory." Journal of Musicology 9, no. 3 (July 1991): 275–99. http://dx.doi.org/10.1525/jm.1991.9.3.03a00010.

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Gans, Eric. "Remarks on Originary Feminism." Perspectives of New Music 32, no. 1 (1994): 86. http://dx.doi.org/10.2307/833153.

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Jin, Hanlin. "An Analysis of the Influence of K-pop on the Development of Feminism in China." Communications in Humanities Research 17, no. 1 (November 28, 2023): 6–10. http://dx.doi.org/10.54254/2753-7064/17/20230735.

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In China, in recent years, feminist content has been on the rise on social media platforms, and many female social media users have begun to recognize and support feminist views. In China, K-pop music and idol, which are also more widely known, have also influenced the perceptions and thoughts of many Internet users. This paper focuses on the influence of K-pop on Chinese social media users perceptions of feminism. The research methodology of post-subcultural and transcultural studies will help this paper study the changes in K-pop culture and feminist concepts. The conclusion of the study is

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McNutt, Myles. "From “Mine” to “Ours”: Gendered Hierarchies of Authorship and the Limits of Taylor Swift’s Paratextual Feminism." Communication, Culture and Critique 13, no. 1 (March 2020): 72–91. http://dx.doi.org/10.1093/ccc/tcz042.

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Abstract This article analyzes paratextual strategies deployed by Taylor Swift in her transition from country to pop in the context of her articulation of her authorship as a female songwriter. This was a transition complicated by the gendered hierarchies of pop music, wherein male producers carry significant discursive weight. The article frames the “Voice Memos” included with her 2014 album 1989 as a form of paratextual feminism, reiterating the authenticity she developed as a country star and pushing back against claims her collaboration with male producers like Max Martin and Ryan Tedder t

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Łyszko, Paulina. "Around the Issue of the Body in Feminist Narratives of Selected Pop Artists of the Young Generation." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 13, no. 2 (June 30, 2021): 102–13. http://dx.doi.org/10.24917/20837275.13.2.8.

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Feminism in music is not a new concept, but we can observe a new wave of pop feminism in pop music, in a younger generation of female artists. They are open to discuss taboo topics, connected to carnality, sexuality, body positivity or feminism. The artists such as Miley Cyrus, Beyoncé, Pink, Avril Lavigne or Taylor Swift, with more courage are presenting in their creation, until now – taboo topics, rejected in mainstream music. They are not afraid of portraying topics, such as: sexual freedom, women’s rights, the objectification of women, men power and domination, social injustice, fat shamin

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Li, Sitian, Yaxuan Wang, and Muyi Xie. "Girls Power: Analysis of Feminist Expression in the Hip-hop Garments Culture." Lecture Notes in Education Psychology and Public Media 4, no. 1 (May 17, 2023): 579–84. http://dx.doi.org/10.54254/2753-7048/4/2022221.

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The issue of gender has become increasingly socially sensitive in recent years. There is a high level of conversation about feminism, and discussions of feminism are beginning to emerge in hip-hop culture, where, for example, female performers express their feminist attitudes through their dress code. The female performers of today typically wear two types of clothing: sexy and baggy. In this study, each of these styles is discussed separately to determine why these two outfits are the most representative feminist symbols in hip-hop culture. Additionally, how do these two outfits convey the im

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21

Salsabila, Fallah, and Ichwan Suyudi. "LIBERAL FEMINISM REFLECTED IN KATY PERRY’S PART OF ME MUSIC VIDEO: A Multimodal Critical Discourse Analysis." Journal of English Teaching, Applied Linguistics and Literatures (JETALL) 6, no. 1 (May 12, 2023): 65. http://dx.doi.org/10.20527/jetall.v6i1.15283.

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This research aims to find and elaborate the visual grammar found in Katy Perry’s Part of Me Music Video and which scenes from the video contain Liberal Feminism values. This research employed descriptive qualitative method. The data of this research are visual images from a music video. The data were obtained from several scenes of Katy Perry’s Music Video titled Part of Me that were being captured by the researcher. The researcher used theory of visual grammar by Kress and Leeuwen and Fairclough’s theory regarding critical discourse analysis. The result of this research showed that there wer

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Winters, Joseph. "resilience and melancholy: pop music, feminism, neoliberalism." Feminist Review 112, no. 1 (February 2016): e23-e24. http://dx.doi.org/10.1057/fr.2015.67.

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MILLER, JANICE. "The Runaways: Music, fashion and 'post-feminism'." Film, Fashion & Consumption 1, no. 2 (February 9, 2012): 187–201. http://dx.doi.org/10.1386/ffc.1.2.187_1.

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Vesey, Alyxandra. "Mixing in Feminism." Popular Music and Society 39, no. 2 (June 19, 2015): 202–21. http://dx.doi.org/10.1080/03007766.2015.1055919.

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Jocson-Singh, Joan. "Vigilante feminism as a form of musical protest in extreme metal music." Metal Music Studies 5, no. 2 (June 1, 2019): 263–73. http://dx.doi.org/10.1386/mms.5.2.263_1.

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Drawing on my 2016 ethnographic research on women in New York’s extreme metal music scene, this short article discusses the emerging concept of vigilante feminism; a term first coined by American Studies professor Laura D’Amore in her 2017 study, Vigilante Feminism: Revising Trauma, Abduction, and Assault in American Fairy Tale Revisions. Through interviews with the death metal band Castrator, the role of the female musician and fan in the extreme metal music (EMM) scene is explored. Using the lens of vigilante feminism as a form of musical protest, I analyse lyrical content, performativity an

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Alonso Alconada, Soraya. "Reformulating the Riot Grrrl Movement: Space and Sisterhood in Kathleen Hanna’s Lyrics." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 20 (2021): 99–119. http://dx.doi.org/10.25145/j.clepsydra.2021.20.05.

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Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a significant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le

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Cleveston Gelain, Gabriela, Milene Migliano, and Pedro De Assis Pereira Scudeller. "Experiências de uma Riot Grrrl: Kathleen Hanna, feminismo, DIY e cultura remix." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 152–88. http://dx.doi.org/10.22456/2596-0911.104017.

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Por meio dos fragmentos de narrativas da trajetória da musicista e ativista Kathleen Hanna, pioneira do movimento Riot Grrrl, remontamos, a partir do documentário The Punk Singer, a terceira onda do movimento feminista, evidenciando a interseccionalidade e protagonismo juvenil. Através de fanzines, arte, colagens, letras de música, performances e formação de bandas a partir de uma filosofia punk do it yourself (DIY), salientamos a ampla contribuição de Hanna para o feminismo contemporâneo ao desafiar um cenário opressor dentro do movimento punk, estimulando o surgimento de outras iniciativas f

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Russworm, TreaAndrea M., and Samantha Blackmon. "Replaying Video Game History as a Mixtape of Black Feminist Thought." Feminist Media Histories 6, no. 1 (January 1, 2020): 93–118. http://dx.doi.org/10.1525/fmh.2020.6.1.93.

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This article, a Black feminist mixtape, blends music, interviews, and critical analysis in order to demonstrate some of the ways in which Black women have impactfully engaged with the video game industry. Organized as musical “tracks,” it uses lyrics by Black women performers as a critical and cultural frame for understanding some of the work Black women have done with video games. In prioritizing the personal as not only political but also instructive for how we might think about digital media histories and feminism, each mixtape track focuses on Black women's lived experiences with games. As

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Miller, Alexandria. "“Lioness Order”: The Women of the Reggae Revival Speak." Women, Gender, and Families of Color 9, no. 2 (October 1, 2021): 152–66. http://dx.doi.org/10.5406/23260947.9.2.03.

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Abstract This article investigates the role of contemporary women in reggae music and details the unexpectedness of their growing role in the current industry, given their relative absence since the 1970s. Through critical studies of singers Janine “Jah9” Cunningham and Kelissa [McDonald], I historicize the evolution of female songstresses and their contributions to changing the rhetoric around women's positionalities in music and their relationship to Caribbean feminisms. Using an interdisciplinary framework that incorporates an intersectional lens with focuses on race, gender, and class, I a

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Orlov, Vladimir S. "Feminism and Music. A Discourse on the Feminine Nature in the “New Musicology”." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2017): 46–51. http://dx.doi.org/10.17674/1997-0854.2017.1.046-051.

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Munoz-Garcia, Rebeca, and Constanza Tobio-Soler. "Gender and jazz research in Spain." Jazz Research Journal 16, no. 2 (March 8, 2024): 107–28. http://dx.doi.org/10.1558/jazz.26638.

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During the last two decades, the little jazz research that has been conducted in Spain has focused on examining both flamenco jazz, as the most important contribution of Spanish culture to jazz, and sociocultural meanings of jazz development, mainly from a political and historical perspective. This period has also coincided with a significant development in jazz studies outside of the United States, and a key juncture for gender and feminist studies in Spain that concurred with the emergence of fourth-wave feminism. Spanish gender research in music has traditionally focused on written music, p

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Kim, Gooyong. "Neoliberal feminism in contemporary South Korean popular music." Politics of Sound 18, no. 4 (June 12, 2019): 560–78. http://dx.doi.org/10.1075/jlp.18058.kim.

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AbstractThis paper examines how South Korean popular music (K-pop) promotes neoliberal feminism by a discourse of resilience. In a therapeutic narrative of overcoming obstacles and achieving goals, K-pop videos deliver a hegemonic message that individuals have to be responsible for their success and well-being rather than blaming external, institutional conditions. While ostensibly promoting female empowerment, the videos update and reinforce patriarchal gender norms and expectations. To substantiate this point, I analyze music videos of the most successful K-pop group, Girls’ Generation’s “In

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Lee, Hye-Won. "A Study on the Dialectic Female Narrative in Korean Idol Music Video: Focused on the girl group “Red Velvet”." K-Culture·Story Contents Reasearch Institute 2 (January 31, 2023): 9–38. http://dx.doi.org/10.56659/kcsc.2023.1.9.

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The purpose of this study is to examine the dialectical female narrative that appears in the music video of the girl group “Red Velvet” through Hegel's dialectic. In the red velvet song with the velvet concept targeted in this study, “Women's narrative,” in which women become the subject of narrative and express the self-realization of the female subject, is a central element. Macroscopically, these songs form a “These-Antithese-Synthese” relationship, and epicly, they consist of a “divide-integration-divide-integration” aspect. In general, “These” is a hesitation to return to a patriarchal an

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Browne, Kath. "Lesbian separatist feminism at Michigan Womyn’s music festival." Feminism & Psychology 21, no. 2 (December 5, 2010): 248–56. http://dx.doi.org/10.1177/0959353510370185.

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Whiteley, Sheila. "Disruptive Divas: Feminism, Identity and Popular Music (review)." Notes 59, no. 2 (2002): 320–23. http://dx.doi.org/10.1353/not.2002.0197.

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Cimini, Amy Marie. "Music Theory, Feminism, the Body: Mediation’s Plural Work." Contemporary Music Review 37, no. 5-6 (November 2, 2018): 666–83. http://dx.doi.org/10.1080/07494467.2018.1577642.

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Rainwater, Crescent. "Netta Syrett, Nobody’s Fault, and Female Decadence: The Story of a Wagnerite." Journal of Victorian Culture 25, no. 2 (December 14, 2019): 185–99. http://dx.doi.org/10.1093/jvcult/vcz057.

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Abstract Scholars have traditionally associated decadence with misogyny, and therefore it has typically been perceived as antithetical to feminism. Nobody’s Fault (1896), Netta Syrett’s first novel, complicates this perception through the way in which the self-assertive protagonist, Bridget Ruan, finds in the decadent music of Richard Wagner a liberating form of aesthetic experience. In this essay, I argue that encountering Wagner’s music marks Bridget’s immersion into a form of decadent culture that affirms her aesthetic longings and awakens her erotic desires. At the same time, the novel con

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Walkowitz, Judith R. "COSMOPOLITANISM, FEMINISM, AND THE MOVING BODY." Victorian Literature and Culture 38, no. 2 (May 6, 2010): 427–49. http://dx.doi.org/10.1017/s1060150310000100.

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In October 1894, Mrs. Laura OrmistonChant, a feminist purity reformer, successfully challenged the music and dancing license of the Empire Theatre of Varieties before the licensing committee of the London County Council. Mrs. Chant raised two objections to the management of the Empire: first, that “the promenade, an open space behind the dress circle in front of the bar,” where 500 people circulated nightly, was used “as the habitual resort of prostitutes in pursuit of their traffic.” Her “second indictment” was that parts of the performance on stage were exceedingly indecent, including the co

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Werner, Ann, and Marika Nordström. "Starka kvinnor? Förebilder och tjejer i musikproduktion och musikkonsumtion." Tidskrift för genusvetenskap 34, no. 2-3 (June 13, 2022): 113–29. http://dx.doi.org/10.55870/tgv.v34i2-3.3373.

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This article focuses on the concept of ”strong women” in popular music and interrogates the idea of role models. Ideas of ”strong women” are analysed in the context of a contemporary Western society characterised by neo-liberalism and post-feminism. Advocacy of role models is regarded as an example of a political strategy that places the responsibility for social change on the individual. This is done from a feminist cultural theoretical perspective where discourse is seen as having an impact on material subject positions and where post-feminist culture is seen as part of contemporary discours

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Webster-Kogen, Ilana. "Engendering homeland: migration, diaspora and feminism in Ethiopian music." Journal of African Cultural Studies 25, no. 2 (May 29, 2013): 183–96. http://dx.doi.org/10.1080/13696815.2013.793160.

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Reger, Jo. "Where Are the Leaders? Music, Culture, and Contemporary Feminism." American Behavioral Scientist 50, no. 10 (June 2007): 1350–69. http://dx.doi.org/10.1177/0002764207300159.

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Judkins, Jennifer, and Maggie Humm. "Feminism and Film." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 475. http://dx.doi.org/10.2307/432158.

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Coleman, Debra, Elizabeth Danze, Carol Henderson, and Courtney Mercer. "Architecture and Feminism." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 483. http://dx.doi.org/10.2307/432164.

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Noble, Fiona. "New feminist voices in Spanish audio-visual cultural production: Vis a vis (Locked Up) (Antena 3 and Globomedia, 2015–19) and La casa de papel (Money Heist) (Antena 3 and Netflix, 2017–21)." Journal of European Popular Culture 13, no. 2 (October 1, 2022): 83–102. http://dx.doi.org/10.1386/jepc_00044_1.

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This article maps an emerging engagement with intersections amongst gender, voice/sound and feminism in the context of contemporary Spanish audio-visual cultural production. I locate the voice at the nexus of contemporary feminisms as these manifest through popular, public and theoretical means. Taking two recent internationally successful Spanish series (Vis a vis [Locked Up] and La casa de papel [Money Heist]) as examples, I contend that female voices and their treatment within contemporary Spanish audio-visual cultures constitute an important site within which female subjectivities emerge a

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Hines, Jasmine. "Incorporating intersectional musicality within the classroom: Black feminism through Nina Simone and Janelle Monáe." Journal of Popular Music Education 4, no. 3 (November 1, 2020): 311–28. http://dx.doi.org/10.1386/jpme_00034_1.

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In an age of social justice advocacy within education, the work of Black women continues to be excluded from the hegemonic educational canon despite the long history of Black feminists advocating for the eradication of systemic oppressive systems in education. By examining the livelihoods and music created by Black feminist musicians, music educators may begin to reflect on how Black women’s positionality within society has had a direct influence on the music they created within a White culturally dominant society. The purpose of this article is to conceptualize how the intersectional musicali

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Autry, Evelyn Saavedra. "Singing Feminist Ch'ixi+Art Music from las Rajaduras: Renata Flores, Isqun , and the Fractured Locus." Feminist Formations 35, no. 3 (December 2023): 1–27. http://dx.doi.org/10.1353/ff.2023.a916568.

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Abstract: With music album Isqun , nine in Quechua and meaning mirror of the soul, Quechua singer Renata Flores aims to trace the journey of Indigenous women from the Andes in Peruvian history: the Inca era, colonialism, independence, and Republic. Combining sounds of the Andean countryside and the beats of Latin rap, trap, and hip-hop, her nine songs written in Quechua and Spanish represent a decolonial turn towards undoing westernized epistemologies of knowledge. This article explores Flores's potential contributions to decolonial feminism through the lens of Gloria Anzaldúa's theoretical fr

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Farrimond, Katherine. "‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences." Horror Studies 11, no. 2 (October 1, 2020): 149–68. http://dx.doi.org/10.1386/host_00016_1.

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Horror has long been understood as a ‘bad object’ in relation to its audiences. More specifically, this presumed relationship is a gendered one, so that men are positioned as the genre’s natural audience, while women’s engagement with horror is presented as more fractious. However, those horror films framed as feminist require a reorientation of these relations. This article foregrounds the critical reception of a ‘conspicuously feminist’ horror film in order to explore what happens to the bad object of horror within an opinion economy that works to diagnose the feminism or its absence in popu

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Powell, Elliott H. "Resilience and Melancholy: Pop Music, Feminism, Neoliberalism by Robin James." philoSOPHIA 7, no. 7 (2017): 179–85. http://dx.doi.org/10.1353/phi.2017.0017.

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Saucier, Paul Khalil. "Feminism and Hip-Hop Conference, University of Chicago (April 2005)." Journal of Popular Music Studies 18, no. 1 (April 2006): 94–101. http://dx.doi.org/10.1111/j.1524-2226.2006.00077.x.

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Ballet, Nicolas. "“Alpha Females”: Feminist Transgressions in Industrial Music." Arts 11, no. 2 (February 24, 2022): 37. http://dx.doi.org/10.3390/arts11020037.

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Recycled, re-engineered and transformed pornography has often been appropriated by many of the industrial music movement’s female personalities who are invested in an anti-censorship discourse. This contrasts with the dominant form of feminism in the 1970s, which railed against the depiction of all aspects of sexuality. Artists Cosey Fanni Tutti, Lisa Carver, Diamanda Galás, Mïrka Lugosi, Antal Nemeth, Diana Rogerson and Jill Westwood challenged the codes of male domination by reconfiguring gender and overturning the violence perpetrated by men within the industrial movement. Following the art

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