ENCATC Journal of Cultural Management and Policy, 7 (1), pp. The mind of the artist / the mind of the leader: what neuroscience can teach us about the Agency, leadership, and gender negotiation in Balinese girls’ gamelans. Sounds of power: An overview of musical instruments and gender. Urbana: University of Illinois Press, pp. Music and Gender: Negotiating Shifting Worlds. Narodna umjetnost-Hrvatski asopis za etnologiju i folkloristiku, 38(1), pp. In between ethnomusicological and social canons: historical sources on women players of folk music Routledge, Taylor & Francis Group.Ĭeribaši, N. Arts Leadership in Contemporary Contexts. Krupalija (Eds.), Young Women in Post-Yugoslav Societies: Research, Practice and Policy (pp. Non-Paid, Under-Paid and Self-Exploiting Labour as a Choice and a Necessity: Example (2018) Kako žive umjetnice? Prostor Plus: Rijeka.īarada, V., Primorac, J. International Journal of Cultural Policy, 23:2, pp. Cultural rights and their contribution to sustainable development: implicationsįor cultural policy. Yugopapirīaltà Portolés, J., Dragi evic Šeši, M. Our Rock? It seems that Magi and Anja are more important than us, who are a group]. Žene u rocku kod nas? Ispada da su zna ajnije Magi i Anja nego mi, koje smo cela grupa [Women in 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.Īmbrozi, D. 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. 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. Either as role models or cherished leaders, female musicians employ different tactics to fight stereotypes, strengthen communities, and ensure female participation. We consider the mores and demands of the music marketĪnd everyday culture, their link to personal experiences, and the reach of the social institutions regarding music. 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. 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. Here we explore the contemporary practices of female participation in the music scenes in Serbia, and to an extent, in the Balkans. Women in music, gender stereotypes, gender equality, cultural management, cultural policy, independent music scene Resum
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