Radical lectures delivered in less radical institutional settings tend to be opened by official welcome notes that are well-intended, but often boring or that even downplay the radical stance the lecture itself is about to propose. This was not the case on April 24th<\/sup>, when David Keller, head of International Affairs at ZHdK, welcomed Melissa Steyn and Marie Buscatto in Zurich. In front of a full house, Keller opened the evening by acknowledging the ambivalence of his own position, as a \u201csuper privileged, white, heterosexual man from a middle-class background,\u201d in the context of an programme that aims to destabilise the hegemony of that very position.<\/p>\n Having been involved with literacy projects in development cooperation in Latin America, Keller was particularly interested in Steyn\u2019s concept of \u201ccritical diversity literacy.\u201d Steyn argues that \u201cthose socialized into spaces of relative disadvantage tend to be more literate in critical diversity,\u201d than those who are born into positions of privilege. Taking this statement at face value, Keller wondered if he was invited to attend the evening in order to improve his own \u201cdiversity literacy,\u201d hence his own capacity to read and recognize processes of discrimination, by being exposed to an experience of multiple exclusion himself (as supposeldy one of the few straight white men in the lecture hall). While this remark might have sounded a bit heavier than intended, it does speak to the spectre haunting those who are indeed comfortably occupying privileged social positions.<\/span><\/p>\n Without justifying those who feel pressured, threatened or even \u201cdiscriminated\u201d against when confronted with the demands of a critical diversity agenda, Keller suggested that such (defensive) responses indicate that \u201csomething powerful is coming.\u201d Further, he held that Paulo Freire\u2019s major work \u201cPedagogy of the Oppressed\u201d should be inverted and rewritten into a \u201dPedagogy for the Oppressor\u201c who is ready to work on his \u201dfailed socialization\u201c and be educated on the injustices he did not learn to see. Keller closed his opening remarks by welcoming Melissa Steyn as the \u201ccritical friend\u201d needed to ask provocative questions and offer her critique.<\/span><\/p>\n Keller was followed by Carmen M\u00f6rsch, head of the institute for Art Education, who introduced the lecturers in more detail, after assuring Keller that Art.School.Differences project considers him an ally: Keller\u2019s attempts at reflecting on ZHdK\u2019s process of internationalization by discussing critical theories were, she said, highly appreciated by the Art.School.Differences team.<\/p>\n 18.15h Melissa Steyn, best known for her work on whiteness in post-Apartheid South Africa, has been developing Diversity Studies as field in Higher Education since 2001. She holds the South African National Chair in Critical Diversity Studies and is the founding director of the Wits Center for Diversity Studies, which challenges ideas about difference through research and education.<\/p>\n Steyn understands diversity as a mode of \u201cbeing different together” that is enabling for everybody. As simple as this may sound, in reality it\u2019s complicated. Especially since diversity has become a core trope for the world and since claims to be in favour of diversity have become standard – not least in Higher Art Education. Steyn\u2019s framework of \u201cCritical Diversity Literacy\u201c accounts for the fact that achieving true diversity is a struggle that is far from being a carnivalesque celebration and consumption of differences, as neo-liberalism tries to make us believe. This critical type of literacy is much more than a private, cognitive skill to encode and decode written texts. Rather, this literacy connotes the socially and culturally embedded capacity of reading, or, drawing on France Winddance Twine, \u201cof receiving and responding to a social climate and prevalent structures of oppression.\u201d\u00a0[1]<\/sup><\/sup><\/a><\/p>\n Steyn defines Critical Diversity Literacy (CDL) as \u201can informed analytical orientation that enables a person to \u2018read\u2019 prevailing social relations as one would a text, recognizing the ways in which possibilities are being opened up or closed down for those differently positioned within\u201c a specific social context. For years, Steyn has been working on and extending the criteria to assess (someone\u2019s) CDL. I will focus on three of the ten critical points she outlined in Zurich:<\/p>\n 1. an understanding of the role of power in the construction of differences that make a difference. 2.\u00a0recognition of the unequal symbolic and material values of different social locations. This includes acknowledging hegemonic positionalities and concomitant identities and how these position non-hegemonic others. 9.\u00a0understanding the role of emotions, including our own emotional investments, in all of the above Last but not least, as Steyn emphasizes, point ten reminds us that critical diversity literacy implies not just the capacity to read but also the capacity to (re)write the script that lead to exclusions: While I have picked out four point that seem particularly relevant to myself, you should consult the\u00a0powerpoint presentation\u00a0in which Melissa Steyn\u00a0names\u00a0all the ten criteria she developed:\u00a0Steyn_PowerPoint<\/a><\/p>\n Discussion: 19.15 Marie Buscatto is well-known for her empirical work on \u201cartistic practices as gendered practices.\u201d An amateur jazz musician herself, she has used both ethnographic and classical sociological methods in exploring the role of female artists in the world of jazz in particular. In her presentation at ZHdK she set out to explain why men in arts \u201calways fare better than women in terms of becoming and remaining recognized as artists,\u201d and why, nevertheless, increasing numbers of female artists are being successful. With regard to\u00a0her binary use of gender categories (\u201cwoman\u201d \/ \u201cman\u201d), Buscatto sent ahead that she considered \u201ctranssexuals\u201d a recent and relatively marginal phenomenon that she did not consider in her study.<\/p>\n Despite the public perception about the\u00a0open-minded\u00a0of\u00a0the art world, it is highly gendered in ways that leads to the marginalisation of female performers over time. Here\u2019s a summary of the main points of this gradual, cumulative process: Nevertheless, a number of factors have contributed to the raising numbers in women in art, since female artists\u00a0are\u00a0strategically: Discussion: The discussion continued the following day in the colloquium among the professors and co-researchers during the\u00a0Art.School.Differences colloquium. It illuminated the challenge of communicating across disciplines and the need to connect sociological research tools to cultural theories in order to understand the many faces of exclusion.<\/p>\n [1]<\/sup><\/a>\u00a0France Winddance Twine refers to reading practices in the context of what she coined as \u201cracial literacy.\u201d<\/p>\n Serena O. Dankwa Radical lectures delivered in less radical institutional settings tend to be opened by official welcome notes that are well-intended, but often boring or that even downplay the radical stance the lecture itself is about to propose. This was not the case on April 24th<\/sup>, when David Keller, head of International Affairs at ZHdK, welcomed Melissa Steyn and Marie Buscatto in Zurich. In front of a full house, Keller opened the evening by acknowledging the ambivalence of his own position, as a \u201csuper privileged, white, heterosexual man from a middle-class background,\u201d in the context of an programme that aims to destabilise the hegemony of that very position.<\/p>\n Having been involved with literacy projects in development cooperation in Latin America, Keller was particularly interested in Steyn\u2019s concept of \u201ccritical diversity literacy.\u201d Steyn argues that \u201cthose socialized into spaces of relative disadvantage tend to be more literate in critical diversity,\u201d than those who are born into positions of privilege. Taking this statement at face value, Keller wondered if he was invited to attend the evening in order to improve his own \u201cdiversity literacy,\u201d hence his own capacity to read and recognize processes of discrimination, by being exposed to an experience of multiple exclusion himself (as supposeldy one of the few straight white men in the lecture hall). While this remark might have sounded a bit heavier than intended, it does speak to the spectre haunting those who are indeed comfortably occupying privileged social positions.<\/span><\/p>\n Without justifying those who feel pressured, threatened or even \u201cdiscriminated\u201d against when confronted with the demands of a critical diversity agenda, Keller suggested that such (defensive) responses indicate that \u201csomething powerful is coming.\u201d Further, he held that Paulo Freire\u2019s major work \u201cPedagogy of the Oppressed\u201d should be inverted and rewritten into a \u201dPedagogy for the Oppressor\u201c who is ready to work on his \u201dfailed socialization\u201c and be educated on the injustices he did not learn to see. Keller closed his opening remarks by welcoming Melissa Steyn as the \u201ccritical friend\u201d needed to ask provocative questions and offer her critique.<\/span><\/p>\n Keller was followed by Carmen M\u00f6rsch, head of the institute for Art Education, who introduced the lecturers in more detail, after assuring Keller that Art.School.Differences project considers him an ally: Keller\u2019s attempts at reflecting on ZHdK\u2019s process of internationalization by discussing critical theories were, she said, highly appreciated by the Art.School.Differences team.<\/p>\n 18.15h Melissa Steyn, best known for her work on whiteness in post-Apartheid South Africa, has been developing Diversity Studies as field in Higher Education since 2001. She holds the South African National Chair in Critical Diversity Studies and is the founding director of the Wits Center for Diversity Studies, which challenges ideas about difference through research and education.<\/p>\n Steyn understands diversity as a mode of \u201cbeing different together” that is enabling for everybody. As simple as this may sound, in reality it\u2019s complicated. Especially since diversity has become a core trope for the world and since claims to be in favour of diversity have become standard – not least in Higher Art Education. Steyn\u2019s framework of \u201cCritical Diversity Literacy\u201c accounts for the fact that achieving true diversity is a struggle that is far from being a carnivalesque celebration and consumption of differences, as neo-liberalism tries to make us believe. This critical type of literacy is much more than a private, cognitive skill to encode and decode written texts. Rather, this literacy connotes the socially and culturally embedded capacity of reading, or, drawing on France Winddance Twine, \u201cof receiving and responding to a social climate and prevalent structures of oppression.\u201d\u00a0[1]<\/sup><\/sup><\/a><\/p>\n Steyn defines Critical Diversity Literacy (CDL) as \u201can informed analytical orientation that enables a person to \u2018read\u2019 prevailing social relations as one would a text, recognizing the ways in which possibilities are being opened up or closed down for those differently positioned within\u201c a specific social context. For years, Steyn has been working on and extending the criteria to assess (someone\u2019s) CDL. I will focus on three of the ten critical points she outlined in Zurich:<\/p>\n 1. an understanding of the role of power in the construction of differences that make a difference. 2.\u00a0recognition of the unequal symbolic and material values of different social locations. This includes acknowledging hegemonic positionalities and concomitant identities and how these position non-hegemonic others. 9.\u00a0understanding the role of emotions, including our own emotional investments, in all of the above Last but not least, as Steyn emphasizes, point ten reminds us that critical diversity literacy implies not just the capacity to read but also the capacity to (re)write the script that lead to exclusions: While I have picked out four point that seem particularly relevant to myself, you should consult the\u00a0powerpoint presentation\u00a0in which Melissa Steyn\u00a0names\u00a0all the ten criteria she developed:\u00a0Steyn_PowerPoint<\/a><\/p>\n Discussion: 19.15 Marie Buscatto is well-known for her empirical work on \u201cartistic practices as gendered practices.\u201d An amateur jazz musician herself, she has used both ethnographic and classical sociological methods in exploring the role of female artists in the world of jazz in particular. In her presentation at ZHdK she set out to explain why men in arts \u201calways fare better than women in terms of becoming and remaining recognized as artists,\u201d and why, nevertheless, increasing numbers of female artists are being successful. With regard to\u00a0her binary use of gender categories (\u201cwoman\u201d \/ \u201cman\u201d), Buscatto sent ahead that she considered \u201ctranssexuals\u201d a recent and relatively marginal phenomenon that she did not consider in her study.<\/p>\n Despite the public perception about the\u00a0open-minded\u00a0of\u00a0the art world, it is highly gendered in ways that leads to the marginalisation of female performers over time. Here\u2019s a summary of the main points of this gradual, cumulative process: Nevertheless, a number of factors have contributed to the raising numbers in women in art, since female artists\u00a0are\u00a0strategically: Discussion: The discussion continued the following day in the colloquium among the professors and co-researchers during the\u00a0Art.School.Differences colloquium. It illuminated the challenge of communicating across disciplines and the need to connect sociological research tools to cultural theories in order to understand the many faces of exclusion.<\/p>\n [1]<\/sup><\/a>\u00a0France Winddance Twine refers to reading practices in the context of what she coined as \u201cracial literacy.\u201d<\/p>\n Serena O. Dankwa Colloquium no. 4 Friday 24th April 2015, 18.00 at ZHdK Radical lectures delivered in less radical institutional settings tend to be opened by official welcome notes that are well-intended, but often boring or that even downplay the radical stance the lecture itself is about to propose. This was not the case on April 24th, when … Continue reading Global Exclusion and Diversity: Reading Migration and Gender in Art Schools<\/span><\/a><\/p>\n","protected":false},"author":2706,"featured_media":1484,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[76,152745],"tags":[],"class_list":["post-1442","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allgemein","category-kolloquium"],"_links":{"self":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/posts\/1442","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/users\/2706"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/comments?post=1442"}],"version-history":[{"count":33,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/posts\/1442\/revisions"}],"predecessor-version":[{"id":4593,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/posts\/1442\/revisions\/4593"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/media\/1484"}],"wp:attachment":[{"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/media?parent=1442"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/categories?post=1442"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.zhdk.ch\/artschooldifferences\/fr\/wp-json\/wp\/v2\/tags?post=1442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nMelissa Steyn (Wits Centre for Diversity Studies, University of the Witwatersrand, Johannesburg)
\nGetting into focus for the 21st Century: Critical Diversity Literacy as an essential lens<\/strong><\/p>\n![\"DSC_0261\"](\"https:\/\/blog.zhdk.ch\/artschooldifferences\/files\/2015\/04\/DSC_0261-e1430486522415.jpg\")
<\/a>
\n<\/u>Point one gets at the heart of how the social is constructed. It conveys that unequal power dynamics are the medium through which differences become salient. We first need to detect the discourses that hold centres and margins in place and determine whose life opportunities are restricted and whose are enabled as a result. This can only be done by putting power at the centre of analysis.<\/p>\n
\n<\/u>Dominant groups are the ones who possess the freedom to define which differences matter. The privileged have the power of define the oppressed populations as the others. While these others may also have internalized normative understanding of themselves (as an example Steyn mentions that \u201cgood Blacks\u201c in South Africa perform their blackness in a way that makes whites feel comfortable), they still tend to have a better more receptive understanding of how social dynamics of exclusion are operating.<\/p>\n
\n<\/span>As affect theory has shown, the way we feel about others and about ourselves, our emotional responses are not inevitable or \u201cnatural\u201d, but acquired. Through socialisation we\u00a0learn<\/em>\u00a0who we are supposed to trust and feel close to, and who we are supposed to fear. CDL requires the willingness to explore of our sense of self and to recognise our privilege or complicity. However uncomfortable this process be, becoming aware of how we have been shaped emotionally is crucial to the process in letting go routinized responses and becoming critical diversity literates.<\/p>\n
\n10. \u00a0an engagement with transformation of those oppressive systems towards deepening social justice at all levels.<\/u><\/p>\n
\nSteyn\u2019s insistence on a critical perspective reflects that un-critical diversity projects are part and parcel of neo-liberal agendas. The fact that diversity is a form of literacy that needs to be acquired (rather than consumed and celebrated), implies that it is crucial to focus on power dynamics. Steyn understands diversity as struggle against existing power blocks that need to be changed. Asked about the strategies of survival of those who try to enact critical diversity literacy, Steyn pointed out that it is important of being aware of how draining and \u201cdangerous\u201d this work can be. Comparing the Swiss situation of diversity and its study to the South African engagement with diversity, Steyn holds that it is in fact harder to persuade the \u201ccenters\u201d (like Switzerland) to shift. In South Africa discussions concerning the need for critical diversity are held less politely and with\u00a0an\u00a0urgency that is perhaps necessary to make changes.<\/p>\n
\nMarie Buscatto (Universit\u00e9 Paris 1 Panth\u00e9on Sorbonne)
\nArt worlds as gendered worlds<\/strong><\/p>\n<\/a>
\n1. as in other professional fields, female performers are overrepresented in devaluated, feminine connoted areas such as dancing and singing. In jazz this imbalance is striking – 96% of all instrumentalists are male and 65% of all singers are female – and reflects how the gendered order is naturalized in music from an early age. Boys, for instance, may be encouraged to pick up an electric guitar and allowed to explore informal (musical) environments, whereas girls are rather called into learning formal, classical instruments.
\n2. socializing works better for male than for female performers. Buscatto mentions that it is difficult to feel comfortable as a woman in an otherwise all male band, because the men \u201cdon\u2019t feel comfortable with you either.\u201d To the men feels safer to play (music) with colleagues of your own gender, and, as I would add your own race.
\n3. persistent stereotype about women not being powerful creators, complicates recognition as an independent female artist. When female pop musicians do become famous, it\u2019s assumed that someone else writes their hits for them, that they are backed by powerful boyfriends, or that it is their (physical) seductiveness that makes them successful. Male seduction, however, is associated with action and creativity.
\n4. women struggle to articulate private and professional life not because they have children, but rather, because unlike their male who are backed by a helpful girlfriend, heterosexual female artists tend to have lovers who are themselves busy artists and less prepared to cater to their partner\u2019s career and professional needs.<\/p>\n
\n1. turning feminine stereotypes into an asset; women artists in particularly \u201cfeminine\u201d and devaluated fields (such as knitting) managed to revert stigma and end up being considered original.
\n2. consciously or unconsciously deploying \u201cfeminine capital such as seduction\u201d as a marketing strategy, while remaining aware that drawing on certain stereotypes is counterproductive, because it makes you a \u201cfeminine artists\u201d and not a universal artist.
\n3. \u201ccompensating\u201d exclusions by drawing on formal funding programmes and\/or on their class privileges. Generally, female musicians are equipped with more cultural capital and have better access to (male) social networks.
\n– they tend to have higher educational degrees than men; art schools are efficient in allowing young women to practice networking and performance skills that are hard to gain in stigmatizing, informal spaces.
\n– public funding and projects for underprivileged youth in popular music and dance seem to have a positive effect for women.
\n– it has been shown that the use of screens to hire orchestra musicians has elevated the percentage of female orchestra musicians by 30%.
\n4. involving themselves in collective action and commercial and\/or feminist initiatives organized for (or by) all-female bands and groups of artists.<\/p>\n
\nWhile appreciating Buscatto\u2019s empirical findings, her neglect of intersectional and historical works by black and queer theorists was critiqued. First, her pre-empting comment about trans*issues being a recent phenomena was interrogated on the basis that gender-queers (people transgressing gender binaries in various in\/visible ways) have existed long before the term trans* gained currency. The risk of reproducing certain stereotypes (e.g. about women\u2019s use of seduction) looms large, when gender binaries are taken for granted. This leads to an epistemological blind spot, for instance on the structuring effects of what queer theorists identified as \u201cmale homosociality\u201d \u00a0or on what disables or allows for the reversal of certain stigmatizations and not others. Further, it would be interesting to consider\u00a0contemporary female performers who reject to play on their femininity (by wearing baggy clothes ect) against the background of a\u00a0long history of female musicians who cross-dressed and\/or passed as men\u00a0in performance spaces. This \u201cqueering\u201d of the gaze does not mean we look for \u201chomosexuals.\u201d It\u00a0compels us, however, to consider\u00a0strategies of seduction or of non-seduction by making use of interdisciplinary theories\u00a0on the intertwinement of gender and sexuality.<\/p>\n
\nis a classical musician\u00a0who became a radio journalist who became a black feminist anthropologist
\nhttps:\/\/www.zhdk.ch\/?person\/detail&id=201721<\/p>\nColloquium no. 4<\/h3>\n
Friday 24th<\/sup>\u00a0April, 18.00 at ZHdK<\/h4>\n
\nMelissa Steyn (Wits Centre for Diversity Studies, University of the Witwatersrand, Johannesburg)
\nGetting into focus for the 21st Century: Critical Diversity Literacy as an essential lens<\/strong><\/p>\n<\/a>
\n<\/u>Point one gets at the heart of how the social is constructed. It conveys that unequal power dynamics are the medium through which differences become salient. We first need to detect the discourses that hold centres and margins in place and determine whose life opportunities are restricted and whose are enabled as a result. This can only be done by putting power at the centre of analysis.<\/p>\n
\n<\/u>Dominant groups are the ones who possess the freedom to define which differences matter. The privileged have the power of define the oppressed populations as the others. While these others may also have internalized normative understanding of themselves (as an example Steyn mentions that \u201cgood Blacks\u201c in South Africa perform their blackness in a way that makes whites feel comfortable), they still tend to have a better more receptive understanding of how social dynamics of exclusion are operating.<\/p>\n
\n<\/span>As affect theory has shown, the way we feel about others and about ourselves, our emotional responses are not inevitable or \u201cnatural\u201d, but acquired. Through socialisation we\u00a0learn<\/em>\u00a0who we are supposed to trust and feel close to, and who we are supposed to fear. CDL requires the willingness to explore of our sense of self and to recognise our privilege or complicity. However uncomfortable this process be, becoming aware of how we have been shaped emotionally is crucial to the process in letting go routinized responses and becoming critical diversity literates.<\/p>\n
\n10. \u00a0an engagement with transformation of those oppressive systems towards deepening social justice at all levels.<\/u><\/p>\n
\nSteyn\u2019s insistence on a critical perspective reflect that un-critical diversity projects are part and parcel of neo-liberal agendas. The fact that diversity is a form of literacy that needs to be acquired (rather than consumed and celebrated), implies that it is crucial to focus on power dynamics. Steyn understands diversity as struggle against existing power blocks that need to be changed. Asked about the strategies of survival of those who try to enact critical diversity literacy, Steyn pointed out that it is important of being aware of how draining and \u201cdangerous\u201d this work can be on all levels. Comparing the Swiss situation of diversity and its study to South African engagement with diversity, Steyn holds that it is in fact harder to persuade the \u201ccenters\u201d (like Switzerland) to shift. In South Africa discussions concerning the need for critical diversity are held less politely and with more urgency that is perhaps necessary to make changes.<\/p>\n
\nMarie Buscatto (Universit\u00e9 Paris 1 Panth\u00e9on Sorbonne)
\nArt worlds as gendered worlds<\/strong><\/p>\n<\/a>
\n1. as in other professional fields, female performers are overrepresented in devaluated, feminine connoted areas such as dancing and singing. In jazz this imbalance is striking – 96% of all instrumentalists are male and 65% of all singers are female – and reflects how the gendered order is naturalized in music from an early age. Boys, for instance, may be encouraged to pick up an electric guitar and allowed to explore informal (musical) environments, whereas girls are rather called into learning formal, classical instruments.
\n2. socializing works better for male than for female performers. Buscatto mentions that it is difficult to feel comfortable as a woman in an otherwise all male band, because the men \u201cdon\u2019t feel comfortable with you either.\u201d To the men feels safer to play (music) with colleagues of your own gender, and, as I would add your own race.
\n3. persistent stereotype about women not being powerful creators, complicates recognition as an independent female artist. When female pop musicians do become famous, it\u2019s assumed that someone else writes their hits for them, that they are backed by powerful boyfriends, or that it is their (physical) seductiveness that makes them successful. Male seduction, however, is associated with action and creativity.
\n4. women struggle to articulate private and professional life not because they have children, but rather, because unlike their male who are backed by a helpful girlfriend, heterosexual female artists tend to have lovers who are themselves busy artists and less prepared to cater to their partner\u2019s career and professional needs.<\/p>\n
\n1. turning feminine stereotypes into an asset; women artists in particularly \u201cfeminine\u201d and devaluated fields (such as knitting) managed to revert stigma and end up being considered original.
\n2. consciously or unconsciously deploying \u201cfeminine capital such as seduction\u201d as a marketing strategy, while remaining aware that drawing on certain stereotypes is counterproductive, because it makes you a \u201cfeminine artists\u201d and not a universal artist.
\n3. \u201ccompensating\u201d exclusions by drawing on formal funding programmes and\/or on their class privileges. Generally, female musicians are equipped with more cultural capital and have better access to (male) social networks.
\n– they tend to have higher educational degrees than men; art schools are efficient in allowing young women to practice networking and performance skills that are hard to gain in stigmatizing, informal spaces.
\n– public funding and projects for underprivileged youth in popular music and dance seem to have a positive effect for women.
\n– it has been shown that the use of screens to hire orchestra musicians has elevated the percentage of female orchestra musicians by 30%.
\n4. involving themselves in collective action and commercial and\/or feminist initiatives organized for (or by) all-female bands and groups of artists.<\/p>\n
\nWhile appreciating Buscatto\u2019s empirical findings, her neglect of intersectional and historical works by black and queer theorists was critiqued. First, her pre-empting comment about trans*issues being a recent phenomena was interrogated on the basis that gender-queers (people transgressing gender binaries in various in\/visible ways) have existed long before the term trans* gained currency. The risk of reproducing certain stereotypes (e.g. about women\u2019s use of seduction) looms large, when gender binaries are taken for granted. This leads to an epistemological blind spot, for instance on the structuring effects of what queer theorists identified as \u201cmale homosociality\u201d \u00a0or on what disables or allows for the reversal of certain stigmatizations and not others. Further, it would be interesting to consider\u00a0contemporary female performers who reject to play on their femininity (by wearing baggy clothes ect) against the background of a\u00a0long history of female musicians who cross-dressed and\/or passed as men\u00a0in performance spaces. This \u201cqueering\u201d of the gaze does not mean we look for \u201chomosexuals.\u201d It\u00a0compels us, however, to consider\u00a0strategies of seduction or of non-seduction by making use of interdisciplinary theories\u00a0on the intertwinement of gender and sexuality.<\/p>\n
\nis a classical musician\u00a0who became a radio journalist who became a black feminist anthropologist
\nhttps:\/\/www.zhdk.ch\/?person\/detail&id=201721<\/p>","protected":false},"excerpt":{"rendered":"