{"title":"Good Vibes Friday: Reflections on Livestreaming During the COVID-19 Lockdown","authors":"Samantha Warren","doi":"10.12801/1947-5403.2020.12.01.05","DOIUrl":null,"url":null,"abstract":"In the Key of She is the title of my Leverhulme Trust Fellowship, exploring career experiences of female, female-identifying and gender minority electronic music (self) producers to shed light on the persistent male dominance of digital-creative cultural production. The music industry recognises its gender balance problem with various initiatives to balance festival and gig line-ups, such as the Keychange initiative. When we consider the more technical roles in the industry, things get even more unbalanced. For example, according to the Annenberg Inclusion Initiative, only around 2% of music producers are women (Smith et al. 2019). With electronic music production increasingly being seen as a source of reputational capital for contemporary DJs, if women are not producing and/or releasing their own tracks, they will struggle to compete with their male peers (Reitsamer 2011).","PeriodicalId":36263,"journal":{"name":"Dancecult","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"3","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Dancecult","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.12801/1947-5403.2020.12.01.05","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 3
Abstract
In the Key of She is the title of my Leverhulme Trust Fellowship, exploring career experiences of female, female-identifying and gender minority electronic music (self) producers to shed light on the persistent male dominance of digital-creative cultural production. The music industry recognises its gender balance problem with various initiatives to balance festival and gig line-ups, such as the Keychange initiative. When we consider the more technical roles in the industry, things get even more unbalanced. For example, according to the Annenberg Inclusion Initiative, only around 2% of music producers are women (Smith et al. 2019). With electronic music production increasingly being seen as a source of reputational capital for contemporary DJs, if women are not producing and/or releasing their own tracks, they will struggle to compete with their male peers (Reitsamer 2011).
在她的钥匙是我的Leverhulme信托奖学金的标题,探索女性,女性认同和性别少数电子音乐(自我)制作人的职业经历,以阐明男性在数字创意文化生产中的持续主导地位。音乐行业意识到了性别平衡问题,采取了各种举措来平衡音乐节和演出阵容,比如Keychange倡议。当我们考虑到行业中更多的技术角色时,事情变得更加不平衡。例如,根据安嫩伯格包容性倡议,只有约2%的音乐制作人是女性(Smith et al. 2019)。随着电子音乐制作越来越被视为当代dj声誉资本的来源,如果女性不制作和/或发行自己的曲目,她们将很难与男性同行竞争(Reitsamer 2011)。