爵士乐组织、性别差异和黑人女性的刻板印象

IF 0.1 0 MUSIC
Jordannah Elizabeth
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Black women are oftentimes emotionally and mentally belittled and accused of being a threat more than an asset. I have personally experienced a couple of instances in my mostly positive two-decade-long career, where I’ve been subject to microaggressions and ousting; they were not incredibly traumatizing, as I learned about patience and timing of assertion. I am lucky, as I am well liked by white colleagues, and have been able to fit in regarding realms of respectability. Many Black women with darker skin, fuller figures, dialect and accents, and names that do not hide their Blackness suffer more. Being from Baltimore and being able to communicate within different communities offered me more opportunities. I am, though, always concerned about Black women who work in their own communities and have limited professional options in jazz, as some towns can only accommodate so many professionals, there being only one university, or one or two specialized organizations, or institutions that desire only graduates of prestigious schools and conservatories. [End Page 96] For me, negativity began when I started to set and maintain clear boundaries. Of course, there are still many positive voices, but battles ensued at a scale I had not experienced before when I started saying “no.” These nos were not even hard rejections or the closing off of compromise. In retrospect, I remember I also began to prioritize my family and writing, cutting back on the overgiving of time, money, emotional support, and bandwidth to some social justice causes and friends. I chose to streamline my energy to a smaller pool of people, specifically for the several weeks I needed to finish a book. Seemingly in response to prioritizing my own well-being and career goals, I began being called aggressive, insane, mean, a bully, and controlling, when for many years prior to this I received very little condemnation or negative interactions aside from a normal amount of unavoidable conflict. Traits in Black women such as ambition, assertiveness, setting clear boundaries, and speaking the truth about injustice are often construed as confrontational and a source of conflict. Meanwhile, the overtime, the emotional labor, the team building, and the unique perspectives of Black women that create foundational solutions and organizational fixes are dismissed and skewed. Within jazz, Black women, women of color, and femme-centered nonbinary beings are discouraged to pursue certain training within education and leadership. For example, women are often redirected from studying composition, theory, brass instruments, and percussion. This limits the opportunities for Black women, and all women who, as they grow within their career, must self-educate, often lacking the mentors and professors available to male musicians, along with prestigious degrees. Just because organizations pivot toward inclusivity and diversity, however, does not mean they are healthy for Black women. They need to maintain the belief actively, consciously, and consistently in the competence of Black women. Our mental health, balance, and stability is not only the responsibility of Black women professionals, but the entire culture should work to create environments devoid of othering and fraught with passive, indirect communication. This benefits everyone. Black women and women of color (WOC) need emotional support reciprocated in these realms, as, culturally, these women offer emotional labor “regulating or managing emotional expressions with others as part of one’s professional work role.”1 It is the cornerstone of the invisible work Black women...","PeriodicalId":40563,"journal":{"name":"Women and Music-A Journal of Gender and Culture","volume":"475 1","pages":"0"},"PeriodicalIF":0.1000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Jazz Organizations, Gender Disparities, and the Stereotyping of Black Women\",\"authors\":\"Jordannah Elizabeth\",\"doi\":\"10.1353/wam.2023.a912255\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Jazz Organizations, Gender Disparities, and the Stereotyping of Black Women Jordannah Elizabeth With vulnerability, I write this piece: raw and unable to detach from an enforced vision of my nature as calculating, cold, abrasive, and mean. 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Of course, there are still many positive voices, but battles ensued at a scale I had not experienced before when I started saying “no.” These nos were not even hard rejections or the closing off of compromise. In retrospect, I remember I also began to prioritize my family and writing, cutting back on the overgiving of time, money, emotional support, and bandwidth to some social justice causes and friends. I chose to streamline my energy to a smaller pool of people, specifically for the several weeks I needed to finish a book. Seemingly in response to prioritizing my own well-being and career goals, I began being called aggressive, insane, mean, a bully, and controlling, when for many years prior to this I received very little condemnation or negative interactions aside from a normal amount of unavoidable conflict. 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引用次数: 0

摘要

爵士乐组织,性别差异,以及黑人女性的刻板印象带着脆弱,我写了这篇文章:原始的,无法脱离对我本性的强迫看法,我的本性是算计的,冷酷的,粗暴的,卑鄙的。这是一位黑人女性领袖的困境。我一次又一次地回顾过去,想知道我是如何被视为具有这些特征的,我从来没有把这些特征归因于我自己,也没有归因于我与他人的个人交往。在思考黑人女性在爵士乐组织和网络中的困惑和导航时,我想到了我自己的经历,我和其他黑人女性被系统地塑造成侵略者,慢慢地、渐进地、被动地进行微攻击。这是为了不破坏男性在高级领导和管理职位上的霸主地位。黑人女性经常在情感和精神上被贬低,被指责为威胁而不是资产。在我20年的职业生涯中,我个人经历过几个例子,在这些例子中,我受到了轻微的侵犯和驱逐;他们并没有给我带来难以置信的创伤,因为我学会了耐心和坚持的时机。我很幸运,因为我很受白人同事的喜爱,并且能够在受人尊敬的领域融入其中。许多肤色较深、身材丰满、有方言和口音、名字不能掩盖其黑人身份的黑人女性遭受的损失更大。我来自巴尔的摩,能够在不同的社区交流,这给了我更多的机会。不过,我一直很关心那些在自己的社区工作的黑人妇女,她们在爵士乐方面的专业选择有限,因为有些城镇只能容纳这么多专业人士,只有一所大学,或一两个专门的组织,或只招收名校和音乐学院毕业生的机构。对我来说,当我开始设定并保持清晰的界限时,消极情绪就开始了。当然,仍然有很多积极的声音,但战斗随之而来,其规模是我开始说“不”之前从未经历过的。这些“不”甚至不是强硬的拒绝,也不是妥协的结束。回想起来,我记得我也开始优先考虑我的家庭和写作,减少了对一些社会正义事业和朋友的时间、金钱、情感支持和带宽的过度投入。我选择将我的精力精简到更少的人身上,特别是在我需要完成一本书的几个星期里。似乎是为了优先考虑自己的幸福和职业目标,我开始被称为好斗、疯狂、刻薄、恶霸和控制欲强,而在此之前的许多年里,除了正常数量的不可避免的冲突外,我很少受到谴责或负面互动。黑人女性的一些特质,如野心、自信、设定清晰的界限、说出不公正的真相,往往被认为是对抗性的,是冲突的根源。与此同时,黑人女性的加班、情感劳动、团队建设和独特视角创造了根本性的解决方案和组织修复,却被忽视和扭曲了。在爵士乐中,黑人女性、有色人种女性和以女性为中心的非二元女性不被鼓励去追求某些教育和领导方面的培训。例如,女性经常从学习作曲、理论、铜管乐器和打击乐器中被重新引导。这限制了黑人女性和所有女性的机会,因为她们在职业生涯中成长,必须自我教育,往往缺乏男性音乐家所能获得的导师和教授,以及享有声望的学位。然而,仅仅因为组织转向包容性和多样性,并不意味着它们对黑人女性是健康的。他们需要积极地、有意识地、始终如一地保持对黑人妇女能力的信念。我们的心理健康、平衡和稳定不仅是黑人女性专业人士的责任,整个文化都应该努力创造一个没有他人、充满被动、间接沟通的环境。这对每个人都有好处。黑人女性和有色人种女性(WOC)在这些领域需要情感支持,因为在文化上,这些女性提供情感劳动“调节或管理与他人的情感表达,作为一个人的专业工作角色的一部分”。“这是黑人女性隐形工作的基石……
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Jazz Organizations, Gender Disparities, and the Stereotyping of Black Women
Jazz Organizations, Gender Disparities, and the Stereotyping of Black Women Jordannah Elizabeth With vulnerability, I write this piece: raw and unable to detach from an enforced vision of my nature as calculating, cold, abrasive, and mean. It is the plight of a Black woman leader. I have looked back time and time again wondering how I have come to be seen with such traits that I’ve never attributed to myself nor to my personal exchanges with others. In thinking of the perplexity, the navigation of the Black woman within jazz organizations and networks, I think of my own experiences with the slowly building, incremental, passive microaggressions in which I and other Black women are systematically made out to be aggressors. This so as not to undermine male supremacy and dominance in senior leadership and management positions. Black women are oftentimes emotionally and mentally belittled and accused of being a threat more than an asset. I have personally experienced a couple of instances in my mostly positive two-decade-long career, where I’ve been subject to microaggressions and ousting; they were not incredibly traumatizing, as I learned about patience and timing of assertion. I am lucky, as I am well liked by white colleagues, and have been able to fit in regarding realms of respectability. Many Black women with darker skin, fuller figures, dialect and accents, and names that do not hide their Blackness suffer more. Being from Baltimore and being able to communicate within different communities offered me more opportunities. I am, though, always concerned about Black women who work in their own communities and have limited professional options in jazz, as some towns can only accommodate so many professionals, there being only one university, or one or two specialized organizations, or institutions that desire only graduates of prestigious schools and conservatories. [End Page 96] For me, negativity began when I started to set and maintain clear boundaries. Of course, there are still many positive voices, but battles ensued at a scale I had not experienced before when I started saying “no.” These nos were not even hard rejections or the closing off of compromise. In retrospect, I remember I also began to prioritize my family and writing, cutting back on the overgiving of time, money, emotional support, and bandwidth to some social justice causes and friends. I chose to streamline my energy to a smaller pool of people, specifically for the several weeks I needed to finish a book. Seemingly in response to prioritizing my own well-being and career goals, I began being called aggressive, insane, mean, a bully, and controlling, when for many years prior to this I received very little condemnation or negative interactions aside from a normal amount of unavoidable conflict. Traits in Black women such as ambition, assertiveness, setting clear boundaries, and speaking the truth about injustice are often construed as confrontational and a source of conflict. Meanwhile, the overtime, the emotional labor, the team building, and the unique perspectives of Black women that create foundational solutions and organizational fixes are dismissed and skewed. Within jazz, Black women, women of color, and femme-centered nonbinary beings are discouraged to pursue certain training within education and leadership. For example, women are often redirected from studying composition, theory, brass instruments, and percussion. This limits the opportunities for Black women, and all women who, as they grow within their career, must self-educate, often lacking the mentors and professors available to male musicians, along with prestigious degrees. Just because organizations pivot toward inclusivity and diversity, however, does not mean they are healthy for Black women. They need to maintain the belief actively, consciously, and consistently in the competence of Black women. Our mental health, balance, and stability is not only the responsibility of Black women professionals, but the entire culture should work to create environments devoid of othering and fraught with passive, indirect communication. This benefits everyone. Black women and women of color (WOC) need emotional support reciprocated in these realms, as, culturally, these women offer emotional labor “regulating or managing emotional expressions with others as part of one’s professional work role.”1 It is the cornerstone of the invisible work Black women...
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