Shatter silence, raise hell, and run riot: music and gender in Spain, 2018–20211
Resum
Gender issues in relation to contemporary music and within the artistic scene are a research topic of growing interest. This study focuses on the strategies adopted by women to resist gender inequalities in the music industry in the light of both cultural policies that continue to discriminate against them as well as the conditions imposed by the COVID-19 pandemic. The data considered here were drawn from 40 radio interviews broadcast during the 2018–2019 season on the Radio Nacional de España, Radio 4; a second round of interviews was conducted in the spring of 2021 in the post-COVID-19 context, either by mail or phone. The interviews were organised into three analytical categories designed to provide details on subjects such as profession, prestige, and recognition of women’s musical creations or productions, and how their representation was portrayed by the media and/or public. The results provided some findings relevant to the opportunities and careers women could access. Although the arts and culture are often viewed as ‘women’s worlds,’ many sectors are permeated by cumulative disadvantages including gender stereotypes, difficulties in reconciling work and family life, objectification, and sexual harassment. The findings obtained in this current work are in line with these women’s own responses, such as the following “The more I fight, the more I feel alive!”, “What if women had the power?”, and “No more twenty feet from stardom.
Descàrregues
Referències
Alcañiz, M, Querol, V, and Marti, A (2015). Las mujeres jóvenes en españa. (nuevas)
precariedades y (viejas) desigualdades [The young women of Spain: (New) precarities and (old) inequalities]. Ex aequo,
, 117–137. https://doi.org/10.22355/exaequo.2015.32.08
Alini, E (2020). Welcome to the ‘she-cession’. Why this recession is different. Global News, 9 May. https://globalnews.
ca/news/6907589/canada-coronavirus-she-session
Atkinson, AB (2015). Inequality: What can be done? Cambridge, MA: Harvard University Press.
Bardin, L (2010). Análise de conteúdo [Content analysis]. Lisboa: Edições 70.
Bayton, M (1998). Frock rock: Women performing popular music. Oxford: Oxford University Press.
Becker, HS (1982). Art Worlds. Berkeley, CA: University of California Press.
Bennett, A and Guerra, P (eds) (2019). DIY cultures and underground music scenes. London: Routledge.
Berkers, P and Schaap, J (2018). Gender Inequality in metal music production. Bingley: Emerald Publishing.
Bronsoms, A (2021). Gender, rock music press & punk feminism: USA, UK, and Spain in the 80s. Memoria de doctorado.
Departamento de Comunicación Audiovisual y Publicidad. Universidad Autonoma Barcelona.
Bronsoms, A (2007). Animals de rock & roll: Una visió musical i social de l’Espanya dels 70 [Animals of rock & roll: A musical
and social vision of Spain in the 1970s]. Barcelona: Editorial Pòrtic.
Buscatto, M (2018). Feminisations of artistic work: Legal measures and female artists’ resources do matter. Revista Todas
as Artes, 1(1), 21–38. https://doi.org/10.21747/21843805/tav1n1a2
Campo, SS (2020). Mujeres, música y liderazgo [Women, music and leadership]. Revista de Estudios de Género, 51,
–137. https://doi.org/10.32870/lv.v6i51.7085
Christiansen, CO and Jensen, SB (2019). Histories of global inequality: New perspectives. Cham: Palgrave Macmillan.
Clawson, MA (1999). When women play the bass: Instrument specialization and gender interpretation in alternative
rock music. Gender & Society, 13(2), 193–210. https:/doi.org/10.1177/089124399013002003
Córdoba, JA and Ortiz, KC (2021). Female participation in Colombian metal: An initial approach. Metal Music Studies,
(1), 159–170. https://doi.org/10.1386/mms_00040_1
Dashper, K and Finkel, R (2020). ‘Doing gender’ in critical event studies: A dual agenda for research. International
Journal of Event and Festival Management, 12(1), 70–85. https://doi.org/10.1108/IJEFM-03-2020-0014
de Boise, S (2017). Tackling gender inequalities in music: A comparative study of policy responses in the UK and
Sweden, International Journal of Cultural Policy 25(4), 486–499. https://doi.org/10.1080/10286632.2017.1341497.
Dunn, E (2017) The female lead: Women who shape our world. London: Ebury Digital.
Everts, R and Haynes, J (2021). Taking care of business: The routines and rationales of early-careers musicians in
the Dutch and British music industries. International Journal of Cultural Studies, 24(5), 731–748 .
https://doi.org/10.1177/13678779211004610
Faure, S (2004). Filles et garçons en danse hip-hop: La production institutionnelle de pratiques sexuées [Girls and boys
in hip-hop dance. The institutional production of gendered practices]. Sociétés contemporaines, 55, 5–20. https://
doi.org/10.3917/soco.055.0005
Fisher, A and Ryan, M (2021). Gender inequalities during COVID-19. Group Processes & Intergroup Relations, 24(2),
–245. https://doi.org/10.1177/1368430220984248
Frith, S and McRobbie, A (1979). Rock and sexuality. Screen Education, 29, 3–19.
George, A and Bennett, A (2005). Case Studies and Theory Development in the Social Sciences. Cambridge: MIT Press.
Griffin, N (2012). Gendered performance performing gender in the DIY punk and hardcore music scene. Journal of
International Women’s Studies, 13(2), 66–81. https://vc.bridgew.edu/jiws/vol13/iss2/6
Green, L (2001). Música, género y educación [Music, gender and education]. Madrid: Ediciones Moratas.
Guerra, P. (2020a). Iberian punk, cultural metamorphoses, and artistic differences in the post-Salazar and post-Franco
eras. In G McKay and G Arnold (eds), The Oxford Handbook of Punk Rock. Oxford: Oxford University Press. https://
www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190859565.001.0001/oxfordhb-9780190859565-e-14
Guerra, P. (2020b). The song is still a ‘weapon’: The Portuguese identity in times of crises. Young: Nordic Journal of Youth
Research, 28(1), 14–31. https://doi.org/10.1177/1103308819829603
Guerra, P (2021). So close yet so far: DIY cultures in Portugal and Brazil. Cultural Trends, 30(2), 122–138. https://doi.
org/10.1080/09548963.2021.1877085
Guerra, P, Bittencourt, L and Gelain, G (2018). ‘Punk fairytale’: Popular music, media, and the (re)production of gender.
In M Texler Segal and V Demos (eds), Gender and the media: Women’s places (pp. 49–68). Bingley: Emerald Publishing.
Guerra, P, Hoefel, MG, Severo Osório, D and Sousa, S (2020). Women on the move: Contributions to the aestheticpolitical
activism approach of Brazilian migrant women. Cahiers du MIMMOC. Mémoire(s), identité(s), marginalité(s)
dans le monde occidental contemporain [En ligne] 21. https://doi.org/10.4000/mimmoc.5403
Guerra, P, Oliveira, A and Sousa, S (2021). Um requiem pelas músicas que perdemos: percursos com paragens
pelos impactos da pandemia na produção musical independente em Portugal [A requiem for the songs we
lost: Journeys with stops by the impacts of the pandemic on independent music production in Portugal].
Revista O Público e o Privado, 19(38), 171–198. https://www.kismifconference.com/2021/05/11/new-article-arequiem-
for-the-songs-we-lost-journeys-with-stops-by-the-impacts-of-the-pandemic-on-independent-musicproduction-
in-portugal
Guerra, P and Ripollés, FDV (2021). Post dictatorships, cosmopolitanism, punk and post-punk in Portugal and Spain.
Popular Music History. https://doi.org/10.1080/03007766.2021.1948755
Howard, F, Bennett, A, Green, B, Guerra, P, Sousa, S and Sofija, E (2021). ‘It’s turned me from a professional to a
bedroom DJ once again’: COVID-19 and new forms of inequality for young music-makers. Young: Nordic Journal
of Youth Research, 29(4), 417–432. https://doi.org/10.1177/1103308821998542
Lady Gaga (2009). Interview about double standards and feminism. https://www.youtube.com/watch?v=habpdmFSTOo
León, M (2011). The Quest for Gender Equality. In Guillén, A.M. and León, M. (Eds). The Spanish Welfare state in
European Context (pp.42-57). London: Routledge.
Martinez, JEP (2021). Radio y mujer (España, 1960–1975): En las ondas de radio nacional [Radio and women (Spain,
–1975): Between radio national waves]. Madrid: ABADA
Clawson, MA (1999). When women play the bass: Instrument specialization and gender interpretation in alternative
rock music. Gender & Society, 13(2), 193–210. https:/doi.org/10.1177/089124399013002003
Córdoba, JA and Ortiz, KC (2021). Female participation in Colombian metal: An initial approach. Metal Music Studies,
(1), 159–170. https://doi.org/10.1386/mms_00040_1
Dashper, K and Finkel, R (2020). ‘Doing gender’ in critical event studies: A dual agenda for research. International
Journal of Event and Festival Management, 12(1), 70–85. https://doi.org/10.1108/IJEFM-03-2020-0014
de Boise, S (2017). Tackling gender inequalities in music: A comparative study of policy responses in the UK and
Sweden, International Journal of Cultural Policy 25(4), 486–499. https://doi.org/10.1080/10286632.2017.1341497.
Dunn, E (2017) The female lead: Women who shape our world. London: Ebury Digital.
Everts, R and Haynes, J (2021). Taking care of business: The routines and rationales of early-careers musicians in
the Dutch and British music industries. International Journal of Cultural Studies, 24(5), 731–748 .
https://doi.org/10.1177/13678779211004610
Faure, S (2004). Filles et garçons en danse hip-hop: La production institutionnelle de pratiques sexuées [Girls and boys
in hip-hop dance. The institutional production of gendered practices]. Sociétés contemporaines, 55, 5–20. https://
doi.org/10.3917/soco.055.0005
Fisher, A and Ryan, M (2021). Gender inequalities during COVID-19. Group Processes & Intergroup Relations, 24(2),
–245. https://doi.org/10.1177/1368430220984248
Frith, S and McRobbie, A (1979). Rock and sexuality. Screen Education, 29, 3–19.
George, A and Bennett, A (2005). Case Studies and Theory Development in the Social Sciences. Cambridge: MIT Press.
Griffin, N (2012). Gendered performance performing gender in the DIY punk and hardcore music scene. Journal of
International Women’s Studies, 13(2), 66–81. https://vc.bridgew.edu/jiws/vol13/iss2/6
Green, L (2001). Música, género y educación [Music, gender and education]. Madrid: Ediciones Moratas.
Guerra, P. (2020a). Iberian punk, cultural metamorphoses, and artistic differences in the post-Salazar and post-Franco
eras. In G McKay and G Arnold (eds), The Oxford Handbook of Punk Rock. Oxford: Oxford University Press. https://
www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190859565.001.0001/oxfordhb-9780190859565-e-14
Guerra, P. (2020b). The song is still a ‘weapon’: The Portuguese identity in times of crises. Young: Nordic Journal of Youth
Research, 28(1), 14–31. https://doi.org/10.1177/1103308819829603
Guerra, P (2021). So close yet so far: DIY cultures in Portugal and Brazil. Cultural Trends, 30(2), 122–138. https://doi.
org/10.1080/09548963.2021.1877085
Guerra, P, Bittencourt, L and Gelain, G (2018). ‘Punk fairytale’: Popular music, media, and the (re)production of gender.
In M Texler Segal and V Demos (eds), Gender and the media: Women’s places (pp. 49–68). Bingley: Emerald Publishing.
Guerra, P, Hoefel, MG, Severo Osório, D and Sousa, S (2020). Women on the move: Contributions to the aestheticpolitical
activism approach of Brazilian migrant women. Cahiers du MIMMOC. Mémoire(s), identité(s), marginalité(s)
dans le monde occidental contemporain [En ligne] 21. https://doi.org/10.4000/mimmoc.5403
Guerra, P, Oliveira, A and Sousa, S (2021). Um requiem pelas músicas que perdemos: percursos com paragens
pelos impactos da pandemia na produção musical independente em Portugal [A requiem for the songs we
lost: Journeys with stops by the impacts of the pandemic on independent music production in Portugal].
Revista O Público e o Privado, 19(38), 171–198. https://www.kismifconference.com/2021/05/11/new-article-arequiem-
for-the-songs-we-lost-journeys-with-stops-by-the-impacts-of-the-pandemic-on-independent-musicproduction-
in-portugal
Guerra, P and Ripollés, FDV (2021). Post dictatorships, cosmopolitanism, punk and post-punk in Portugal and Spain.
Popular Music History. https://doi.org/10.1080/03007766.2021.1948755
Howard, F, Bennett, A, Green, B, Guerra, P, Sousa, S and Sofija, E (2021). ‘It’s turned me from a professional to a
bedroom DJ once again’: COVID-19 and new forms of inequality for young music-makers. Young: Nordic Journal
of Youth Research, 29(4), 417–432. https://doi.org/10.1177/1103308821998542
Lady Gaga (2009). Interview about double standards and feminism. https://www.youtube.com/watch?v=habpdmFSTOo
León, M (2011). The Quest for Gender Equality. In Guillén, A.M. and León, M. (Eds). The Spanish Welfare state in
European Context (pp.42-57). London: Routledge.
Martinez, JEP (2021). Radio y mujer (España, 1960–1975): En las ondas de radio nacional [Radio and women (Spain,
–1975): Between radio national waves]. Madrid: ABADA.
McRobbie, A (1991). Feminist and youth culture. From Jackie to Just Seventeen. Basingstoke: Macmillan.
McRobbie, A (2009). The aftermath of feminism: Gender, culture and social change. London: Sage.
McRobbie, A. (2013). Feminism, the family and the new ‘mediated’ maternalism. New Formations, 80, 119–137. https://
doi.org/10.3898/newF.80/81.07.2013
McRobbie, A and Garber, J (1997). Girls and subcultures. In K Gelder and S Thornton (eds), The subculture reader
(pp. 112–120). London: Routledge.
Molero, F (2009). Mujer y liderazgo en el siglo XXI [Women and leadership in the twenty-first century]. Madrid: Instituto
de la mujer.
Muñoz, RG (2018). Investigación joven con perspectiva de género III [Young research and the gender perspective]. Madrid:
Universidad Carlos III de Madrid, Instituto de Estudios de Género.
Paule, M and Yelin, H (2021). ‘I don’t want to be known for it’: Girls, leadership role models and the problems of
representation. European Journal of Cultural Studies. https://doi.org/10.1177/13675494211004595
Raine, S and Strong, C (2019). Towards gender equality in the music industry: Education, practice and strategies for change.
London: Bloomsbury.
Ragin, C (2008). Redesigning social inquiry: Fuzzy sets and beyond. Chicago: Chicago University Press.
Ramos, PL (2003). Feminismo y música. Introducción Critica [Feminism and music: Critical Introduction]. Madrid: Narcea.
Reddy, V, Zondi, N and Mkhize, G (2020). Gendered and feminist inequalities: A review and framing notes. Agenda,
(1), 1–13. https://doi.org/10.1080/10130950.2020.1767887
Reitsamer, R. (2011). Young women, new technologies and music production. Talk at the Seminar Series Young Women in
Movement: Sexualities, Vulnerabilities, Needs and Norms. London: Goldsmiths College.
Ridgeway, CL and Correll, SJ (2004). Unpacking the gender system: A theoretical perspective on gender beliefs and
social relations. Gender and Society, 18(4), 510–531. https://doi.org/10.1177/0891243204265269
Sandberg, S (2014). Ban bossy: Encourage girls to lead. http://banbossy.com
Skillset (2010). Women in the creative media industries. http://www.creativeskillset.org/uploads/pdf/asset_15343.pdf?3.
Strong, C (2011). Grunge, riot grrrl and the forgetting of women in popular culture. The Journal of Popular Culture,
(2), 398–416. https://doi.org/10.1111/j.1540-5931.2011.00839.x
Strong, C and Canizzo, F (2019). Qualified careers: Gendered attitudes towards screen composition education in
Australia. In S Raine and C Strong (eds), Towards gender equality in the music industry: Education, practice and strategies
for change (pp. 59–72). London: Bloomsbury.
Tilly, C. (1998). Durable inequality. Berkeley, CA: University of California Press.
Thornton, S (1995). Club cultures: Music, media and subcultural capital. Cambridge: Polity Press.
West, C and Zimmerman, DH (1987). Doing gender. Gender and Society, 1(2), 125–151. https://www.jstor.org/stable/189945
Women in the Music Industry [Asociación de Mujeres de la Industria de la Música] (2020). Estudio de Género en la
Industria de la Música en España.
Wray, T (2003). The queer gaze. Wissenschaftliche Zeitschrift der Bauhaus-Universität Weimar, 4, 69–73. https://doi.
org/10.25643/bauhaus-universitaet.1267
Wych, GM (2012). Gender and instrument associations, stereotypes, and stratification: A literature review. Update:
Applications of Research in Music Education, 30(2), 22–31. https://doi.org/10.1177/8755123312437049
Descàrregues
Publicades
Com citar
Número
Secció
Llicència
Sense perjudici del que disposa l'article 52 de la Llei 22/1987 d'11 de novembre de Propietat Intel·lectual, BOE del 17 de novembre de 1987, i conforme a aquest, els/les autors o autores cedeix/en a títol gratuït els seus drets d'edició, publicació, distribució i venda sobre l'article, per tal que siga publicat a Debats. Revista sobre cultura, poder i societat.
Debats. Revista de cultura, poder i societat es publica sota el sistema de llicències Creative Commons segons la modalitat “Reconeixement – NoComercial (by-nc): Es permet la generació d’obres derivades sempre que no se’n faça un ús comercial. Tampoc no es pot fer servir l’obra original amb finalitats comercials”.
Així, quan l’autor/a envia la seva col·laboració, accepta explícitament aquesta cessió de drets d’edició i de publicació. Igualment autoritza Debats. Revista de cultura, poder i societat la inclusió del seu treball en un fascicle de la revista perquè es puga distribuir i vendre.
