Rechercher

One arena where images of sexually objectified women are especially prevalent is the world of music videos. Music videos represent an important area of study, both because of their popularity with younger viewers (Ashby & Rich, 2005) and because love and sex predominate as themes (Andsager & Roe, 1999; Arnett, 2002). What we seek to do here is to take a closer look at the nature and impact of the portrayal of women in music videos, focusing, in particular, on sexually objectifying images. How frequently do objectifying images occur? What messages about femininity do these images convey to girls? What is their demonstrated impact on girls and young women? Given the current popularity of rap and hip-hop music, we focus our attention on their portrayals of African American women. We address these issues via four pathways. First, we summarize findings from existing research concerning the nature of gender portrayals in music videos. Second, we turn our attention to African American artists and summarize findings about the images of black women in music videos. Third, we present new data from an analysis we conducted of the sexual content in black music videos, providing both quantitative and thematic analyses. Finally, we summarize findings about the demonstrated impact of music video exposure on young viewers' gender beliefs and body image concerns. (PsycInfo Database Record (c) 2022 APA, all rights reserved)

Recent research has highlighted the need to explore how specific social contexts influence the occurrence of sexual violence and sexually harassing behaviours. This article considers the occurrence of unwanted sexual attention towards young women within the social context of licensed venues in Melbourne, Victoria. Using focus group data from a small qualitative study, three ‘characteristics’ of unwanted sexual attention are considered: the forms this behaviour takes and how it impacts young women; the nature of the relationship between victim and perpetrator; and the role of venue culture in facilitating this behaviour. It is argued throughout this article that an intersection of broader social norms and the specific social norms and cultural mores of licensed venues creates a social environment that can facilitate the occurrence of unwanted sexual attention, and that restrains the ways in which young women are able to respond to these experiences.

The article represents the second phase of a comparative project on French and British cultural policy. The project's guiding hypothesis is that conceptualisations of the popular have been a crucial driver of policy change in France and Britain, raising complex issues about the nature of cultural democracy. The second phase, including this article, takes pop music as a case study for that hypothesis. The article explores three major issues. It asks how and why, in their attempts to rethink cultural democracy for the twenty-first century, French and British policy agencies have recognised pop music as a ‘democratic' form worthy of state support. It critically examines some of the theoretical issues this has raised, comparing and contrasting the ways in which the two national policy sets have variously represented pop as having symbolic, economic and social meanings. And it argues that what has been less adequately addressed is its aesthetic meaning.

A pathbreaking study of the women who create electronic dance music, Beyond the Dance Floor focuses on the largely neglected relationship between these women and the conceptions of gender and technology that continue to inform the male-dominated culture surrounding electronic music. In this volume, Rebekah Farrugia explores a number of important issues, including the politics of identity and representation, the bonds formed by women within the DJ community and the role female DJs and producers play in this dance music culture as well as in the larger public sphere. Though Farrugia primarily focuses on women's relationship to music-related technologies – including vinyl, mp3s and digital production software – she also deftly extends her argument to the strategic use of the Internet and web design skills for purposes tied to publicity, networking and music distribution.

The author describes anti-homosexual attitudes in the entertainment industry. Effeminate male actors generally have a hard time being cast, whether for gay or straight roles. Attitudes in the performing arts mirror those in society as a whole. Case reports are interspersed in the discussion to illustrate the points.

For female pop stars, whose star bodies and star performances are undisputedly the objects of a sexualized external gaze, the process of ageing in public poses particular challenges. Taking a broadly feminist perspective, 'Rock On': women, ageing and popular music shifts popular music studies in a new direction. Focussing on British, American and Latina women performers and ageing, the collection investigates the cultural work performed by artists such as Shirley Bassey, Petula Clark, Madonna, Celia Cruz, Grace Jones and Courtney Love. The study crosses generations of performers and audiences enabling an examination of changing socio-historical contexts and an exploration of the relationships at play between performance strategies, star persona and the popular music press. For instance, the strategies employed by Madonna and Grace Jones to engage with the processes and issues related to public ageing are not the same as those employed by Courtney Love or Celia Cruz. The essays in this insightful collection reflect on the ways that artists and fans destabilise both the linear trajectories and the compelling weight of expectations regarding ageing by employing different modalities of resistance through persona re-invention, nostalgia, postmodern intertextuality and even early death as the ultimate denial of age.

Despite its proscription in legal jurisdictions around the world, workplace sexual harassment (SH) continues to be experienced by many women and some men in a variety of organizational settings. The aims of this review article are threefold: first, with a focus on workplace SH as it pertains to management and organizations, to synthesize the accumulated state of knowledge in the field; second, to evaluate this evidence, highlighting competing perspectives; and third, to canvass areas in need of further investigation. Variously ascribed through individual (psychological or legal consciousness) frameworks, sociocultural explanations and organizational perspectives, research consistently demonstrates that, like other forms of sexual violence, individuals who experience workplace SH suffer significant psychological, health- and job-related consequences. Yet they often do not make formal complaints through internal organizational procedures or to outside bodies. Laws, structural reforms and policy initiatives have had some success in raising awareness of the problem and have shaped rules and norms in the employment context. However, there is an imperative to target further workplace actions to effectively prevent and respond to SH.

In the late 1970s and early 1980s a new phenomenon emerged in UK popular music - female guitarists, bass-players, keyboard-players and drummers began playing in bands. Before this time, women's presence in rock bands, with a few notable exceptions, had always been as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about by the enabling ethic of punk rock ('anybody can do it ') and by the impact of the Sex Discrimination Act. With the demise of the punk scene, interest in these musicians evaporated and other priorities became important to music audiences. This book investigates the social and commercial reasons why these women became lost from the rock music record, and rewrites this period of popular music history. In addition to a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and Poison Girls, this new edition has been updated to include interviews with members of Birmingham-based band The Au Pairs, Leeds-based band Delta 5 and Viv Albertine of The Slits. Lucy Whitman (aka Lucy Toothpaste), who started the fanzine Jolt and later wrote for Spare Rib, also provides enlightening words on the relationship between female punk band members and feminism. The author also draws on her own experience as bass-player in a punk band.

The Devlin and Hoyle report, Committing to culture: arts funding in France and Britain, argues that the cultural policies of these two European neighbours have been steadily converging since the mid‐1990s but that their social and economic contexts are now quite different (e.g. youth unemployment, GDP, disposable income). The paper addresses this convergence‐within‐divergence by comparing how policy discourses have conceptualised popular culture in the two countries. It investigates the hypothesis that, in both, an engagement with popular culture has in fact been an important driver of change, albeit at different times and with different taxonomies. And it asks what light this comparison might shed on cultural policy thinking in the twenty‐first century.

Concern about the increase in alcohol consumption amongst young women, drink spiking and drug-assisted sexual assault have culminated in a renewed focus on safety advice for young women. This paper examines young women's responses to safety advice, and their associated safety behaviours, by drawing upon interview and focus group data from a qualitative study with 35 young women (18–25 years) in relation to their safety in bars, pubs and clubs. The findings reveal that young women's behaviours were complex and contradictory in that they resisted, adopted and transgressed recommended safety behaviours. This raises interesting questions about both the practical and the theoretical implications of contemporary safety campaigns, challenging the prevailing focus on women's behaviour and the gendered discourse invoked by such campaigns.

Dance, ballet and modern in particular, is culturally defined as a feminine activity in the United States. The purpose of the present study was to examine the experiences of professional male modern and ballet dancers in the United States. Semi-structured interviews were conducted with 12 current professional ballet and modern dancers. We examined the ways in which the dancers initially became involved in dance, any support or opposition they may have confronted, and the ways in which they negotiated the stereotypical assumptions surrounding men’s involvement in dance. Four emergent themes are discussed: (1) exposure to and entrance into dance; (2) the gay stereotype; (3) negotiating the gay stereotype; and (4) homophobia within the dance community. The social significance of this study is rooted in the ways in which our culture constructs gender, the body, and movement, restricting both males and females from using and exploring their bodies in ways not deemed gender-appropriate. Attention is also given to the ways in which we can create and nurture meaningful experiences for a greater number of individuals.

This article addresses the pervasiveness of harassment in schools in the United States and presents ways to recognize and stem bullying in music classrooms. Music educators are in a unique position to recognize atypical behaviors in their students. Music educators who teach middle and high school ensembles often retain the same students in their classrooms over the course of many years. Because of the unique nature of the ensemble experience, coupled with the opportunity for extended instruction, music teachers can closely monitor the well-being of their students. However, music teachers should understand how difficult it may be for students who have been harassed to come forward with information about harassment. Sometimes harassment is overt and easy to recognize (e.g., name-calling, inappropriate gestures, graffiti). However, harassment can also occur in contexts that are not readily recognized but are just as hurtful. When students observe teachers taking a stand against bullying and harassment, they recognize the intention for a safe classroom. When students feel safe, they are more likely to ask questions and engage in class in dynamic and meaningful ways—both musically and nonmusically. Only when students feel safe can they learn. Music teachers need to gain a further understanding of various forms of harassment and further consider their role in creating a welcoming and secure environment.

Le professeur de danse Romuald Pavy a plaidé coupable mardi matin à des accusations d'attouchements sexuels sur l'une de ses élèves.

Purpose – This paper aims to examine the cultural heritage of outdoor rock and pop music festivals in Britain since the mid‐1960s, and relates it to developments in, and critiques of, corporate sponsorship in the contemporary music festival sector. Design/methodology/approach – The paper uses extant research materials to construct an account of British music festival history since the mid‐1960s. It then draws upon Bakhtin's concept of the carnivalesque and the literature on sponsorship, experiential marketing and branding, in order to understand critiques of corporate sponsorship and the changing nature of the sector. Findings – Outdoor rock and pop music festivals were dominated by the ideologies of a “countercultural carnivalesque” from the late 1960s until the mid‐1990s. In the 1990s, changes in legislation began a process of professionalization, corporatization, and a reliance on brand sponsorships. Two broad trajectories are identified within the contemporary sector: one is strongly rooted in the heritage of the countercultural carnivalesque, while the other is more overtly commercial. Research limitations/implications – It is argued that experiential marketing and brand activation are key methods for achieving a balance between the competing aspects of commerce and carnival. Hence, festival organisers and sponsors need to understand the history of the sector and of their own events and attendees in order to use corporate sponsorship more effectively. Originality/value – This paper adds historical and theoretical depth to the debate between commerce and carnival within the music festival sector, and makes connections between cultural theory and the literature on sponsorship and branding.

Semantic Scholar extracted view of "Grunge, Riot Grrrl and the Forgetting of Women in Popular Culture" by C. Strong

Domestic violence, childhood sexual abuse, rape and sexual assault, and sexual exploitation through prostitution, pornography and trafficking can have many significant adverse impacts on a survivor’s health and wellbeing, in the short, medium and long-term. Taking a life-course approach, the book explores what is known about appropriate treatment responses to those who have experienced, and those who perpetrate, domestic and sexual violence and abuse. The book also examines key factors that are important in understanding how and why different groups experience heightened risks of domestic and sexual violence and abuse, namely: gender and sexuality; race and culture; disability; and abuse by professionals. Drawing together results from specially commissioned research, the views of experts by experience, experts by profession and the published research literature, the book argues that sufficient is already known to delineate an appropriate public health framework, encompassing primary, secondary and tertiary prevention, to successfully tackle the important public health issue represented by domestic and sexual violence and abuse. Domestic and Sexual Violence and Abuse equips health and social care professionals and services to identify and respond to the needs of affected individuals with a view to the prevention and early intervention.