The Routledge Companion to Jazz and Gender

Cover
Half Title
Series Information
Title Page
Copyright Page
Dedication
Table of Contents
Figures and Tables
Preface
Acknowledgements
Part 1 Historical Perspectives
1 “The Frivolous, Scantily Clad ‘Jazzing Flapper,’ Irresponsible and Undisciplined”: Jazz as a Feminine Domain
Introduction
The Musicians’ Union of Australia
The Modern Girl and Jazz
Note
References
2 “I’ve Got the Haitian Blues”: Mamie Desdunes and the Gendered Inflections of the Common Wind
Introduction
Locating Mamie Desdunes in Storyville
The Latin Tinge and the Haitian Diaspora
Conclusion
Notes
References
3 Lil Hardin Armstrong and Helen Joyner: The Forgotten Patrons of Jazz
Author Note
Lil Hardin Armstrong
Helen Joyner
Notes
References
4 Queer Aesthetics and the Performing Subject in Jazz in the 1920s
Introduction
Historical Precedents
Jazz and Heteronormativity in the Jazz Age
Ma Rainey—Queering the Mother of the Blues
Gladys Bentley—A Cross-Dressing Performer in a White, Heteronormative Culture
Josephine Baker—A “Threat” to the Viennese Culture
Conclusion
References
5 Black Against The Stave: Black Modern Girls in British Interwar Jazz
The “Apotheosis of Jazz”: Blackbirds of 1926
Setting the Stage
Performing Masks and Playing Roles
Performing Black Bodies
Florence Mills as a Role Model
Conclusion
Note
References
6 Trumpet Men: Performances of Masculinity in Jazz
The Trumpet and Jazz Masculinity
“Masculine” and “Feminine” Instruments and Jazz as Competition
#MeToo
Two Trumpet Men
Ready for Freddie
The 5th Power
Flash of the Spirit
Conclusion
Notes
References
7 Hard Bop Cool Pose: Bebop, the Blues, and Masculinity in the Music of Lee Morgan
Jazz and Gender
Bebop and the Blues
Badness and Hard Bop Sonic Cool Pose
Is Jazz Still Cool?
Notes
References
8 Toward a Feminist Understanding of Jazz Curatorship
Marian McPartland’s Piano Jazz
Nancy Wilson’s Jazz Profiles
LaDonna Smith’s the Improvisor
Terri Lyne Carrington’s Institute of Jazz and Gender Justice
Conclusion
References
9 The Girl in the Other Room: Generating New Open Knowledge for the Women of Jazz
Introduction
A Relational Cartography of the Jazz Community
Gendering the Network
Visualizing Gender Asymmetries
New Kinds of Biographies
The International Sweethearts of Rhythm Case
Notes
References
10 The Rise of Queermisia in Jazz: Medicalization, Legislation, and Its Effects
Aaron Payne
Gladys Bentley
Billy Strayhorn
Notes
References
11 Constructing a Diverse and Inclusive Jazz Tradition: A Uchronic Narrative
Introduction
Utopia and Uchronia
Uchronic Method
Case Study: A Uchronic Narrative of Jazz in Graz
Conclusion
References
Part 2 Identity and Culture
12 Playing the Part: A Social-Psychological Perspective On Being a Girl in Jazz
“Girl Talk”
Advocating for Girls “I Should Care”
“All the Things You Are”
“Farewell Blues”
“Nice Work If You Can Get It”
Gender in Jazz Education “I Got a Right to Sing the Blues”
Instrument Choice “Don’t Blame Me”
Social-Psychological Theories “All Alone”
Tokenism “Solitude”
Mother “My Mammy”
Kid-Sister/Pet “Sister Sadie”
Seductress “The Seductress”
Iron-Maiden “Hard Hearted Hannah”
Stereotype Threat “They Say I’m Different”
Self-Efficacy Theory “I Believe”
Positive Mastery Experiences “Do It Again”
Negative Mastery Experiences “I Can’t Get Started”
Positive Social Persuasions “I Believe in You”
Negative Social Persuasions “Whisper Not”
Positive Vicarious Experiences “Because of You”
Negative Vicarious Experiences “All By Myself”
Positive Physiological States “Feeling Good”
Negative Physiological States “Heebie Jeebies”
Teaching Jazz to Girls: A Self-Efficacy Approach “Watch What Happens”
Teaching Environments “This Could Be the Start of Something Big”
Create and Celebrate Small Successes “Pick Yourself Up”
Mentors, Role Models, and Negative Messages “Please Be Kind”
Acknowledge Physiological States “I Should Care”
“The Best Is Yet to Come”
References
13 Gender, Sexuality, and Jazz Saxophone Performance
Vi Burnside and Willene Burton
Female Jazz Saxophonists—Are You Gay?
Sexual Misconduct and a Lesbian Advantage Myth in Jazz
Relationship Between Sexuality and Music
Conclusions
References
14 A Clash of Identities: How Aspects of Gender and Identity in Jazz Influence Both the Music and Its Perception
The Shy, Sensitive, Funny, Sophisticated, Angry Black Man: Concepts of Identity
Gullah and Geechie On Central Park West: How Community Shapes Identity
“Do I Sound Straight?” Or: At an Ellingtonian Camp Meeting
So, Who Am I, and Will You Ever Know Me?
Beyond Category
Note
References
15 “I’m Just One of Them”: Gender in Jazz Competitions
Introduction
Focus: Monk Competition and Jazz Hoeilaart
Gender Balance in Jazz Competitions: The Data
Gender Inequality in Jazz Competitions: Possible Causes
Towards Gender-Equal Jazz Competitions: Potential Solutions
Conclusion
Notes
References
16 Gendered Interventions in European Jazz Festival Programming: Keychanges, Stars, and Alternative Networks
Introduction
Women in the (Jazz) Music Industry
Gender Dynamics in the European Jazz Industry
Keychange Pledge and Jazz Festivals
Findings: Convening Gender in Four European Jazz Festivals (1964–2020)
Festivals’ Entire Histories (1964–2020): An American, Male Jazz Star Network
Women Stars in EU Festival Programs (< 15%)
Festivals Pre- and Post-Keychange (2015–2019): An Intersectional Analysis
Conclusion: An Invitation for Future Exploration
Notes
References
17 Resurrecting Masculinity: Gender, Jazz Timbre, and the Afterlife of Dennis Irwin’s Bass
Reawakening
Regendering
Quietude
Resurrection
Afterlife
Notes
References
18 Jazz Dance, Gender, and the Commodification of the Moving Body: Examining Patriarchal and White Supremacist Structures …
Gender Detective
Race and the Commodification of the Dancing Body
Systemic Narratives: Patriarchal Codification, and the Colonization of Women in Jazz Dance
Rooted: Gender-Expansive Movement Aesthetics and Choreography
Conclusion
Notes
References
19 Women’s Access to Professional Jazz: From Limiting Processes to Levers for Transgression
Being a Professional Jazz Musician: A Strong Calling, A Tough Life Choice
Jazz as a “Masculine” and Gender-Segregated World
Limiting Social Processes: A Negative Cumulative Dynamic
Overrepresentation of Female Musicians in Devalued Singing
“Feminine” Negative Stereotypes Limiting the Recognition of Female Jazz Musicians as Real Artists
“Masculine” Social Networks
Impeding “Masculine” Social Conventions and Norms
Articulating Professional Life and Family Life
Levers for Transgression
Long Institutional Training in Music
Develop Implicit Strategies to Overcome Negative Feminine Stereotypes
“Turning Off the Seduction” With Colleagues
“Reversing the Stigma”
“Masculinizing” Artistic Practices
Family “Over-Socializations”
Conclusion
Notes
References
20 “It Ain’t Who You Are”: Authenticity, Sexuality, and Masculinity in Jazz
Being Gay
Ins and Outs
Authenticity
Notes
References
Part 3 Society and Education
21 Oppression and Hope: Students’ Perceptions of Gender and Stereotypes in Jazz Appreciation and History
Introduction and Background
Considerations of Gender
Critical Pedagogy and Gendered Teaching
Freire’s Oppression and Hope
Purpose of the Study
Research Questions
Participants
Methodology
Themes
Theme 1: Participants’ Past Experiences Influence Their Perception of Gender and Jazz From an Early Age to Present.
Theme 2: There Is a Clear Disparity in Participant’s Perception of Gender in Jazz Related to Sexuality and Emotion.
Theme 3: Stereotypical Norms of the Past Are Pervasive, If Not Exaggerated, in Depictions of Gender in Jazz.
Theme 4: Gender and Gender Stereotypes in Jazz Are Perceived to Be Related to Racial Bias.
Theme 5: The Depiction and Exploitation of Gender in Jazz Should Change for the Future With a Focus On Non-Binary ...
Conclusions and Implications
References
22 Picturing Women in Jazz: An Analysis of Three Jazz History Textbooks
Jazz Textbooks
Jazz History and Denial of Women
How Photos Mean
Women in Photographs: Musicians Or Sex Objects?
Sex-Stereotyping, Girls in Jazz Education
Photographic Data, Gender and Jazz Education
References
23 Degendering Jazz Guitar: Reimagining the Past—Realigning the Future
Introduction
The Gendered Guitar
Male Centricity in the Jazz Guitarscape
Misrepresentation in the Jazz Guitar Cannon
Gendering, Pedagogy and Barriers to Jazz Guitar
Addressing the Issues: Degendering Jazz Guitar
Conclusion
Notes
References
24 “Music Saved My Life”: Jennifer Leitham On Life, Music, and Gender
Introduction
Vocabulary for Common Ground
Method
Positionality
Jennifer Leitham
Jennifer’s Life
Snapshots, Part 1
Snapshots, Part 2
Snapshots, Part 3
Snapshots, Part 4
Snapshots, Part 5
Focus On (Music) Education
Snapshots, Part 6
Snapshots, Part 7: Jennifer’s Advice for Jazz Educators
Snapshots, Part 8
Snapshots, Part 9
Notes
References
25 Can E-Flat Be Sexist?: Canonical Keys as Marginalizing Practice in Jazz
Introduction
The Performance of Jazz Standards and Canonical Keys
Canonical Keys in Fake Books
Method and Analysis
Findings
Jazz Vocal Style and Voice Function
Implications and Recommendations
Conclusion
Notes
References
26 Inclusive Jazz History Pedagogy
Introduction and Background
Edited Anthologies of Essays
General Histories
Biographies
Compilations of Interviews
Jazzwomen: Conversations With Twenty-One Musicians (Enstice and Stockhouse, 2004)
Freedom of Expression: Interviews With Women in Jazz (Becker, 2015)
Journals of Interest
Documentary Films
Conclusion
References
27 Negotiating Hegemonic Masculinity in Australian Tertiary Jazz Education
Introduction: Jamming On Gender in Jazz
Jazz Identities and Hegemonic Masculinity
Methodology
‘Jazzcats’ Playing Against ‘Crazy Feminist Ladies’
Conclusion
Notes
References
28 Jazzwomen in Higher Education: Experiences, Attitudes, and Personality Traits
Attitudes Toward the Jazz Field
Group Status
Career Connections
School Environment
Mentorship
Attitudes Toward Jazz Improvisation
Confidence
Improvisation Anxiety
Curriculum and Repertoire
Jazz History
Jazz Pedagogy
Jazz Ensembles
Personality Traits and Sexuality
Personality
Sexuality
Stereotyping
Roles
Stereotype Threat
Experiences in the Jazz Field
Expectations
Glasper and Iverson Controversy
Sexual Harassment and Discrimination
Solutions
Role Models
Pedagogy
Curriculum and Repertoire
Guest Artists and Festivals
Hiring Practices
Conclusion
References
29 The Gender Imperative in Jazz: The Role of Intercultural Maturity in Jazz Curricula
Background
Contextualizing the Gender Imperative
Understanding Intercultural Maturity
Using Intercultural Maturity to Address Jazz Gender Justice
Jazz and Intercultural Maturity
A Jazz Orientation of the Three-Dimensional Developmental Trajectory of the Intercultural Maturity Model
Conclusions
Notes
References
30 In Her Own Words: Documenting the Current Realities of Women-In-Jazz
Introduction
Literature Review
Methodology
In Her Own Words: Our Study
Her Story: A Call for Collective Healing
References
31 Call and (Her) Response: Improvisation and The Myth of Absence
Introduction
Improvisation: Radical Revisions
Listening for Change: A Brief Ethnography
The Textbook Remains the Same
Call and (HER) Resounding Response
References
Part 4 Policy and Advocacy
32 Victims No More: How Women and Non-Binary Musicians Are Collaborating for Gender Justice in Jazz
Author’s Statement
Framing Women’s Struggle for Gender Justice in Jazz
European Movements for Gender Balance in Jazz
The Contributions of We Have Voice and WIJO
Conclusion
Acknowledgements
Notes
References
33 Women in Jazz: A Failed Brand
Introduction
Neoliberal Feminism and Women in Jazz
Jazz at Lincoln Center (J@LC)
Winter Jazzfest (WJF)
Conclusion
Notes
References
34 Accessing Jazz’s Gendered Places and Spaces
The Spaces of Jazz Masculinity
Jazz Relationships and Gender-Based Violence
Gendered Instrument Specialization
Gendered Musical Practices
Conclusion: Building Accessible Jazz Spaces
Notes
References
35 Breaking Down Barriers: Female Jazz Musicians in Spain
Introduction
Spanish Jazz Career Paths From a Gender Perspective: A Theoretical Framework
Artistic Labor Conditions for Female Jazz Musicians in Spain
Methodology for Qualitative Research
The Results of an Intersectional Approach
Getting Into the Spanish Jazz Scene
Being Part of the Scene
Race, Ethnicity, and Gender in the Spanish Jazz Scene
Conclusion
Acknowledgments
Notes
References
36 The Pale Image of the Jazz Female Instrumentalists in Southeastern Europe
Introduction
On the Southeast Side of the Iron Curtain
The Pale Image of a Balkan Jazzwoman
A New Spark Is Born
Conclusion
Notes
References
37 Addressing Gender Imbalance Through Mentorship and Advocacy
Introduction
Early Development Through Secondary School
College and University Programs
Advocacy
References
38 Sheroes: The Role of All-Women Groups
Historical Background
Post-Feminism and the Alpha Girl
Tokenism and Stereotype Threat
All-Women Groups as Catalysts for Change
Conclusion
Notes
References
Notes on Contributors
Index