Course: Liberal arts Students, in a 5 paragraph essay, please talk about how the
ID: 457091 • Letter: C
Question
Course: Liberal arts
Students, in a 5 paragraph essay, please talk about how the music industry works to either support or harm the image of sexism in it's videos and musical lyrics. For example, which musical artists do a good job in portraying men and women in positive ways, which do not. What artists use words and images that you find appealing and attractive when it comes to song and which do you feel use lyrics that are innapropriate and show men or women in a bad light. Please think about and share all of the differences in how our society has used music for good, or for bad. You can also examine the differences as they have evolved and changed through the years.
Explanation / Answer
When we sing, we dance or listen associated with certain activities we can be certain sexual roles transmitting music. Educating from the difference and equality is one of the objectives that music education should be considered.One dimension that has the music is the transmission of gender stereotypes. Songs in which each sex with a social function or dances in which roles associated with men or women we are assumed demonstrated identified. (Stereotype: image or idea commonly accepted by a group or society with immutability). To what extent teachers are aware of this aspect, at what level these learnings are or are not definitive in education for equality, and finally, what are the musical areas from which situations of gender inequality are identified are fields very interesting for study from sociology, psychology and general and music pedagogy. Finally, we must consider that the traditional musical legacy should not be ignored or forgotten, and that the sexist values that are transmitted on them should not be relegated towards education for equality. Education for equality, necessary, it should not displace or modify traditional music lessons also necessary and of great value in our culture.
What children and adolescents sing ?. A model is transmitted sexist?
If you look at the songs that our youngest children listen and sing at home and in schools, it is in the traditional songs where we can find more sexist elements. In the example of "Arroz con leche" is looking for a woman who can do the housework.
Rice pudding
Rice pudding.
I want to get married.
With a lady
St. Nicholas
You can sew.
Who knows how to embroider.
Who knows how to open the door
to go play
I am the widow
King's neighborhood,
I want to get married
I do not know who
With this yes
this not.
With this lady
I case.
As for adolescents, and in the field of Spanish, where most sexist elements is found in the letters of Latin musical styles like reggaeton. Wisin and Yandel. I made woman
Without going into musical and literary reviews, it is a fact (though it may seem unfortunate), many of our students hear this kind of music. The contents of the songs most often turn to perpetuate masculine archetypes of power, domination and subordination of the woman who lives for and by the desire to please the man. Tito El Bambino. "Sun, sea and sand"
Similarly, in these letters you have a very stereotypical of what is to be a man concept: hard, sexual, aggressive and he always likes women.
Dancing and coeducation
Overcome and supported educational benefits of dance and dance in schools, have in them a valuable instrument of co-education in the classroom. We are many teachers who work when a dance we have encountered the difficulty that children take on roles of girls. Surprised to see how many children they supposed almost a "trauma" assume the position of a girl at a dance.
That is why this situation facilitates the work of coeducation, understanding of concepts of identity and sexual role. Because a child is a child and child will remain even assume a role of girl in dance and vice versa. (ROL: Function meets someone or something).
Performing dances in which the man and woman roles are very marked can be used to make a critical reading of social relations and how certain prejudices affect the interpersonal level.
Transmission of gender roles through music
We noted earlier the possibility to study what are the areas where through music, certain social functions associated sex. (IDENTITY: Consciousness that a person has to be herself and different from the others).
The family is inevitable that parents, uncles and grandparents sing the songs they sang them in their childhood, and inevitably convey messages that perhaps they should be overcome today.
The school: from nursery schools to teacher training faculties, we should do an analysis of the content and functions of music lessons that develop. Moms are not the only ones who sing lullabies to their babies, kids can be handsome and sweet and girls can be strong and courageous, and men, how can they not be able to sing children's songs in a kindergarten. All these and more stereotypes should undergo analysis.
The media: information society involves, among others, a series of values that implicitly other sexual type are generated. We have many examples of objects of consumption, generated by and for the industry in which we regret seeing vocalists with costumes and choreography clearly sexist bands. We also see, in the most commercial music, a few women on bass, keyboard or battery number.
If we are going to end sexism in the music industry dialogue around it needs to change. Since Miley Cyrus took the stage of the VMAs and shook their flesh colored PVC pants toward the pants disturbing Robin Thicke, the media has generated an obsession with mention sexism in the music industry. The last institution to be designated are badly festivals Reading & Leeds, who managed to assemble a poster with a 89.6% of bands with only male members. Gender equality is currently at the forefront of the public consciousness then, justifiably, people turned to see this case.
Of course, the poster Reading & Leeds has always been as a footballing classic male. What has changed is not the percentage of female acts in the cartel (last year was slightly higher), but the willingness of people to mention an injustice when they see it. But we are still at the stage of identifying problems that are far from being resolved, and we have reached a point where the discussion of gender in music tends to have a negative approach understandable. Report errors is obviously an important step path to change, but so critical and so little progress, have created a climate that is too overwhelmed by negativity?
A few weeks ago, the leader of Perfect Pussy and always positive Meredith Graves, sent the following tweet that broke out in the universe as a thundering call to arms "campaign to disarm the horrible and outdated rock critics and replace them with adolescent girls 2015 ". It seems a fair assumption regardless of the context, but it was written in response to a musical based journalist who made a review of the new album t-U-N-E-Y-A-R-D-s not based on their content but the physical appearance of Merrill Garbus. "I've always typecast as a rare and hyper-emotional hyperaware with an old problem of weight and a generous voice," he writes, before suggesting that the song "Rocking Chair" emerged from the subconscious fear of breaking a Garbus.
If such a verbal probably deserved kick, but Graves managed to change his sentence to him in a statement of empowerment for those whom he was undermining. As impossible as it is to silence every idiot, Meredith Graves knows how to pick his battles. In a good play, she deconstructed the idea Fossilized that respect must be earned according to age and gender. Implicit in this is the point that young women are equally important and should fucking be taken at least as seriously as older types that are judging on behalf of music journalism. I'm not saying that objectivity need to get out automatically by the window when this dynamic occurs, but, for example, when you have Paul Lester - a critical average age of The Guardian - describing music Girlpool as "being cornered by a couple of characters Girls HBO and made to listen to the problems of their boyfriends with excruciating detail, "you have to question whether these" respected "music journalists deserve some respect when they are in the business of silencing the voices that we would all do well to listen carefully.
It is tempting to spend all our time screaming about the prevailing systems that position elderly men as "caretakers" of good taste, with which young women are constantly fighting to get out of them. But in the overall scheme of things get intense with dad someone not "understand" a Girlpool not sound so useful. As broad as your group of interest may be, their demographic is definitely Male Critical newspaper was asked to whom writing about them, Ages 35-59. In the interest of being more constructive, for every tablespoon of hatred unloaded in the face of critics frustrated, we should add twice as positive reinforcement to balance things. The 16 year old Tavi Gevinson, founder Rookie - an online magazine for teenage girls - said it best in his speech of 2012 TEDxTeen "I can not recognize a problem without also recognize those who are working to fix it."
We can all learn a little Gevinson turning our attentions positively to all the artists who are directly talking to young women and accepting shit from anyone. Because if you stop to scan the music scene for a millisecond, you will find lots of them. Since the rise of Girlpool until the return of Sleater.Kinney, the number of women - particularly young women - artists commanding the attention right now is inspiring. Adventures of Pittsburgh just released one of the best albums of pop-rock of the last decade, the tremulous voice of Mitski has been pulling the hearts of everyone from Rolling Stone to Ryan Hemsworth, and Skinny Girl Diet has been a constant figure in political fabric of London, playing shows and art festivals beneficial in supporting the rights of women more often than you call your parents. And those are only a few examples from a long list of women who make music that are constantly doing well, but apparently the festival circuit 2015 decided to mass furtively slide this memo table away, proving once again that when it comes to addressing the issue of women in music, there has never been a question of numbers, but a matter of visibility.
The reasons that have returned to be under-represented once again are many: ultimately it is symptomatic of patriarchal values still run everything from the disparity in wages to the tax on tampons. But it is also a circle of cause and effect, which Anika Pyle, vocalist chumped, highlighted in an article for Vulture: "The more I see women [playing music], the more I get excited," he writes. Adversely, the absence of women on posters can increase the climate of despondency and reinforce the concept that the music industry is, and always will be, "a men's club." But that concept is becoming increasingly tenuous. It feels as if we had entered a cyclical dialogue of criticism, where small victories are considered more satisfying than genuinely overthrow the biggest problems. The defendants defend themselves between them, and eventually someone gives up and goes to the next issue - because, in a world where women still are treated as a musical genre and not as a genre in itself, journalists still compare to anyone with XX chromosomes and a guitar with Bikini Kill, and big festivals just seem to be able to support women in a way that is "felicitating, condescending and open the other car" (hello Bestival), there will always be something more than what to complain.
Just as the news tend to focus on the tragedies of the day, when it comes to issues that revolve around gender in music, most of the mass media prefer to focus on who screwed up. Not everyone knows who the Crutchfield sisters, but everyone can "know what the type of the band said," and make a moral judgment. These are the kind of items you see hanging around in the accompanied social networks of certain degrees of hatred, not those written directly from personal experience or addressing the relationship racial politics, feminism and music - things that people might actually learn something. Unless we begin to treat the voice of women with the same importance as comments around them, and introduce the artists as individuals rather than as solutions to the problems that precede them, nothing will change. Depends on the means to provide a balance, offer alternatives to the things people are telling them that are problematic. Because nobody knows where they can see or do to help. But is also actively share in us as many educational articles about it as much as we can expose the activity of Devin Ruben Perez on 4chan.
The media have great influence in shaping the dialogue that revolves around sexism in the music industry, and for those working against it, can sometimes feel like shouting vacuum. The important things to note when we see can not be overstated, but at the same time, nothing has ever progressed only for pointing that out and say it's crap. They must have the same number of positive actions for the change actually occurs. All the artists I have mentioned are somehow part of this simply exist, but ultimately are just doing what they do because they want to, not because they are waging a war. It is not in them, and is not women in general, be instigators of change. Speaking to i-D, Meredith Graves says, "I've busted my ass for over a decade trying to be seen as an equal. I will not do it anymore. It could work until my fingers fell off and still not convince 90 percent of the punk scene dominated by men who deserve to be treated as more than just a curiosity. The impetus for change should not remain the exclusive responsibility of women."
The responsibility lies with all of us to treat women in music in the same way that men have always been treated not fetishize as phenomena, sex objects or simple solutions to a common problem. But we should also be aware not to flood the dialogue of sexism in the music industry with so much negativity that progressive voices that we end up being neglected. Then, possibly, perhaps arrive at a time when praising a band based on their merit and not on their gender is a reality, not just a phrase that the bookers of the biggest festivals presumed as a form of defense.
Finally concluding, it is obvious that an analysis of traditional songs and youth level consumer models lead us to conventions, discriminatory and androcentric. It is logical if we know that music has meant and can be a valuable tool control and consumption.
On the other hand, the message of the songs can not be a deciding element, it may be more important to exercise a grandparent or mother singing, playing and dancing maintaining the tradition, to worry about whether or not the message is not sexist.
Anyway, as teachers, we intervene in the construction of sexual identity of our students. This is constructed from the social and cultural model that is offered, including music.