The Routledge Companion to Jazz and Gender

Description

The Routledge Companion to Jazz and Gender identifies, defines, and interrogates the construct of gender in all forms of jazz, jazz culture, and education, shaping and transforming the conversation in response to changing cultural and societal norms across the globe. Such interrogation requires consideration of gender from multiple viewpoints, from scholars and artists at various points in their careers. This edited collection of 38 essays gathers the diverse perspectives of contributors from four continents, exploring the nuanced (and at times controversial) construct of gender as it relates to jazz music, in the past and present, in four parts Historical Perspectives Identity and Culture Society and Education Policy and Advocacy Acknowledging the art form’s troubled relationship with gender, contributors seek to define the construct to include all possible definitions—not only female and male—without binary limitations, contextualizing gender and jazz in both place and time. As gender identity becomes an increasingly important consideration in both education and scholarship, The Routledge Companion to Jazz and Gender provides a broad and inclusive resource of research for the academic community, addressing an urgent need to reconcile the construct of gender in jazz in all its forms. 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