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| 2. |
- Wallerstedt, Cecilia, 1976, et al.
(författare)
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Bandformering och genus på 2010-talet: Förändrade villkor för att spela i band?
- 2016
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Ingår i: Educare. - 1653-1868. ; 2016:1, s. 19-41
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Tidskriftsartikel (refereegranskat)abstract
- The aim of this study is to discuss conditions for young people forming rock/pop bands. In particular, we focus on how the subject position band member is constituted and can be problematized through a post-structural gender approach. Our discussion is driven by an observation of three areas for societal change affecting contemporary conditions for band formation and band playing, which all draw on a discourse claiming that ”everyone can”. First-ly, rock and pop bands today get institutional support through formal schooling and music education in Sweden. Secondly, the digitization of music and inter-net-based resources available are suggested to make possible musical learning for all. Thirdly, equality discourses encourage girls to ”claim space” and ”be heard”, also musically. The discussion of these three areas for change is com-plemented empirically by a Swedish case of five 13-year-old girls playing in a band. Our material consists of video-recordings and field notes from six re-hearsals and one public concert, and social media postings. Based on our re-sults, we see that while physical conditions for band formation have changed over the past decades, the subject position band member is still conditioned, not the least by gender. Therefore, we suggest that the subject position band member needs to be re-visited and most likely re-defined as new conditions for band formation practices take form.
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| 3. |
- Bergman, Åsa, 1972, et al.
(författare)
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Music Organizations’ Equality Work
- 2016
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Ingår i: Gender and Music: Practices, Performances, Politics (GeMus),16th-18th March 2016, School of Music, Theatre and Art Örebro University.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The ambition for gender equality in music, sometimes combined with endeavours for equity in terms of class and ethnicity, is not new. Since the 1970’s, governmental as well as non-governmental organizations and private businesses in Sweden have worked to change gender stereotypes in music and female underrepresentation in leading positions within various music practices. This work has often taken its starting point in dualistic ideas about gender; assuming a clear division between sexes where girls/women are understood either as victims or as norm-breaking subjects. In this presentation, based on a newly formed research study we will highlight ideas regarding girls, equality and feminism shaping contemporary gender equality work in music organizations in Sweden. The research is carried out through reflexive ethnography in the field of music organizations that are focussing their activities on girls/young women, promoting equality in music and/or applying feminist policies. The aim of the project is to examine how their work is organized and legitimized. Our research questions include: What ideas about gender and equality are articulated in policy, perceptions and methods used in music organizations, and how do these relate to broader societal discourses on gender and equality? In what ways are intersectional perspectives integrated in work and policy of the organizations? How do participants and organizers view the relationship between gender, equality work, education practices and music? The study is based on constructivist understandings of gender, but also includes intersectional perspectives on other power dimensions in society. Discourse theory and discourse analysis are used to examine the relationship between local practices and larger understandings in contemporary society, shaping what is possible to do in gender equality work.
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| 4. |
- Bergman, Åsa, 1972, et al.
(författare)
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Specific projects or gender mainstreaming? Discourses within a Swedish culture organisation with an outspoken gender-equality ambition
- 2018
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Ingår i: Music and Gender in Balance, 5-6 April, Tromsø.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The lack of female representation in various music practices has attracted attention in research since the 1970s (Bayton 1989, Whitely 2000, Leonard 2007). In this presentation, based on a study of a culture organisation with an outspoken gender-equality ambition, focus is directed towards what ideas on music, gender, feminism and equality are articulated by different actors within the organisation. The preliminary result shows a negotiation taking place regarding what activities should be organised in relation to the stated ambition. While some actors promote specific gender-equality projects, others advocate that all music activities be permeated by a gender-equality perspective, and while some actors propose that gender equality should be considered in relation to a broader diversity work, others point to the risk that gender issues might be neglected when several equality aspects are lumped together.
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| 5. |
- Björck, Cecilia, 1970
(författare)
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A music room of one's own: Discursive constructions of girls-only spaces for learning popular music
- 2013
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Ingår i: Girlhood Studies. - : Berghahn Books. - 1938-8209 .- 1938-8322. ; 6:2, s. 11-29
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Tidskriftsartikel (refereegranskat)abstract
- This article elaborates on discursive constructions of girls-only settings through the spatial metaphor of a room of one's own, as articulated in round-table discussions among staff and participants from girl-centered music programs in Sweden. The idea of a separate room refers to spaces for collective female empowerment as well as for individual knowledge acquisition and creativity. These spaces are constructed so as to provide the possibility for exploration, subjectivity, and focus, by offering (partial and temporary) escape from competition and control, from a gendered and gendering gaze, and from distraction. Girl-centered programs are also discussed as paradoxical because they function as gender-neutral when seen from the inside, but gender-specific when seen from the outside.
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| 6. |
- Björck, Cecilia, 1970
(författare)
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Challenging existing policies of education, arts and culture: the transformative and artistic ambitions of the Biophilia Educational Project
- 2015
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Ingår i: Paper for ISPME (International Society for Philosophy of Music Education) X International Symposium, 3–6 June 2015, Frankfurt, Germany, as part of the panel symposium Cultural Policy and Philosophical Thinking: Actualizing Social and Conceptual Visions..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The work of Icelandic musician and composer Björk, experimenting with various musical sounds and styles, often through unexpected collaborations, has by many been considered creative and ground-breaking. Her album Biophilia, released in 2011, is strongly framed by educational intentions. Through the songs on this album, Björk explores various aspects of musical structure and connects them to structures in nature – a work in which she has collaborated with Sir David Attenborough, among others. For each song on the album, there is a corresponding app for touchscreen device, focusing a particular musical aspect (such as melody, sequence, scale, tempo, and song structure), allowing the user to explore, compose, and share music. The album and its educational ambitions has generated great interest, not the least from the media. In interviews, Björk has explained her driving force behind the Biophilia album to be that of a “frustrated music teacher,” wanting to form the sort of course she would have liked to study in grade school, but never got to attend. Her goal was to provide tools, most notably through touchscreen technology, for users to experiment with composition and to find their voice and style, without having to be brilliant instrumentalists. At different stops along Björk's Biophilia worldwide tour, music workshops were conducted with school children. Together with the city of Reykjavik and the University of Iceland, Björk has then further developed her ideas of linking science, music and technology together in an attempt to break conventional teaching methods. A Tool Kit, packed with physics, biology, music, and multimedia, has been developed and tried in schools in Reykjavik. In 2014, during Iceland's Presidency of the Nordic Council of Ministers, the three-year-long Biophilia Educational Project was launched. During the planning phase in 2014, the ideas and materials have been developed and refined to form a curriculum to be used in music classrooms with children aged 10–12. Researchers, artists, and teachers are involved in the process. In 2015, the project is to be implemented regionally in all Nordic countries. Each country taking part in the project has chosen a region and a steering committee in charge of implementing and adapting the project according to the local context. The steering committees together form a Nordic collaborative network, with the aim to continually develop the project through a high degree of interaction. During 2016, the project will be evaluated. This presentation will discuss how the implementation of the Biophilia Educational Project is handled at national, regional and local levels. The discussion will be based on the presenter’s experiences as member of a specialist group working with Björk, as well as on observations of local implementation processes. Using Foucault’s (1972) notion of discourse as a “way of speaking,” constituting a network of rules establishing what is meaningful, questions addressed include: How are existing policies of education, arts and culture challenged (or not) through the realization of a music education project with transformative and artistic ambitions, initiated by an artist? What discourses are produced in legitimizing (or not) such a project, and with what greater discourses of education, arts and culture do they resonate or collide?
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| 7. |
- Björck, Cecilia, 1970
(författare)
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Claiming Space: Discourses on Gender, Popular Music, and Social Change
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This compilation (portfolio) thesis explores how language is used in the context of gender-equity music initiatives to construct ideas about gender, popular music, and social change. More specifically, it examines the use of spatial metaphors and concepts revolving round the idea that girls and women need to “claim space” to participate in popular music practices. The empirical material consists of recorded round-table discussions with staff and participants from four different initiatives in Sweden, all with the explicit aim to increase the number of girls and women involved in popular music production and performance. They include a time-limited project by a youth organization, a grass-roots network for young musicians, an adult education course, and a pop/rock music camp for girls. A Foucault-inspired discourse analysis method in six stages was used to examine the data in terms of discursive constructions, discourses, action orientation, positionings, practice, and subjectivity. The results are organized in four themes – Sound, Body, Territory, and Room – and are discussed in relation to the concepts of performativity (Judith Butler), feminine body spatiality (Iris Marion Young), and gaze (Michel Foucault and others). The idea of “claiming space” is found to be involved in two dialectics. The first dialectic is formed by space-claiming understood as on the one hand extrovert self-promotion to be seen and heard, and on the other hand, as introvert focus on the musical craft. A second dialectic is formed by an ongoing struggle between empowerment and objectification, i.e., between being an acting subject and being the object of a disciplining gaze.
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| 8. |
- Björck, Cecilia, 1970
(författare)
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"Ett eget rum” – Potential, problematik och paradoxer med musikprojekt riktade mot tjejer
- 2012
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Ingår i: Paper for the conference g12, 28–30 Nov, 2012, Gothenburg, Sweden..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Presentationen behandlar idén om ett ”eget rum” och bygger på en doktorsavhandling om genus, populärmusik och social förändring. I inspelade rundabordsdiskussioner med personal och deltagare från fyra musikprojekt med jämställdhetssyfte artikuleras två modeller eller versioner av ett eget rum. Det ena är ett rum för tjejers kollektiva kraftsamling i enkönade miljöer, medan det andra är ett rum för individuellt skapande. Det kollektiva egna rummet konstrueras i rundabordsdiskussionerna som en tillfällig fristad från konkurrens, kontroll, styrning, och en genusdisciplinerande blick. I jämförelse med könsblandade kontexter beskrivs det egna rummet utan killar erbjuda möjligheter för tjejer att ta en mer aktiv roll där det inte känns lika riskfyllt att experimentera med nya instrument och ny kunskap. Det individuella egna rummet beskrivs å sin sida som tillfällig fristad från krav på ständig social reflektion som splittrar och tar fokus från det musikaliska skapandet. Detta rum svarar därmed mot ett behov av att få vara ifred, avgränsa sig mot omvärlden och vara otillgänglig för att kunna fokusera tillräckligt på det kunskapsobjekt som det musikaliska hantverket utgör. Presentationen berör vidare olika spänningar som framkommer i konstruktionerna av det egna rummet. Till dessa hör spänning mellan det kollektiva och det individuella, vilket kan kopplas till olika generationer av feministiskt tänkande; spänning mellan å ena sidan behovet av trygghet/hem och å andra sidan nödvändigheten av att orientera sig i okända miljöer; samt spänning kopplad till paradoxen att rum med enbart tjejer fungerar som genusneutrala när de ses från insidan men genusmärkta när de ses från utsidan. Diskussionen ramas in av resonemanget i Virginia Woolfs bok A room of one’s own, samt av begreppet kvinnorum (women’s space) som det använts inom debatt och handlingsplaner för skola och utbildning för att förespråka undervisning i enkönade ”tjejgrupper”.
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| 9. |
- Björck, Cecilia, 1970, et al.
(författare)
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Fatta! En företagsliknande förening och Facebook-rörelse med folkupplysande ambitioner.
- 2018
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Ingår i: Utbildning och Demokrati. - 1102-6472. ; 27:1, s. 61-80
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Tidskriftsartikel (refereegranskat)abstract
- Grasp this: An educational and corporate-like Facebook- movement. The purpose of this article is to explore engagement and organization in contemporary civil society by analyzing how a social media campaign, Fatta, develops into a movement and an association. Fatta (roughly: Grasp this) works for the establishment of Swedish legislation regarding sexual consent and can be seen as part of a global movement against men’s violence towards women. The study, guided by ethnographic and netnographic design, followed the association for six months on social media and at physical meetings. Results show identity, representation, advocacy and lobbyism to be central themes. Results also indicate that the association can be seen as a form of socially committed advertising business where branding is central. Fatta constitutes an example of a movement functioning in a context where citizenship is no longer based on responsibilities and participation in political parties but is instead centered around aspects of identity formation and self-realization.
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| 10. |
- Björck, Cecilia, 1970, et al.
(författare)
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Japansk populärkultur bland unga i svensk kontext: Lolitastilen som förhandling om ålder och genus
- 2016
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Ingår i: Educare. - 1653-1868. ; 2016:1, s. 180-200
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Tidskriftsartikel (refereegranskat)abstract
- An increasing interest in Eastern Asian popular culture can be discerned among Swedish youth. When cultural elements are used in new contexts, meanings are partly transformed and reenacted in new ways. This article explores how the Japanese fashion style Lolita is negotiated in a Swedish context. The data are based on observations and interviews at Swedish conventions for Eastern Asian popular culture, and a group interview with five teenagers using Lolita style. For analysis, we use concepts relating to age, gender and gaze. The re-sults show that Lolita style offers possibilities for the young people in our study, female as well as male, to explore a certain form of feminine girlishness. How-ever, this process involves negotiation about age, gender and bodies in public spaces, and by its use of childish femininity, the Lolita style seen through a spectator’s gaze may generate ridicule. Its radicality and provocation seem to lie in the way Lolitas challenge norms about gender, age and expectations about “growing up”.
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