Download Beyond the Dance Floor: Female DJs, Technology and by Rebekah Farrugia PDF

By Rebekah Farrugia

A pathbreaking learn of the ladies who create digital dance song, Beyond the Dance Floor makes a speciality of the principally ignored dating among those ladies and the conceptions of gender and expertise that proceed to notify the male-dominated tradition surrounding digital song. during this quantity, Rebekah Farrugia explores a few very important matters, together with the politics of identification and illustration, the bonds shaped via ladies in the DJ neighborhood, and the function lady DJs and manufacturers play during this dance tune tradition in addition to within the higher public sphere.
Though Farrugia basically specializes in women’s courting to music-related technologies—including vinyl, mp3s, and electronic construction software—she additionally deftly extends her argument to the strategic use of the net and website design abilities for reasons tied to exposure, networking, and tune distribution.

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In today’s celebrity-obsessed culture, the most successful DJs have become celebrities in their own right; in a modern twist, individuals who were celebrities ἀrst – including super models – have become DJs themselves. Given the importance of image, ἀtting into a range of known identities is paramount for all DJs but especially for women because of their outsider status in DJ culture. Branding The creation of a DJ’s identity is closely related to the practice of branding. indd 40 3/17/12 10:30:23 AM Sex Kittens, T-Shirt DJs and Dykes: Negotiating Identities in an Era of DJ Commodification (1998) argues that ‘the notion of “branding” is a useful one in understanding the relationships between independent record companies and major corporations’ (235).

Even though most of them do not present an overtly feminist agenda, most of them believe in presenting themselves as musicians ἀrst, women second and not as sex objects. As such, they do not endorse wearing provocative clothing on stage for their audience’s pleasure. The problem for women, Bayton suggests, is that ‘however the performer dresses, she is making some sort of statement’ (108). Women have traditionally been objects of the male gaze, so issues related to image and performance do not carry the same weight for men.

In response to these exclusionary practices, many girls and women have since taken a doit-yourself (DIY) approach to creating girl- or women-centred spaces in male-dominated music cultures. Riot Grrrls, representation and subcultural infrastructures Feeling marginalized in the punk subculture in the 1990s, young women in the United States and Britain formed bands grounded in a punk DIY ethic that challenged popular ideas of femininity and girlhood and undermined the notion that punk rock music was an exclusively male domain.

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