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Dancewhores, Sisterdjs, and Pinknoises: Gendered discourse in electronic/dance music
Unformatted Document Text:  Dancewhores, Sisterdjs, and Pinknoises 17 we dig Rap, it doesn’t hurt that aesthetically, she’s a perfect cross of both Jennifers, Lopez and Aniston. To sum it up in a word: Yummy! Some women and female EDM artists in particular might think that a better summation of this commentary is disgusting. In her discussion of dance music culture Bradby (1993) states that women are portrayed “discursively, in the writing around dance music; musically, as voices within dance tracks; and visually, as dancers in videos for these tracks” (p. 165). Women continue to occupy passive roles compared to males. The slight change that has been made since Bradby's observations seven years ago is that now we have stars like DJ Rap who serve as tokens in defense of the familiar argument that gender is no longer a factor precluding individuals from becoming successful in EDM communities or pop music in general. On Their Own Turf: Female collectives and creative spaces Thus far, this paper has sought to establish recognition of the fact that individuals in active or prominent positions within EDM communities are overwhelmingly male because of a number of factors related to gender that preclude women from occupying these spaces at active levels. This theory stands in opposition to the often-spouted declaration that the visible gender imbalance in EDM has little to nothing to do with gender inequity. In response to this latter claim, women who know otherwise have begun to take matters into their own hands. Currently, we are witnessing the proliferation of all women DJ Collectives, as well as websites and e-zines dedicated to the talent of women artists. In addition, the first documentary dedicated to issues relevant to women DJs, Spinsters, was recently released.

Authors: Farrugia, Rebekah.
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Dancewhores, Sisterdjs, and Pinknoises
17
we dig Rap, it doesn’t hurt that aesthetically, she’s a perfect cross of both Jennifers, Lopez
and Aniston. To sum it up in a word: Yummy!
Some women and female EDM artists in particular might think that a better summation of this
commentary is disgusting.
In her discussion of dance music culture Bradby (1993) states that women are portrayed
“discursively, in the writing around dance music; musically, as voices within dance tracks; and
visually, as dancers in videos for these tracks” (p. 165). Women continue to occupy passive
roles compared to males. The slight change that has been made since Bradby's observations
seven years ago is that now we have stars like DJ Rap who serve as tokens in defense of the
familiar argument that gender is no longer a factor precluding individuals from becoming
successful in EDM communities or pop music in general.
On Their Own Turf: Female collectives and creative spaces
Thus far, this paper has sought to establish recognition of the fact that individuals in
active or prominent positions within EDM communities are overwhelmingly male because of a
number of factors related to gender that preclude women from occupying these spaces at active
levels. This theory stands in opposition to the often-spouted declaration that the visible gender
imbalance in EDM has little to nothing to do with gender inequity. In response to this latter
claim, women who know otherwise have begun to take matters into their own hands. Currently,
we are witnessing the proliferation of all women DJ Collectives, as well as websites and e-zines
dedicated to the talent of women artists. In addition, the first documentary dedicated to issues
relevant to women DJs, Spinsters, was recently released.


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