By Ellen Koskoff
during this highbrow memoir, Koskoff describes her trip throughout the maze of social background and scholarship concerning her paintings analyzing the intersection of tune and gender. Koskoff collects new, revised, and hard-to-find released fabric from mid-1970s via 2010 to track the evolution of ethnomusicological puzzling over girls, gender, and track, delivering a standpoint of ways questions emerged and adjusted in these years, in addition to Koskoff's reassessment of the early years and improvement of the sphere. Her target: a private map of the several paths to knowing she took over the many years, and the way each one encouraged, knowledgeable, and clarified her scholarship. for instance, Koskoff exhibits how a choice for face-to-face interactions with residing humans served her most sensible in her examine, and the way her now-classic paintings inside Brooklyn's Hasidic neighborhood infected her feminist realization whereas prime her into ethnomusicological studies.
An unusual merging of retrospective and rumination, A Feminist Ethnomusicology: Writings on song and Gender offers a witty and disarmingly frank journey throughout the formative a long time of the sector and should be of curiosity to ethnomusicologists, anthropologists, students of the historical past and improvement of feminist idea, and people engaged in fieldwork.
incorporates a foreword through Suzanne Cusick framing Koskoff's profession and an in depth bibliography supplied via the author.
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Additional info for A Feminist Ethnomusicology: Writings on Music and Gender
One of the results of this more widespread agenda was a connection that many African American women felt toward other women of color: Latinas, Native Americans, and Asian women in the United States, as well as with women worldwide. This later led to a fruitful partnership with feminist groups outside the United States and with a growing consciousness of unequal, gender-based practices in other parts of the world, especially those that had been colonized by various Western powers. Together, these partnerships furthered the argument that gender was not a single-faceted issue, but, rather, intersected with race, social class, ethnicity, sexuality, and many other identities, creating a matrix of overlapping, intersecting selves 18 part i: 1976–1990 that understood gender differently in different cultural contexts and at different times.
Thus, the term gender, like woman, began to be deconstructed and individualized. The Ebbing of the Second Wave By the 1980s, the term postfeminism had entered discourses surrounding the second wave. Early postfeminists believed that the major issues of outright discrimination against women had largely been solved. Legislation prohibiting marital rape and sexual harassment in the workplace, as well as that permitting legalized abortion, coeducation, and a host of other successes garnered in the second wave, was now seen as the new normal, and much of the energy that fueled the second wave began to ebb.
Thus, feminist anthropology in the 1980s was beginning to rethink and critique older understandings of woman, man, and gender; develop new theories that could address different gender structures and how they were enacted cross-culturally; and take on a sort of political activism that protested theoretical positions not explicitly dealing with real women’s actual oppression. Kung Woman, by Marjorie Shostak (1981), and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace, by Dorrine K.