Zusammenfassung
Berlin has always had a great history and reputation in supporting gender diversity within the electronic dance music scene. Many non-profit organisations, cultural associations and individual initiatives work on changing the male-dominated local scene. They organise, for example, events and workshops for these (emerging) artists where they can also participate. This paper gives an overview on the actual situation of these organisations and tries to compare and analyse their activities in order to describe the so-called Berlin way. To do so, interviews were conducted with some of the protagonists from such institutions. Furthermore, by outlining the actual situation of these institutions, it can be questioned again if female artists and protagonists really “rule” the Berlin scene (in the sense of gender diversity) or if there are still some things left to do.
Stated in Wilder, 2018.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Literatur
Ars Electronica (2018). Hidden Alliances. https://ars.electronica.art/press/files/2018/09/HiddenAlliances_Pressemappe_EN_final.pdf. [Accessed 20. 05. 2019].
Born, G. & Devine, K. (2015). Music Technology, Gender, and Class: Digitization, Educational and Social Change in Britain. Twentieth-Century Music. https://doi.org/10.1017/S1478572215000018
Bradby, B. (1993). Sampling Sexuality: Gender, Technology and the Body in Dance Music. Popular Music, 12, 155 – 176.
Brewster, B. & Broughton, F. (2000). Last Night a DJ Saved My Life: The History of the Disc Jockey. New York: Grove Press.
Cockburn, C. (1985). Machinery of Dominance: Women, Men, and Technological Know-How. Dover: Pluto.
Electronic Beats. (2017). Berlin’s Lesbian Party Scene Is Changing. https://www.electronicbeats.net/ena-lind-interview-berlin-queer-scene/?fbclid=IwAR0zbBs1L8ZCIbD-zonCMRqdTkMaTn7xsWNuNQGKc92R-6zF9JJA5a7m4xk [Accessed 25. 05. 2019].
FACTS. (2013). Female:pressure report. https://femalepressure.files.wordpress.com/2013/03/fempressreport-03-2013.pdf [Accessed 23. 05. 2019].
FACTS. (2015). Female:pressure report. https://femalepressure.files.wordpress.com/2015/03/femalepressure-facts2015.pdf. [Accessed 23. 05. 2019].
FACTS. (2017). Female:pressure report. https://femalepressure.files.wordpress.com/2019/03/facts2017-survey_version1_2-by_femalepressure.pdf. [Accessed 23. 05. 2019].
Farrugia, R. (2012). Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture. Bristol: Intellect Books.
Farrugia, R. & Olszanowski, M. (2017). Introduction: Women and Electronic Dance Music Culture. Dancecult, 9, 1 – 8.
female:pressure (2019). Press release. http://www.femalepressure.net/pressetext.html. [Accessed 25. 05. 2019].
Frauengedeck (2019). Facebook profile. https://www.facebook.com/Frauengedeck/. [Accessed 22. 06. 2019].
Gavanas, A. & Reitsamer, R. (2013). DJ Technologies, Social Networks and Gendered Trajectories in European DJ Cultures. In B. Attias, A. Gavanas, H. Rietveld (Eds.), DJ Culture in the Mix. Power, Technology, and Social Change in Electronic Dance Music (pp. 51 – 77). New York, London: Bloomsbury.
Heroines of Sound (n. d.). About. https://www.heroines-of-sound.com/about/. [Accessed 27. 06. 2019].
Jóri, A. (2018). On the Terminology of Electronic (Dance) Music. Rasprave, 44 (2), 467 – 483.
Kenney, W. H. (1999). Recorded Music in American Life: The Phonograph and Poplar Memory, 1890 – 1945. New York: Oxford University Press.
Ludewig, B. (forthcoming). The Berlin Techno Myth and Issues of Diversity. In A. Jóri & M. Lücke (Eds.) The New Age of Electronic Dance Music and Club Culture in Berlin. Springer Verlag.
Lücke, M. & Jóri, A. (2018). Popförderung in der Stadt. In L. Grünewald-Schukalla, M. Lücke, M. Rauch, C. Winter (Eds.), Musik und Stadt (pp. 55 – 77). Springer Verlag.
McRobbie, A. (1994). Postmodernism and Popular Culture. New York: Routledge.
McRobbie, A. (2004). Post-Feminism and Popular Culture. Feminist Media. https://doi.org/10.1080/1468077042000309937
McRobbie, A.& Garber, J. (1997). Girls and Subcultures. In K. Gelber & S. Thornton (Eds.), The Subcultures Reader (pp. 112 – 120). New York: Routledge.
MEETUP (2018). Facebook profile. https://www.facebook.com/meetupberlin/. [Accessed 27. 06. 2019].
Morgan, F. (2017). Delian Modes: Listening for Delia Derbyshire in Histories of Electronic Dance Music. Dancecult, 9, 9 – 27.
Naylor, T. (2008). The female techno takeover. The Guardian. https://www.theguardian.com/music/2008/may/24/features16.theguide. [Accessed 20. 07. 2019].
Osborn, B. (2017). Scene but not heard. Exberliner. http://www.exberliner.com/features/culture/scene-but-not-heard/. [Accessed 27. 06. 2019].
Peterson, R. A. & Bennett, A. (2004). Introducing Music Scenes. In A. Bennett & R. A. Peterson (Eds.), Music Scenes: Local, Translocal, and Virtual (pp. 1 – 15). Nashville, TN: Vanderbilt University Press.
Pini, M. (2001). Club Cultures and Female Subjectivity: The Move from Home to House. Hampshire: Palgrave Macmillan.
Redhead, S., Wynne, D. & O’Connor, J. (Eds.). (1998). The Clubcultures Reader: Reading in Popular Cultural Studies. Malden: Blackwell.
Reitsamer, R. (2012). Female Pressure: A translocal feminist youth-oriented cultural network. Continuum. https://doi.org/10.1080/10304312.2012.665837
Resident Advisor. (2015a). Polarity Shift. https://www.residentadvisor.net/events/729245. [Accessed 15. 06. 2019].
Resident Advisor. (2015b). Female:Pressure Perspectives. https://www.residentadvisor.net/events/749506. [Accessed 15. 06. 2019].
Rodgers, T. (2010). Pink Noises: Women on Electronic Music and Sound. Durham, London: Duke University Press.
Rothschild, R. (Ed.). (1983). Machina Ex Dea: Feminist Perspectives on Technology. New York: Pergamon.
Spoon (2019). About. https://www.spoondjworkspace.com/about. [Accessed 27. 04. 2019].
Thornton, S. (1996). Club Cultures: Music, Media, and Subcultural Capital. Hannover: Wesleyan University Press.
Wilder, C. (2018). In the Capital of Electronic Music, Women Rule the Scene. New York Times. https://www.nytimes.com/2018/06/21/arts/music/women-djs-berlin.html. [Accessed 19. 04. 2019].
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2020 Der/die Herausgeber bzw. der/die Autor(en), exklusiv lizenziert durch Springer Fachmedien Wiesbaden GmbH, ein Teil von Springer Nature
About this chapter
Cite this chapter
Jóri, A. (2020). “In the Capital of Electronic Music, Women Rule the Scene” – Really?. In: Ahlers, M., Grünewald-Schukalla, L., Jóri, A., Schwetter, H. (eds) Musik & Empowerment. Jahrbuch für Musikwirtschafts- und Musikkulturforschung . Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-29706-0_3
Download citation
DOI: https://doi.org/10.1007/978-3-658-29706-0_3
Published:
Publisher Name: Springer VS, Wiesbaden
Print ISBN: 978-3-658-29705-3
Online ISBN: 978-3-658-29706-0
eBook Packages: Social Science and Law (German Language)