This work explores the meaning and experience of women's music within organizational and performative contexts. This work is also about the politics and passion of writing ethnography as a collage of field notes, poetry, song, conversation, interviews, theories, performances, and defenses. Join the author at The Club, a small, nonprofit, nonmain stream folk music venue and enter into this conversation with an ethnographer, per former, audience member, critic, and apprentice. Enjoy the show.
Get full access to this article
View all access options for this article.
References
1.
Abbate, C. (1993). Opera; or the envoicing of women In R. A. Solie (Ed.), Musicology and difference: Gender and sexuality in music scholarship (pp. 225-258). Berkeley: University of California Press.
2.
Bauman, R. (1984). Verbal arts as performanceProspect Heights, IL: Waveland.
3.
Bayton, M. (1993). Feminist musical practice: Problems and contradictions In T. Ben-nett, S. Frith, L. Grossberg, J. Shepherd, & G. Turner (Eds.), Rock and popular music: Politics, policies, institutions (pp. 177-192). London: Routledge.
4.
Bell, E. (1995). Toward a pleasure-centered economy: Wondering a feminist aesthetics of performanceText and Performance Quarterly, 15(2), 99-121.
5.
Blair, C., Jeppeson, M.S., Pucci, E. Jr. (1994). Public memorializing in postmodernity: The Vietnam Veterans Memorial as prototype In W L. Nothstine, C. Blair, & G. A. Copeland (Eds.), Critical questions: Invention, creativity and the criticism of discourse and media (pp. 350-382). New York: St. Martin's.
6.
Block, R. (1991). Mama's blues. On Mama's blues [CD]Cambridge, MA: Rounder.
7.
Block, R. (1992a). Ain't I a woman. On Ain't I a woman [CD]Cambridge, MA: Rounder.
8.
Block, R. (1992b). Road to Mexico. On Ain't I a woman [CD]Cambridge, MA: Rounder.
9.
Block, R. (1995). Joliet bound. On When a woman gets the blues [CD]Cambridge, MA: Rounder.
10.
Bochner, A.P., & Ellis, C. (1996). Taking over ethnography In C. Ellis & A. P. Bochner (Eds.), Composing ethnography: Alternative forms of qualitative writing (pp. 13-45). Walnut Creek, CA: AltaMira.
11.
Burke, K. (1950). A rhetoric of motivesBerkeley : University of California Press.
12.
Connor, S. (1989). Postmodern culture: An introduction to theories of the contemporaryOxford, UK: Basil Blackwell.
13.
Conquergood, D. (1985). Performing as a moral act: Ethical dimensions of the ethnography of performanceLiterature in Performance , 5(2), 1-13.
14.
Conquergood, D. (1989). Poetics, play, process, and power: The performative turn in anthropologyText and Performance Quarterly , 9, 82-88.
15.
Finn, J.L. (1995). Ella Cara Deloria and Mourning Dove: Writing for cultures, writing against the grain In R. Behar & D. A. Gordon (Eds.), Women writing culture.Berkeley : University of California Press.
16.
Foss, S., Foss, K. A., & Trapp, R. (1991). (Eds.) Contemporary perspectives on rhetoric (2nd ed.). Prospect Heights, IL: Wareland.
17.
hooks, b. (1992). Black looks: Race and representationBoston: South End.
18.
Hunter, A.M. (1992). Numbering the hairs of our heads: Male social control and the all-seeing male GodJournal of Feminist Studies in Religion, 8(2), 7-23.
19.
Langellier, K.M., Carter, K., & Hantzis, D. (1993). Performing differences: Feminism and performance studies In S. P Bowen & N. Wyatt (Eds.), Transforming visions: Feminist critiques in communication studies (pp. 87-124). Creskill, NJ: Hampton.
20.
Lont, C.M. (1984). Between rock and a hard place: A model of subcultural persistence and women's music Unpublished doctoral dissertation, University of Iowa.
21.
Mulvey, L. (1984). Visual pleasure and narrative cinema In B. Wallis (Ed.), Art after modernism: Rethinking representationNew York: New Museum of Contemporary Art.
22.
Nietzsche, F. (1974). The gay science: With a prelude in rhymes and an appendix of songs (W. Kaufmann, Trans). New York: Vintage.
23.
Partnow, E. (Ed.). (1977). The quotable woman (Vol. 2). Los Angeles: Pinnacle.
24.
Petersen, K. (1987). An investigation into women-identified music in the United States In E. Koskoff (Ed.), Music and women in cross-cultural perspective (pp. 203-212). New York: Greenwood.
25.
Powers, A. (1995). Who's that girl? In E. McDonnell & A. Powers (Eds.), Rock she wrote: Women write about rock, pop, and rap.New York: Delta.
26.
Rosaldo R. (1993). Culture & truth: The remaking of social analysisBoston: Beacon.
27.
Rosenblatt, L. (1993). The transactional theory: Against dualismsCollege English, 55(4), 377-386.
28.
Staggenborg, S., Eder, D., & Sudderth, L. (1993-1994). Women's culture and social change: Evidence for the National Women's Music FestivalBerkeley Journal of Sociology, 38, 31-56.
29.
Sutton, T. (1992, January/February). Whatever happened to "Women's Music"?Utne Reader, 30-34.
30.
Tyler, S.A. (1986). Post-modern ethnography: From document of the occult to occult document In J. Clifford & G. Marcus (Eds.), Writing culture: The poetics and politics of ethnography (pp. 122-140). Berkeley: University of California Press.
31.
Vanden Heuvel, M. (1994). Performing drama/dramatizing performance: Alternative theater and the dramatic textAnn Arbor: University of Michigan Press.
32.
Wheeler, C. (1993). Act of nature. On Driving home [CD]Cambridge, MA: Philo.
