“When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist Intervention

In this article, I analyze the ways in which community-based arts projects have the potential to challenge the gendered power dynamics of the music industries by creating productive spaces that encourage accessibility, promotion of female artists, and connection amongst girls and female-identified p...

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Main Author: Charity Marsh
Format: Article
Language:English
Published: International Association for the Study of Popular Music 2018-01-01
Series:IASPM Journal
Online Access:https://iaspmjournal.net/index.php/IASPM_Journal/article/download/890/pdf
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author Charity Marsh
author_facet Charity Marsh
author_sort Charity Marsh
collection DOAJ
description In this article, I analyze the ways in which community-based arts projects have the potential to challenge the gendered power dynamics of the music industries by creating productive spaces that encourage accessibility, promotion of female artists, and connection amongst girls and female-identified professionals. Specifically, I share my reflections on the inaugural Girls Rock Regina (GRR) camp, which took place in July 2017 in Regina, Saskatchewan, Canada. Drawing on interview data collected from the GRR organizing crew, participating musicians, volunteers and campers, as well as from my participatory experience as Canada Research Chair in Interactive Media and Popular Music, and Director of the IMP Labs whose research often focuses on community arts-based research in popular music genres and creative technologies, I highlight the ways in which hegemonic ideas around the gendering of creativity, music technologies, and the music industries are being challenged.
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spelling doaj.art-e8d5cfc258a3402ca280d98518757b012022-12-22T00:04:40ZengInternational Association for the Study of Popular MusicIASPM Journal2079-38712018-01-01818810210.5429/2079-3871(2018)v8i1.8en“When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist InterventionCharity Marsh0University of ReginaIn this article, I analyze the ways in which community-based arts projects have the potential to challenge the gendered power dynamics of the music industries by creating productive spaces that encourage accessibility, promotion of female artists, and connection amongst girls and female-identified professionals. Specifically, I share my reflections on the inaugural Girls Rock Regina (GRR) camp, which took place in July 2017 in Regina, Saskatchewan, Canada. Drawing on interview data collected from the GRR organizing crew, participating musicians, volunteers and campers, as well as from my participatory experience as Canada Research Chair in Interactive Media and Popular Music, and Director of the IMP Labs whose research often focuses on community arts-based research in popular music genres and creative technologies, I highlight the ways in which hegemonic ideas around the gendering of creativity, music technologies, and the music industries are being challenged.https://iaspmjournal.net/index.php/IASPM_Journal/article/download/890/pdf
spellingShingle Charity Marsh
“When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist Intervention
IASPM Journal
title “When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist Intervention
title_full “When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist Intervention
title_fullStr “When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist Intervention
title_full_unstemmed “When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist Intervention
title_short “When She Plays We Hear the Revolution”: Girls Rock Regina - A Feminist Intervention
title_sort when she plays we hear the revolution girls rock regina a feminist intervention
url https://iaspmjournal.net/index.php/IASPM_Journal/article/download/890/pdf
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