"Det sitter i väggarna" - en etnologisk studie av kvinnliga studenters erfarenheter av genusnormer på Musikhögskolan
(2018) ETNK02 20172Division of Ethnology
- Abstract
- The intention of this thesis has been to study women students and their experiences of norms and unwritten rules at the Academy of Music in Sweden. Through qualitative methods, six women students have contributed with their stories, thoughts and ideas of gender normative systems at the school.
The interviews form the basis of the analysis in which three theoretical perspectives have been integrated; Judith Butler’s theory on performativity, Raewyn Connell’s theory on masculinities and Sara Ahmed’s queer phenomenological perspectives on bodies and emotions.
The empirical material shows that norms about a “good” musicians can be localized to notions of masculinity that affect possibilities for bodies to be attributed with status and... (More) - The intention of this thesis has been to study women students and their experiences of norms and unwritten rules at the Academy of Music in Sweden. Through qualitative methods, six women students have contributed with their stories, thoughts and ideas of gender normative systems at the school.
The interviews form the basis of the analysis in which three theoretical perspectives have been integrated; Judith Butler’s theory on performativity, Raewyn Connell’s theory on masculinities and Sara Ahmed’s queer phenomenological perspectives on bodies and emotions.
The empirical material shows that norms about a “good” musicians can be localized to notions of masculinity that affect possibilities for bodies to be attributed with status and legitimacy. Throughout this thesis I argue that emotions can be working to assemble physical space with social space. This way emotions work in processes of exclusion and inclusion as reproduction of gender orders at the Academy of Music.
The empirics also shows that there is a gap between the informant’s stories of specific situations and their attitudes towards norms and unwritten rules. That means that the informants tell stories of exclusion and discrimination at the school but at the same time argue that they have never felt excluded or discriminated. The informants claim that norms of gender orders, at the institution are “dyed in the wool” and difficult to read up on. This, I claim, can be a sign of hegemonic masculinity. Hegemony works to maintain a superior position of a certain group and can, in this context, be seen as a system of which legitimacy of patriarchy is formed. This system allows some bodies, before others, to become musicians and be allocated with status and legitimacy. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/8933324
- author
- Malmberg, Eva LU
- supervisor
- organization
- course
- ETNK02 20172
- year
- 2018
- type
- M2 - Bachelor Degree
- subject
- keywords
- Gender, education, music, masculinity, hegemony
- language
- Swedish
- id
- 8933324
- date added to LUP
- 2018-01-25 15:10:22
- date last changed
- 2018-01-25 15:10:22
@misc{8933324,
abstract = {{The intention of this thesis has been to study women students and their experiences of norms and unwritten rules at the Academy of Music in Sweden. Through qualitative methods, six women students have contributed with their stories, thoughts and ideas of gender normative systems at the school.
The interviews form the basis of the analysis in which three theoretical perspectives have been integrated; Judith Butler’s theory on performativity, Raewyn Connell’s theory on masculinities and Sara Ahmed’s queer phenomenological perspectives on bodies and emotions.
The empirical material shows that norms about a “good” musicians can be localized to notions of masculinity that affect possibilities for bodies to be attributed with status and legitimacy. Throughout this thesis I argue that emotions can be working to assemble physical space with social space. This way emotions work in processes of exclusion and inclusion as reproduction of gender orders at the Academy of Music.
The empirics also shows that there is a gap between the informant’s stories of specific situations and their attitudes towards norms and unwritten rules. That means that the informants tell stories of exclusion and discrimination at the school but at the same time argue that they have never felt excluded or discriminated. The informants claim that norms of gender orders, at the institution are “dyed in the wool” and difficult to read up on. This, I claim, can be a sign of hegemonic masculinity. Hegemony works to maintain a superior position of a certain group and can, in this context, be seen as a system of which legitimacy of patriarchy is formed. This system allows some bodies, before others, to become musicians and be allocated with status and legitimacy.}},
author = {{Malmberg, Eva}},
language = {{swe}},
note = {{Student Paper}},
title = {{"Det sitter i väggarna" - en etnologisk studie av kvinnliga studenters erfarenheter av genusnormer på Musikhögskolan}},
year = {{2018}},
}