Evolución de la heteronormatividad a partir de una categorización de los estereotipos de género. Análisis de los videoclips musicales más populares

Author(s):  
Priscila Álvarez-Cueva ◽  
Mònica Figueras-Maz ◽  
Pilar Medina-Bravo

Representations of masculinity and femininity within the most listened-to commercial music and its evolution, based on a system of our own elaboration of 11 analytical categories of gender stereotypes that explore gender binarism, are examined. In so doing, qualitative and quantitative content analyses of 50 video clips of the most listened-to songs in two periods (2009 and 2019) are carried out. From a post-feminist critical perspective (Gill, 2007, 2017), the study verifies that gender binarism is maintained over time, albeit with important nuances in both years. The results conclude that the most prominent stereotypes are Western hegemonic femininity, associated above all with romantic narratives (mainly in 2009), and Western pariah femininity including dialogs with elements of greater sexualization (especially in 2019). On the other hand, Western Protestant masculinity is present in most of the songs associated with musical genres such as rap or hip-hop, in both periods; while Occidental assured masculinity, which is evident in 2019, is associated with the need to maintain the heteronormative and hegemonic representation of masculinity, even when not fitting the sexuality of the artist. The article concludes that, in ten years, there is an evolution of the heteronormativity among the most popular music videos, where dominant masculinity stereotype continues to be the heterosexual hegemonic masculinity model, in both the romantic and sexual context, while the representation of femininity shows some confrontation with the traditional model. This study contributes to other work on masculinities and femininities as it establishes categories that may be applied to different cultural products and social realities. Resumen Se examinan las representaciones de masculinidad y feminidad dentro de la música comercial más escuchada y su evolución, a partir de la elaboración propia de un sistema de 11 categorías analíticas de estereotipos de género que exploran el binarismo de género. Para ello, se lleva a cabo un análisis de contenido cualitativo y cuantitativo de 50 videoclips de las canciones más escuchadas en dos cortes temporales (año 2009 y año 2019). Partiendo de la perspectiva crítica postfeminista (Gill, 2007, 2017), se comprueba que el binarismo de género se mantiene en el tiempo, aunque con importantes matizaciones en ambos años. Los resultados concluyen que entre los estereotipos más destacados se encuentran: la feminidad hegemónica occidental, asociada sobre todo a narrativas románticas (principalmente en el año 2009), y la feminidad paria occidental, que dialoga con elementos de mayor sexualización (sobre todo en 2019). Por su parte, la masculinidad protestante occidental se encuentra presente en la mayoría de las canciones de géneros musicales como el rap o el hip hop en ambos periodos de tiempo; mientras que la masculinidad asegurada, que se evidencia en 2019, se asocia con la necesidad de mantener su representación heteronormativa y hegemónica, aunque la sexualidad del artista no encaje en ella. A partir de la muestra analizada, el artículo concluye que, en diez años, ha habido una evolución de la heteronormatividad en los videoclips musicales más populares, donde el estereotipo de masculinidad dominante sigue siendo el modelo de masculinidad hegemónico heterosexual, tanto en el plano romántico como en el sexual; mientras que la representación de la feminidad muestra algunas confrontaciones con el modelo tradicional. El estudio supone una aportación a los estudios sobre masculinidades y feminidades pues establece categorías que pueden aplicarse a diferentes productos culturales y realidades sociales.

2018 ◽  
Vol 2 (1) ◽  
pp. 75-84
Author(s):  
Muhammad Yaser Arafat

This paper seeks to study the recitation of the Qur'an with the recitation of Javanese style as an interpretation in the reading. The recitation of the Javanese style is done by reciting the Qur'an by using the rhythm of the spiritual sound art treasury of Sekar Macapat. The recitation of Javanese style is not an insult to the Qur'an. Reading practice is not the same as chanting the Qur'an with the rhythm of Arabic songs, dangdut, punk, hip-hop, and other types of musical genres. the recitation of the Qur'an with the Javanese rhythm derived from Sekar Macapat is a good, beautiful, and more important, suluki. it means that the recitation of Javanese style is an act of reciting the Qur'an as well as a cultured act, which aims to draw closer to Allah Almighty, the Prophet Muhammad (peace be upon him), and to connect himself to the spiritual genealogy of the saints in Java. therefore, I call it "Jawi's recitation," which in Javanese spiritual treasury means one who has understood the real reality (al-Haq).


2017 ◽  
Vol 17 (1) ◽  
pp. 91-111
Author(s):  
Murali Balaji ◽  
Thomas Sigler

Over the past two decades, several musical genres have transcended their Caribbean origins to achieve global recognition and success. Among these are soca, dancehall and reggaeton, all forms that had been inextricably tied to native cultural expressions, but have become increasingly popular as global commodities, particularly as web-based streaming platforms (e.g. YouTube) enhance their global audiovisual mobility. Numerous artists within these genres have become internationally recognized superstars, and many of the most recent tracks reflect an increasing co-mingling with American ‘pop’ music, as record companies seek to invigorate mainstream sounds with these ‘exotic’, yet widely popular artists. This article explores representations of scalar territorial identity as articulated in music videos from within these genres so as to evaluate how identity intersects with profit-driven models applicable to the contemporary music industry. By evaluating imagery from a regionally representative sample of music videos, they identify the intimate relationship between identity, scale and cultural production. Ultimately, we interrogate how place-based identity is commodified in these representations and whether certain images are constructed more for transnational consumption than an articulation of a coherent local national, or regional identity.


Author(s):  
Anne Danielsen ◽  
Kristian Nymoen ◽  
Martin Torvik Langerød ◽  
Eirik Jacobsen ◽  
Mats Johansson ◽  
...  

AbstractMusical expertise improves the precision of timing perception and performance – but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one’s musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center (“P-center”) and variability (“beat bin”) for each group of experts. We had three stimulus categories – Organic, Electronic, and Neutral sounds – each of which had a 2 × 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.


Lateral ◽  
2021 ◽  
Vol 10 (1) ◽  
Author(s):  
Chris Nickell ◽  
Adam Benkato

In this contribution, Chris Nickell and Adam Benkato think together about the mobilization of Blackness in Arabic hip hop from two different contexts: a rap battle in Beirut, Lebanon and music videos from Benghazi, Libya. In both, hip hop artists confront Blackness with the nation through the Afro-diasporic medium of hip hop. Although the examples we consider here participate, in several ways, in hip hop’s larger generic functions as a globalized Black medium of resistance, they also bolster pre-existing discourses of race and racism, anti-Blackness in particular. We argue that this seeming contradiction—instances of anti-Blackness appearing in an iteration of a Black expressive form—is in fact a feature, not a bug, of the flexible way the genre works. We have paired these two examples, which we describe and analyze individually given their differing social contexts as well as our differing research focuses, in order to glimpse the discursive level at which racecraft functions.


Author(s):  
Keith Howard

K-pop, Korean popular music, is a central component in Korea’s cultural exports. It helps brand Korea, and through sponsorships and tie-ups, generates attention for Korea that goes well beyond the music and media industries. This essay traces the history of Korean popular music, from its emergence in the early decades of the twentieth century, through the influence of America on South Korea’s cultural development and the assimilation of genres such as rap, reggae, punk, and hip hop, to the international success of Psy’s ‘Gangnam Style’ and the idol group BTS. It explores the rise of entertainment companies, how they overcame the digital challenge, and how their use of restrictive contracts created today’s cultural economy. It introduces issues of gender and sexuality, and outlines how music videos and social media have been used to leverage fandom.


Soul in Seoul ◽  
2020 ◽  
pp. 119-146
Author(s):  
Crystal S. Anderson

Mainstream Korean hip-hop performers cite the R&B tradition through sampling and the use of R&B vocals and enhance it through Korean musical strategies that mix multiple genres with hip-hop elements and the use of live instrumentation. Some hip-hop acts emulate the tradition by engaging in “old school” music and using R&B vocals, while others include remixes, samples of non-R&B genres, and the use of non-R&B vocalists. Mainstream Korean hip-hop acts cite limiting and liberating hip-hop tropes in music videos as well. Korean hip-hop artists participate in a globalized R&B tradition by promoting its music aesthetics.


2020 ◽  
pp. 179-214
Author(s):  
Jasmine Mitchell

Chapter 5 explores the transnational dimensions of racial imaginings through the vision of Brazil as a mixed-race tropical paradise in both U.S. and Brazilian productions. U.S. hip-hop music videos such as Snoop Dogg and Pharrell’s “Beautiful” (2003), will.i.am’s “I Got It from My Mama” (2007), and the Hollywood film Fast Five (2011) exploit Brazil’s image as a racial paradise and a site of black male independence, based on its reputation as a racial democracy with a large mixed-race population and the imagery of the Brazilian mulata. The chapter ends with how the Brazilian state presented the Rio 2016 Olympics bidding process and the London 2012 handover ceremony on a global stage through images of multiculturalism.


2012 ◽  
Vol 24 (3) ◽  
pp. 432-448
Author(s):  
Tanja N. Morgan ◽  
Cheryl A. Hampton ◽  
Shanise Davenport ◽  
Ellen Young ◽  
Diane M. Badzinski ◽  
...  

2020 ◽  
Vol 51 (3) ◽  
pp. 228-250
Author(s):  
Tyree Oredein ◽  
Kiameesha Evans ◽  
M. Jane Lewis

While the prevalence and adverse effects of violence in hip-hop music and music videos have been studied extensively, hip-hop entertainment journalism, which reports on hip-hop news and events, has been largely unexplored. The purpose of this study was to examine violent trends in hip-hop journalism. We conducted a content analysis on a random sample of 970 news articles, 218 interview articles and the accompanying photographs from three hip-hop themed websites, and 56 radio interviews from hip-hop themed FM radio stations. Content was coded for type of violence, reality status, narrative sequence, and tone. The findings suggest that a significant portion of hip-hop journalism communications contain violence. More than half of all articles (52.3%; n = 663) contained violence. The prevalence of violence was higher for interview articles (73.4%, n = 218) than for news articles (45.9%, n = 445). The most common categories were violent metaphors, weapons, feuding (e.g., verbal aggression), and fighting. Almost 70% of radio interviews ( n = 37) contained at least one mention of violence and the most common types of violence were fighting/physical assault and feuding. Furthermore, the majority of violence for all articles and radio content were reported as real and were presented from the performer sequence. News articles depicted more consequences, whereas interview articles and radio interviews depicted more positive portrayals. Potential implications for youth exposure hip-hop journalism are discussed.


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