{"id":1537,"date":"2023-11-29T08:55:20","date_gmt":"2023-11-29T07:55:20","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=1537"},"modified":"2023-11-29T08:55:20","modified_gmt":"2023-11-29T07:55:20","slug":"research-round-table-14-12-2023","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/news\/research-round-table-14-12-2023\/","title":{"rendered":"Research Round Table &#8211; 14.12.2023"},"content":{"rendered":"<p style=\"text-align: center;\"><strong>Vortrag von Sarah Raine (University College Dublin) am 14. Dezember 2023 um 18.00 Uhr im Palais Meran, Kleiner Saal:<\/strong><br \/>\n<b>Gender and Improvised Music: Exploring Barriers and Gender Identity from the UK to the Island of Ireland<\/b><\/p>\n<p><img decoding=\"async\" class=\"aligncenter\" src=\"https:\/\/jazzresearch.org\/wp-content\/uploads\/2023\/11\/R.R.T._Sarah_Raine.png\" \/><\/p>\n<p>The jazz scenes in the UK and Ireland continue to be fraught with significant gender politics and barriers to access for minority groups. Whilst the younger generation of jazz musicians are gaining increased national, and international, visibility through industry\u00a0award success, many barriers to access continue. Women and gender\u00a0minority folks are underrepresented on the festival stage (Raine\u00a02019, 2020), musicians of colour continue to face discrimination\u00a0and racism in music Higher Education courses (Raine forthcoming),\u00a0and promoters, agents, band leaders, and media professionals alike\u00a0perpetuate gender roles and expectations that denigrate non-cismen\u00a0and elevate the image of the male jazz musician. During this talk,\u00a0I will present data drawn from previous data from funded industry\u00a0partnership projects in the UK and Ireland, and introduce my new\u00a0project, Improvising Across Boundaries. Co-funded by Science\u00a0Foundation Ireland and the Irish Research Council and in partnership\u00a0with the Improvised Music Company (Dublin), this four-year research\u00a0project will work collaboratively with fifteen women and gender\u00a0minority improvising musicians from February 2024 until August 2027\u00a0to document experience, offer ways forward for industry, and explore\u00a0the ways in which gender identity is considered through performance and everyday music-making.<\/p>\n<p>Dr Sarah Raine is an SFI-IRC Pathway Fellow based in the School of Music at\u00a0University College Dublin. Sarah is the PI for Improvising Across Boundaries:<br \/>\nVoicing the Experience of Women and Gender Minority Improvising\u00a0Musicians, a four-year research project in collaboration with Improvised\u00a0Music Company (Dublin). She is the author of Authenticity and Belonging\u00a0in the Northern Soul Scene (Palgrave Macmillan, 2020), and a co-editor\u00a0of Popular Music Ethnographies: Practices, Places and Identities (Intellect\u00a0Books, forthcoming 2024), Towards Gender Equality in the Music Industries\u00a0(Bloomsbury Academic, 2019), and The Northern Soul Scene (Equinox\u00a0Publishing, 2019). Sarah is also a Book Series Editor for Equinox Publishing,\u00a0the Co-Managing Editor of Riffs: Experimental Writing on Popular Music, an\u00a0Editor for Jazz Research Journal, and a member of the Rhythm Changes\u00a0conference committee.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Vortrag von Sarah Raine (University College Dublin) am 14. Dezember 2023 um 18.00 Uhr im Palais Meran, Kleiner Saal: Gender and Improvised Music: Exploring Barriers and Gender Identity from the UK to the Island of Ireland The jazz scenes in the UK and Ireland continue to be fraught with significant gender politics and barriers to [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":1535,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[],"class_list":["post-1537","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/1537","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/comments?post=1537"}],"version-history":[{"count":7,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/1537\/revisions"}],"predecessor-version":[{"id":1577,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/1537\/revisions\/1577"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media\/1535"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=1537"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=1537"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=1537"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}