Beyond the Dance Floor: Female DJs, Technology and by Rebekah Farrugia

By Rebekah Farrugia

A pathbreaking examine of the ladies who create digital dance song, Beyond the Dance Floor makes a speciality of the principally missed courting among those girls and the conceptions of gender and know-how that proceed to notify the male-dominated tradition surrounding digital tune. during this quantity, Rebekah Farrugia explores a few vital matters, together with the politics of identification and illustration, the bonds shaped through ladies in the DJ group, and the position lady DJs and manufacturers play during this dance tune tradition in addition to within the higher public sphere.
 
Though Farrugia basically makes a speciality of women’s courting to music-related technologies—including vinyl, mp3s, and electronic creation software—she additionally deftly extends her argument to the strategic use of the web and website design talents for reasons tied to exposure, networking, and song distribution.

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Additional resources for Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture

Sample text

Hesmondhalgh (1998) predicted this move by grasping early on the gradual undermining of the politics of anonymity in favour of the star system. While he discusses producers, the logic applies equally, if not more, to DJs. Turning EDM producers and DJs into brands favours the logic of capital accumulation. In Hesmondhalgh’s words, groups and artists act as brand names for music and the fruits of promotional work can be transferred beyond one record to a series, as audiences carry certain expectations about sounds and messages from one record to the next.

In terms of the dance floor, Martin’s point is well taken. indd 31 3/17/12 10:30:06 AM Beyond the Dance Floor baseball caps, subverted women’s classic position on the dance ἀoor as objects of the male gaze. Maria Pini’s (2001) research on female rave participants supports this notion. Pini writes: For many women, rave represents an undoing of the traditional cultural associations between dancing, drugged ‘dressed-up’ women and sexual invitation, and as such opens up a new space for the exploration of new forms of identity and pleasure.

For the most part, over the course of the 1990s women continued to take part in EDM culture as dance floor participants as opposed to organizers or performers (McRobbie 1994; Redhead et al. 1998; Reynolds 1999; Silcott 1999). When they did engage in roles beyond the dance floor, they were usually in low-level positions such as helping out on the till, working behind the bar or distributing flyers on the streets and in clubs (McRobbie 1994). This is not to dismiss women’s participation in these capacities, but rather to highlight how women’s ability to pursue both power and pleasure further up the hierarchy of rave and DJ culture was limited.

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