Gender and Performance Capital among Local Musicians

Gender and Performance Capital among Local Musicians This article extends Bourdieu’s field theory to explain how learning spaces in the Toronto folk and metal scenes create gendered access to a field-specific form of cultural capital: performance capital, or the instrumental and interpersonal skills required to perform music. Folk musicians develop performance capital in open-access spaces, such as workshops and open stages at local folk clubs, while metal musicians learn in private spaces such as garages, basements, and rented rehearsal rooms. Folk’s learning spaces are open to all aspiring musicians, while access to heavy metal’s learning spaces relies on social networks from which women are often excluded. These different processes of capital development can lead to greater or lesser opportunities for women to become cultural producers: In Toronto, women make up approximately five percent of heavy metal musicians, but almost half of practicing folk musicians. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Qualitative Sociology Springer Journals

Gender and Performance Capital among Local Musicians

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Publisher
Springer US
Copyright
Copyright © 2017 by Springer Science+Business Media, LLC
Subject
Social Sciences; Sociology, general; Social Sciences, general; Cross Cultural Psychology; Personality and Social Psychology
ISSN
0162-0436
eISSN
1573-7837
D.O.I.
10.1007/s11133-017-9360-0
Publisher site
See Article on Publisher Site

Abstract

This article extends Bourdieu’s field theory to explain how learning spaces in the Toronto folk and metal scenes create gendered access to a field-specific form of cultural capital: performance capital, or the instrumental and interpersonal skills required to perform music. Folk musicians develop performance capital in open-access spaces, such as workshops and open stages at local folk clubs, while metal musicians learn in private spaces such as garages, basements, and rented rehearsal rooms. Folk’s learning spaces are open to all aspiring musicians, while access to heavy metal’s learning spaces relies on social networks from which women are often excluded. These different processes of capital development can lead to greater or lesser opportunities for women to become cultural producers: In Toronto, women make up approximately five percent of heavy metal musicians, but almost half of practicing folk musicians.

Journal

Qualitative SociologySpringer Journals

Published: Jul 3, 2017

References

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