this is for a class.
William Curtis
Guitars and Performative Criticism
Intro:
If we are to believe that gender exists only to the extent that it is performed than it is essential that we look at the tools utilized in those performances. For female guitarists their choice in instrument conveys a huge message as to what kind of feminine image they support and market. If we are to truly address performance of gender, we have to assess the tools used in that performance.
Description:
We will be looking at four individual instruments: The Grestch White Falcon, The Guild Starfire, The Daisy Rock Pixie acoustic, and the Daisy Rock Bangles signature model. All are six string guitars, either acoustic or electric, with varied color schemes, designs, and sonic variations. The Daisy Rock guitars do tend to have a shorter next scale, where as the Grestch and the Guild are full scale models.
Methodology:
Using what Hart and Daughton laid out as "performative criticism" I hope to apply it to the realm of female musical artists. The essay says that gender only exists to the extent of which it is performed, and, having a musical background, assessing the tools is as essential as assessing the performance itself.
Analysis:
The idea of using a guitar designed specifically to promote stereotypically feminine images in stereotypically feminine songs contributes only to the further marginalization of women in music. When an artist chooses her instrument, while she is choosing a sound and a feel, she is also choosing an image. Artists who, like Leslie Feist and K.T. Tunstall, choose guitars associated with traditionally masculine artists (Jerry Garcia was seen frequently with a Starfire and Neil Young with the White Falcon) are, though not nessecarily taking a step toward male emulation, are refusing to further the all to prevalent image of femininity in music as frivolous, boy-crazy, and overly sexual.
Conclusion:
We must be more careful in assessing the tools of performance if we are to do performative criticism. The sad fact of the matter is that most female artists do not actively play any form of instrument onstage at all. They are pretty faces held up by the men who lay the musical foundation on which they stand. And so by merely picking up a guitar they are sending a message, it should, however, be a careful one.
Guitars and Performative Criticism
Intro:
If we are to believe that gender exists only to the extent that it is performed than it is essential that we look at the tools utilized in those performances. For female guitarists their choice in instrument conveys a huge message as to what kind of feminine image they support and market. If we are to truly address performance of gender, we have to assess the tools used in that performance.
Description:
We will be looking at four individual instruments: The Grestch White Falcon, The Guild Starfire, The Daisy Rock Pixie acoustic, and the Daisy Rock Bangles signature model. All are six string guitars, either acoustic or electric, with varied color schemes, designs, and sonic variations. The Daisy Rock guitars do tend to have a shorter next scale, where as the Grestch and the Guild are full scale models.
Click to viewMethodology:
Using what Hart and Daughton laid out as "performative criticism" I hope to apply it to the realm of female musical artists. The essay says that gender only exists to the extent of which it is performed, and, having a musical background, assessing the tools is as essential as assessing the performance itself.
Analysis:
The idea of using a guitar designed specifically to promote stereotypically feminine images in stereotypically feminine songs contributes only to the further marginalization of women in music. When an artist chooses her instrument, while she is choosing a sound and a feel, she is also choosing an image. Artists who, like Leslie Feist and K.T. Tunstall, choose guitars associated with traditionally masculine artists (Jerry Garcia was seen frequently with a Starfire and Neil Young with the White Falcon) are, though not nessecarily taking a step toward male emulation, are refusing to further the all to prevalent image of femininity in music as frivolous, boy-crazy, and overly sexual.
Conclusion:
We must be more careful in assessing the tools of performance if we are to do performative criticism. The sad fact of the matter is that most female artists do not actively play any form of instrument onstage at all. They are pretty faces held up by the men who lay the musical foundation on which they stand. And so by merely picking up a guitar they are sending a message, it should, however, be a careful one.