#female:pressure

[the-only-i-eternal-blog]

(female:pressure)

[gut-things]

(female:pressure)

[usmaradiomagazine]

𝗢𝗡 𝗔𝗜𝗥 - Tuesday 5 November at 7:00 pm (CET) - usmaradio.org

USMA for radioart106

𝗧𝗛𝗘 𝗠𝗜𝗗𝗗𝗟𝗘 𝗘𝗔𝗦𝗧 𝗣𝗥𝗢𝗧𝗘𝗦𝗧𝗦 - 𝗠𝗜𝗫𝗧𝗔𝗣𝗘 (𝟮𝟬𝟮𝟬) [58 min.]

Playlist:

1. Robert Wyatt - ‘dondestan’ (dondestan 1991)

2. Valerie Vivancos - ‘Restless till Kairos’ feat. Bernard Clarke 

and Dinah Bird. Words by Dareen Tatour (#poemontrial 2018)

3. Miranda De La Frontera - ‘Dear Viyan’ feat. Viyan Peyman 

and Dilar Dirik (Music, Awareness & Solidarity w/ Rojava Revolution.  

female:pressure compilation 2016)

4. Ramy Essam - ‘Ah Ya Balad’ رامى عصام - اه يا بلد (2014)

5. Meira Asher & Guy Harries - ‘Torture Bodyparts’ (Infantry 2001)

6. Dareen Tatour - ‘Freedom’ حُرِّيَّة (The Last Invasion 2010)

7. Muqata’a - Akher Kilmeh أخر كلمة (Hayawan Nateq حيوان ناطق 2013)

8. Dam - JASADIK HOM  جسدكهم (BEN HAANA WA MAANA 2019)

9. Olivia Louvel - Afraid Of Women (Music, Awareness & Solidarity w/ Rojava Revolution. female:pressure compilation 2016)

10. Ramy Essam - Prison Doesn't Kill. The Last Letter of Shady Habash  السجن مابيموتش رسالة شادي حبش الأخيرة  (2020)

11. Raja Meziane - Allo le Système! (2019)

12. Meira Asher & Guy Harries - The School (Infantry 2001)

13. Dam - Jerusalem Al Quds (2018)

14. Muqata'a - Mish Aktar مش اكتر

(Singles 2020)

15. Sote - Holy Error (Sacred Horror In Design 2017)

[torssi]

Kot aktivna clanica female:pressure globalne ekipe zenskih umetnic elektronske glasbe v tem setu predstavljam izkljucno zenske ustvarjalke zmiksane z lastno produkcijo. Pred leti se slisala, da sem ocitno v prvi vrsti avditorec in sem definitivno agnostik, zato svoj prosti cas posvecam taksnim in drugacnim poklonom danasnjim umetnikom, napredku in znanosti. Intro komad je posvecen teoriji vesolja, ki jo je postavil Nikola Tesla in jo vsekakor podpiram v celoti: "Ce hocemo razumeti vesolje, moramo razumeti energijo, vibracijo in frekvenco!"

[wearetheother]

1. Statistics about the Music Industry Reality

When wide access to something is restricted to specific groups of individuals, a lack of diversity arises, and an exclusionary system is developed. People in the music industry rely greatly on publicity, praise, and opportunity to further their careers. To do so, the individual must receive acknowledgment from those in positions of influence within a certain field, which is accomplished through a process of being evaluated in respect to the prevailing culture and its traditions.

The FACTS survey, launched by the female:pressure network in 2013, demonstrates the current state of gender diversity at electronic music festivals. The gender makeup of approximately 400 festival editions from across the world were investigated in the newest edition from 2020, indicating 20.5% female acts, 0.6% non-binary acts, 70.3% male acts, 6.6% gender-mixed acts, and 2.0% undetermined performances. When the survey years were expanded to encompass 2012-2019, entirely female actions accounted for 17.3%, 74% were male, 6.9% were gender-mixed acts, and 1.5% were unidentified. This demonstrates a tiny but significant increase in gender diversity, and the addition of a nonbinary category improves the data for studying inclusivity. Nonetheless, the figures show a significant lack of diversity.

The study “Women in The US Music Industry - Obstacles and Opportunities,” done in 2018 with sponsorship from the Berklee Institute for Creative Entrepreneurship, investigated the overall diversity issue in the music industry. It looked at demographics, employment, and the challenges and opportunities for women in the workplace, demonstrating that women face challenges not only as composers or musical performers, but also in the corporate side of things.

When asked what the largest impediments to their career advancement were, roughly one-third reported gender discrimination, harassment, or abuse.

The respondents were asked if they had been treated differently in the music industry because of their gender, and if their gender had an impact on their work in the music industry. 78% reported being treated differently at work, and 52% thought their gender had an impact on their employment in the music industry. These figures were even higher among women who classified as self-employed or freelancers.

Almost half of respondents expressed they should be more ahead in their career. 44% of white women felt they were falling behind, and 55% of women of color felt the same way. One participant stated that while top-level positions in their organization were 75% male and 25% female, mid- and lower-level positions were 100% female.

Being taken seriously was frequently identified as a struggle for women, as was coping with what they referred to as a "boys' club." Women of color, elderly women, and women with disabilities were recognized to suffer greater challenges.

Race, age, and type of job all influenced how comfortable and supported the women felt at work. Even though most women felt supported at work, white women felt supported nearly 10% more than women of color. Women aged 18 to 24 felt the least at ease, yet the most supported.

Self-employed/freelancers, particularly women in performance, were the least comfortable, whilst those in education and training were the most comfortable.

Regardless of their lack of comfort, 72% of women working in the music industry regarded themselves extremely or moderately satisfied with their primary profession.

Women who had been mentored and had networking opportunities were more likely to earn above $40.000 per year and were happier with their job advancement, making it two instruments for assuring good development.

Over a thousand women who took part in this study advocated for an industry-wide deliberate and active effort to effect change. Among the options given for increasing diversity and inclusion in the music business, among advocacy and leadership, were simply hiring talented women and offering equal opportunity. Essentially, a more diversified sector should aid in the fight against discrimination, abuse, and other systemic concerns.

Lepper, A., MacDonald, C., Kwenda, J., Wilhoite, M., Endo, M., Roll, S., Kirchmayr, S., & Ehmann, T. (2020, March 8). The female:pressure FACTS survey. female:pressure. https://femalepressure.net/

Prior, B., Barra, E., & Kramer, S. (2019). Women in the US music industry: Obstacles and opportunities. Berklee College of Music.

[detund]

DU™️ #Repost @femalepressureberlin ・・・ female:pressure Berlin’ akkamiau in collaboration with Club OST are excited to present Women’s* / FLINTA* Day, a global celebration of the achievements and rights of our communities, a charitable event which donates to  Network Women Weaving the Future  Iranian Women Organisation  WPH Fund for Palestine Come and be a part of the magic, meet and collaborate with your colleagues, collaborators, and friends, both recent and future. We open the doors at 8:30pm and start the event with a free prosecco🥂 We are proudly presenting an epic line up ⛓⛓⛓ Akkamiau DJ AYA  Emika Elena Hypnotic Black Magic  Kat Kat Tat Khloe  Mataya Waldenberg (LIVE) MEEMA  Nina Berg  SPFDJ  Toxido Mask  Yazzus + SPECIAL SECRET GUEST  + SPECIAL programm Panel Talk discussing  ‘Flinta*s actors of the electronic music scene: from the evolution of the awareness and their actual place in the industry to the problematics of its exploitation’ in moderation by Apolline Guedon with guests Vanessa Lassissi (Gentle Riot) and Sanna Mun Dj Workshop + DJ ethics by Kat Kat Tat Modular Live workshop + Showcase by Jacky Noise Get your reduced priority entrance tickets via Resident Advisor. Reduced admission for members of the female:pressure network or if you experience financial struggle preventing you from joining please contact the promoter for discounted tickets in advance on email femalepressuresc@gmail.com Box office available on the day of the event. We do not tolerate any kind of sexism, homophobia, transphobia, discrimination, body/slut shaming or disrespect of any kind.  - Mainfloor is wheelchair accessible - Awareness Team wearing pink harnesses on site! Event link in bio Artwork by @tobiasraschbacher @akkamiau @dj__aya @emikaelenahml @hypnoticblackmagic @djkatkattat @khloe_tw @mataya.tif @nur_meema @ninaberg_____ @spfd.j @toxicmassk @yazzus__ @jacqnoise @gentle.riot.2.0. @sannamun @club.ost  @femalepressureberlin  @femalepressure_official #IWD #flinta #berlin #femalepressure #femalepressureberlin #akkaproduction #techno #internationalwomensday #workshop #djworkshop #modularworkshop #raveparty #technoparty #PanelTalk #clubost #akkamiau https://www.instagram.com/p/Cpal3RUJDWH/?igshid=NGJjMDIxMWI=

[alyeemusic]

(female:pressure)

[clu3io]

(Laylae)

[akkamiau]

(female:pressure)

[mwtgdpr]

#104: Klara

listen: https://www.mixcloud.com/miejsca-w-techno-gdzie/miejsca-w-techno-gdzie-104-klara

[sylph-moon]

play me x why am I like this ~ easyvisr dm for a commission

[usmaradiomagazine]

🔴 𝗢𝗡 𝗔𝗜𝗥 𝗧𝗢𝗗𝗔𝗬 - Tuesday 7 May at 7:00 pm (CEST) - usmaradio.org USMA for radioart106

𝟭𝟰𝟮 𝗘𝗫����𝗘𝗥𝗣𝗧𝗦 𝗙𝗥𝗢𝗠 𝗦𝗬𝗟𝗩𝗜𝗔 𝗣𝗟𝗔𝗧𝗛'𝘀 𝗨𝗡𝗔𝗕𝗥𝗜𝗗𝗚𝗘𝗗 𝗗𝗜𝗔𝗥𝗜𝗘𝗦 (𝗣𝗮𝗿𝘁 𝟮) [63 min.]

Audio experiment EXCERPTS FROM SYLVIA PLATH's UNABRIDGED DIARIES is a sound journey through mental lands of the poet, transposed and imprinted in sonic improvisations between artists/musicians Lena Kocisova (Akkamiau) and Sarah Martinus. Lena and Sarah, both residing in Berlin, are active members of female:pressure,  the international creative community. 

Together we invite you on this sound journey: hoping the insights, trials and tribulations of the honest accounts from Sylvia’s life allow you to explore the deep and creative energy of what is female within all of us.

Selected chapters are narrated by Sarah and accompanying soundscapes originate from collaborative improvisations between the artists. The first part features two tracks, Perhaps by akkamiau and Broke by Sarah Martinus. The soundtrack in complete was compiled and produced by Akkamiau and credits for the graphics go to Sarah Martinus.

Credits:

Lena Kocisova (sonic improvisations, concept and production) 

Sarah Martinus (sonic improvisation, narration and cover collage)

[wearetheother]

"

female:pressure is a transnational online database and network of women*, AFAB, transgender, transfeminine, transmasculine, intersex [+gender optional], genderqueer, gender nonconforming, a-gender and/or non-binary DJs, musicians, composers, producers, visual artists, agents, journalists and researchers working in the realms of electronic music and visual arts. It is a publicly accessible source of information, a means of communication and a tool to disclose the existence and the work of women*, non-binary, transgender and gender fluid people in this seemingly cis-male dominated field.

Founded by Vienna based Electric Indigo in 1998, female:pressure is the technological answer to the recurring assertions of an alleged lack of female* artists in this field. The project started out as a simple html list until Viennese media artist and open source expert Andrea Mayr programmed the database in 2001. With about 180 listed artists from 19 countries 20 years ago, female:pressure can now be proud of including over 3000 members from 86 countries [August 2023]. Members can log in and update their individual profile, most of the profiles link to the artists' web pages and contain contact information.

"Why are there so few women in the electronic music scene?" We have heard this question countless times. While we think that the perceived lack of gender diversity is caused by a complex combination of societal factors, experience shows that women* are hardly less active. In fact, their activities are less recognised and additionally often forgotten in historiography. Raising visibility [and audibility] of players in the electronic music scenes is therefore one of our main goals."

[shemakesnoisefestival]

Charla - "20 años de female: pressure", con Electric Indigo.

Con motivo del quinto aniversario del festival celebramos un encuentro con una de las artistas e investigadoras que más nos ha influido desde el comienzo de este proyecto, la veterana Susanne Kirchmayr, aka Electric Indigo, productora musical, dj y creadora de la plataforma female: pressure, pionera en la visibilización de las mujeres en la música electrónica. Con quien tendremo un encuentro, en el que se abordará la presencia de la mujer en la música de club bajo el título “20 años de female: pressure. Ayer y hoy de la mujer en la industria musical y las artes digitales”.

La charla estará moderada por Estela Oliva, artista y comisaria española con base en Londres, desde donde desarrolla el proyecto artístico y de investigación CLON. Ha trabajado en instituciones culturales de la talla del Barbican Center y Somerset House, donde ha estado en residencia trabajando en nuevos proyectos relacionados con la realidad virtual.

Fotografía de Susanne Kirchmayr obra de Michael Breyer Fotografía de Estela Oliva obra de Ana Quiroga