BY STEPHANIE ESLAKE
Does the classical music industry do its best to promote gender equality? It’s certainly a topic that weighs heavily on the minds of arts practitioners, who are becoming more conscious of issues relating to equal pay (women earn less), gender balance (female composers are outnumbered in concert programs), and safer work environments (rates of sexual harassment are notably high in the arts).
There are many who work hard to confront issues like these, and advocate for change within their own organisations and practices.
But the conversation shouldn’t end there, and one of the lesser-discussed issues surrounding gender in the arts is the way people are portrayed — and sometimes, objectified — in the concert posters, album artwork, and advertising images we see every day.
That’s why PhD researcher Cassandra Gibson is undertaking a study that explores the “gendered representation and sexualisation of Australia’s classical musicians”. The flautist and feminist musicologist is conducting visual analysis as well as a series of confidential surveys and interviews with people who work in the music industry — from managers to photographers, musicians to marketers.
Her Monash University research, titled ‘Analysis of gendered stereotypes on Australian record labels’, will shed light on the way genders are portrayed and perceived through mediums such as advertising and album covers.
Cassandra is herself a music industry practitioner with an impressive performance career, a decade of experience teaching, and a number of degrees and qualifications in her field. She hopes to encourage positive change through her research.
Cassandra, you’re doing a survey into the music industry, with questions designed for three sets of participants: consumer, musician, and industry specialist. First of all, I’d like to know a bit about your own experience in the classical music industry.
Thanks Steph, I’ve been really lucky during my time within the classical music industry and have had access to some really amazing opportunities. In my time as a flautist, I’ve been part of community, youth, and university orchestras, collaborated with some amazing musicians, premiered original Australian works, and been employed as a conductor and as an instrumental and classroom music teacher.
Every position has illuminated a different aspect of this industry and its developing diversity. I’m constantly amazed by how diverse it is becoming. However, as I become more involved, I witness and experience the inequalities and injustices actioned within the industry.
At what point did you consider there needs to be some exploration into the way gender is represented in the classical music industry?
This research has been informed by so many events in my life, from my own childhood to my experiences as a musician and teacher, so this question is difficult to answer simply! But as a consumer, I have often wondered how musicians navigate societal standards while expressing their own identities, especially when they are sexualised. As my colleagues move into their professional careers, I often wonder if they would feel more comfortable if they didn’t feel pressure to perform their gender in a specific way.
I often wonder if they would feel more comfortable if they didn’t feel pressure to perform their gender in a specific way.
The idea for this study came to fruition during a course that I did a few years ago within the sociology department at Monash University. The course explored the portrayals of celebrities and models in popular culture, and the potential ethical dilemmas of these representations for the producers, participants, and consumers. Through this course, I realised there was very little research around the gendered and sexualised representations of classical musicians, especially in Australia. I thought that represented an injustice, particularly to the women in the industry.
I began exploring this topic within my honours in 2019, and I am expanding my exploration of the representations and experiences of female musicians within our industry through my PhD research.
Your study focuses on the visual sexualisation of classical musicians through advertising materials. How would you define “sexualisation”?
Firstly, I think it’s important to note that sexualisation isn’t inherently negative, and, if done in a positive way, has the potential to be empowering. However, I rarely think that sexualised marketing material can be empowering. For my research, I’m defining sexualisation as any objectified representation. So I’ll be exploring how sexualised representations can be indicative of submissiveness, and often demonstrate a lack of context or narrative. For example, are the musicians shown with their instruments? Are they using their instrument as a tool of their craft in the image, is it being played, or is it used as a prop?
I’m also exploring skin exposure and sexualised postures or expressions, but sexualisation is about so much more in this research. My analysis won’t be restricted to a ‘yes, this person is sexualised’ or ‘no, this person isn’t’, since sexualised portrayals tend to exist on a spectrum, similar to gender.
I’ll be measuring portrayals of gender and sexualisation through a specific set of codes adapted from previous theorists to illustrate the variety or lack thereof in these portrayals.
What are your initial research observations about gender and sexualisation of classical musicians in Australia?
While I’m in the very early stages of my research, I have noted that women are more likely to be presented sexually and within stereotypical gender roles than male musicians. Female musicians seem to be sexualised at a much greater rate than male musicians. This is not restricted by the publication date; my samples range from the 1970s to today. There appears to be a clear link between the sexualised portrayal of musicians and submissiveness. This is why my research is exploring the portrayal of gender in tandem with sexualisation. I’m looking for the links between gender, sexualisation, and the portrayal of knowledge and subsequent authority in the image samples; and exploring the link between these facets of branding and sexualised imagery.
What do you believe is the intention behind the use of sexualised images of musicians — particularly when considering concepts such as the “male gaze” in gender-driven representations? Why objectify a person in the first place?
I think sexualised marketing is very complicated and resonates differently with each consumer and producer. Sexualised and objectified representations have been used within marketing for a very long time.
I think now, as we have experienced the #metoo movement, these companies use feminist slogans, hashtags, and quotes to make the objectification of women ‘OK’. I am sceptical of businesses that rely on sexualised imagery to encourage the consumption of a product, especially when they claim to support female independence and feminism. In research, this is referred to as post-feminist marketing, which enables businesses to continue sexually exploiting women while pandering to the cultural climate of the time.
There is a fear within the classical music community regarding the relevance of the industry and so, to keep up with the times, they adopt marketing approaches used by more ‘contemporary’ industries, which includes objectifying and sexualising participants.
I think there is a fear within the classical music community regarding the relevance of the industry and so, to keep up with the times, they adopt marketing approaches used by more ‘contemporary’ industries, which includes objectifying and sexualising participants. This is also something that I hope to develop a deeper understanding of through my research and survey results.
How might a musician of any gender know when they are being “sexualised”? How can they set up barriers with a photographer or branding specialist to say, “No, I don’t feel comfortable being portrayed in this way”?
I think it is very easy to get caught up in – and held back by – fear of judgement. I’d suggest that if something feels unnatural, or doesn’t seem like a position that you’d hold during a performance, question why you’re being directed to present yourself in that way. Have a very clear idea of who you are and what you want from your marketing material.
Don’t be afraid to say: ‘Nope, I’m not cool with this. Let’s try something else.’
When you consult with anyone who has any control over your image, I’d suggest having a conversation with them prior to anything being set in stone, and sending them some examples of how you want to be – and don’t want to be – represented. And don’t be afraid to say: ‘Nope, I’m not cool with this. Let’s try something else.’
In the heat of the moment, it may be difficult to notice if you are being directed into ‘sexualised’ positions. The photographer or marketing specialists themselves might not even recognise that the directions they are giving are sexualised. If you’re wary of ‘sex sells’ marketing, you can look out for more sexualised postures such as lying on the floor; having instruments positioned in odd ways – such as between the legs or breasts, rather than played; being positioned with your legs or head angled; and looking away from the camera. These may seem like small considerations, but they definitely can contribute to what may be understood as a sexualised image.
The idea of representation also brings to light the concept of agency – that is, a person’s ability to think for themselves and choose their own path or decisions. How can we think about the idea that an artist of any gender may choose to portray themselves in a “sexy” way, because it makes them feel confident or happy – and how can we balance this with the knowledge that some artists are being objectified or sexualised in a way they do not choose?
Agency is incredibly complex. When sexualisation is utilised as a marketing tool within any commercial industry, I think we should be cautious while understanding the role of agency within the process.
A common approach to making sexualised representations seem ‘OK’ is often to misrepresent ‘female empowerment’. I think within the classical music industry, the branding process is much more subtle and manipulative. It isn’t as overt as other post-feminist marketing practices – such as ‘buy X and it will make you feel Y‘.
Even as artists do have agency, their perception is shaped by culture and society. So I think true agency is very difficult to identify.
What changes would you like to see in the creation of images of classical musicians – or in the industry more broadly? And how do you hope your survey results will help shed light on changes that are possible?
The change I’d love to see most in this industry is more diversity and discussion.
I think it would be so empowering for this industry to move away from standardised and sexualised imagery, and towards a more diverse range of representations. It could be incredibly beneficial to have open discussions about our branding choices, including the role of sexualised nuances and cookie-cutter representations within marketing material. Additionally, I hope that participates in my research start to question why branding functions the way that it does, and begin to wonder what would happen if that changed.
Most importantly, I want this research to be part of the creation of a safe space for musicians to discuss in a private and secure manner any trauma or experiences that they’ve had. All interviews will be completely anonymous when published, and I hope that this frees musicians to discuss with me their lived experiences without fear of judgement and public shaming. I would hope that this in turn will encourage wider conversation and change within our industry.
Finally, I’m going to return a question that you wrote and included in your survey for industry specialists: “What branding-related advice would you give to a university student who wants to be a professional classical musician?”
I’d remind them that they don’t have to have everything figured out, and that communicating with others is really important. Have professional goals and ideas for how you’re going to make it, but also share your ideas and learn from each other’s experiences.
Is there anything else you’d like to add?
If you’re interested in my research, please participate! Feel free to send through an email if you have any questions. Surveys are available online via a Google Drive link, and it doesn’t matter what your role is in the industry, there’s a survey designed for you!
The consent form also has a tick box option for interviews. I’d love to hear from women who perform and work behind the scenes in Australia’s classical music industry.
Email Cassandra at cassandra.gibson@monash.edu to learn more about her study, ‘Analysis of gendered stereotypes on Australian record labels’. You can also participate in the survey here.
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CutCommon is not affiliated with this research study. Please direct questions about the research or survey participation to the email address supplied.
