Unlike previous creative endeavours where I have walked into a creative space with a blindfold on, this next one will utilise visual thinking methods to assist the creative process. A mind map has been adopted and it's use has helped in organising my thoughts and selected research. After researching and reflection I came up with a question that I will later try to answer through a creative endeavour.
"How can feminist values be embodied in the creative process of a musical work?"
As you can see below I branched off into many directions and honestly, do not feel I even brushed the surface. However, it is definitely a step closer to creating something that will be motivated by purposes pertaining to my values.
Here is a list of references which I'm sure, will only get longer.
References
Feminism
Hooks, Bell. (2014). Feminism is for everybody: passionate politics (2nd ed.). Routledge. - Simuro, V T. (2018).
De Beauvoir, S. (2011). The second sex. Vintage.
Butler, J. (2006). Gender trouble : Feminism and the subversion of identity. Taylor & Francis Group.
Applied Feminism
van Breen, J. A., Gocłowska, M. A., de Lemus, S., Baas, M., Kelleci, B., & Spears, R. (2021). Creativity for the Group: Distinctive Feminists Engage in Divergent Thinking When Acting on Behalf of Women. Social Psychological and Personality Science, 12(4), 461–470. https://doi.org/10.1177/1948550620926414
Everson, K. (2015, August 18). Development and gender brain wiring. Gender Intelligence Group. https://www.genderintelligence.com/development-and-gender-brain-wiring/
Thomson-Salo, F., & Tognoli, P. L. (2014). Women and creativity : A psychoanalytic glimpse through art, literature, and social structure. Taylor & Francis Group.
Jack, D. C. (2001). Behind the mask: Destruction and creativity in women's aggression. Harvard University Press.
Simuro, T. V. (2018, June). A woman’s place in jazz in the 21st century (Graduate Thesis and Dissertation). University of South Florida.
Grei, C. (1997). Female identity and the women songwriter. In S. Whiteley (Ed.). Sexing the groove: Popular music and gender (pp. 168-177). Taylor & Francis Group.
Williams, S. (2017). Cardi B: Love & Hip Hop’s unlikely feminist hero. Feminist Media Studies, 17(6), pp. 1114 - 1117.
Cixous, H. (2009). The laugh of the medusa. In R. Warhol-Down & D. P. Herndl (Ed.). Feminisms REDUX: An anthology of literary theory and criticism (pp. 416-431). Rutgers University Press.
Hannaford, M (2017). Subjective (Re)positioning in musical improvisation: Analyzing the work of five female improvisers. Society for Music Theory 23(2). https://mtosmt.org/issues/mto.17.23.2/mto.17.23.2.hannaford.pdf
Art Made By Feminists - Personal Influences
Spalding, E. (2016). Emily’s D+Evolution [Album]. Concord.
Kaur, R. (2015). milk and honey. Andrews McMeel Publishing.
Kaur, R. (2020). home body. Andrews McMeel Publishing.
Drakulic, S. (1992). How we survived communism and even laughed. W. W. Norton.
Almánzar, M. B. (2018). Invasion of Privacy [Album]. Atlantic.
Wilson, G. (2017). H.E.R [Album]. RCA.
Ndegeocello, M. (2003). Comfort Woman [Album]. Maverick.
SoulCulture. (2012, May 8). Akua Naru - Poetry: How does it feel now??? [Live performance] [online video]. Youtube. https://www.youtube.com/watch?v=fZoMzWraS_c
Creative Process
Ferguson, K. (2015). Everything is a remix: Remastered [Youtube]. Independent release. https://youtu.be/nJPERZDfyWc
Congdon, L. (2019). Find your artistic voice : The essential guide to working your creative magic. Chronicle Books LLC.
Leski, K., & Antonelli, J. (2015). The storm of creativity. MIT Press.
Kulhan, B., Crisafulli, C. (2017). Getting to yes and: The art of business improv. Stanford University Press.
Jager, C. D., & Muller, A. (2020). Creative intelligence cq@play : Shaping your future in the fourth industrial revolution. Knowledge Resources.
Additional
Nussbaum, M. C. (2016). Anger and forgiveness : Resentment, generosity, justice. Oxford University Press, Incorporated.
Rabinow, P. (Ed.). (2020). The Foucault reader. Penguin Random House UK.
Gioia, T. (2011). The history of Jazz (2nd ed). Oxford University Press, Inc.