“​​‘Not in my book’: Sources of knowledge and gendered occupational segregation in classical music in Chile”

“Why aren’t they known within the academy? Where is the work of Leni Alexander, Ida Vivado, Iris Sangüesa, Cecilia Cordero, Carmela Mackenna, to name a few composers, in the bibliography of the composition chairs?  What is the musical or cultural reason for their works not to be in the concert programs, in the orchestration studies and in the history of music?” These questions posed by Chilean academic and composer Valeria Valle (2019) were the impetus for the idea behind my doctoral research, which is called “​​‘Not in my book’: Sources of knowledge and gendered occupational segregation in classical music in Chile”. 

My dissertation project aims to analyze the ways in which the production and circulation of different sources of knowledge (cf. Feldman, 1995) and the cultural representations (cf. Hall, 1997) which stem from them could reinforce a gendered distribution of occupations and tasks within the professional field of classical music in Chile. More specifically, the study seeks to understand how the current available information about women creators and their works in the different sources – such as books, catalogs, anthologies, academic curricula, teaching material or press archives – and their circulation and transmission could impact the decision for a certain genre, theme or area of work made by women performing within this field. Is it possible then that a reduced presence of women musicians in the specialized literature or in the academic curricula contributes to a gendered performance within this field? How does this performance manifest itself in everyday life?
Or, more concretely: How many female conductors, trumpeters and trombonists come to mind without having to think much about it? In this view, my research proposal aims to generate comprehensive data about the more complex side of occupational segregation, which enters the realms of what Jones and Pringles define as “unmanageable inequalities” (2015, p. 38). 

On a second level of specificity, the doctoral project aims to comprehend how power relationships and power dynamics (cf. Ramazanoglu & Holland, 2002, pp. 38-39) are concretely reflected in the production and dissemination of these sources of knowledge, with a particular focus on transmission processes (teaching, training). In light of this, the dissertation is also seen as an opportunity to produce knowledge that can be practically applied, contributing to a “transformation of gendered injustice and subordination” (Ramazanoglu & Holland, 2002, p. 147).

 

Practice phase

The decision to conduct this practice-oriented doctoral research is based on the recognition that “the nature of reality in western society is unequal and hierarchical” (Skeggs, 1994, p. 77). 

My proposal seeks to make a social contribution, first by rising awareness about these “unequal and hierarchical” aspects, then challenging them. The latter is intended to be achieved through the design of an action strategy, at which core is the collaborative work with an organization relevant to the professional sector. The organization “Resonancia femenina” has been chosen as the first Chilean collective of women composers focused on gender equality and equity. Founded in 2012, the organization works towards the creation of spaces for the dissemination of the work made by women in areas such as composition, performance, research, conducting and teaching. 

A first dimension for the collaborative work concerns the support on the design of data collection tools that respond in an informed way to the reality of the field and its particularities, and the definition of relevant categories of research. In this regard, it is also envisaged to collaborate on accessing interviewees and survey respondents (e.g., students, members of orchestras, researchers).

We will also work on a joint initiative that might, on the one hand, make the results of the research known to the community as they are produced, and, on the other hand; to target occupational segregation in the sector in a practice-oriented way. This applied approach could expand the answer of my first research question (“How might the availability and quality of the sources of knowledge about women’s musical creation impact on gendered occupational segregation within the professional field of classical music in Chile?”): If we increase the quantity and quality of knowledge, would it be possible to change the professional reality of the field? 

Some ideas in this regard are the elaboration of an interactive manual that sheds light on the most critical aspects of gender-biased music teaching, the organization of a public action aimed at increasing the information for the general public available on the web about female musical creation in the history of Chile, or the organization of an open conference.

 

Short biography

Paulina Andrade Schnettler (1986, Ovalle, Chile) holds a degree in Journalism (Universidad de Chile) and a master’s degree in International Media Studies (Deutsche Welle Akademie, Universität Bonn and Hochschule Bonn-Rhein-Sieg). She is currently pursuing her doctoral studies at the University of Cologne (2020-2023) under the supervision of  Prof.in Dr.in Gesine Müller (Romanisches Seminar) and Prof. Assoc. Ximena Poó Figueroa (Universidad de Chile), with a focus on gender occupational segregation and cultural representations in the field of classical music. Since 2021 she is a collegiate member of the a.r.t.e.s. Graduate School and holder of a Practice- and Profession-Oriented Doctorate in the Humanities awarded by the Mercator Stiftung (2023–2024). Between September 2017 and August 2018 she was also awarded with a scholarship from DAAD for financing her master studies in Bonn. 

In Chile, she has worked at different educational and cultural institutions (Universidad de Chile, Biblioteca Nacional de Chile and Museo Nacional de Bellas Artes). 

 

Professional Experiences

Paulina ’s interest in questions about the dynamics between gender and the cultural sphere comes from her experience as press and communications officer in institutions such as the National Library and the National Museum of Fine Arts (both located in Santiago, Chile). Based on her observations and experiences there, she decided to dedicate her master’s studies to the specific challenges women face in Chile’s cultural sector.

In her PhD research, she would like to take an in-depth look at the sector of classical music, from the perspective of gender and cultural studies. She aims not only to understand the reasons explaining current gendered occupational segregation, but also to challenge inequalities at their historical and cultural roots.

In parallel to her doctoral studies, she works as scientific associate at the Institut für philosophische und ästhetische Bildung at the Alanus Hochschule für Kunst und Gesellschaft, where she also serves as Gleichstellungsbeauftragte. 

In recent years she has also worked as a free-lance journalist for various Chilean media (newspaper La Tercera, Radio Universidad de Chile, Súbela Radio), reporting on different cultural events in Germany and in neighboring countries. 

 

Contact: pandrad1(at)smail.uni-koeln.de  
 

Presentations (selection)

January 2022 
“De monstruos, genios y campeones: Música clásica en Chile y una mirada masculina como estándar para la creación”. (Presentation at the Oberseminar Romanische Literaturwissenschaft. Faculty of Philosophy, University of Cologne) 

November 2021
“Of monsters, heroes and champions: Classical music and a male gaze as the standard
of creation and performance.” Presentation at “The Realm of Possibilities: A Gender & Queer Studies Symposium” (organized by the Institut für Bildung und gesellschaftliche Innovation der Alanus Hochschule, Bonn).

November 2020
“What Happened to the Director? Occupational Gender Segregation in Film, Music and Creative Industries from the Perspective of Feminist Cultural Studies”. Presentation at “The Realm of Possibilities: A Gender & Queer Studies Symposium” (organized by the Institut für Bildung und gesellschaftliche Innovation der Alanus Hochschule für Kunst und Gesellschaft, Bonn).

February 2019 
“Gender equality within Chilean creative industries. Challenges & opportunities faced by female cultural workers”. Presentation at the Seminar “Thinking Chile: Sharing Ideas in Edinburgh 2019”. University of Edinburgh. 

 

Publications

2019: “Labor afectiva, techos y murallas de cristal: experiencias de las trabajadoras de la cultura en Chile” (Article). In: Revista de Historia del Arte y Cultura Visual del Centro Argentino de Investigadores de Arte (N° 14, ISSN 2313-9242). URL: http://caiana.caia.org.ar/resources/uploads/14-pdf/Caiana14R_Andrade.pdf 

2012: “Raúl Rodríguez Freire y Andrés Maximiliano Tello (eds.). Descampado. Ensayos sobre las contiendas universitarias” (Review). In: Revista de Humanidades Mapocho (ISSN 0716 2510). Santiago: Ediciones Biblioteca Nacional.

2011: Los pasos del elefante: una historia del imperio de Herr Paulmann (Book, co-author). Santiago: Ediciones Radio Universidad de Chile, 2011.

2011: “El lector en su laberinto. Sobre No leer. Crónicas y ensayos sobre literatura de Alejandro Zambra” (Review). In: Revista de Humanidades Mapocho (ISSN 0716 2510). Santiago: Ediciones Biblioteca Nacional.
 

Teaching activities

Wintersemester 2021-2022
Seminar “Das Zeitalter von Instagram und #Metoo: Zusammenspiele zwischen Gender, neuen Medien und Intimität”. Studium Generale und B. A. Philosophy, Arts and Social Entrepreneurship, Alanus Hochschule für Kunst und Gesellschaft, Bonn. 

Sommersemester 2021
Seminaristische Übung “Deconstruct to reconstruct: building our participative gender conceptual kit”. Studium Generale und B. A. Philosophy, Arts and Social Entrepreneurship, Alanus Hochschule für Kunst und Gesellschaft, Bonn. 

Wintersemester 2020-2021
Projektentwicklungsseminar “PhASE Journey” - B. A. Philosophy, Arts and Social Entrepreneurship, Alanus Hochschule für Kunst und Gesellschaft, Bonn. 

Sommersemester 2020
Blockseminar “Deconstruct to reconstruct: building our participative gender conceptual kit”. Studium Generale und B. A. Philosophy, Arts and Social Entrepreneurship, Alanus University of Arts and Social Sciences, Bonn.