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Gender and sexuality in the ska scene: how the ska community continues to pick it up
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Sangaline, Isabella Marie. Gender and sexuality in the ska scene: how the ska community continues to pick it up. Retrieved from https://doi.org/doi:10.7282/t3-kqae-0y17

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TitleGender and sexuality in the ska scene: how the ska community continues to pick it up
NameSangaline, Isabella Marie (author); Strub, Whitney (chair); Rutgers University; Graduate School - Newark
Date Created2022
Other Date2022-06 (degree)
SubjectAmerican history, Women's studies, Ska (Music) -- Social aspects, Gender identity in music, Sex in music
Extent67 pages : illustrations
DescriptionSka did not die in the 1990s when United States mainstream culture was oversaturated with it, rather, the scene is alive and well as it continues to push the original messaging of the scene, working to make it more equitable. Ska originated in Jamaica in the 1960s, 2 tone ska became popular in England in the 1980s, and third wave ska and ska revival took the United States by storm in the 1990s. Ska was born out of working-class youth culture in Jamaica, then connected to working-class youth culture in England. It spoke to their daily struggles, resisted mainstream society, and gave space to dance and celebrate. Women and queer people have now found and made space for themselves in this socially conscious and anti-racist genre of music. By continuing the tradition of oral history in recording the history of ska music, experiences of individuals show how they make space for themselves in the scene. During the 1990s and early 2000s, local ska scenes supported the genre, now the intimacy of local scenes can be found on social media. Platforms like Twitter and Facebook allow fans and artists to connect directly, spreading their platforms and messaging directly. The present scene has coined the term “new tone” to describe the latest movement within the scene. This term is a reference back to 2 tone, a genre known for being anti-racist, and the idea of pushing the messaging to also be anti-sexist, anti-homophobic, anti-transphobic, and anti-queerphobic. Ska’s ability to celebrate the diversity present in the scene and discuss social issues makes it a fertile genre for protest music. It requires the listener to engage with the music while skanking to the melodies. The current scene is tapping into this trait within the genre to continue making new, innovative ska music.
NoteM.A.
NoteIncludes bibliographical references
Genretheses
Persistent URLhttps://doi.org/doi:10.7282/t3-kqae-0y17
LanguageEnglish
CollectionGraduate School - Newark Electronic Theses and Dissertations
Organization NameRutgers, The State University of New Jersey
RightsThe author owns the copyright to this work.
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