Music as an instrument of resistance in the context of gender theories: Mahsa Amini case study

This article examines the use of music as an instrument of resistance within the framework of gender theories and explores the role of music in the formation, expression, and reconstruction of gender identities. Drawing on the perspectives of leading theorists such as Judith Butler, R.W. Connell, bell hooks, Simone de Beauvoir, and Susan McClary, the article highlights that gender identities are not fixed but are continuously reproduced through social, cultural, and historical factors. Butler’s theory of performativity suggests that gender is not a stable identity but rather a process constructed through social actions, while Connell’s concept of hegemonic masculinity reveals how patriarchal power structures reinforce gender norms. The article also emphasizes the rise of music as a powerful medium of expression against social norms in the digital age, analyzing recent events such as the Mahsa Amini protests. In such acts of resistance, music functions to reach large audiences through social media and digital platforms, making gender and freedom demands more visible. Furthermore, examples are provided of Western music being used in non-Western cultural contexts, illustrating its divergence in meaning and context. In a study highlighting music’s significance in resisting societal gender norms, bolstered by contributions from feminist musicology, it is argued that music transcends mere aesthetic expression to become a significant tool for identity construction and resistance. This netnographic analysis demonstrates that music provides a dynamic space for individuals to express their gender identities and challenge social norms. In conclusion, music emerges as a tool of freedom where individuals can manifest their identities and resistance, occupying a significant place at the intersection of gender and culture. © 2025 The Author(s).