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

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dc.contributor.authorGalioğlu, Aslı
dc.date.accessioned2026-04-25T14:13:24Z
dc.date.available2026-04-25T14:13:24Z
dc.date.issued2025
dc.departmentSinop Üniversitesi
dc.description.abstractThis 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).
dc.identifier.doi10.31811/ojomus.1578675
dc.identifier.endpage205
dc.identifier.issn2536-4421
dc.identifier.issue2
dc.identifier.scopus2-s2.0-105005108882
dc.identifier.scopusqualityQ4
dc.identifier.startpage190
dc.identifier.urihttps://doi.org/10.31811/ojomus.1578675
dc.identifier.urihttps://hdl.handle.net/11486/8068
dc.identifier.volume10
dc.indekslendigikaynakScopus
dc.institutionauthorGalioğlu, Aslı
dc.language.isotr
dc.publisherNilgun SAZAK
dc.relation.ispartofOnline Journal of Music Sciences
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı
dc.rightsinfo:eu-repo/semantics/openAccess
dc.snmzKA_Scopus_20260420
dc.subjectfeminism
dc.subjectgender
dc.subjectMahsa Amini
dc.subjectmusic
dc.subjectpolitics
dc.subjectresistance
dc.titleMusic as an instrument of resistance in the context of gender theories: Mahsa Amini case study
dc.title.alternativeToplumsal cinsiyet teorileri baglaminda direnis unsuru olarak müzik: Mahsa Amini örnek olayi
dc.typeArticle

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