Women's Musical Lives: Self-Managing a Freelance Career

While opportunities for women have certainly improved and they are far better represented today in a range of music sectors, Creative and Cultural Skills (2010) found that women occupy only 32.2% of all music industry related jobs, they earn less, give up their careers sooner and experience more barriers to progression than their male counterparts. It has been shown that while ‘creative labour’ can be rewarding and fulfilling it is also a source of (self-) exploitation, is insecure, involves long hours, entails working for low or no pay, through the gifting of free labour, requires high levels of commitment from a normatively younger worker and results in bulimic patterns of work. It appears that the contested nature of creative work may have particular implications for female freelance musicians but, hitherto, very little critical attention has been paid to their experiences. Using an innovative methodological approach combining visual social research methods and digital ethnography, this paper presents the findings of an exploratory study into the working lives of five professional female musicians based in London and the South West of England. It examines the nature of their work and seeks to understand how freelance careers are experienced, supported and developed. The findings suggest that this is often contingent on the context of the work, its purpose, the types of work the musicians undertake and the meanings they attribute to their various musical activities.     

The Feminist Art of Self-Education

Abstract

Sociologist Elizabeth Long has charted the emergence of women’s reading groups in nineteenth-century America. ‘The women who founded literary clubs’, Long (2004, 337) tells us, ‘were aflame with the then revolutionary desire for education and self-development, which they called “self-culture”.’ Comparable aspirations continued to fuel a drive amongst women to organize together within reading and publishing groups, usually outside of official institutions, well into the twentieth century. This ‘revolutionary desire’ for self-education has also been evident in the UK women’s art and art history movement, although it has not been addressed in thorough detail. This article therefore seeks to situate an overlooked history of artistic reading and publishing communities in relation to an established body of theory in literary and cultural studies. These theoretical materials will illuminate the importance that reading and self-education (either in person or as part of a periodical network) had in establishing solidarity, and generating debate, within a flourishing art and art history movement. The second half of this article focuses on a specific case study. FAN: Feminist Art News (1980–1993) was an independent, grassroots publication that grew out of the Women Artists’ Newsletter in London. Temporary editorial collectives published themed issues on a quarterly basis. This article contends that it is no coincidence the subject of art education formed the focus of the periodical’s first issue, as well as a subsequent issue four years later. This indicates the significance of a reflexive auto-didacticism to second-wave feminism, as well as gesturing towards the long history of ‘education and self-improvement’ that has fuelled women’s reading and study groups since the nineteenth century.     

Republican liberty and border controls

This article examines the normative status of border controls from a neo-republican perspective, grounded in the value of freedom as non-domination. It makes use of Philip Pettit’s account of this kind of freedom and discusses Pettit’s own remarks on the status of border controls. Against Pettit, it argues that the domination generated by border controls is ineliminable given existing political institutions, because such controls cannot avoid subjecting non-citizens to coercion in ways that are not forced to track their interests. The article also argues for an alternative neo-republican account of border controls that does not deny their coerciveness but allows for certain border control policies in non-ideal circumstances.     

Dental Age Estimation: A Test of the Reliability of Correctly Identifying a Subject Over 18 Years of Age Using the Gold Standard of Chronological Age as the Comparator

This study was designed to test the reliability of using the third molars to demarcate between child and adult status. A total of 2000 dental panoramic tomographs were used for assessment of the calculated age using the 8‐stage system of tooth development and applied to all four third molars. The LL8 was also assessed using this 8‐stage system. For each tooth development stage, the Normal distribution and percentile summary data were estimated. The calculated dental age compared with the chronological age was statistically significantly different (p < 0.001) for both females and males giving underestimates of the true age. Comparison of single tooth dental age and chronological age was only slightly different. The most important finding is that the assignment to above or below the 18‐year threshold, in the age range 17 years to 19 years, could be wrong on up to 50% of occasions.