A big thanks to the amazing artists who joined us and to AFGA for letting us host our first panel discussion.
How has your identity evolved as an artist? What are the challenges that you faced as an artist due to the patriarchal structure?
Sofia. Artist and dancer from Argentina. Undeniable complexities of being a woman in the arts. In Argentina, where a woman is killed everyday – compared to 1 every 10 days in the Netherlands – the societal pressures on women extend deeply into the commercial dance scene. As an artistic dancer, you constantly face comments about your body, with industry figures telling you “If you want this job, you need to be this weight”. This raises the question “Who has the right to determine the limits of one’s body?”. Whether it is in the arts or any other domain, support for women exists only until it threatens the status quo, until your career might somehow be affected by it. In Amsterdam, a national opera director with a known history of abusive behavior was still hired by the national opera, highlighting a system that prioritizes production over people. Rather than fostering a space for artistic expression, the institution became more focused on running a business than creating meaningful art.
Sara. Jazz music has traditionally seen women primarily as singers, while instrumental roles have been dominated by men. Immersing myself in jazz history, I became increasingly aware of the male-dominated environment and the rhetoric that suggested I had to be “strong” simply because I was a woman. As a female jazz singer, I constantly felt the pressure to impose myself in a space where being “just a girl” was often seen as a limitation. Despite this, music remained a source of joy, especially when shared with friends.
Marylea. Theoretical power in underground and alternative scenes where everyone’s opinion is included. Possible way of coming to terms with your identity, thanks to the safety of the space.
Sarita. Research is about looking at others. You are less understanding of your own position and own boundaries. The ‘I’ needs to move to the background when researching.
How does intersectionality inform your creative process?
Marylea. Exploring intersectional womanhood and identity through the performance of cultural differences.
Sara. Through the creative process, it is essential to remain sincere and open to new perspectives. In jazz, this includes reconsidering the meaning of femininity in music and acknowledging the genre’s deep connection to nostalgia and history. Rediscovering jazz from a feminist perspective is not only valuable but necessary, as there is a thriving community of women in jazz who continue to challenge and redefine the genre.
Sarita. It is sometimes confusing on when to take space and when not to as an individual. Being too much or not enough, the ongoing feeling of wanting to be approved and to be seen, through some kind of pressure and toxicity of politeness. You even find yourself cutting some parts off of your personality in order to fit in.
Sofia. Working within the mainstream sometimes forces you to put some kind of shield on, finding yourself smiling less when you’re not comfortable where you stand. Finding yourself being different based on where you are working.
What helps you move on? How do you resist through art?
COMPROMISING – CREATING CHANGE – BUILDING TRUST WITH YOURSELF
Sara. By expanding the vision of yourself as an artist and finding the joy of playing music.
Sarita. Refusal of cultural production as an act of resistance. Felt listened to outside of academia and academic research.
Sofia. The importance of standing up for yourself, setting your boundaries.
Marylea. Resistance as solidarity. People are here for each other and aim to create safe spaces. The squatting culture is directly linked to the idea of resisting.
