“If Girls Don’t Want to Study Jazz, We Can’t Force Them”: an Ethnography of Gender Balance in a Jazz School

Abstract

Scholarship acknowledges jazz as a historically male-dominated culture, where masculinity is closely intertwined with notions of tradition and authenticity. Androcentric perceptions of cultural and historical value, as well as gender stereotypes about male and female musical roles, continue to influence the participation of men and women in jazz nowadays. These ideas have long influenced the teaching of jazz, shaping its educational contexts, symbolic discourses, protagonists, and role models. The ongoing underrepresentation of female jazz students, particularly instrumentalists, is often attributed to a perceived lack of interest among female music students in pursuing jazz as an academic option.

Stereotypes of masculinity and femininity often lead to reduced motivation in activities considered outside traditional gender norms, guiding students’ assumptions about their own achievement, skills and personality attributes. For instance, female students may struggle with confidence in male-dominated fields, hindering their willingness to take risks and fully engage in learning. According to Erin L. Wehr's (2016) model outlining the reasons for female jazz avoidance, the combination of being a minority in the field, along with the fear of confirming a negative stereotype, contributes to lower confidence of female jazz students, which may explain a negative impact on girls’ motivation to participate in jazz.

Despite optimistic notions, which suggests that increased jazz education will naturally attract more female students and gradually expand the number of women playing jazz professionally, the reality often reflects a different scenario, with fewer female students opting for jazz studies and choosing to study classical music instead. This article delves into how these academic preferences are influenced by more than just individual choices, but also by structural power imbalances that significantly impact students' motivation.

Drawing from fieldwork conducted between 2021 and 2022 at the Portuguese jazz program of the Conservatório de Música de Coimbra, this study shed light on the perceptions of both students and teachers regarding the gender disparity within their program. While the classical music program maintained a balanced gender distribution, the jazz course revealed a stark contrast, with a disproportionately low number of female students, particularly instrumentalists. Through diverse perspectives offered by students and teachers, this study aims to contribute to a reflection on how jazz educational institutions and communities can address the issue of underrepresentation of female jazz students. It explores the complex interplay between individual agency and structural power dynamics, particularly concerning gender conformity in jazz education. This examination is particularly relevant in peripheral countries like Portugal, where the public implementation of jazz education has a relatively recent history. Therefore, when considering underrepresented individuals, it is imperative to not only consider individual preferences but also to confront broader structural dynamics that shape students' academic experiences. This involves creating an academic environment that fosters equal opportunities, provides necessary support systems, and challenges systemic barriers. By doing so, we can promote meaningful educational experiences for all students, regardless of their background, and promote a more diverse and equitable jazz education community.