Final-year dissertation and practical project on differing approaches to the prevention and deterrence of gendered violence in live music venues. Harvard-referenced with project evidence included in appendices. Received a first grade.
Appendix III: Digital communications……………………………………………………..………….24
Appendix IV: Technical specifications and venue assessment………………………………………...28
Appendix V: Budgets and financing…………………………………………………………………...33
Appendix VI: Safety and promotional materials……………………………………………………….35
3
, Introduction
The #MeToo movement, entering public consciousness in 2017 as a response to allegations of
widespread sexual abuse in the entertainment industry, has since been described as a cultural reckoning.
While the phrase had been used as a symbol of solidarity between victims of sexual violence for decades
prior (Guerra, 2017), the high-profile cases of sexual misconduct that triggered its widespread usage
have made it impossible to ignore. Many hoped that the movement’s ubiquity would catalyse a long-
awaited change to the culture of entitlement and abuse amongst our bastions of popular culture.
However, while some have referred to present harassment discourse as the “post-#MeToo era”, many
of the conversations surrounding so-called everyday sexism remain unchanged. I know from the
experiences of many close friends, including myself, that harassment in the arts spaces from which the
movement originated are routinely dismissed as a low-level form of gender-based violence, something
to be brushed past. In reality, they are anything but. Their lingering presence often creates a culture of
fear and deters further participation in aforementioned spaces. Gendered violence can become an access
issue, restricting women, non-binary people, and transgender men from fully engaging with art.
I know firsthand the extent to which a space making a concerted effort to include marginalised genders
can enhance feelings of safety. This project aims to analyse the factors in public spaces that create this
respite from sexist mistreatment, with a focus on independent live music spaces. The conclusions of
this research will then be actioned in a real-life gig setting intentionally crafted to allow attendees to be
genuinely, radically themselves. This Practical Project will allow me to establish myself as a feminist
promoter, and to positively contribute to the independent music spaces that have helped me develop my
confidence and creativity. My research will not be restricted to the ivory towers of academia, but will
direct benefit the grassroots communities I consider my found family. The aims of this project are:
➢ To arrange and produce a live music event in a local grassroots venue.
➢ To break even on the financial investments in the project.
➢ To create an atmosphere of safety for the event’s attendees, to be measured by their self-reported
feelings of security in expressing their identities in the space.
4
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