Abstract
Eileen M. Hayes’s ethnographic study of women’s music festivals includes this simple testimony from African-American, festival-circuit stalwart Mary Watkins: “A triad is a triad” (54). The pianist and composer was intervening on the tendency to tether “musical structure” to “gender identity” in appraisals of the women’s music festival circuit: a loose network of festivals that emerged in the mid-seventies (54). The festival circuit was produced by and primarily for lesbian women, many of who evinced strong feminist sensibilities. Contemporary women’s music festivals are the sites for Hayes’s escorted road trip in Songs and Black and Lavender: Race, Sexual Politics and Women’s Music.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
