The effect of socialization on stereotypical roles within the jazz music scene in Iceland.[1]

Ari Frank Inguson, Rebekka Blöndal and Þorbjörg Daphne Hall

Entrance

Often certain opinions are considered normal, or „the norm“ Looking back, it is so often surprising how people could interpret the world and their environment in a certain way Our perspective, how we experience people of different ethnicities, classes and genders seems dependent on our thoughts and understanding of how things are and should be our thinking is based on discourse in our local environment and the behavior that people cultivate and practice in the society of which we are a part. This discourse and these behavior patterns we internalize from a wet childhood and we seem to have limited control over that our thinking is constantly evolving and depends on various things, perhaps mainly on the experiences we look for and become lucky. If we are lucky, we can take a moment to refine our thinking and behavior, and with a little work, open up more possible perspectives on this existence and on current issues. Our society is unlikely to be based on the results of our society.

We decided to use feminist ideology to analyze the data that underlies the research Feminist ideology criticizes the masculine interface of society and the standard fate of women. The feminist perspective has its roots in social constructionism. That is, reality is socially constructed. This forms a kind of network of relationships where one group affects another and the interaction becomes one and often certain groups fall under their social lot.

Mary Wollstonecraft is often seen as the author of the first feminist text.[2] She criticized the masculine interface of society and the standard lot of women there Much water has flowed to the sea since then The feminist interface is core to a critique of social reality that is subjective in many respects, that is, subjective as it is limited to the experiences of those who have access to it These parties then create a consensus reality that society with its diverse group of participants either accepts or rejects.

So jazz has a rich history, which can roughly be traced back to the black community in New Orleans, USA towards the end of the 19th century, and jazz has spread all over the world, even at the northernmost point. Ever since the beginning, women have had to fight for their role in jazz music and have often faced adversity due to the fate of women and other minorities. Despite this resistance, women have achieved great success, and it is one of the results of this study that more needs to be discussed about the role of women in jazz history in the learning environment and in particular the role of female instrumentalists. For example, the pianist and composer Mary Lou Willams and the trombonist and composer Melba Liston can be mentioned, both of both race and gender, but solidified stereotypes and paved the way for future generations.

In this study, we analyzed the fate of women who are participants in the jazz scene in Iceland through interviews with people who are part of that scene. We limited ourselves to studying the status of women, but it would also be possible to study the status of transgender people, immigrants and other minority groups, but that discussion is in many ways related to what is being discussed here.

Research results suggest that if issues related to gender deficits in Icelandic jazz society were addressed systematically and a clear framework was established as to what steps should be taken when gender issues are on the one hand, it would have a positive effect on the scene It also appears that certain stereotypes about masculine and feminine characteristics safeguard what can be done and what can be, which is related to the general discussion about gender roles in today's society. If clear goals are set in terms of these issues, especially in the school system, it would affect gender participation and would act as a counterbalance to the built-in gender deficit of history Below, the methodology used in the study will first be briefly discussed and the theoretical framework of the project is presented and explained for physicalism and stereotypes, social constructivism and quality, and finally the glass ceiling and thresholds will be discussed. Then the results of the interview study will be presented and placed in the context of the theoretical framework.

Methodology

To get the best picture of women's experiences and their place within the jazz community, we thought it would be best to use a qualitative research method and conduct interviews. We began the process by gathering information and explored what had already been written about women in jazz music in Iceland and elsewhere in the world. It is very important to have basic knowledge of what should be investigated before interviews take place.^[3]

The subject acquired a deeper and broader meaning as we read more and several themes were revealed related to the learning and work environment, stereotypes and role models, and the multifaceted impact of societal gender roles on women's roles in jazz music When this reading was completed, the next step was to create questionnaires, select interviewees, and reflect on how best to conduct the interviews in the most objective way possible.

The choice of interviewees in a study based on gendered experiences and narratives needs to be problematic. We thought the gender angle was such a major influence when we thought about interview processing, credibility and the consistency of the study that we sought writing about how the gender of the interviewee and, on the other hand, the researcher can influence the outcome of an interview in research.

There are several variables that have worried scholars over time and have been written about Primarily, it is how the gender of the researcher and interviewee can shape the research process and outcome Secondly, how communication between different genders affects the structure and outcome of a study and thirdly, how information and narratives are interpreted by the researcher based on their gender.^[4]

However, most studies that address this gender variable in the researchers' environment forget to take into account that other social variables, such as age, class division, employment and race, could have an effect.^[5] These are all things that shape individuals and their gendered experiences Therefore, we thought it important that participants belonged to different generations of musicians and were not all of the same sex It was therefore the ultimate age, gender and instrument that influenced the choice of interviewees Yet this is not simple to solve just as Herod points out: „This requires a thoughtful analysis of how gender can be interpreted in many different ways at different times and in different contexts and how it affects the research process“.“^[6]

It is also the environment from which the individual comes, his experiences and life course that shape his narratives and beliefs The social development of society in recent decades also has the influence and influence of feminism and changing social expectations for gender It is an indication that we cannot assume the same pattern of behavior in men on the one hand and women on the other.^[7] But what to expect? For example, what they think is important to discuss in relation to the study of gender deficits and gender quotas for example differs from person to person. What a male interviewee considers important to the study is necessarily not the same as what a female interviewee from a similar social set believes is important to the study.

All these speculations undeniably influenced the choice of interviewees and the final result was that we contacted 13 people, and in the study 6 women and 6 men participated. All of whom we spoke we wanted to participate with the exception of one woman. The interviewees all have different roles within the jazz scene and are various pianists, guitarists, singers, wind players, drummers and bass players. The interviewees had the opportunity to withdraw individual comments if they received back thoughts and they had a five-day reflection on that. In order for people to trust themselves to speak freely, we decided to have anonymity and we also decided to take out the names of individuals and bands in order to make sure that we were not talking down people unnecessarily. The jazz community in Iceland is small and the discussion develops very quickly in discussing certain names. We think that we will not be called Jónabjörndar, and the whole names will be called.

The interviews were thematically analyzed so that all the information was divided into categories that will be discussed further below. The categories are the interviewees' definition of the jazz community (smallness, initiative and hierarchy), the physicalism that seems to this day to shape our society, the gender gap and the interviewees' guesses about its existence, the fear and perfectionism of women in the jazz community, the learning environment and how it plays a part in the gender gap and finally what can be done in the opinion of the interviewees.

Naturalism and stereotypes

Gender stereotypes have shaped societies and promoted prejudice and discrimination. These stereotypes have the effect that women “, can feel a decrease in motivation and self-confidence in certain areas of society.'^[8] It is therefore not only men who think based on stereotypes, because these ideas also took up residence in women's minds.

Physicalism is a dualism at its core, but dualism is actually a contrarian theory This idea that gender behavior and characteristics are based on their nature and that each gender is representative of certain traits and has certain roles.^[9] The contrasts are masculinity and femininity. , The man represents reason, culture and mind and the woman connects to nature through the body and is an emotional being. “^[10] These ideas are quite tenacious and still pop up even though we think we think we think differently today. But what is the role of the feminine within jazz music?

Women are sometimes seen as some kind of ornament in the masculine world of jazz music, often serving as singers.^[11] Women in the spotlight of the jazz scene often have to answer for their appearance, clothing and growth style.^[12] Although the jazz singer is certainly very visible, in the middle of the stage during the performance, she has been excluded mostly from the discussion of jazz and the registration of the artists we bring to jazz music. They get less respect within the industry than instrumentalists and then mainly because of gender, which is based on the fact that the masculine is part of the jazz brand.^[13] This is a very clear example of physicalism defining the roles of the sexes within the jazz group.

Those roles within music that were considered normal in accordance with femininity, were the roles of singers and pianists Therefore, women were encouraged to put it in front of them rather than the role of wind instrument players, for example, Similar things are known in other music than female bassists, drummers and brass instrumentalists are rarely seen.^[14] However, it is not universal for women to be limited to the roles of singers and pianists, let alone today. It is these traditional and established roles and stereotypes that can be attributed to physicalism and masculinity that linger every now and then.

In a research article written by Erin Wehr about women in jazz, she discusses the experiences of women in jazz music and examines articles entitled „Why aren't women more in jazz‘ that appeared in the paper Jazz Changes in 1995-1997. she says women are symbolists who threaten the stereotypes of jazz music They feel like a threat and that they are not part of society, they are different This leads to anxiety, self-doubt and less motivation to thrive in the music genre Being the only woman colors women's experiences negatively because the environment strongly suggests that you are the only woman.^[15] We can therefore more or less assume that the negative consequences of physicalism and its effect on the Icelandic jazz community are multifaceted.

Social constructivism and quality

Formativeism is so often presented as the opposite of physicalismModulators reject that the different behaviors, roles, and positions of the sexes are caused by the innate nature of women and men They believe that each is born with its own characteristics and that not all persons of the same sex can be attributed the same characteristics and temperament In their view, the human being is shaped based on the ideas of masculinity and femininity that exist at any given time. The formists separate the definition of gender (e. six) and gender identity (e. gender). Gender is then the biological sex at birth and gender the socially created gender, created by society through symbols in entertainment, discourse, and social roles.^[16] In our attempt to try to understand the gender gap and the role of gender in Icelandic jazz society, social constructivism will prove to be successful.

In our discussion about the different qualities of participants in Icelandic jazz society, there is a certain need to define what is meant by the concept of quality. Quality in a general sense means that something is good, optimal and what consumers are looking for.^[17] But quality in music appears as a complex interaction of many factors for example social relations, market forces and gender roles Quality can affect the demands placed on instrumentalists in their work and studies, their opportunities and careers, to name a few.

Jazz instrumentalists try to demonstrate quality and attract attention with certain qualities The qualities that we often seem more associated with men such as technical competence in the instrument and initiative, which is to some extent relatively easily measurable, possibly because of the great share that those qualities receive in the learning environment. We are very tame to appreciate the technical qualities of instrumentalists, often referred to as a review of the instrument, and place them high in the pecking order of optimal qualities. The music schools' curriculum mainly mentions technical test elements. Instrumental techniques are outlined there as various measurable technical qualities; such as being able to play quickly and effortlessly, which is then paired with theoretical knowledge of music, which can be retrieved without hesitation when the music is improvised.^[18]

Features that are not as easily measurable, or are not routine to measure, much like sensitivity, depth, and emotion are not found in the curriculum These are qualities that are, at least as the learning environment is set up today, not part of the way musicians are spoken of "The jazz musicians are not encouraged to spend much time deepening their emotional connection to performance or practicing their sensibilities, they do not seem to share in the concept of quality" A major reason for this must be considered how difficult it is to measure such qualities, but the reason for the difficulty may again be that we are not used to evaluating such qualities as part of the set that is preferred Furthermore, these qualities are often considered feminine and historically considered part of the set of the feminine sentient being.^[19] The definition of quality is thus limited to what is considered optimal in the society where the quality appears, and the term there is created in many respects on consensus grounds.

Glass roof and thresholds

When we talk about quality and how we value the talents of musicians, it is straightforward to discuss the demands that are made on musicians in terms of their competence and how they can act as invisible obstacles for, for example, women. Theories about invisible obstacles that hinder the progress of women in their profession are well known, but we often talk about thresholds on the one hand and glass roofs on the other.^[20] Threshold theory refers to the fact that it is difficult to overcome a certain obstacle that causes women not to work as easily as men:

According to the threshold theory, barriers are assumed early in the process that prevent women from gaining ground in certain areas, particularly in the sciences If, however, they manage to cross the threshold, gender ceases to matter, according to the theory, and they are fully equal to men. ^[21]

The other type of invisible stalls women have to deal with are glass roofs so-called and cause women to not get as far as men in the ladder of fame The roof or barrier is named after glass for good reason but that's because it's hard for women to see this obstacle until they're near the top of the ladder.^[22] But the definition of the glass roof is as follows:

However, the theories about the glass ceiling are that some kind of invisible barrier, the so-called glass ceiling, causes women to get almost all the way to the academic power pyramid, but not be able to break their way up to the top positions.^[23]

Initially, these theories were presented in the second half of the 1980s and in order to demonstrate the obstacles that women faced in the scientific community and management positions, but these theories can well be transferred to women in other subjects such as women in the music industry.^[24] If we look at this from the perspective of women in jazz music in Iceland, the question is whether there is something that prevents women from starting or continuing to study instruments such as drums, guitar, bass and wind instruments. But as mentioned, it is most common for girls and women to learn piano or learn singing when it comes to jazz music.

But do women in jazz music experience these obstacles? It seems that women in jazz music look more to the fringes with their music and feel that it is difficult to make themselves visible and that it is difficult to thrive in the profession due to the obstacles they encounter.^[25] It is therefore quite clear that it is necessary to make female instrumentalists more visible and normalize the fact that young girls play all kinds of instruments. In the Nordic countries, these issues seem to be in a better direction than what is burning us, how the situation and the experience of women is in Icelandic jazz society.^[26] Here we have outlined the theory base and theoretical assumptions of the speculations that were taken into account when processing interviews.

How do we define Icelandic jazz society? The smallness, initiative and hierarchy.

The small size, initiative and hierarchies are terms that can be used to define Icelandic jazz society, but it is difficult to define in many ways. Participants often seem to have one thing in common: they are enterprising and passionate about music.

The opportunities aren't that many, people are either making up their opportunities or doing something else too, whether music-related or not One interviewee talked about it being a dreaded subsistence economy, another talked about you needing to be an activity poet One answer noted that her initiative came about because of her gender.

Áslaug: Yeah. Nobody did it for me. ... Naturally, I had to be half as hard working as everyone elseI had to do this The boys didn't call me and offer me the gig. But you know they also just got a bunch of gigs out on me you know It was just the guys playing with me at that time There was no woman then.

The initiative of some individuals bears more fruit, and creates a place for themselves in the scene, and this causes the person to be given some degree of power. Then more people want a slice of the cake and then the person gets unsolicited power and some can even interpret it as some kind of hierarchy. Then these individuals sit at the top of the hierarchy just because of their initiative that was successful and created a channel for this music in society.

Lovísa: We're such a small scene and people want something to happen. So there are concerts, concert series, concert festivals. Then someone has to take it on and it can happen is a surprise Then someone is put in some role or someone is contacted about planning because they know that person has done it elsewhere Then someone has come to the role of planning just because someone had to do it Nothing necessarily because that person wants something to be in charge of everything But it creates a certain kind of hierarchy You have to know the right people who plan to be able to join. Or at least it makes it easier to do so.

But now we move back to physicalism and how it manifests itself in this small society and affects people's roles and their opportunities within the scene.

Naturalism

The view expressed earlier, social constructivism, is often presented as a contrast to physicalismThe view of physicalism in this context can be described as the gender being born into this world with certain gendered traits, and those traits are simply a biological part of the nature of that sex Thus, the sexes are presented as opposites and generalized about their same-sex traits based on stereotypes most often based on old ideas of gender roles Historically, the male has been made a representative of reason and the female connected to nature through the body and is an emotional being.

The naturalism that our interviewees wondered about often revolved around whether certain qualities in people who played jazz were feminine or masculine and whether such qualities were valued equally in the jazz community, both by other players, students and other participants in the scene.

Bragi: I'm not preoccupied with women having to be like men For example, I'm not preoccupied with the fact that female drummers should be focused on becoming like male drummers This is not based on the fact that you're so really strong, but that you know how to use the power 'and that's what I think is so great about going to a concert where, for example, a female drummer is playing, is hearing something new. And if there's something I want, it's more breadth in the music business, more colors and it plays into the talent of women, maybe they're just doing a little different things. They also need to be open minded that maybe they don't have to be exactly like the guy that was before, but maybe they'll be a little different.

The attitude of physicalism often seeps into everyday discussion, and it is often difficult to put a finger on where it mixes with other attitudes.

Jónas: If the activity is more masculine, then perhaps conscientiousness and hard work are considered more feminine and it can certainly be useful in this too. So there are various aspects to this.

Another interviewee said:

Lovísa: The site is kind of what I'm realizing right now that I can be just the way I am or you know. I can be as much a „girl - woman“ with different interests and different approaches to things than themIt's okayI don't have to adapt to their worldIt's just supposed to be a world for all of us.

As mentioned before, social constructivism, considering experiences and social factors in the formation of individuals, is an attitude that is actually contrary to this physicalism but often these attitudes seem to blend together unconsciously It is possible that it explains, in part, why people experience a gender bias.

Gender deficit

Most people talked about the presence of a gender gap in the jazz scene The women we chatted with were experiencing the gender gap, for example, through the way people talk to each other Our language is so gendered and has an incredibly formative effect in this case It matters how a group of students or colleagues are addressed and that everyone feels welcome.

Lovísa: I think it's kind of a mix of so many things why are there few women. And the more I've pondered this the more I feel like it goes much lower and younger into people What happens when we're kids Who are, how are you treated music students. What's said, what are you looking at as a kid. Because you know if you're going to change the scene, I feel like you have to go much lower and younger The girls who are studying jazz when they're teenagers or grown up, there's the fight you understand They were so interested that they don't stop and keep going And it happens like this gradually. I've been in school here and then in the scene for so I feel better in a community if there were more women, more gender flora. So you know any gender, and that's just going to be a different kind of women, more gender flora. So some of the gender are all of the teachers.

Most agree that the result of the gender gap is a model lack to some extent However, there were a great many interviewees if not all who agreed that this was changing, but good things happen slowly:

Áslaug: .... A little beautiful here how some people want 50/50 women and men in their bonds, just keep it real somehow, so there won't be some locker room atmosphere in the band and so on.

 Learning environment

This inevitably draws us to the learning environment as Lovísa points out How women experience themselves in the learning environment is linked to the discourse that is common and the models that are available there. The models are of course both the teachers themselves and the role models who are vivid in the material that is taught, but women are rarely mentioned. Most of the time, only female singers are mentioned, but there is a lack of coverage of female instrumentalists and a more diverse discussion of the roles and experiences of women in jazz history.

Bragi : You only hear it from women. I know, for example, it matters to young girls who are starting out in music to see women who play. On my instrument it has long been rare and also the women who have been great and have been drummers but there is surprisingly little talk about like Karen Carpenter who could really drum and others.

Here, a female interviewee discusses the discourse and how it can affect the students' experiences in the learning environment and on the scene:

Lovísa: Would you be in practice, talking about some things if I wasn't here. And since I'm here, I'm spoiling the practice. Or just made to experience that I'm not one of the group because you're not going to joke now like you were going to joke earlier. Or just a comment like that. „No no stop now there's a girl in the group“ but then, on the other hand, there's also been this kind of joke going on that's awkward, some kind of joke that's a bad joke and inappropriate maybe. And I don't want to say something, I don't want to upset the group, you know I don't want to be okay with everyone. It's also something that kind of jokes that you're not going to be laughing at all. „Yes the environment is supposed to be okay for everyone. “It's not going to be a woman who is going to be a woman in the first place to be a bad place to be a woman.

 What can be done?

Most interviewees agreed that it was best to tackle the gender gap and the model shortage at the youngest levels of the music schools, or the lowest „layernum“ as one put it It is important that children see women in diverse roles in music Something is changing and there is already a good initiative, such as Barnadjass in Mosfellsbær and it is nice to report that girls were in the majority of the participants there One interviewee suggested that even „girls jazza” need to be created like ”, girls rock a”" Some interviewees wanted to say that gender quota solved the problem of women's visibility, but other interviewees believe that the solution does not consist in focusing on the top layer of musicians. But how are the women getting the positions and how are more role models? The main issue is that there will be a continued awakening of this issue in order for all of us to work together to change this mentality and support.

Lovísa: Kids who grow up and may not have parents who are interested in jazz but may be studying music and the concerts they see may just be the concerts on cultural night or June 17 or something, it's important that at that concert too there is some kind of diversity. So even though we're talking about jazz, this is the case with the entire music industry seeing role models in what you see. If you only see concerts on television a few times a year, that's the concerts you see, it's important that you see someone you identify with someday.

Final words

Our conclusion is that although there is no will to prevent more female participants from being in Icelandic jazz society, there is still a lack of making female role models more visible through the conscious initiative of the participants on the scene. It also seems that certain stereotypes about masculine and feminine characteristics protect what can be done and what can be done, which is related to the general discussion about gender roles in today's society.

All of our interviewees agreed that there is a lack of female role models within the jazz community and in the learning environment of the music schools, especially in terms of playing instruments According to participants in the Icelandic jazz scene, it could explain the gender gap within it. Role models are important in people's local environment in general and especially in people who are interested in contributing music to themselves.

This project was limited to a certain sample from the jazz scene in Iceland, but it would be interesting to make a larger sample, where the different characteristics of the participants of the different genders, such as age and which instruments they specialized in, would be considered. It seems that experiences can differ from generation to generation and different moods can be created on a certain instrument, where the culture around instruments is strongly linked to gender roles. This is especially true of singing and how it has carved itself out of traditional instrument learning.

What would have to happen is a certain effort at the grassroots in order to force change What our interviewees mentioned most often was that it was important to start at the youngest level in music schools, to introduce children to all kinds of instruments It is also important that children see women in more roles within jazz, such as in the role of drummers, wind and instrument teachers so that those instruments become as normal to girls as singing or playing the piano. And for that, a conscious joint initiative is needed As soon as children see all genders in these roles, the wheels start turning and we can anticipate all genders in all kinds of places within the jazz community. Looking to the future, it is possible to create diverse role models and a more equal society. All of them get role models.

[1] This research project was funded by the Student Innovation Fund and carried out in the summer of 2023 by Rebekka and Ara under the guidance of Þorbjargar.

[2] Mary Wollstonecraft, A Vindication of the Rights of Woman, (London: J. Johnson, 1792).

^[3] Sims and Stephens, Living Folklore: Introduction to the Study of People and their Traditions (Logan: Utah State University Press, 2005) 209.

^[4] Herod, Andrew, „Gender Issues in the Use of Interviewing as a Research Method,“ The Professional Geographer 45, No. 3 (1993): 307.

^[5] Ibid, 313-314.

^[6] Ibid, 314.

^[7]  Ibid, 313-314.

^[8] Mikael Mikaelson and Bjarni Þór Pétursson, ,, Women's stereotype and science,” Indicator, 12 September 2011.

^[9] Ásta Jóhannsdóttir and Kristín Anna Hjálmarsdóttir, „Harmful masculinity: Analysis of the book Mannasíðir Gillz,“ Netla - Web magazine about parenting and education, 15 September 2011.

^[10] Sigríður Þorgeirsdóttir, , The nature of women in the writings of philosophers: from Aristotle to Gunnar Dal,” April 24, 1999.

^[11] Cecilia Björck and Åsa Bergman, „Making Women in Jazz visible: Negotiating Discourses of Unity in Sweden and the US“,“ Journal of the International Association for the Study of Popular Music 8, No. 1 (2018): 42 - 58.

^[12] Cat Hope, „Why is there so Little Space for Women in Jazz Music?“,“ The Conversation, 26 June 2017.

^[13] Björck and Bergman, „Making Women in Jazz visible“, 42-58.

^[14] Jayne Caudwell, „The Jazz-sport analogue: Passing notes on gender and sexuality,“ International Review for the Sociology of Sport 45 No. 2 (1 June 2010): 240-248.

^[15] Erin Wehr, „Understanding the experience of women in jazz: a shadowed model,“ International Journal of Music Education 34 No. 4 (June 2016): 472-487.

^[16] Þórður Kristinsson and Björk Þorgeirsdóttir, Gender studies for beginners, 1.1. Physicalism and social constructivism.

^[17]„The Case“, Árna Magnússon's Foundation for Icelandic Studies, Word Search: Quality, Retrieved from: https://malid.is/leit/g%C3%A6%C3%B0i.

^[18] , The main curriculum of the Music Schools, the” Government of Iceland and the Ministry of Education, retrieved from: https://www.stjornarradid.is/media/menntamalaraduneyti-media/media/ritogskyrslur/adalnamskra_ton_rytmisk_tonlist_2010.pdf

^[19] Sigríður Þorgeirsdóttir, „The Nature of Women in Philosophers” Writings: from Aristotle to Gunnar Dal,”" April 24, 1999.

^[20] Þorgerður Þorvaldsdóttir, „Sexual dimensions in jury opinions?“ Is there a gendered difference in coverage of male and female applicants in the University of Iceland's jury opinions? (Reykjavík: Equality Committee of the University of Iceland, 2002) 8.

^[21] Ibid.

^[22] Sonja Sófusdóttir, „Just like men, except only women”: men's attitude towards obstacles in the way of women towards management positions,“ Reykjavík University's Faculty of Business, Spring 2012: 13.

^[23]Þorgerður Þorvaldsdóttir, „Sexual dimensions in jury opinions?“ 8.

^[24]Ibid. 8.

^[25] Davíð Kjartan Gestsson, „Hard for women to thrive within jazz“,“ RÚV, 11 October 2018, retrieved at: https://www.ruv.is/frettir/menning-og-daegurmal/erfitt-fyrir-konur-ad-dafna-innan-djassins

^[26] Davíð Kjartan Gestsson, Difficult for women to thrive within jazz,” October 11, 2018.