Gender, history, and southern gospel - take two
There’ve been some excellent comments to my gender and sg history post about the hall of fame and women. A few people understandably wanted to know how I’d do things differently if I ran the world, but having thought about it I’ve decided 1) I’m not nearly ambitious enough to run the world (opinions don’t always come with the energy to do more than spout off, which is what makes blogging so glorious) and 2) asking me what women should be the hall of fame who aren’t already rather begs the question, doesn’t it? What we valorize with “fame” is reflection of what and who we venerate. The question isn’t, what women are left uninducted to the Hall of Fame? but rather, should the hall of fame be about reinforcing existing values and habits (in which case “fame” means anyone who is already famous, leaving untouched the question of the standards for fame) or should the hall of fame be a catalyst for rethinking our understanding of the past and our actions in the future (in which case “fame” would mean people whoe are as well as those who should be but are not famous). Identifying the women who aren’t famous but should be in the hall of fame is a bit of a trick question, then.
Obviously I’m not naïve enough to think that the hall of fame is going to engage in any kind of visionary program of activist progressivism or (gasp) feminist history, but I also hope that instead of feeling self-satisfied that we’ve nominated all the (handful of) women of the past who have been famous, sg’s leaders and players and fame-makers look around a feel a little ashamed at this music’s legacy when it comes to gender parity and equity.Email this Post