Teaching intersectional rhetorical criticism with second-wave feminist music

Abstract

Intersectionality is core to contemporary feminist rhetorical criticism. It is also a complex concept with great potential for promoting social change by shifting discourses about identity in the public sphere. Therefore, communication scholars have a vested interest in teaching the basics of intersectional criticism to undergraduate and graduate students across the humanities, especially in upper-division undergraduate communication courses that deal with rhetorical criticism, feminist rhetorical theory, women and or gender studies, social movements, critical cultural studies, media studies, or other related topics. I recommend teaching intersectionality as an analytic framework for rhetorical criticism with second-wave feminist music. The unit begins by briefly overviewing the key goals and rhetorical tactics of second-wave feminists. Students then read intersectional criticism of second-wave rhetoric and criticism of rhetorical theory that fails to consider the intersectional experience of identity. The unit culminates with students working in groups to conduct an abbreviated rhetorical criticism of popular music associated with the United States’s second wave of feminist movements. The abbreviated rhetorical criticism asks students to analyze the embodied and situated components of musical argumentation. They present their findings to the class in a multimedia presentation that engages many sensorial and rhetorical possibilities, much like music does.

Courses

Rhetorical Criticism, Feminist Rhetorical Theory, Women/Gender Studies, The Rhetoric of Social Movements, Critical Cultural Studies, Media Studies.

Objectives

In this unit, students will learn how to analyze second-wave feminist rhetoric through an intersectional lens using musical case studies. First, students will study the history of second-wave feminist movements. They will then read about the core tenants of intersectional thinking before exploring how rhetorical critics use intersectionality as an analytic framework. Next, students will engage popular music with feminist messages that emerged during the second wave in an abbreviated rhetorical criticism textured with historical context and focused on embodied experiences of musical appeals. They will present their findings in a multimedia format for their classmates. By the completion of this unit, students should learn to apply intersectional theory to an analysis of a musical rhetorical tactic and to identify the strengths and weaknesses of that tactic.

Notes

1 My interpretation of listening is distinct from the physical sensation of hearing (Lipari, 2014). Thinking of listening in this way creates space to consider how persons of all abilities can interact with the rhetoric of music. Music communicates through vibrations that harken nearly every sense in the body, making melody capable of communicating across cultures, classes, and abilities.