It seeks to answer the question ‘How do programmers of niche electronic dance music in Rotterdam negotiate gender inequalities in relation to their programming styles?’ Kris build her theoretical framework on works by Gadir (2016; 2017), Gavanas and Reitsamer (2013; 2016) and Koren (2021).

This research explains the role that social networks have in the creative industries and (electronic) music industry and how women deal with the exclusion of those networks. An important characteristic of the niche electronic dance scene seems to be the social ethos living in the scene, that values inclusivity and equality. Most programmers seemed to identify with this. However, there is also a pressure coming from the demand side, since this social ethos is present in that side of the scene as well. This pressure influences the programming and marketing practices of promoters.

Three different programming strategies can be identified in relation to gender: that of the active programmer, the passive programmer and the programmer who is not concerned about gender. Which strategy a programmer applies seems to be highly influenced by their own background. There seems to be a difference between the already existing numbers and theory about gender balances and my findings, where the first has a more negative view, while my findings paint a more positive or optimistic picture. Three possible explanations for this are found; a shift in programming practices and values and thus a difference in time, a difference in the spaces researched and the age and experience that the programmers have.

Read the full thesis by Kris Fraanje here.