1. INTRODUCTION

Electronic music and club culture are often seen as diverse and progressive, yet many FLINTA* and BIPoC artists remain systematically invisible. As a longtime clubgoer, DJ, and collective co-leader, I’ve witnessed how patriarchal networks control access and visibility behind the scenes, despite the freedom celebrated on the dance floor.

This thesis explores the historical and technological development of DJing, persistent gendered and racial barriers, and activist design strategies to challenge them. Using surveys, interviews, and participant observation, it examines gatekeeping, tokenism, and stereotyping.

The practice project UNMUTE uses posters, performative DJ actions, music releases, and merchandising to amplify marginalized voices and build new solidarities.

This work critically questions assumptions about diversity in club culture and offers concrete design solutions for a fairer, more inclusive electronic music scene—both online and offline.

2. RELEVANCE OF THE STUDY

DJing has evolved over recent decades from a subcultural practice to a central part of the global music industry. DJs shape musical experiences, identities, and trends — far beyond small clubs and underground parties.

This study is relevant because it examines structural exclusions and power relations within a cultural field often perceived as forward-thinking and inclusive. Despite the globalization of the electronic music scene, many participants, especially FLINTA* and BIPoC, remain systematically underrepresented. These inequalities manifest not only in festival line-ups and booking decisions but also in access to networks, technical resources, and decision-making spaces.

Research Question

This thesis analyzes DJing from an intersectional and cultural sociological perspective, focusing on the gender-specific challenges faced by female, non-binary, and queer DJs in electronic music. Despite its reputation as open-minded, DJ culture remains shaped by patriarchal, male-dominated structures.

Using interviews, participant observation, and media analysis, the study reveals how inequalities persist through subtle gatekeeping, limited access to technology and networks, as well as overt rejection and tokenism—impacting the visibility and careers of marginalized artists.

This thesis thus seeks to uncover the causes and mechanisms behind the unequal representation of DJs in line-ups, bookings, and media discourse. It addresses questions such as:

• Who is heard and who remains invisible?
• How do networks function within the scene, and who is excluded?
• What role do gatekeeping, economics, representation politics, and aesthetic codes play?
• And most importantly: what counterstrategies do FLINTA* persons and BIPoC artists develop to resist these conditions, claim spaces, and create new narratives?

Design Question

The key design challenge is creating an intersectional, genre-inclusive format that makes marginalized groups, especially FLINTA* and BIPoC, visible, connected, and counters structural exclusion in electronic music.

Focusing on music as a unifying tool, the project combines online presence, artistic practice, activism, and events to raise awareness, empower communities, and build lasting solidarity.

3. RESEARCH

This project combined interdisciplinary research and practical engagement to understand FLINTA*’s structural underrepresentation in electronic music. A thorough literature review in music sociology, gender studies, and cultural theory identified social, cultural, and economic exclusion mechanisms.

Empirical data was gathered through in-depth interviews and online surveys with DJs, event organizers, and club guests to capture real-world experiences. A “problem tree” model was developed to connect visible symptoms, such as unbalanced line-ups, tokenism, and economic insecurity, to root causes like patriarchal power structures, internalized gatekeeping, intersectional discrimination, lack of representation, economic barriers, and insufficient institutional support.

By combining theory and empirical findings, this research provides a nuanced understanding of systemic inequalities and a solid foundation for design interventions aimed at increasing visibility, empowerment, and solidarity for marginalized groups in club culture.

4. CONCEPT DEVELOPMENT

Building on previous analyses of representation, invisibility, and resistance in electronic music, this chapter outlines the development of my practice-based project. The aim was to turn theoretical insights into a cultural format that creates visibility, empowers marginalized groups, and questions exclusionary structures.

I worked with creative tools like mind maps, mood boards, and brainstorming. Starting from a critical review of the scene and my own DJ experience, I identified where exclusion happens and how design can respond. This iterative, research-driven approach grounded the concept in real needs, using artistic means to promote participation.

The project not only reflects theoretical debates but also offers a safer, inclusive space for exchange. While I initially planned an immersive exhibition with music and visuals, I shifted the concept toward broader visibility and lower access thresholds.

Input from network analysis, conversations, and interviews with affected individuals helped shape the concept. Existing platforms like QENEM and female:pressure were useful references, but critical feedback pointed to issues like lack of intersectionality. One DJ stressed the need to move beyond FLINTA*-only spaces.

As a result, I decided not to form a new collective but to develop a „Fluid Alliance“—an intersectional platform and music label for all marginalized groups. This flexible structure supports solidarity, resource sharing, and long-term participation without rigid hierarchies.

The project remains open to different genres to encourage wider community-building. Education and awareness are central, alongside events and workshops. Research showed that passive media outreach is insufficient; music became the key medium for communication.

Throughout the process, I incorporated feedback from designers, DJs, and future participants. The result is a concept that blends sound, social, and visual design. It includes guerrilla interventions, awareness posters, merchandise, and social media content to increase visibility and access.

At its core are original tracks based on statements from FLINTA* and BIPoC musicians. These were recorded by volunteers and turned into musical pieces. The goal is to bring theory and emotion together—bringing marginalized voices directly into the club context.

5. DESIGN PROCESS

Building on the conceptual foundation, I translated the core ideas of the project into a multifaceted design strategy. This chapter outlines how activism, music culture, and visual communication were brought together in tangible and accessible ways.

Rather than focusing on a single output, I developed a network of interconnected design elements—each serving a specific role within the Unmute narrative. These include spatial interventions, print campaigns, performative DJ sets, and merchandise that raise awareness and offer real entry points for marginalized voices to be heard and seen.

A unifying thread across all outputs is the goal of increasing visibility, encouraging reflection, and sparking dialogue within and beyond club culture. From posters placed outside clubs to sonic interventions on the dancefloor, each element was designed to challenge dominant narratives without relying on institutional formats.

The following subchapters break down the core components of the implementation, reflecting on visual and conceptual decisions, challenges encountered, and how each piece supports the overarching goal: amplifying unheard voices and creating space for collective resistance.

5.1 Visibility through Intervention

A key visual tool in the project is the use of posters and stickers in public spaces. They act as both artistic interventions and instruments for awareness. The designs draw from the visual language of club culture but twist it with irony and critique to highlight structural exclusion.

The first intervention format is a series of guerrilla-style poster actions. Once event line-ups are announced, especially when they consist only of white cis-male acts, these posters are placed directly over them. The act of overposting becomes a visual protest, confronting organizers with their lack of diversity.

Three different designs are used. Each features a sarcastic, pointed statement like “Cool line-up. But where are the women?” These phrases mimic the ironic tone often found in club culture but redirect it to expose its gatekeeping tendencies.

A fourth poster format invites participation. It consists of horizontal lines where people can write the names of clubs, events, or collectives that show repeated non-inclusive booking patterns. This format turns a passive poster into an active platform for collective critique.

The intervention not only calls out exclusion but creates space for dialogue and public engagement. It aligns with the project's activist approach, giving voice to those who are often overlooked and turning the city into a canvas for resistance.

5.2 Posters and Banners in Front of Clubs

Large banners and posters were placed in front of clubs known for booking mostly white cis-male artists. Unlike guerrilla posters that cover existing event ads, these banners used official advertising spaces to openly question the clubs’ booking practices.

Locations included clubs in Berlin (Carter Blau, Sisyphos, Tresor), Brooklyn (Output), and Barcelona (Razzmatazz, using a nearby grassy area). The banners targeted clubgoers waiting in line, reaching them at a key moment.

The designs followed the UNMUTE color scheme (black, white, pink) but used a clean, structured style for maximum readability. Each banner featured a QR code linking to the project’s Instagram page, where posts explained issues related to the specific club, providing accessible, non-judgmental awareness.

Photomontages were created to visualize the banners in their settings, including a detailed mockup for Razzmatazz.

This intervention combined storytelling, critical design, and activism to spark dialogue and encourage reflection within the club scene.

5.3 DJ Performance as an Activist Medium

A core expression of this project is the DJ performance, realized in two key ways: through the music itself and its deliberate distribution.

UNMUTE acts as a platform and label, releasing podcasts, edits, and original tracks that carry clear activist messages. These combine musical and lyrical content with political intent—whether ironic, empowering, or thought-provoking.

The music reaches listeners everywhere electronic music lives: at home via streaming platforms, at festivals, on radio shows, and most importantly, in clubs. DJs, bookers, and nightlife communities engage with the tracks, making the music a direct tool for communication and representation of marginalized voices.

By embedding political messages in dance music, the project turns the dancefloor into a space of resistance and empowerment, challenging the male-dominated club scene.

Music Production and Songwriting

The tracks were created through an iterative process blending artistic research, genre analysis, and technical production. Popular electronic subgenres like UK Garage, Techno, and Minimal House were adapted to fit the project’s message.

Ableton Live was chosen as the DAW for its flexibility, advanced features, and long-term creative potential, despite a steep learning curve.

Lyrics, based on real DJs’ experiences, are central to the songs. Each track has a distinct identity, combining sound and message—for example:

• Control (UK Garage) channels anger against structural inequality
• J.A.G. (Trance-Techno) uses irony to expose sexism
• Space (Minimal House) tells a story of exclusion turning into empowerment
• Grounded (Groovy Techno) delivers confident presence without anger.

Collaboration and Finalization

After drafting lyrics and initial vocal demos, I sought collaborators in FLINTA and related networks. From eleven interested artists, three remained engaged, and two contributed final vocals, adding authenticity and emotional depth.

The final production stage involved detailed mixing and mastering to ensure a polished, clear sound that supports both musical quality and political impact.

Language and Community

Language and text play a central role in my tracks. The content is based on reports and personal experiences shared by other DJs, which I adapted into original lyrics. To give the songs a voice, I reached out to communities such as FLINTA networks, Crush, QENEM, and other collectives on Instagram, making public calls for collaboration.

5.4. From Release to Revenue

Unmute was designed as both an artistic and activist project with a sustainable financing strategy based on multiple pillars to cover costs and expand reach.

Merchandising—clothing and accessories—serves as visible statements and funds future productions while spreading the project’s message. Music sales on platforms like Spotify, Bandcamp, and SoundCloud also contribute, with all releases featuring a bold, unified cover design tied to Unmute’s branding.

Music is offered for a small fee or donations, removing financial barriers. Free downloads via platforms like Hypeddit increase reach even without donations. A vinyl album is planned, offering a tangible, culturally valued format as a rebellious alternative to digital releases.

The full-length gatefold vinyl includes activist visual motifs and displays song lyrics inside, emphasizing social issues and empowering messages. The cover lists all artists involved, giving marginalized contributors visibility and recognition.

This multifaceted financing approach blends art, activism, and sustainability, enabling Unmute to grow and impact both inside and outside the club scene.

5.5 Merchandising as a Statement

At UNMUTE, merchandising is more than selling products—it’s an activist tool to raise awareness beyond clubs into everyday spaces.

The bold designs, inspired by early 2000s streetwear and UNMUTE’s signature black, white, and pink, feature empowering slogans like “Zero Tolerance” and witty partner shirt phrases challenging biases. Accessories like bags and caps add visibility and sometimes include educational texts.

The community helps develop slogans and designs, making merchandise a collective expression of shared values. It serves as a visual marker of belonging, empowerment, and solidarity.

In a scene defined by style and brands, UNMUTE’s merch offers a confident, united counter-narrative, turning apparel into wearable activism that sparks conversation and strengthens community bonds.

6. OUTLOOK

UNMUTE’s journey is far from over. Building on its foundation, many future directions are possible. One promising path is expanding into other genres. While focused on electronic music so far, similar structural issues exist in scenes like metal and rock. The UNMUTE logo and visual system, with their flexible style and adaptable aesthetics, can support marginalized voices across these music cultures.

Beyond music, the project could grow into physical social spaces. Future formats might include festivals, club nights, or community events, supported by materials like posters, wristbands, tickets, and banners. These would bring UNMUTE’s visual identity into nightlife and open new opportunities for engagement and visibility.

Digital communication also holds potential. Enhancing and expanding the social media presence would help amplify reach and build a stronger online community, bridging digital activism with real-world impact.

Some of these aspects were consciously left out in this phase. I focused on the core pillars: music production, visual identity, and merchandising. These were essential to establish a coherent foundation. In hindsight, starting the design process earlier and spending less time on research and writing might have accelerated the creative work. Though deep understanding of structural issues was important, it delayed hands-on design.

Every choice was part of a valuable learning process. UNMUTE today is a multifaceted and evolving project, blending activism, design, and sound into a clear statement. The next chapters will build on this base: louder, broader, and even more inclusive.