It’s hard to describe what it feels like to become a mum, but it has a name: matrescence

“Completely life-changing”. “Nothing could have fully prepared me”. These are the sorts of phrases you often hear from women when they become a mother.

These descriptions can point to the complexity and depth of the experience. It can be joyous and stressful, exhausting and euphoric, profound and mundane. It’s unlike any other life transition, and – try as we might – hard to capture in words or short phrases.

It turns out, though, there is a word for this process of becoming a mother: matrescence.

It’s a simple but powerful concept that’s changing the way we think about mothering. Here’s what matrescence means and how the concept can help mothers and those supporting them to navigate and understand this time of life.

Where did the term come from?

The term matrescence was coined in a 1973 essay by medical anthropologist Dana Raphael to describe the transition to motherhood. Raphael found most cultures had rites of passage that recognised “the time of mother-becoming”. However, Western countries such as the United States and Australia tended not to.

These practices, which vary depending on the cultural setting, have something in common. They acknowledge that, like adolescence, becoming a mother is a complex experience that brings a period of learning and transformation.

Raphael also coined the term “patrescence”, which, while not the focus of her study, recognised that fathers and other parents also go through a period of transition.

It would take decades, but matrescence made it into the public consciousness in 2017 in an article and widely-viewed TED Talk by reproductive psychiatrist Alexandra Sacks. Books, podcasts and media coverage have abounded since.

What changes during matrescence?

Most public discussion of matrescence still tends to centre the challenges of mothering, for example postpartum depression and anxiety.

But there is increasing interest in the many kinds of changes experienced in matrescence, such as dramatic brain changes or the phenomenon of microchimerism, where foetal cells from pregnancy can remain in the mother’s body, and vice versa.

Research on these phenomena matter not just scientifically, but philosophically.

Other body changes include powerful hormonal changes in pregnancy, birth, and postpartum. There’s also research looking at how having children and breastfeeding can reduce the risk of breast cancer.

Much of this research is emerging, which is unsurprising given historical and ongoing medical misogyny.

More than physical changes

Mothers can also experience significant shifts in identity, including changes in personal values, new priorities, or a sense of loss for other parts of themselves.

Mothers encounter new social dynamics and peer groups, too. The new social identities of “mother” or “mum” (or the markers “working mum” or “stay-at-home mum”) introduce new expectations, norms and ideals.

Relationship dynamics with partners, friends and family can shift significantly.

Mothers can also experience an expansive new relationship with their baby, though this might be sentimentalised or downplayed by others.

Other new emotional experiences, ranging from intense love and gratitude to “mum guilt” and “mum rage”, can arise, too, sometimes leading to maternal ambivalence.

New sensory experiences such as breastfeeding and physical contact can lead mothers to feeling overstimulated or “touched out”, but can also bring joy.

Women also take on a new political and economic identity when becoming mothers. In 2025, mothers are often expected to remain ideal workers in the paid workforce, sometimes navigating a return to paid work while caring for an infant and performing the bulk of crucial unpaid reproductive household labour and care.

This juggle can lead to maternal burnout and negative impacts on mothers’ wellbeing.

This all contributes to the “motherhood penalty” – the well-documented, entrenched and persistent economic injustice experienced by mothers.

Matrescence is a term that helps to capture the breadth of these experiences in all their enormity and complexity.

The oppression of ‘motherhood’

Matrescence doesn’t happen in a vacuum. As Raphael’s original essay showed, it’s shaped by many cultural, economic, and political factors. It’s not the same for every mother.

In her 1976 landmark feminist study on mothering, North American writer and poet Adrienne Rich made the useful distinction between the experience of mothering and what she described as the patriarchal institution of motherhood.

It was the institution of motherhood, Rich argued, that oppressed mothers, not mothering itself. The flipside of this argument was that a liberating motherhood was possible under different conditions.

Feminist scholar Adrienne Rich distinguished between mothering and the institution of motherhood. Colleen McKay/Wikimedia Commons, CC BY-SA

When it comes to matrescence, the institution of motherhood in Western societies like Australia tends to sideline the experience of mothers, and the transition to motherhood is still largely experienced in isolation and silence.

Often, a focus on the baby overshadows the maternal-infant relationship or the needs of the mother, with many new mothers feeling unsupported or invisible.

New mothers are also often expected to live up to the “good mother” ideal by being totally self-sacrificing or naturally competent at mothering.

Societal norms can overlook the transitional and transformative period of matrescence, with mothers urged to “bounce back” – either by returning to a “pre-baby” body shape or by promptly getting back to paid work in the same capacity as before giving birth.

These experiences are exacerbated by a range of factors, including class, race, partnered status, sexual orientation and life stage, among others.

How does matrescence help?

While the concept of matrescence has become popular among some mothers and those working in maternal wellbeing, wider awareness of the term and the many changes new mothers experience is important.

For mothers, just knowing the concept can help by normalising what they might be experiencing. It can also help those who are pregnant or considering having a baby to prepare for motherhood.

But it can also help us to recognise that becoming a mother is not just a matter of flicking a switch, but a long and profound process of change that requires supportive conditions.

For individual mothers and families, this might mean friends and family offering to provide food or household help (rather than visiting just to hold the new baby).

Collectively, it means broader social changes, including changing cultural attitudes and better social, economic, and health policies to support mothers and families. These should recognise that when a baby is born, so is a mother.The Conversation

Belinda Eslick, Honorary Research Fellow, The University of Queensland; Fabiane Ramos, Lecturer, University of Southern Queensland, and Laura Roberts, Senior Lecturer in Women's and Gender Studies, Flinders University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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What makes a song sound ‘Christmassy’? Musicologist explains

Samuel J Bennett, Nottingham Trent University

Within the first notes of many classic Christmas songs, we’re transported directly to the festive season. Why is it that it’s these particular pieces of music that get us thinking of the holidays?

In his book Music’s Meanings, the popular music researcher Philip Tagg explores the ways in which we as listeners construe the music that we hear. Tagg applies semiotics, the study of how we interpret signs in the world around us, to music. These signs may be viewed differently by different people and may change their meaning over time.

To illustrate this concept, Tagg cites the example of the pedal guitar, originally drawn from Hawaiian musical tradition and carrying connotations of the islands. Eventually this instrument found its way into country music, so successfully that Tagg argues at this point, we are likely to immediately think of country music when hearing the instrument, without the concept of Hawaii ever crossing our minds.

As the pedal guitar may place us immediately within the realm of country music, there is one instrument that will likely do the same for Christmas – sleigh bells.

Sleigh bells

From light orchestral pieces such as Prokofiev’s Troika (1933), right through to Ariana Grande’s Santa Tell Me (2014), sleigh bells have long acted as convenient shorthand for composers to tell their listeners that this piece belongs to the Christmas canon.

The reasons for this link stem from the non-musical world. We associate Christmas with the winter season and snowy weather. Sleighs, through their use as transport in such weather, developed a direct associative link with Christmas, and as a result, so did the bells used to warn pedestrians of their approach. As with Tagg’s pedal guitar example, we’ve reached the point where we generally link sleigh bells directly with the concept of Christmas, rather than thinking of the intermediary idea of the sleigh at all.

Santa Tell Me uses sleigh bells to evoke a Christmassy sound.

There’s a link to the wider instrument family of bells too. Through the practice of churches ringing out their bells, particularly in celebration of the birth of Christ, larger bells have also developed a presence, not only in Christmas music, but in Christmas decorations and art.

Last year, the UK Official Charts Company published a list of the “top 40 most-streamed Christmas songs”. If you were to listen to the list, you’d find bell-like sounds in the majority of them, from the glockenspiel-like introduction of Mariah Carey’s All I Want for Christmas Is You (1994) to the synthesised tubular bells of Band Aid’s Do They Know It’s Christmas (1984).

There are other musical elements which help spread the Christmas cheer, from lyrical melodies to strident brass parts. Most of these elements though, have one thing in common. They aren’t modern sounds, or particularly common in modern pop music, and instead, they remind us of the past.

The nostalgia of Christmas

Christmas is a nostalgic holiday, in more ways than one. The word “nostalgia” initially referred to a type of homesickness, rather than the fond remembrance of a hazy past time that we more commonly use it to refer to now. But both senses of the word can be used to describe the feelings we associate with Christmas.

It’s a time where many of us travel home to family, taking not only a geographical trip, but a temporal one, immersing ourselves in a world of well-worn tradition and familiarity, where the pace of our day-to-day life doesn’t apply.

Artists know this, feeding our nostalgia through music, lyrics and visuals which evoke the past. This is possibly why most Christmas albums consist of interpretations of past holiday classics, rather than original material. It’s a straightforward appeal to the nostalgic and the familiar; if we already know a song, it’s easier to immediately latch on to this new recording. Some artists though, take the nostalgia trip one step further, emulating what is arguably the ultimate Christmas style of music – the easy listening crooner song.

Billie Eilish performs Have Yourself A Merry Little Christmas in 2023.

Whether it’s Bing Crosby or Nat King Cole, the warmth of a crooning voice nestled among light orchestral instrumentation has become inextricably linked with Christmas. It’s a sound that, unless you have a personal affinity with the style, you’re unlikely to hear much outside of the festive season.

It’s telling that when Billie Eilish performed a version of Have Yourself a Merry Little Christmas on Saturday Night Live in 2023, she eschewed her usual synthesised sounds in favour of a traditional trio of piano, drums and upright bass, and delivered the vocal in a gentle, warming tone. It all conspires to make us think of some imagined, simpler past, with chestnuts by the fire and picturesque snow settling outside.

Finally, we return to that list of the most-streamed Christmas songs. There’s one artist, and indeed one album, that makes the top 20 with two entries – Michael Bublé, with his 2011 album Christmas. Checking this album against our list of Christmas musical elements reveals a clean sweep. It’s crooned from top to bottom, features lightly orchestrated versions of classic Christmas songs, and yes, includes sleigh bells. It doesn’t get much more Christmassy than that.


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Samuel J Bennett, Senior Lecturer in Music Production, Nottingham Trent University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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