Women & Performance: a journal of feminist theory最新文献

{"title":"“In Yellow”: a solo poem-play","authors":"Emily Kitchens","doi":"10.1080/0740770x.2023.2268365","DOIUrl":"https://doi.org/10.1080/0740770x.2023.2268365","url":null,"abstract":"","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"51 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135540452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Res nulla loquitur","authors":"Sora Han","doi":"10.1080/0740770x.2023.2261712","DOIUrl":"https://doi.org/10.1080/0740770x.2023.2261712","url":null,"abstract":"AbstractThe concept of res nulla loquitur, the no-thing speaks, is a reformulation of the rule of evidence, res ipsa loquitur, the thing speaks for itself. It is drawn from a careful examination of the recorded arrest of Sandra Bland in 2015, and the evidence collected in Texas’s subsequent investigation of her death while in custody. Engaging with what remains of Sandra Bland’s speech performatively by “listening while you look” (Moten), the article offers a critical reading of the rhetoric of self-evident truth associated with Fourth Amendment jurisprudence on lethal arrest and more recent audio-visual evidence of police use of lethal force against black citizens. To emphasize the sonic dimension of the terrain of struggle with the violence of the word of law, each section is accompanied by sound loops the author created from evidence used by artist, lauren woods, in her exhibit, American Monument (2020). These sounds loops can be accessed at resnullaloquitur.com.KEYWORDS: Lethal use of force; nonperformanceevidencesound studiesafropessimismspeech actspolice violencelawabolitionfourth amendmentres ipsa loquitur Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 I use the term, aesthetic, throughout this article in the broad sense of the experience and perception of qualities associated in Western philosophical discourse with art, including beauty, creativity, taste and style. At the same time, my use of the term unsettles the ideological presupposition that qualities typically associated with law, such as rationality, morality and political power, are not aesthetic. So my use of the term encompasses my approach to law and art as each other’s other, which is also to say that artistic and legal judgement share a limit where violence and ethics bear the possibility of unprecedented forms and modes of thought and regard. It is an interventionist term that joins many others' development of the concept, including, for example, Rizvana Bradley and Denise Ferreira da Silva, “Four Theses on Aesthetics” (Citation2021).","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136262443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Adrian Piper, Kelela, and the necessity of rhythm work","authors":"Christine Capetola","doi":"10.1080/0740770x.2023.2266918","DOIUrl":"https://doi.org/10.1080/0740770x.2023.2266918","url":null,"abstract":"AbstractThis article traces the uses of rhythm and sound across select works from two practitioners: performance artist Adrian Piper and contemporary R&B artist Kelela. Enacting an analysis through the sonicality of both artists, the article uses rhythm to connect the visual plane to that of sound, affect, and vibration—and the vibrations that ultimately coalesce into rhythms. In the article, I theorize a notion of rhythm work, or the use of musical and other kinds of rhythms by the two artists to both amplify their personal experiences as Black women and accentuate the white patriarchal heteronormative rhythms against which they move. Building on work from sound, performance, and Black studies, I explore how both artists’ rhythm work interweaves the bodily and the technological, channelling individual rhythms (such as what Piper calls “the rhythms of sex”) into new collective rhythmic possibilities grounded in Black femaleness and/or femmeness. In the process, this article invites readers to think and feel together with performance art and popular music, two genres that are sometimes (but still not often) written about concurrently in performance studies, by highlighting the extent to which rhythm works as a connector across various genres and disciplinary fields.Keywords: SoundrhythmBlacknessfemmenessperformance studies AcknowledgementsEverything that I have written is always in community with others, and this article is no different. Thank you to the editorial collective and readers for their comments. A special thanks to troizel xx Carr for a 30-minute-long Zoom chat that helped me solidify the final (before letting go) revisions. My frequent collaborator and dear friend Dan DiPiero often reads a draft of whatever I’ve written, and his feedback on the revamped lit review (particularly his knowledge of Rancière) helped coalesce the herstory of from where my theorizations grow. Iris Blake helped me think about rhythm work in terms of labor, which I will continue to expand upon as I grow the idea. My ongoing conversations about popular music and critical theory with Linde Murugan, Alyx Vesey, and Ayanna Dozier always inform my work, and I thank them in every acknowledgements section now. I first read about Adrian Piper in Fred Moten’s In The Break in my first semester of grad school (Summer 2013) in the NYU performance studies MA program—and I have been thinking about the sonics of her work ever since. Finally, thank you to Sabine Dabady for introducing me to Kelela and so much other music that I now love and write about. Let’s make sure to go see Kelela again when I’m in a better health place than before.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Over each of their foreheads, one word is typewritten out: “Every” “thing” “will” “cease” “to” “exist,” an invitation to not look away from six men who were killed for wanting to change American culture.2 As McMillan notes, Piper expands on this in her es","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"78 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136032602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Collaborative timeslips in Gabrielle Civil’s black feminist performance art and writing","authors":"Jocelyn E. Marshall","doi":"10.1080/0740770x.2023.2262793","DOIUrl":"https://doi.org/10.1080/0740770x.2023.2262793","url":null,"abstract":"AbstractThis article examines the work of black feminist performance artist and scholar Gabrielle Civil as a mode of transhistorical historiography. By working from Civil’s artistic aim to open up space and her commitment to breaking the frames of identity, history, and art, the paper explores how textual and temporal slippages cultivate an embodied polyphonic practice responding to individual and collective histories and senses of belonging. With specific regard for transnational and diasporic identities and experiences, Civil’s work addresses three different relationships between oneself and others: familial, (re)imagined familial, and ancestral bloodlines. The resulting dynamic enacts a “collaborative timeslip” as a means with which to address racist and patriarchal histographies and transgenerational trauma and memories. This approach allows for layering asynchronistic local and global perspectives to elicit calls for and demonstrations of protest and joy. Drawing from interdisciplinary, performance, and African diaspora scholars such as Avery F. Gordon, Long Le-Khac, Kara Keeling, Tina M. Campt, Nadège T. Clitandre, and Jack Isaac Pryor, the article primarily examines Civil’s Fugue (Da Montréal) (2014) performance and debut full-length collection Swallow the Fish (2017). Extending beyond medium and genre, the collaborative timeslip perpetually enacts an oscillation of Civil’s experiments: truth telling, creating, inviting someone in, documenting, and repeating.KEYWORDS: black feminismperformance artperformance writingpolyphonyancestors Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 The previously cited text and this quoted material are all from the same performance writing.2 “Transnational” is used to encompass the expansive multiethnic and transhistorical range of Civil's work and the people and events she draws upon. “Diaspora” is primarily used with respect to Civil's specific biographical background and details regarding artistic aims. As Civil thinks about the “hauntedness of ancestry” expansively within the context of Haitian diasporic bloodline alongside a larger engagement with the middle passage and histories of the black female body, the term “transnational” in this article subsequently reflects the specific geographic and nation-state relationships associated with Civil's broad understandings of “bloodline” and “ancestry” (Civil Citation2021a).3 Gabrielle Civil, “Remedios: Breaking the Frame: Dreaming into the Urgent Now,” Aster(ix) Journal, January 13 2017, https://asterixjournal.com/remedios-breaking-the-frame/; Score also later included in Gabrielle Civil's Experiments in Joy (New York: The Accomplices, Citation2019a), 231-33.4 “Ancestral” is used in alignment with Civil’s broad use of the term to denote relationships to individuals and communities that inform her work. This can range from biological family members to community-related folks, such as artists ascribing to black diaspor","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135968169","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Border Trash: the markings of Latinas as foreign bodies","authors":"Yessica Garcia Hernandez","doi":"10.1080/0740770X.2023.2206187","DOIUrl":"https://doi.org/10.1080/0740770X.2023.2206187","url":null,"abstract":"This article studies the subgenre of border pornography and examines how Latina hypersexuality is represented. The author asks: what does border pornography say about borders, Latinas, and its political and historical pasts? What can we say about the different deployments of border pornography? Do some videos affectively carry racial stereotypes more than others? Lastly, how do brown spectators along with the actresses make sense of these border narratives? Using a performative discursive analysis, the author shows that the use of the word “Border” in pornography shifted throughout three decades. In the early 1970s border titles often centered on white women's sexual adventures to Mexico, but after 9/11, the border became synonymous with a racial-sexual difference of the Latina body and their brown carnality. The author argues that Latina adult stars find moments of possibilities despite the subjugation and racial mockery that they are expected to perform. The creativity of Latinas is evident when they challenge the fixity of their characters by refusing to stay quiet during sexual acts, incorporating nonscripted sexual dialogue, and by challenging the ideological concept of the shoots during behind-the-scene interviews. These sexual tactics trans-code new meanings about what it means to be a brown body on screen. A close study of these films shows that pornographers deploying the term border were always intentional about commenting on the political moment. Border pornography was never just about the sex; it was about how the sex could deploy racial differences vis-à-vis geographies of the border.","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131458287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Can you own a plant?","authors":"Gal Leshem","doi":"10.1080/0740770x.2023.2206191","DOIUrl":"https://doi.org/10.1080/0740770x.2023.2206191","url":null,"abstract":"","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133148598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"As the world trembles: borders and borderlessness in the thought of Édouard Glissant","authors":"Joanna Ruth Evans","doi":"10.1080/0740770X.2023.2206188","DOIUrl":"https://doi.org/10.1080/0740770X.2023.2206188","url":null,"abstract":"In the film Édouard Glissant, One World in Relation (Diawara 2009), Glissant states that “borders are necessary in order to appreciate the passage from the flavor of one country to the flavor of another.” This statement inspires an exploration of the workings of borders in Glissant's work, focusing on his book Poetics of Relation and the film. It argues that Glissant holds an attachment to borders that is both pragmatic and ontological, and through which he generates a philosophy of the border as generative, distinguishing it from modernity's externalized borders to greater and lesser effect. It also suggests that there appears through Glissant, and often in spite of his own attachment to borders, a trembling sense of the possibility of borderlessness. Trembling is invoked throughout as a material and conceptual force with the propensity for destabilizing and even negating borders. Glissant's work is read through a number of performative scenes, including: Martin Heidegger's famous reaction to viewing photographs of Earth from space in 1966; the dance piece more, more, more … future (2011) by Congolese choreographer Faustin Linyekula; Glissant's own half-ironic, and ultimately unrealized, suggestion for the making of the film; and scenes from One World in Relation of Glissant and Diawara exploring Martinique together.","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114650081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inhabiting borders: a shared practice","authors":"Catalina Hernández-Cabal","doi":"10.1080/0740770X.2023.2206193","DOIUrl":"https://doi.org/10.1080/0740770X.2023.2206193","url":null,"abstract":"This contribution is an artistic intervention, a pedagogic invitation, and a statement against the immobilizing workings of borders. Through an engagement with feminist theory, movement practices and pedagogy, I propose movement as a tactic to inhabit borders and space and make them yield to our bodies and trajectories.","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133943264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On liminality","authors":"Perrine Gaudry","doi":"10.1080/0740770X.2023.2206192","DOIUrl":"https://doi.org/10.1080/0740770X.2023.2206192","url":null,"abstract":"In this series named On Liminality, I explore the feeling of a liminal state. The photos depict time and space of liminality and in doing so echo and explore the subjective process of being in a liminal physical space or mindset.","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127744683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"echoes – cartographies of refuge and containment","authors":"Peter T Nguyen","doi":"10.1080/0740770X.2023.2206190","DOIUrl":"https://doi.org/10.1080/0740770X.2023.2206190","url":null,"abstract":"echoes is a series of performance meditations that explores cartographies of refuge and containment of Southeast Asian Americans facing deportation. This photo essay features two iterations of echoes, from the Museum of Contemporary Art in Chicago during the “Groundings” exhibition and the defibrillator gallery for the “Upheavals” performance festival in 2019. echoes challenges the carceral logics that undergird humanitarian aid after war and the criminalization of refugees through experiments with movement, sound, light, breath, and symbolic objects used in death ceremonies, refugee rescues, detention centers, and patriotic celebrations. For the first iteration, I sew myself into moving sculptures, experimenting with white fabric, or khăn tang, used in Vietnamese death ceremonies. The fabric’s measurements are based on the dimensions of detention center cells across the U.S. The thread is from the flags of countries that have signed repatriation agreements with the U.S., which expedites deportation. In the second iteration, I cover my body with a silver mylar blanket (“NASA blankets”) used in refugee rescue missions and detention centers, blocking/reflecting the light from light projections through explorations with muscular contractions and breathwork. This photo essay captures a study of gestures of mourning and resistance within and through these thresholds of confinement.","PeriodicalId":231321,"journal":{"name":"Women & Performance: a journal of feminist theory","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125013661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}