Feminist performance art

According to scholar Virginia Mackenny, performance art is a great tool to mold and remold gender because performance art, in most instances, includes a direct subversion to everyday conventions. MacKenny also writes that feminist performance Art had a large presence “in the late '60s and early '70s in America when, in the climate of protest constituted by the civil rights movement and second wave feminism." There are several movements that fall under the category of feminist performance art, including Feminist Postmodernism, which took place during 1960-1970 and focused on the exploitation of women's bodies as a means for profit. Similarly, the Chicanx movement emerged in East Los Angeles during the 1970s, and focused on the Vietnam war, which was considered a post-apartheid movement.[1]

Feminist postmodernism

As Forte writes in her analysis of feminist performance art in the 1960s and 1970s, “Within this movement, women's performance emerges as a specific strategy that allies postmodernism and feminism … women used performance as a deconstructive strategy to demonstrate the objectification of women and its results”.[2] Another strategy that was commonly used by feminist performance artists during the postmodernist movement was “removing of the mask,” which was utilized to demonstrate the consequences of female representations in the media, on the psyche of women. MacKenny also writes about the removing of the mask within Feminist Postmodernism. She writes, “This 'masquerade' or 'masking' occurs when women play with their assigned gender roles in multiple, often contradictory ways - adopting, adapting, overlaying and subverting the hegemonic discourse in the process.”

Chicanx movement

During the late 1960s and early 1970s in East Los Angeles, protests broke out against the Vietnam War and its disproportionate death rate of 22% Chicanx people, while the percentage of the population that Chicanx people made up only 5% of the United States entire population. Asco (art collective), based in East LA commented on the impacts of the war on queer and brown identities, as well as the tragedies that occurred in the protests discussed above due to police brutality. The collective created visual and performative art. Some of their most famous performances experiment with gender roles, for example, one male identifying artist attended a club wearing “booty shorts, pink platforms, and a shirt that said ‘just turned 21.’”[3] The group continued to make performance and visual art that engaged with concepts related to queer and ethnic identity in East LA. During this period, East LA was ghettoized through a border of highways and dilapidated conditions.

Post-apartheid movement

MacKenny writes about two of the major players in the Post-apartheid performance art movement in South Africa. She first writes about Carol Anne Gainer and her performance entitled 'Exposed.' MacKenny explains that Gainer disrupts and subverts the binary as she performs as both the model and artist in this performance, which works to blur the "distinction between artist/art, artist/model, constructor/constructed, finder/found, mind/body, subject/object." The second artist which Mackenny writes about is a mixed race artist who performs a piece called 'Span.' MacKenny asserts that the artist Tracey Rose, alludes to Western societies exploitation of people of colour in scientific study and analysis, and the "dissection and embalming of body parts of native 'others' (the most pertinent to the South African context being Saartje Baartman, a young Khoisan woman displayed for her unique genitalia and steatopygia, or enlarged buttocks)," through her own display of her body.[1] Her performance exposes her naked body and is contrasted against images of "scientific" exploitation, which both highlights the dichotomy between these subjects and engages with Mackenny's definition of post-apartheid performance art and its political aim to blur and disrupt binary structures.

Anti-war performance art movement

The sociologist Rachel V Kutz-Flamenbaum writes about two major players in the anti-war performance art movement during the George W Bush administration. Code Pink, and Raging Grannies challenge and subvert gender norms in their performances, and thus, use very similar tactics and strategies. For instance, in Code Pink, Kutz-Flamenbaum asserts that, "the emphasis on women’s role as pacifist caregivers presents a nonthreatening image of women activists."

The perpetuated concept of women as non threatening, relies on the audiences association of pink as a non threatening and feminized colour. Kutz-Flamenbaum argues that "Code Pink’s use of civil disobedience and aggressive trailing of public officials confound and challenge normative gender expectations of women as passive, polite, and well-behaved."(95)[4] Kutz-Flamenbaum claims that Raging Grannies similarly use this tactic in the description of their mission statement. Kutz-Flamenbaum explains that their mission statement "illustrates the way Raging Grannies use norm- embracing stereotypes of 'little old ladies' and 'grannies' to challenge the gendered assumptions of their audiences." Their conscious performance as non-threatening and nurturing women, strategically and tactfully confront issues related to war and challenge the participation of the George W Bush administration in the war.


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References
  1. MacKenny, Virginia (2001). "Post - Apartheid Performance Art as a Site of Gender Resistance". Agenda Empowering Women for Gender Equity. 49: 15–24. ISSN 1013-0950.
  2. Forte, Jeanie (1988). "Women's Performance Art: Feminism and Postmodernism". Theatre Journal. 40.2. ISSN 0192-2882.
  3. Perez, Laura E. (2007). Chicana art: the politics of spiritual and aesthetic altarities. Durham: Duke U. doi:10.1215/9780822389880. ISBN 978-0-8223-8988-0.
  4. Kutz-Flamenbaum, Rachel V (Spring 2001). "Code Pink, Raging Grannies, and the Missile Dick Chicks: Feminist Performance Activism in the Contemporary Anti-War Movement". NWSA Journal. 19 (1): 90–96. ISSN 1040-0656.
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