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Naila Keleta-Mae

In this article I examine the performances of black girlhood in two texts by Ntozake Shange—the choreopoem “for colored girls who have considered suicide when the rainbow is enuf” (1977) and the novel Sassafras, Cypress and Indigo (1982). The black girls whom Shange portrays navigate anti-black racism in their communities, domestic violence in their homes, and explore their connections with spirit worlds. In both these works, Shange stages black girls who make decisions based on their understanding of the spheres of influence that their race, gender, and age afford them in an anti-black patriarchal world dominated by adults. I draw, too, from Patricia Hill Collins’s work on feminist standpoint theory and black feminist thought to introduce the term black girl thought as a theoretical framework to offer insights into the complex lives of black girls who live in the post-civil rights era in the United States.

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"Every time she bends over she pulls up her thong"

Teen Girls Negotiating Discourses of Competitive, Heterosexualized Aggression

Jessica Ringrose

In this paper I explore the themes of heterosexualized competition and aggression in Avril Lavigne's music video Girlfriend (2007) as representative of the violent heterosexualized politics within which girls are incited to compete in contemporary schooling and popular culture. I argue that psycho-educational discourses attempting to explain girls' aggression and bullying fail to account for the heterosexualized, classed or racialized power dynamics of social competition that organize heteronormative femininity. Then I elaborate a psychosocial approach using psychoanalytic concepts to trace how teen girls negotiate contemporary discourses of sexual aggression and competition. Drawing on findings from a study with racially and economically marginalized girls aged thirteen to fourteen attending an innercity school in South Wales, I suggest that the girls enact regulatory, classed discourses like slut to manage performances of heterosexualized aggression. However, alongside their demonstration of the impetus toward sexual regulation of one another, I show how the girls in my study are also attempting to challenge heteronormative formations of performing sexy-aggressive. Moments of critical resistance in their narratives, when they refuse to pathologize aggressive girls as mean and/or bullies, and in their fantasies, when they reject heterosexual relationships like marriage are explored.

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Michael C. Reichert and Richard Hawley

In a large-scale survey of effective teaching practices with boys conducted in 2008 across 18 schools in 6 different English-speaking countries, we collected lessons in a wide variety of subject areas (math, literature, science, art) shaped to fit boys’ particular learning needs and preferences. At a time of widely-published claims about boys’ relative failure to thrive in contemporary school settings, we surveyed schools dedicated to boys in particular—boys’ schools—in hopes of discovering the outlines of a pedagogy that might have broader relevance for boys everywhere. Nearly 1,000 teachers responded with detailed descriptions of teaching approaches that succeeded in engaging boys. Boys themselves—1,500 of them, aged 12-19—corroborated the features of effective instruction reported by their teachers. We suggest that the practices identified were “chafed” into being by sustained interactions between teachers and their male students. In this mutually-attuned, coordinated interaction between boy learner and adult instructor, we found qualities of responsiveness and connection echoing regulatory communication commonly associated with earlier periods in child development. Given current concerns about widespread gaps in many boys’ school performance, these stories affirming educational relationships could point the way to a clearer understanding of how best to engage boys in scholastic endeavor.

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"From the Top on Down It Is Systemic"

Bullying, Privilege and the Schooling of Hegemonic Masculinity

Brett G. Stoudt

In order to better understand the socialization and (re)production of privilege, most especially gendered privilege, within elite independent schools it is important to examine the masculine performances of its students enacted through bullying as well as the masculine environments in which these enactments are produced. This paper will begin explicating the messages received and the representations shaped by Rockport’s hegemonic masculine curriculum and the embodiment of these dynamics through research on bullying conducted with students and faculty at an elite, single-sex independent boys school, Rockport. The data revealed that bullying between boys at Rockport helped to discipline and reproduce hegemonic masculine boundaries; it was as much an expression of Rockport’s culture as it was a vehicle for policing and reproducing its culture. However, not only were the boys within Rockport gendered, the faculty and even the institution itself was gendered. In this way, it was systemic, both students and faculty acted within this institutional culture and held and managed expectations about their gender.

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M.I.A. in the Global Youthscape

Rethinking Girls' Resistance and Agency in Postcolonial Contexts

Lisa Weems

In this article I explore the performance art of international hip-hop artist M.I.A. to interrogate the problematic of girls' resistance and agency within a global youthscape. Using a feminist transnational framework, I analyze how her music and celebrity persona may be considered gendered post-colonial cultural productions that highlight issues of inequality, violence and domination. I argue that M.I.A.'s cultural productions serve as pedagogical symbolic resources for theorizing girlhood in post-colonial contexts specifically around issues of sexuality. As a symbolic resource, M.I.A.'s work is pedagogical in the larger global youthscape as well as in scholarship on girls in post-colonial contexts. Specifically, M.I.A. (in her music and interviews) openly wrestles with the embodied tensions between complicity and possibility in post-colonial girlhood. Consistent with a feminist transnational framework, I argue that the identities of “Third World” girls are discursively produced as innocent yet hypersexualized exotic Others in the service and/or mercy of “First World” colonial men and women. However, M.I.A. makes explicit that within the context of globalization, the cultural politics of gender and sexuality take place on/through/with brown female bodies—whether it is in the battlefield, the street or in the bedroom. A close analysis M.I.A.'s song 10 Dollar illustrates how Third World girls exercise resistance and agency in negotiating imperialist and nationalist heteropatriarchy.

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“Something Good Distracts Us from the Bad”

Girls Cultivating Disruption

Crystal Leigh Endsley

: “We may bend but we are never broken.” After her performance I probed, “What about Nola makes you proud to grow up here in spite of having to ‘bend’?” She attributed her survival techniques to growing up in her hometown, the same community that placed

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A Call to Action

Creativity and Black Girlhood

Crystal Leigh Endsley

the group, rendering the text itself as something of a performance space. Black girls are clearly the intended audience and readers. In this way, Brown presents performance as an action that honors the individual black girl's story at the same time as

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Heather Fitzsimmons Frey

she could not yet know like, for example, that her life trajectory would include a husband and five children, and I view her through analytical tools such as feminist theories, performance studies, contemporary ethnographic research, and discourse

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Shapeshifters

Black Girls and the Choreography of Citizenship

Jennifer Bethune

both “socially-defined problems” and “self-defined solutions” (231) through expressive movement and performance. BlackLight brought these experiences to public performances, street theatre, including bus stop performance, and outreach to other youth

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Miley, What’s Good?

Nicki Minaj’s Anaconda, Instagram Reproductions, and Viral Memetic Violence

Aria S. Halliday

appropriating Nicki Minaj’s Anaconda cover photo and her public responses to these memes, I explore how popular memetic culture—at the intersections of discourses on Black women’s bodies, feminism, sexuality, desire, and performance—positions these bodies as