Judith Scott’s What is Property?: an inquiry into principles of dependency,propriety, and self-possession of an “outsider” artist

The essay addresses the politics of biography in the interpretation and reception of “outsider artist” Judith Scott’s work. Drawing from feminism, disability studies, and Alexander Kluge and Oskar Negt’s History and Obstinacy (1981) and its political economy of labor power, the essay proposes a new method of analysis which would foreground Scott’s work as a mode of institutional critique. Kluge and Negt ask “Can capital say ‘I’?.” The essay argues that Scott’s work compels a concomitant questioning of this “I” and the very terms of biography, authorship, and ownership that undergird the myths – and the institutions – of the “outsider” and her “art.”     

White Women. White Nation. White Cosmopolitanism: Swedish Migration between the National and the Global

Emerging from the concepts of white cosmopolitanism and white cosmopolitan femininity, this article analyses “cosmopolitan narratives” of Swedish migrant women who lived abroad for an extended period and eventually returned to Sweden. Based on eight months’ ethnographic work, including 46 in-depth interviews with migrants who had returned in Sweden, the article explores how national boundaries are both maintained and traversed in the construction of a “world citizen”. It is argued that the women’s self-identification with a cosmopolitan ethos is structured by whiteness, nationality, and class that grants uninterrupted mobility and “worldliness”. As symbolic bearers of the Swedish nation, national ideals act on the white women’s bodies internationally, in ways that both uphold and re-inscribe the nation into the global. Thus, apart from obscuring global inequalities, white cosmopolitan femininity is imbricated in both national and global politics as a place where global structures reconnect with the white nation, thereby enabling Swedish migrants to re-install themselves into contemporary global settings as self-defined cosmopolitan subjects     

The nonarrival of black freedom (c. 12.6.84)

This article seeks to mark the twentieth anniversary of the publication of Saidiya V. Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America through a series of meditations on questions of time, embodied performance, the political concept of emancipation, and Oliver L. Jackson’s painting, Untitled 12.6.84, which graces the cover of this seminal work. This effort to recall Hartman’s argument regarding the nonevent of emancipation moves in the service of developing an understanding of the nonarrival of black freedom as a conceptual frame for addressing the recursive and untimely dimensions of black self-making. Ultimately, this article argues that Scenes of Subjection allows us to glimpse the making of worlds within the historical archive that fall outside of the normative horizons and expectations of political emancipation. Neither durable nor everlasting, neither verifiable nor guaranteed, such worlds take shape and dissolve within the mysterious rapport between the “could be” and the “not yet” and leave traces on the broken flesh of the black body.     

Negotiating hybridity: Native women's performance as cultural persistence

New Delhi-based performer, Maya Krishna Rao’s experimental performances incorporate a variety of forms including kathakali, cabaret, comedy, drag, live music, and video, and draw attention to the performative, political, and ethical potential of gesture. This article traces Rao’s practice as a minor inhabitation of kathakali and everyday gesture. Following performance theorist Erin Manning (2016), I understand the “minor” to be a force that scrambles normative hierarchies of value and organization from within the intervals of the “major.” Rao’s minor practice retools the four-hundred-year-old dance-drama form to produce new sensory-kinesthetic knowledge of quotidian regimes. In works such as The Non-Stop Feel-Good Show, Khol Do, and A Deep Fried Jam, Rao straddles kathakali’s mythical economy, conventions, and physicality alongside snippets from contemporary news media, ideologically inflected historical narratives, and socially normative dress and behavior codes, to reveal the extraordinary with/in the everyday, such that we might inhabit the present differently. In distorting, combining, disarticulating, and deterritorializing kathakali’s gestural and expressive vocabulary, Rao invites audiences to partake and follow her into a gestural regime that lies alongside the known. By focusing on the possibilities for affective realignment and queering in a minor register, her experimental and hybrid kathakali-influenced performances impress upon discourses and practices of neoliberal urbanism, national memory, and gender and sexuality in New Delhi today.     

Queening it: Women's taste for jewelry excesses in post‐war Britain

In “Dahil Sa Iyo: The Performative Power of Imelda's Song,” Christine Bacareza Balance articulates the role of musical performance in the shaping of the “spectacular politics” of the former Philippine first lady. The article argues against depoliticized aesthetic and critical practices that attempt to separate art from politics. Instead, the article suggests that it was the deployment of musical art forms in Marcos’ performance of self that could bolster the execution of the Marcos’ political agenda, characterized by corruption, extra-juridical violence, and human rights abuse. Thus, the article concludes with a turn to artistic renderings of Marcos, arguing that such performances map the relationship between US imperialism, Filipino history, and the intimate sphere of Filipino America.     

“It Is So Swedish That You Have to Work”. Returning Swedish Migrant Women’s Negotiations of Gender Equality and Heterosexuality

Notions of gender equality are strongly linked to the Swedish self-image. This article explores returning Swedish migrant women’s negotiations of heterosexual gender equality ideals based on their experiences of being housewives to middle- and upper-class men with work contracts abroad. From fieldwork conducted within two networks for returning Swedes, the article provides an analysis of the ways in which the women talk about work, gender equality, and domestic workers.

The analysis of the women’s accounts of gender relations shows that different ways of doing femininity are central in their narratives. By using the concepts “emphasized femininity” and “gender-equal femininity” the article highlights the different forms of femininity that can be traced in the women’s narratives. Drawing from the empirical examples, it is shown that the women are troubled by Swedish gender equality ideals and express a feeling of not “fitting in” after returning to Sweden. I suggest that the women’s articulations of not “fitting in” to (imagined) gender-equal Sweden tend to downplay the fact that they still have advantages that assist with “fitting in” from social positions such as class, whiteness, and (hetero)sexuality: positions which may create space for negotiating social norms in Sweden.     

Women’s Organizations of Political Parties: Formal Possibilities,Informal Challenges and Discursive Controversies

Feminist research focusing on gender policy successes in the 1990s and 2000s emphasized the strengths of women’s organizations of political parties in advancing key gender equality issues in Finland. However, both the “feminism” and “politics” of political parties’ women’s organizations, hitherto apparent in Finland and elsewhere in Europe, are now deemed outdated, a paradox that is critically explored in this article. The analysis is based on interview data with women and men politicians and party workers and is structured around the key research question: how are the women’s organizations of political parties discursively constructed by the interviewed politicians and party workers and with what effects? These discursive constructions are studied in relation to: (i) the formal institutional position of the women’s organizations of political parties, (ii) informal institutional position vis-à-vis the mother party, and (iii) discursive controversies surrounding their feminism and politics. The discourse analysis reveals the contradictions and challenges faced by women’s political organizations in contemporary politics.     

Lines of confluence in Fredrika Bremer and Charlotte Brontë

This article appiies the concept of “confluence”, rather than “influence”, to the comparative study of two 19th‐century women novelists, Fredrika Bremer (Sweden) and Charlotte Brontë (UK). Although some lines of direct connection between the two writers can be ascertained, a more meaningful pattern emerges from examining their shared interests in women's issues and concerns, namely the marriage plot, domesticity, and women's education. In particular, their social critiques interrogate the interrelation of style and ideology, encouraging us to reassess their mixing of literary conventions (realism, romanticism, gothicism) as well as their tendency to manipulate emotions (melodrama, sentimentality, sensationalism). Ultimately, this argument stresses the linkages among women writers as we “think back through our mothers”.     

Between antagonism and eros: the feud as couple form and Netflix’s GLOW

A feud is an antagonism that is continuous and extended; “a state of prolonged mutual hostility” (OED). Historically, feuds take place between families or communities, or result from failed couples. Considered as a couple form in its own right, however, the feud is associated with aesthetic forms often coded as camp, queer, or feminized. In such popular, serialized forms, the feud must be open ended and of unforeseen futurity, for resolution brings an end to the feud as such and dissolves the couple. Thus, feuds reject normative modes of coupling (such as the nuclear family) that center harmonious or happy feelings. The article begins with the political economy of the feud through an examination of the pre-modern form of the blood feud and continues with its late-modern presence in popular culture. We rehearse the idea of the feud as it emerges from anthropology and philosophy, especially as it impacts notions of debt and alternative economies, before thinking through the contemporary “coupling” of the feud in popular culture, fandom, and, via the performance form of professional wrestling and Netflix’s GLOW.     

The centrality of labor time in South African gold mining since 1886

Labor time, as a dimension of South African mining labor history, has been ignored, both conceptually and historically. This article remedies this yawning gap by presenting primary and secondary evidence which demonstrates the centrality of labor time in South African gold mines since the discovery of gold in 1886. To this end, labor time is traced in two ways. Part I tracks industrial working time by tracing the length of the working day and week. Part II tracks the ever-increasing length of the African migrant labor contract. While industrial working hours remain remarkably stable for almost a century, the migrant labor contract systematically increases over a similar period. These two measures of labor time eventually coincide when the migrant labor system dissolves and black African workers take annual leave together with their compatriots across the racial divide. The explanation for the mining industry’s long struggle to both maintain relatively long working hours and increasingly maximize the length of the migrant labor contract is construed as completing the received wisdom of Harold Wolpe's much celebrated and criticized `cheap- labor' thesis. (Wolpe, “Capitalism and Cheap Labor Power.”)     

Pulses from the multitude: virtuosity and black feminist discourse

Using a dialogic format this conversation between two authors uses political theorist Paolo Virno's conception of the “multitude” to examine and compare two different arenas of black feminist protest that took place on social media in the latter half of 2013. As a performative article, it offers historical and theoretical background to the terms “multitude,” “public intellect,” and “virtuosic labor” in racialized capitalist formations, situating them to provide an alternative to the power of the State – an alternative that unlike the State does not claim to confer rights. The article looks at the Facebook response to a call from the Crunk Feminist Collective to white feminists to speak out on the verdict exonerating Trayvon Martin’s killer and offer counter images to those that describe Martin's killing as justified. It then looks at the public dialogue around the applicability of the term “feminism” to Beyoncé's self-titled “visual album.” Through aesthetic inquiry, the authors look at the form these examples of protest take to situate and propose the active viewing of these aesthetic forms by others on social media, as well as by the authors of this article, as a kind of virtuosic labor. The article concludes with a series of poems created using the “cut-up” technique designed to transmit feeling through subjective action and a task manifesto for white feminists to use as a guide.     

Passport to Parenthood: Reproductive Pathways In and Out of Denmark

Denmark has become a destination for single women, lesbians, and heterosexual couples wanting donated sperm. At the moment, women from Sweden, Norway, Germany, Italy, and the UK travel to Denmark. Simultaneously, waiting lists for donated eggs and age restrictions are prime motivations for infertile Danish women and heterosexual couples to leave Denmark and travel to Spain, the Czech Republic, the Ukraine, and Greece for egg donation. Informed by Donna Haraway’s notion of “the apparatus of bodily production”, Marcia Inhorn’s development of “reproductive flows”, and the use of Adele Clarke’s “situational analysis”, this paper explores the question: How do global reproductive pathways in and out of Denmark emerge when fertility travellers narrate, negotiate, and cross national borders to go through fertility treatment? Methodologically, we use a multi-sited and multi-modal approach centring on interviews with fertility travellers moving to and from Denmark in combination with ethnographic observations carried out in Danish and Spanish fertility clinics and an analysis of legal regulations. The paper concludes by discussing how the concept of reproductive pathways helps to theorize transnational movements of bodies and contributes to feminist scholarship on transnational reproductive travel.     

From “Non-governmental Organizing” to “Outer-system”—Feminism and Feminist Resistance in Post-2000 China

ABSTRACT

In post-2000 China, both the frontiers and the landscape of feminism and feminist resistance have changed, and this change embodies a move away from the “non-governmental organizing” path that characterized the development of feminism during the 1980s and 1990s. This article addresses this “paradigm shift” in Chinese feminism by examining the “outer-system” political stand of post-2000 feminism and their domains of action through performance art, philanthropic volunteerism, and cyberfeminist articulations. These novel modes of feminist protest in the absence of a formal organizational structure challenge our understanding of feminism as a process of “non-governmental organizing” in public space and warrant a cultural analysis to shed light on how feminism engages in cultural contestation and subversion, often in semiprivate and semipublic spaces, in order to develop new and alternative cultural patterns and interpretive frames.

Abbreviations CPPCC The Chinese People’s Political Consultative Conference WF The All-China Women’s Federation     

The Beauties of Kashmir: Nila Gupta's Representations of War from a Distance

Abstract: This essay examines Nila Gupta's literary representation of the conflict in Kashmir in her short story cycle The Sherpa and Other Fictions (2008). Born and raised in Canada, Gupta has a diasporic perspective and a feminist political stance that values women's solidarity and political involvement across borders. Her short stories explore the feminist thesis that the sexual crimes committed against girls and women at times of conflict are a direct consequence of the appropriation of women's bodies for symbolic uses within the dialectics of patriarchal nationalisms. However, her stories' restrained style and their publication in a small activist press preclude easy commodification in a global market avid for narratives of ethnic violence. By reading Gupta's creative texts in relation to academic studies of communal sexual violence and nationalism, humanitarian reports on refugees and gendered violence and journalistic accounts of the conflict, this essay attempts to assess the power of literature to offer nuanced and complex representations of violent conflict and its consequences. Special attention is paid to the representation of life in the officially designated ‘migrant camps’, to the difficult issue of the social stigmatization of rape victims and to the many ways in which women are implicated.     

Feelings are “patterns in the weave of our life” 1 – not a basis for a feminist epistemology

Feelings (or “emotions”) have frequently been debated in feminist theory. A large part of this discussion can be considered to aim at a “rehabilitation of the emotions”. However, when feminist theorists make epistemological claims concerning “emotions”, i.e. what philosophy of mind calls “mental states”, we run a grave risk of ending up in subjectivism and thus of reiterating the “private access fallacy” of traditional epistemology. Starting from the feeling of shame (a paradigm for a socially constructed feeling), this article makes a Wittgensteinian reading of “emotions” which offers an alternative to the atomistic, mentalistic and episodical view of mainstream philosophy of mind. Wittgenstein's thrust against foundationalism, his conceptual remarks about “inner experiences”, his anti‐behaviourism and his emphasis on the primacy of action, are all concordant with the social constructionism of the slogan “The personal is political”.     

Surpassing the word: Aileen Wuornos

This article explores the dynamics of Richard Move's drag performance of the late Martha Graham. Drag dance is remarkably self-aware as historiography, and it employs a rhetoric of bodies becoming other bodies: channeling, paying homage, re-embodying, reliving, being possessed. This article argues that drag dance has a historical project for dance history; specifically, that drag bodies can become a new medium through which aesthetic/kinetic histories are transmitted. In the case of Richard Move, the exaggeration and excess of the ageing Martha Graham become modalities that align with the ‘wrongness’ of his body. This is drag dance as a strategy of re-embodiment after the original body has been lost, and Richard Move presents his performance as a ‘haunting,’ much like the feeling Martha Graham describes as the result of a dancer's “first death,” when she watches someone else dance a role she had originated. Ballets like Graham's Lamentation and Cave of the Heart give Move the opportunity to portray Graham's struggle to continue to dance after this “first death,” using drag as a strategy to show up the eerie perfection of voice against the hollowness of the ageing dancer's body. Combining vaudeville and séance, moving from the restless gay “underworld” of the Meatpacking District to the right to presume himself the heir to the mother of modern dance, Richard Move first embodies and then moves beyond Susan Sontag's camp “etc etc” of Graham's self-performance.     

“I have always been so afraid”: Fearsome Encounters in Unni Lindell’s Rødhette

Norwegian crime writer Unni Lindell’s novel Rødhette [Red Riding Hood] (Oslo: Aschehoug & Co, 2004/2010) is a narrative about a woman whose feeling of safety transforms into a fear of violation, and how her defence against this fear takes the form of systematic violence. The novel is a rewriting of the traditional tale of “Little Red Riding Hood” and is a comment on the patriarchal premises of the most widely known version of this folktale. In the article, I discuss the representation of the female murderer as being in the grip of an affective economy based on the fear of male violence, represented in the novel by the metaphor of the “wolf”, and how fear grows into a comprehensive, moral and pragmatic, murderous orientation towards the world after an experience of violence. Theoretically, I draw on affect theory and particularly Sara Ahmed’s ideas about the affective politics of fear (The cultural politics of emotion. Edinburgh: Edinburgh University Press, 2014) and how this fear turns into a significant qualifier in encounters with people who are experienced as strangers (Strange encounters: Embodied others in post-coloniality. London: Routledge, 2000). Fear is treated in Lindell’s novel as a psychological constriction and a tool for the construction of agency, through which the mechanisms of othering and violence are explored.     

Colonial labour,Tawdenni and ‘L’enfer du sel’: the struggle from slave to free labour in a Saharan salt mine

Abstract

Can we understand the arrival of Capitalism in Africa by tracking labour – from unfree to free, from slave to wage? The question supposes slavery to lie at its heart, yet the conversation between labour and slave studies is in early stages. The sources are problematic: the colonial ‘language of labour’ was often political rhetoric camouflaging ongoing forms of slavery. Then, there was the question of how the metropole-incorporated colonies into its economy: French West Africa’s sun and sand offered few economic resources. One was salt. The Niger Bend economy depended on Tawdenni, a desert salt mine controlled by Saharans and exploited by their slaves. In 1910, it was predicted that the French abolition of slavery would spell the end of Tawdenni: “Never will a man from the South – unless a slave – give himself to this work”; what, therefore, was to be done? The paper challenges the view that engagement with colonial capitalism necessarily led directly or even inevitably from slavery to wage labour by exploring how Tawdenni’s servile labour system responded to French colonial attempts to combine political abolition and economic sustainability.