A king named Nicki: strategic queerness and the black femmecee

This article explores the deployment of race, queer sexuality, and femme gender performance in the work of rapper and pop musical artist Nicki Minaj. The author argues that Minaj's complex assemblage of public personae functions as a sort of “bait and switch” on the laws of normativity, where she appears to perform as “straight” or “queer,” while upon closer examination, she refuses to be legible as either. Rather than perpetuate notions of Minaj as yet another pop diva, the author proposes that Minaj signals the emergence of the femmecee, or a rapper whose critical, strategic performance of queer femininity is inextricably linked to the production and reception of their rhymes. This article engages a pair of music video releases that reflect the range of Minaj's gender performances as cinematic lenses into the strategic moves that Minaj is able to make from her femmecee stance. King Nicki's hypervisibility as a black femmecee and refusal to cede to any regime of recognition confound the multiple common senses that seek to produce her as a compliant subject.     

Ghostly givings: Nao Bustamante’s melancholic conjuring of brownness

Centering the relationship between artist Nao Bustamante and the late theorist José Esteban Muñoz, this article explores the ghostly offerings of performative communal melancholia. Elaborating the importance of haunted communion as a site of relation, Bustamante’s performance furthers what we might understand as a Muñozian sense of brown. From her performance of Given Over to Want (1999–2018) to her contribution to the memorial evening Transnocheo for José (2014), Somewhere, My Love, Bustamante conjures a haunted body of work, casting within it an invitation to give oneself over to a mode of queer sociality that offers an otherwise organization of time, corporeality, and relationality and a hermeneutic for the mining of the pathological in furtherance of a theoretical project that offers the relational as a sustaining approach to the hostile present.     

Ouch! Western Feminists' ‘Wounded Attachment’ to the ‘Third World Prostitute’

‘Trafficking in women’ has, in recent years, been the subject of intense feminist debate. This article analyses the position of the Coalition Against Trafficking in Women (CATW) and the writings of its founder, Kathleen Barry. It suggests that CATW's construction of ‘third world prostitutes’ is part of a wider western feminist impulse to construct a damaged ‘other’ as justification for its own interventionist impulses. The central argument of this article is that the ‘injured body’ of the ‘third world trafficking victim’ in international feminist debates around trafficking in women serves as a powerful metaphor for advancing certain feminist interests, which cannot be assumed to be those of third world sex workers themselves. This argument is advanced through a comparison of Victorian feminist campaigns against prostitution in India with contemporary feminist campaigns against trafficking.The term ‘injured identity’ is drawn from Wendy Brown's (1995) States of Injury, Power and Freedom in Late Modernity. Brown argues that certain groups have con.gured their claims to inclusion in the liberal state in terms of ‘historical ‘injuries’. Antoinette Burton (1998) extends Brown's analysis to look at Victorian feminists’ relationship to Empire, arguing that the ‘injured identities’ of colonial ‘others’ were central to feminist efforts to mark out their own role in Empire. This paper builds on Burton's analysis, asking what role the ‘injured identities’ of third world sex workers play in the construction of certain contemporary feminist identities. The notion of ‘injured identities’ offers a provocative way to begin to examine how CATW feminists position the ‘traficking victim’ in their discourse. If ‘injured identity’ is a constituent element of late modern subject formation, this may help explain why CATW and Barry rely so heavily on the ‘suffering’ of ‘third world traficking victims’ in their discourses of women's subjugation. It also raises questions about the possible repressive consequences of CATW's efforts to combat ‘traficking in women’ through ‘protective’ legislation.     

Dancing across difference: Experience and identity in the classroom

This article uses Liquid Sky to consider the possibilities of feminist reorientations outside of formal and political orthodoxies and suggests that such disengagements from the dominant are alienated from the utopian rather than re-imagined as transgressive modes of utopian resistance. These disengagements are theorized as a postpunk feminist dystopia: that is, a de-emancipatory system of gendered and aesthetic practices that spatio-sonically shapes queer female sexuality as extrinsic to social and sexual ideals. This dystopia specifically frames the lesbian subject as a bodily terrain of self-estrangement, and names the film's network of alienated corporeal, subcultural, and sonic space. Feminist dystopia ultimately describes female empowerment's precarious position in a sexual and sonic landscape of non-normativity and offers a way to visualize oppositional practices that do not readily correspond to liberation.     

Performing the Filipina “mail-order bride”: Queer neoliberalism,affective labor,and homonationalism

The 2005 video/performance art piece, Always a Bridesmaid, Never a Bride, by the Filipina American performance-art ensemble, the Mail Order Brides, examines the role of affective labor in constituting gay marriage as a form of US homonational belonging. In a contemporary context of capitalist globalization, Always a Bridesmaid, Never a Bride critiques the subjugation of the third-world woman worker within a queer neoliberal logic, highlighting the inability of the mainstream US LGBT movement to address issues of race, migration, and labor. The Mail Order Brides enact forms of feminist camp and ethnic drag to denaturalize the affective labor that is embodied within the figure of the Filipina “mail-order bride.” In doing so, Always a Bridesmaid, Never a Bride links an analysis of transnational Filipina labor with a critique of queer cultural politics in the US In its critique of queer neoliberalism, Always a Bridesmaid, Never a Bride builds on and contributes to queer of color social movements committed to racial and economic justice.     

Impossible Hosting: D’lo Sets an Undomesticated Stage for South Asian Youth Artists

At the center of this article is D'Lo, a Sri Lankan American hip hop performance artist, as the host of YouthWallah, a performance in Los Angeles, which features the work of South Asian youth artists. The focus of the article is on the possibility of an undomesticated stage that D'Lo creates for community youth artists as a female, yet unmistakably masculine host who translates female masculinity to a primarily straight South Asian audience as herself and, in drag, embodying her mother. D'Lo's performance includes autobiographical narratives of being gay and South Asian, which she uses to ground her politics in her experience. D'Lo does not perform the “exclusion” of a queer subject from a diasporic home. On the contrary D'Lo, as the host of this article home of YouthWallah 2004, provides an important undomesticated stage for the emergence of South Asian diasporic youth artists' voices and their alternative imaginations of diaspora. Therefore it becomes necessary to rethink the common conflation of notions of home and notions of domesticity, as a colonially inflected version of the home, which reproduces a colonial and gendered relation of power and thereby precludes the imagination of a decolonized community.     

A dog in the fight

Holly Hughes’ “A Dog in the Fight” is a queer and feminist literary performance that models a feminist politics of performance that stands as alternative to performances of power that come from the officially anointed space of politics. In this piece, Hughes meditates on the queer relationship between US Presidents and their faithful companions, their dogs. Refusing to jump through the “ceiling” to get into the White House, Hughes offers critique of power from her own couch, recounting her hopes and disappointments in the young Obama administration, while forcing a hated former leader (George W. Bush) from the White House into her performance space as she offers up both a critique of his politics and admits to an uncomfortable affiliation with his love of dogs. What emerges from this performance is a critical call to continue an engagement with struggles for social justice from the fecund and powerful places that exist outside of the authorized institutions of politics, no matter what women and men take up positions within these institutions.     

Editorial voices

Jack Smith is an artist on the margins of official narratives of art of the 1960s. This essay attempts to read his works as a means of questioning the challenges posed to normative readings of the work of culture, by presenting ideas about queer performance. Smith's almost hysterical identification with Maria Montez, a 1940s film siren, is privileged in my reading. Her key film, Cobra woman, turns on the image of a wound that will not heal. In this essay, I read the wound as signaling the breaches in our attempts at full communication, and compare this state of being to the idiosyncratic form of the camp effect, which functions as a kind of hieroglyph, or broken sign. Read through Maria Montez, the ‘failures’ of Smith's practice are explored in order to invogorate the seemingly exhausted discourse on camp, as well as to pose a critique of the ways in which certain bodies are failed by dominant culture.     

Etchings from the Attic: looking back at feminist print-making from the 1980s

ABSTRACT

Drawing on autobiographical memories of the influence of the Women's Liberation Movement, this article discusses feminist etchings made for my final undergraduate show. Etching, historically related to satire, was deliberately chosen to mock the disparaging treatment of the female artist. The article offers both an experiential and a contextual discussion of the atmosphere of social activism, political activity and consciousness-raising of the WLM as well as the journalism and feminist art history scholarship which informed my practice. Further, the article evaluates the potential naivety of my feminist strategy of ‘body art', as it risked being misunderstood as conventional sexually explicit imagery of female sexuality.     

A Letter Sent,Waiting to be Received: Queer Correspondence,Feminism and Black British Art

Abstract

This article examines what the published letter does as a form that is both intimate and public, and how it is particularly resonant when dealing with the silences and absences around queer and feminist artist of colour histories. Connections are made between three letters published in feminist and queer journals and books, written for readers who may include the writers’ loved ones, friends, contemporaries, and future readers. These three letters are contained within the following publications: Surviving Art School (2016) by the group Collective Creativity, a QTIPOC artist group who made the publication as part of a wider project examining the history of Black British Art (members are: Evan Ifekoya, Raisa Kabur, Rudy Lowe and Raju Rage); a special issue of FAN (Feminist Arts News) edited by Lubaina Himid and Maud Sulter in 1988, the precursor to the more well-known collection Passion, edited by Sulter in 1990; ending with Himid's recent reflections on her curation in the 1980s through a series of ‘Letters to Susan’ published in the 2011 catalogue for the exhibition Thin Black Line(s) at Tate Britain. Through close examination of these examples, this article explores the particularities of the letter form, asking if it allows feminist and queer artists of colour to present their experiences in a manner that encourages all their readers to take part in the conversation, whilst prioritizing calls for other people of colour to respond. The article proposes that the published letter form keeps feminist histories alive and creates a counterpublic that speaks to and for a community that is imagined as both geographically and temporally diffuse.     

Gender paradoxes and power—theoretical reflections with empirical awareness

Gender awareness and gender neutrality are discussed with the aid of post‐structuralist gender theories concerning paradoxes and aporias. Via paradox thinking, women's, men's and gender studies are challenged to develop perspectives on gender that are both thought and not thought, said and not said, done and not done. Paradoxes are understood as aporias, in which the researcher gets into “stuck places”. Gender dualism is put to the test as a fundamental concept. Various theories of power, such as patriarchy theories, theories of hegemonic power, and gender and queer‐theories of symbolic and discursive power are associated with gender paradoxes and gender dualism. Examples are included from the author's own research in school and gender studies.     

MEMORIAL ACCOUNTS

Under the conditions of narrative construction, young queer men's coming out stories present memorial accounts of ‘always-having-been’ queer; a queer childhood. The ways in which coming out stories operate have developed significantly over the past decade, particularly resulting from the use of online, digital technologies where such narratives proliferate. This article presents some initial theorisation of the role of young men's coming out narrative in the constitution of performative queer identity with a focus on the construction of memory. The article presents an overview of the history of coming out and the ways in which this history has influenced the conventions and genre of the coming out narrative online. It addresses some of the ways in which such memorial accounts are performative acts themselves, seeking to stabilise queer masculine identity, and ends with a discussion as to whether or not online sites such as YouTube continue or disrupt such stabilising narratives.     

‘you like to mix things up on purpose …? hoy,what are you trying to prove?’: representations of recent (hi)stories in Jessica Hagedorn's <Emphasis Type="Italic">The Gangster of Love</Emphasis>

This paper examines how The Gangster of Love (1996), the second novel by Filipino American artist and writer Jessica Hagedorn, dismantles ready-made assumptions about the construction of minority and mainstream cultures. Spanning the period from the 1970s to the early 1990s, Gangster depicts the life of Rocky Rivera, a Filipina American young artist. As it portrays Rocky's family and friends, the novel examines the drastic re-articulation of the US’s self-image brought about by Filipino Americans and other groups marginalized as minorities by virtue of their ethnic, socio-cultural, and/or sexual identities. The narrative challenges dominant notions of who and what makes history, juxtaposing historical references with fictionalizations of real episodes and completely fictional incidents, and making a constant use of parody, irony, jokes and clichés. This paper studies Rocky's reworks of her multiple ethnic and socio-cultural allegiances in connection with her passion for music and popular culture, placing these reworks in the context of the Philippines’ colonial and neo-colonial background and multi-cultural US history. It also considers succinctly how Gangster's postcolonial dimensions intersect with a feminist and postmodern consciousness in a gendered strategy of socio-cultural resistance and critique.     

THE RADICAL POTENTIAL OF BECOMING-WOMAN AND INTRA-ACTION IN THE MUSIC OF ANNE BOYD

Anne Boyd (b. 1946) is recognised in the public domain as one of Australia's distinguished composers. Her work belongs in the Western art music tradition and emerges out of her entanglements with the Australian landscape and the music of South-East Asia. This article considers what some of these entanglements have produced and, in so doing, shifts the emphasis from questions of reflection and representation—in which Boyd's music might be understood to reflect in a representationalist mode those aspects of her identity that are bound with the Australian landscape—to exploring in a performative manner how her music offers glimpses into different aspects of the creative process in action. I consider Boyd's selected musical works and critique various biographical writings on Boyd, drawing on the work of Deleuze which I entangle with Barad's concept of intra-action. My aim is to offer a different model for thinking about the network of mutual engagements that are coimplicated in the music's becoming. I view Boyd's music as a becoming-woman, an animate flow and a dynamic process of intra-activity.     

Retracing the contours of her figure … slippages begin to appear: Reckoning the limits of the archive with Senam Okudzeto’s Large Reclining Nude

Large Reclining Nude (2004) by transnational artist and scholar Senam Okudzeto is an 86-inch by 63-inch acrylic drawing of a nude, black female body released into a bare milieu. At first glance, the figure is grounded as shadows cast across her body hint at the presence of a foundation. However, outside the bounds of the body, Okudzeto resists three-dimensional perspective, calling into question the necessity of mediational signifiers for the orientation of the figure. How are we to read this solitary body after Scenes of Subjection, after Saidiya Hartman recontextualizes black corporeality as social relationality, throwing the “autonomous individual?…?into crisis?” For this article, the author reads the lone, floating body of Okudzeto’s 2004 Large Reclining Nude for new openings into Hartman’s archival reckoning in Scenes of Subjection. She offers a meditation on the aesthetic techniques evident through the visual aporia of the drawing – irresolvable contradictions in the field of the visible – suggesting Okudzeto offers alternative reading practices that afford reengagement with Hartman’s work.     

Honey

In performance artist Linda Montano's deceptively simple 1981 video Anorexia nervosa, five women are interviewed about their experiences with self-starvation. In the video's interplay between image and speech, Montano creates a correlation between internalized hunger and the perceivable body, placing notions of spirituality and physical hunger at the core of the video. This reflection considers Anorexia nervosa as a meditation on ascetic discipline and talk therapy, both of which are, for Montano, strategic modes of art production.     

Skilled hands,strong spirits: a century of building trade history,by Grace Palladino

When a hired thug hurled acid in the face of the prominent newspaper columnist, Victor Riesel, in 1956, the attack left him permanently blind. The incident appeared to dramatically vindicate Riesel's repeated warnings about the dangerous power of labor racketeers and it helped spur the creation of the largest ever congressional investigation into union corruption, the McClellan Committee hearings (1957–1959). This article raises important questions about the accepted version of why this attack occurred and what it meant. It uses recently released documents from the FBI as well as records from the McClellan Committee's staff. The article also suggests that several governmental bodies, including the FBI and the US Attorney's Office, played a role in furthering the public's misunderstanding of this episode. In so doing it offers a new understanding about how the issue of union corruption came to assume an important place on the nation's political agenda in this era.     

Performing blackness in the “Rainbow Nation”: Athi-Patra Ruga’s The Future White Women of Azania

This article applies Saidiya Hartman’s framework of performing blackness to South African performance artist Athi-Patra Ruga’s performance series, The Future White Women of Azania, to consider the ways in which the performances index the convoluted imbrications of colonialism, specifically Apartheid policy in South Africa, and postcolonialism, specifically the anti-Apartheid struggle(s) and the current political and economic structure of South African democracy. It argues that Ruga’s performance makes evident political and economic systems that tout black and queer liberation while perpetuating black queer death. Ruga’s work also relocates Hartman’s framework to a transnational, postcolonial context, expanding the notion of performing blackness (and the entangled processes of domination and subordination that it maps) beyond the trans-Atlantic paradigm, suggesting that performing blackness could be used to understand the correlation between broader spatial and temporal phenomena that shape blackness. Finally, situating The Future White Women of Azania as not only a performance of blackness, but of queerness as well, postulates that layering sexuality onto Hartman’s model reveals that the dynamics articulated under performing blackness are evident between oppressors and oppressed and between members of each of these groups as Hartman notes, but also between the contingent axes of subjectivity within an individual’s experience.