Her “vocal authority”: the semiotic and cultural soundscape of Chinese female rock singers’ voices in the late 1990s

This paper explores the vocal authority of Chinese female rock singers’ voices as semiotic and cultural rebellion against male-dominated rock aesthetics and the accepted sounds of women’s singing in popular music. The first of the paper’s two sections challenges the gendered stereotypes associated with female singers, and argues for the artistic significance embedded in the voice to set the exploration of subversive femininities, and, more importantly, to unveil the polysomic cultural and social making process of a distinctive personal voice. The second and longest section of the paper first creates theoretical dialogues regarding Potter, De Certeau, Shepherd and Barthes’ theories of voice and culture, and then presents the case analysis of three prominent Chinese female rocker singers, Zhang Qianqian, Wu Hongfei and Kang Mao. The analysis discusses distinctive “feminine noise” by excavating the cultural and institutional forces embedded in the vocal styles of these singers. The semiotic features of grain, timbre, articulation and volume in the voice demonstrate how the complex acoustic soundscape of “feminine noises” reveals the regional, ethnic, class and sexual formation of female musicians’ gender identity.     

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.