Abstract This article discusses the sonic presence and visual absence of legendary gender-nonconforming New Orleans–based bounce music artist Big Freedia in Beyoncé's music video "Formation." "Formation" was released in February 2016 as the first piece of Beyoncé's visual album Lemonade. In this analysis the author considers the implications of Big Freedia's visual absence in the video as well as the black feminist potential of Big Freedia's vocal presence in "Formation."
Neste artigo se pretende o registro histórico de uma mulher negra professora aposentada de educação física, e que se tornou um ícone na defesa contra o racismo no Brasil. Se descreve a sua trajetória de lutas em diferentes lugares sociais onde o gênero e a questão racial deixaram marcas em sua subjetividade. A partir do referencial da psicologia sócio histórica e dos estudos do gênero, faz-se o registro de sua trajetória. História que possibilita compreender o enfrentamento da mulher negra para ocupar espaços diferenciados desde a escola até o mercado de trabalho, configurando uma filosofia de vida. A abordagem metodológica, foi a realização de uma entrevista gravada, transcrita e depois analisada em trechos de sua narrativa. Na trama discursiva da análise a contribuição de sua história que perpassa a luta cotidiana de tantas outras mulheres negras, de tantas outras Divas, que silenciadas pela opressão não tiveram suas vozes ouvidas. As conquistas históricas das mulheres, se dão muitas vezes em singulares lutas de sobrevivência e nem sempre estão amplamente defendidas em movimentos sociais, para que suas vidas não caiam no esquecimento e na invisibilidade se torna imprescindível conta-las.
This collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential.
"Diva Nation explores the constructed nature of female iconicity in Japan. From ancient goddesses and queens to modern singers and writers, this edited volume critically reconsiders the female icon, tracing how she has been offered up for emulation, debate or censure. The research in this book culminates from curiosity over the insistent presence of Japanese female figures who have refused to sit quietly on the sidelines of history. The contributors move beyond archival portraits to consider historically and culturally informed diva imagery and diva lore. The diva is ripe for expansion, fantasy, eroticization, and playful reinvention, while simultaneously presenting a challenge to patriarchal culture. Diva Nation asks how the diva disrupts or bolsters ideas about nationhood, morality, and aesthetics"--Provided by publisher
Symbole pour tout un peuple, c'est à l'âge de soixante-dix ans, après quinze années de contrainte au silence, que Marzieh, la diva de la musique iranienne, a finalement choisi l'exil. Sa voix, extraordinairement intacte, renoue avec le public dans les salles de concerts occidentales. Chanter, pour elle, est un acte vital. C'est aussi un moyen de servir les artistes, les femmes et le peuple iraniens, en dénonçant les terribles souffrances imposées par la dictature religieuse.
From Elizabeth Taylor, Bette Midler, and Diana Ross to Queen Elizabeth I, Julia Child, and Princess Leia, these divas have been sister, alter ego, fairy godmother, or model for survival to gay men and the closeted boys they once were. And anyone--straight or gay, young or old, male or female--who ever needed a muse, or found one, will see their own longing mirrored here as well.
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Este artigo pretende avaliar criticamente dois objetos produzidos pela indústria cultural - a star e a diva - no que diz respeito à sua centralidade na cultura de massas e no mass media. Os conceitos extraídos de ambas as categorias sociais abrem espaço para a discussão do consumo da cultura nos campos da arte, do cinema e da literatura, bem como possibilitam uma promissora análise a respeito da dinâmica dos objetos na sociedade de consumo.
En el año 41, el emperador Claudio procedía a la deificación de Livia, proclamándola diva Augusta. Tal decisión ponía de manifiesto el enorme protagonismo de algunas mujeres de los Julio-Claudios en los asuntos públicos, visible en su participación en las cuestiones políticas, pero que podía implicar incluso su integración como objeto de culto en la religión imperial. La biografía de Livia, como esposa y madre de príncipes, revela el papel otorgado a los parientes femeninos de la familia imperial como modelos ejemplares de matronas, destinadas a legitimar el poder del sucesor en el trono imperial. La inclusión de las mujeres en el culto imperial no hacía más que reforzar el prestigio del jefe del Estado y de su familia, que se pretendía convertir en domus divina. La decisión de Claudio, divinizando a su abuela Livia tiempo después de su muerte, ocurrida en el año 29, es una clara manifestación. Elevados a la categoría de divi, Augusto y Livia otorgaban un carácter asímismo divino a sus descendientes Julio-Claudios._________________________________In the year 41, Emperor Claudius proceeded to the deification of Livia, proclaiming her diva Augusta. Such a decision revealed that some of the Julius-Claudius' women had enormous prominence in office, something evident in their participation in political affairs, but it could even imply their integration in the imperial religion as objects of cult. Livia's biography, as the mother and wife of princes', reveals the role meant for the female relatives in the imperial family as ideal models of matrons, destined to authenticate the power of the successor to the imperial throne. The inclusion of women in the imperial cult had the effect of underlining the prestige of the Emperor and his family, who aspired to become divine domus. Claudius' decision to deify his grandmother Livia time after her death, which occurred in the year 29, is a clear statement. Once in the category of divi August and Livia granted in their turn a divine status to their Julius- Claudius descendants.
Bülent Ersoy (1952–present) is known as the first transgender star of Turkish music. Since the 1970s, she has been a famous singer with the help of her extraordinary powerful voice and impressive performances, as well as drawing public attention to her queer identity. Occasionally, she clashed with Turkish authorities mostly due to her insisting on performing on stage wearing women's clothing before her gender affirmation surgery that took place in 1981. She left Turkey in 1981 when Turkish authorities banned transgender performers on the stage. However, even after the surgery, she could not get an official female identity card in Turkey for seven years and was banned from performing on stage. When she returned to Turkey and started singing again in 1988, she described those years and her struggle to be known as a 'woman' in her hit songs through metaphorical ways. In addition to music, she also reached a large television audience through her costumes and performances as a jury member in various reality shows broadcasted on Turkish television, especially in the 2000s. In this article, we will discuss the usage of 'camp' as a strategy for reading Bülent Ersoy's artistic performances, which are informed, at least partially, by the exaggeration of social roles, sometimes reaching to a point of absurdity. We use Sontag's 'Notes on "Camp"' as a lens through which to explore how Bülent Ersoy negotiates the limiting camp binaries of artifice/authenticity, hypersexuality/monogamy and monstrous/virtuous in order to contribute to underexplored areas in camp scholarship.
The musical studies that focus on the origin of the genres and the identities that they evoke in those who dance, sing and produce the different musical expressions are varied. In networks and bibliographies there are several studies around the champeta and the construction of identities in the Colombian continental Caribbean, for example, the work of Claudia Mosquera and Marion Provansal (2000) and that of Jorge Giraldo (2007), and works that even They focus on the connection and evolution of genres from the same community, such as that of Nicolás Castro (2017). However, this text does not delve much into the musical movement in San Andrés, but rather aims to unravel a situation left aside: the identity issue in the archipelago music videos. ; Los estudios musicales que se concentran en la procedencia de los géneros y las identidades que suscitan en quienes bailan, cantan y producen las diferentes expresiones musicales son variados. En redes y bibliografías se encuentran varios estudios alrededor de la champeta y la construcción de identidades en el Caribe continental colombiano, por ejemplo, el trabajo de Claudia Mosquera y Marion Provansal (2000) y el de Jorge Giraldo (2007), y trabajos que incluso se centran en la conexión y evolución de los géneros desde la misma comunidad, como el de Nicolás Castro (2017). Sin embargo, en este texto no se ahonda mucho en el movimiento musical en San Andrés, sino que se propone desenmarañar una situación dejada de lado: la cuestión identitaria en los videosmusicales del archipiélago.
In: Culturas: debates y perspectivas de un mundo en cambio ; revista de divulgación del Centro de Investigaciones en Estudios Culturales, Educativos y Comunicacionales, Heft 12, S. 83-101
La figura de la diva es el centro de una serie de discursos que asocian género, nación y sexualidad. La idea que subyace a este artículo es que resulta posible establecer una identidad genealógica en la producción visual estadounidense de los musicales de Hollywood de comienzos del siglo XX respecto de los videoclips musicales de principios del siglo XXI. Desde una perspectiva queer, que se nutre de vectores analíticos provenientes de los estudios de género, los estudios cinematográficos y los estudios visuales, este artículo plantea ejes reflexivos sobre el funcionamiento de la figura de la diva dentro del género musical y su aparición particular dentro del espacio del prostíbulo. Se retoman abordajes de teorías que anteriormente se acercaron al tema; se presentan conexiones con dos modos de pensar el espacio: el utopianismo y la pornotopía,y con la figura de las Tiller Girls; se proponen dos categorías mistificadoras de la representación femenina: la de soñadora y la de Gold Digger, y se concluye con algunas consideraciones sobre la problemática del trabajo sexual como telón de fondo contemporáneo en el que apareceeste cruce.
