This article introduces the concept of badass femininity, a marginalized femininity captured in the performances of contemporary b-girls (women breakdancers) and blues women of the 1920s. The author uses the work of Hortense Spillers, Maria Lugones, Chela Sandoval, and Angela Davis to argue that non-normative gender performances from the fringes of society are necessary consequence of histories of enslavement, genocide, and exploitation. Badass femininity is a one version of a multiplicity of femininities. It re-signifies qualities typically associated with masculinity through women whose work in dance and music move these gender performances from the margins to center stage.
Identifer | oai:union.ndltd.org:ETSU/oai:dc.etsu.edu:etsu-works-17004 |
Date | 02 January 2014 |
Creators | Johnson, Imani Kai |
Publisher | Digital Commons @ East Tennessee State University |
Source Sets | East Tennessee State University |
Detected Language | English |
Type | text |
Source | ETSU Faculty Works |
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