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 |
Page generated in 0.0026 seconds