Means of Detection
A Critical Archiving of Black Feminism and Punk Performance
Bibliographic Data
| ID | 4517030 |
|---|---|
| Authors | Elizabeth Stinson (0000-0001-6523-9563, New York University, corresponding author) |
| Year | 2012 |
| Volume | 22 |
| Issue | 2-3 |
| Pages | 275-311 |
| Publication date | 2012-07-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Women & Performance a journal of feminist theory (JOURNAL) |
| Journal identifiers | ISSN: 0740-770X • E-ISSN: 1748-5819 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/0740770x.2012.720827 |
| OpenAlex | W2079591247 |
| Language | EN |
| Citations received | 1 |
| References cited | 29 |
This article recalibrates genealogies of punk by focusing on a black feminist reading of four punk performances. By spending time with Poly Styrene, Tamar-kali, M.J. Zilla, and Janelle Monáe and the sound they produce, the historical rendering of punk takes on a new shape, one that is more inclusive of women of color and the presence of black female sexualities. As a way of drawing together black feminism and punk scholarship, two separate uses of a metaphoric “black hole” are analyzed and become entangled in the act of archiving these black feminist contributions to the world of punk rock. Evelynn Hammonds attends to the “black (w)hole” trope to prompt more analysis and admission of a wider range of black female sexualities and their potential. The other, by Dick Hebdige, uses “black hole” to operate as a challenge for punk to carefully unravel the logic of origin, race, and racism. The “black (w)hole” trope pivots around two senses of “record”: the record(ing) of sound and the historical record. This trope, and its play on space, then turns on the mechanisms and performances of race, gender, and sexuality that simultaneously engage not only feminism's pasts and futures, but punk's as well. The materialization of sound and its aesthetic becomes key in this engagement with black feminism and its performances of resistance. What finally emerges is the question that Jacques Derrida came to when faced with the idea of the origin of Nature and the supplement of its presence in performance: is it possible to arrive at either an origin or a presence (even one that has been absent) when the logic of its supplement continually adds and subtracts? What then does the space of the supplement offer
Art · Art history · Black feminism · Feminism · Literature · Punk · Sociology · Gender Studies · Latin American and Latino Studies · Music History and Culture · Race, History, and American Society
Invisibility blues
In the break
Blues, Ideology, and Afro-American Literature
Silencing the Past
Troubling Vision
Subculture
Nietzsche, Genealogy, History
Imperial Blues
U.S. Feminism-Grrrl Style! Youth (Sub)Cultures and the Technologics of the Third Wave
The Witch’s Flight
Feminists Theorize the Political
Brown Punk
Crossing Cultural Borders
Preface for a solo by Miles Davis
On Postmodernism and Articulation
An Archive of Feelings
Theatrical Performance
Vitalism's after-burn
My Soul is a Witness
The Idea of Black Culture
Speak of the Dead, Speak of Viet Nam
Strange Bedfellows
Punk'd Theory
The Case of Blackness
Policing the Black Woman's Body in an Urban Context
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,2 |
| Citation span | 2021 - 2021 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |