Tanty feminisms

The aesthetics of auntyhood, #Coolieween and the erotics of post-indenture

Bibliographic Data

ID7315652
AuthorsRyan Persadie (University of Toronto, corresponding author)
Year2022
Volume2
Issue1
Publication date2022-01-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueJournal of Indentureship and its Legacies (JOURNAL)
Journal identifiersISSN: 2634-1999 • E-ISSN: 2634-2006
PublisherPluto Journals (PUBLISHER • GB)
DOI10.13169/jofstudindentleg.2.1.0059
OpenAlexW4385472541
LanguageEN
References cited40

A geneaology of Caribbean feminism is a geneaology of tanty feminisms. Occupying numerous articulations throughout the history of the Caribbean region and its diasporas, the figure of the ‘tanty’, or ‘aunty’ as they are known in non-Caribbean contexts, and the consequential amital social relations they produce have been indispensable to contemporary discourses and practices of Caribbean feminist thought and praxis. The tanty cannot be read as indebted to a singular person, figure or monolithic legacy but operates as a fluid and transnational force of Caribbean feminist knowing that instructs us through non-normative embodied transgressions, and pedagogies of free up. Yet, despite their presence of vital integrity to Caribbean popular culture, community organizing, history, politics and literature, discussions of the politics and pedagogies of tantyhood remain underrepresented in scholarly Caribbean feminist literatures. In this article, I reflect upon my creative practice as a drag artist and self-proclaimed tanty in an annual digital photography series I have produced over the last three years entitled ‘Coolieween’. In this work, I reference Indo-/Caribbean folklore and mythologies, and stories of horror, the grotesque and the paranormal as entangled with queer affects, embodiments and aesthetics. Drag artistry, which, like tantyhood, agitates the invisible boundaries of neo-colonial gender, racial and sexual binaries, provides a critical feminist terrain to metaphorize the institutional crossings of pain and pleasure held within historical and contemporary ontologies of Indo-Caribbeanness. Investigating the pedagogy of this crossing is central to understanding, as well as critiquing, long-standing attachments of pain, injury, pathologization and trauma that have been commonly scripted to Indo-Caribbean subjectivities, often in reference to genealogies of kala pani poetics and other diaspora narratives that have sutured ideas of Indo-Caribbeanness as always-already broken, fragmented and dislocated. In this article, I instead centre paradigms of erotics and pleasure as a transformative medium to turn our optics towards transformative reconfigurations of Indo-Caribbean feminist selfhoods. As I argue here, by thinking with and through tanty feminisms, we are provided with intergenerational and transnational languages of unsettling logic that continually instruct us through everyday modalities of Indo-Caribbean feminist living and being

Aesthetics · Art · Feminism · Political science · Politics · Praxis · Queer · Sociology · Caribbean history, culture, and politics · Gender Studies · Postcolonial and Cultural Literary Studies · South Asian Cinema and Culture

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