Public Perception of Feminist Performance Activism
Public Perception of Feminist Performance Activism
In examinations of women’s art and activism, researchers claim that the results of these activist groups' performances are almost always challenging the cultural assumptions about genders. In “Code Pink, Raging Grannies, and the Missile Dick Chicks: Feminist Performance Activism in the Contemporary Anti-War Movement,” Rachel V. Kutz-Flamebaum argues that feminist performance activist groups integrate a combination of gender norm-embracing and norm-challenging elements in their performances. By spreading their viewpoints as they attempt to gain public attention and legitimate results from mass media, these feminist demonstrations in both Emily Anderson’s “Treacherous Pin-ups, Politicized Prostitutes, and Activist Betrayals: Jane Fonda’s Body is Hollywood and Hanoi,” and Kutz-Flamebaun’s article, are socially unaccepted in which their actions are deemed as a violation of female norm. However, without the media support, these extraordinary performances, such as Suzzanne Lacy’s visceral performance, as examined by Vivien Green Fryd’s article, “Suzanne Lacy’s Three Weeks in May: Feminist Activist Performance Art,” will have very little to no effect on the cultural attitudes subsequently resulting failure on public discourse upon formerly silent subjects. Moreover, in “Growing the Size of the Black Woman’: Feminist Activist in Havana Hip Hop,” Ronni Armstead states that lyrics and music performances can also express one’s beliefs and help feminist activist step up as the vanguard of feminism strategically, but often times these artists only get negative criticisms. Similarly, with respect of Suellen Murray’s indication in “Taking the Toys From the Boys Feminism and Australian Women’s Peace Activism in the 1980s,” these female activists shared much in common. Even with the continuation of negative responses, these female activists are stubbornly motivated to execute significant unfeminine actions in attempt to seek for
In examinations of women’s art and activism, researchers claim that the results of these activist groups' performances are almost always challenging the cultural assumptions about genders. In “Code Pink, Raging Grannies, and the Missile Dick Chicks: Feminist Performance Activism in the Contemporary Anti-War Movement,” Rachel V. Kutz-Flamebaum argues that feminist performance activist groups integrate a combination of gender norm-embracing and norm-challenging elements in their performances. By spreading their viewpoints as they attempt to gain public attention and legitimate results from mass media, these feminist demonstrations in both Emily Anderson’s “Treacherous Pin-ups, Politicized Prostitutes, and Activist Betrayals: Jane Fonda’s Body is Hollywood and Hanoi,” and Kutz-Flamebaun’s article, are socially unaccepted in which their actions are deemed as a violation of female norm. However, without the media support, these extraordinary performances, such as Suzzanne Lacy’s visceral performance, as examined by Vivien Green Fryd’s article, “Suzanne Lacy’s Three Weeks in May: Feminist Activist Performance Art,” will have very little to no effect on the cultural attitudes subsequently resulting failure on public discourse upon formerly silent subjects. Moreover, in “Growing the Size of the Black Woman’: Feminist Activist in Havana Hip Hop,” Ronni Armstead states that lyrics and music performances can also express one’s beliefs and help feminist activist step up as the vanguard of feminism strategically, but often times these artists only get negative criticisms. Similarly, with respect of Suellen Murray’s indication in “Taking the Toys From the Boys Feminism and Australian Women’s Peace Activism in the 1980s,” these female activists shared much in common. Even with the continuation of negative responses, these female activists are stubbornly motivated to execute significant unfeminine actions in attempt to seek for
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