tag:blogger.com,1999:blog-1727752313918477312024-03-13T13:42:42.718-07:00A Diva FeministWhat is a Diva Feminist? Simply stated, my diva feminism is being audacious, vibrant, passionate, and fierce in my dedication to eradicating racism, poverty, sexism, homophobia, religious intolerance, and other forms of socio-historical, political, and cultural oppression and exploitation. And oh yeah, with a requisite touch of flyness. Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-172775231391847731.post-48993942422894765672012-09-26T13:01:00.002-07:002012-09-26T13:01:13.112-07:00<a href="http://syndicatemizzou.org/articles/show/142" target="_blank">SyndicateMizzou Feature</a><br />Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-6150274692436801362012-06-24T14:58:00.002-07:002012-06-24T14:58:37.525-07:00Gender, Color Politics, and Hip Hop: Dr. James Peterson and Dr. Treva Lindsey<div class="separator" style="clear: both; text-align: center;">
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<br />Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com1tag:blogger.com,1999:blog-172775231391847731.post-63907868068221878902012-06-24T14:56:00.001-07:002012-06-24T14:56:33.022-07:00Gender, Sexuality, and Hip Hop<div class="separator" style="clear: both; text-align: center;">
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<br />Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com1tag:blogger.com,1999:blog-172775231391847731.post-5014618008419881882012-06-24T14:55:00.003-07:002012-06-24T14:55:48.386-07:00The Criminalization of Black Masculinity: Regina Bradley, Dr. Scott Heath, and Dr. Treva B. Lindsey<div class="separator" style="clear: both; text-align: center;">
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<br />Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-5545382854176578312012-01-26T14:40:00.000-08:002012-01-26T14:40:29.533-08:00MU Women's Center WHM Lecture 2011<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/dCQlHMqxi44?feature=player_embedded' frameborder='0'></iframe></div>Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-15619150476410975282010-10-11T15:54:00.001-07:002010-10-11T15:54:24.188-07:00"Left of Black": Pro-Sex Feminism and Black Women in Popular Culture<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/lrrHAB8QQOE?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lrrHAB8QQOE?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-24410232575279951772010-09-21T13:04:00.000-07:002010-09-21T13:07:39.534-07:00For Colored Girls- Cautiously Optimistic...<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/DMzgl3GN44s?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/DMzgl3GN44s?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br />
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In the Winter of 2003/2004, I had the distinct pleasure to co-direct, choreograph, and perform in a production of Ntozake Shange's ground-breaking work, <i>For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf.</i> To say that the experience was life-changing and wholly transformative would be a gross understatement. The journey we took as a cast as we delved into the rich historical and lived experiences of black and brown women compelled us to engage with our herstories and the infinite hues of a colored girl's existence. We embarked upon understanding the "metaphysical dilemma" of being colored girls. Although our creative process forced us to delve into the painful, the traumatic, and the repressed, we each walked a way with a joy, a fire, and memories of laughter that did not simply validate, but that heralded the telling of black girls' stories. <br />
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Over five years later, when rumors began to circulate about a film version of this amazing feminist work, I felt a barrage of emotions that ranged from impassioned excitement to enthralling anger. Why anger? I could not imagine a "Hollywood" treatment of this foundational work, which greatly inspired and influenced the emergence of my feminist voice. That anger soon subsided, as I became cautiously optimistic about the possibilities of exposing a new generation or perhaps a broader audience to black feminist cultural production. This measured optimism however, was short-lived; the announcement of Tyler Perry as director, writer, and producer of the film re-ignited my anger. <br />
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I shared my incensed response with colleagues and friends, as I could not comprehend why Perry thought he would succeed at capturing the contours, nuances, and feminist standpoints extant in Shange's choreopoem. I thought about Perry's arsenal of "controlling images" of black womanhood that circulated in his plays, films, and television shows. I contemplated a list of directors I felt were more qualified to bring <i>For Colored Girls</i> to life: Julie Dash, Kasi Lemmons, Cauleen Smith, Leslie Harris, Gina Prince-Bythewood, or Cheryl Dunye. (This list is in no way comprehensive, but just a sampling of a few dynamic women of color directors/producers) I took a brief pause from my anger and began pondering the possibility that Perry would serve more as the Producer/Presenter of the work (a la <i>Precious</i>) and select a writer and or director to bring Shange's words to life. Alas, this was not the case. <br />
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As casting decisions became public knowledge, I allowed myself re-entry into a space of cautious optimism. With dynamic performers such as Phyllicia Rashad, Whoopi Goldberg, Loretta Devine, and Kimberly Elise, I imagined the life these women would bring to these words and the sincerity with which each of these artists could approach performing/articulating black womanhood(s). Surely their ability coupled with the pure brilliance and evocative power of Shange's work would allow for a solid, if not moving film adaptation.<br />
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FINALLY... the release of the trailer. My response: CAUTIOUS OPTIMISM! Just hearing the words again, being entranced by a new, collaborative version of Nina Simone's "Four Women," and seeing so many black women being featured in a film led me to a new phase in my outlook about this film. I reaffirmed my belief in the power of black women's stories and the liberatory potential of performance as a vehicle for challenging and empowering marginalized individuals and communities. Although Perry may not have been my first or 30th choice to direct this film, I firmly believe that Shange's words and this collective body of black women performers will offer its audience a glimpse into the transformative space of black feminist cultural production through the lens of stories about and for colored girls who have considered suicide when the rainbow is enuf.Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com1tag:blogger.com,1999:blog-172775231391847731.post-35289484602739405142010-08-20T15:16:00.000-07:002010-08-20T15:47:15.924-07:00Diva Feminism in Motion!?!?<object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/uUcvOHK8lNQ?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/uUcvOHK8lNQ?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
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How do we as feminists grapple with "booty politics" when thinking about black female bodies in motion? Let us imagine the possibilities of embracing gyrating black females bodies as both a site of engagement and empowerment. Now I know this can be difficult because of any number of factors: the exploitative nature of global capitalism, stereotypes of black female hypersexuality, the dominance of a patriarchal, heteronormative gaze on black female bodies as sexual objects... the list goes on.... With this in mind, does the elimination of economic gain (e.g. black female pornography actors, black female performers in music videos, or black female strippers) from black female gyrations such as those displayed in the African Soukous Dancer video produce a more "acceptable" context, in which feminists explore the potential for pleasurable objectification? And if so, are we limiting how we think about how black women derive pleasure from controlling/manipulating/exploring their physicality? <br />
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Black Entertainment Television banned Ciara's "Ride" video (the 2nd video), stating that "the visuals are too risque." One only needs to watch BET's flagship show, 106&Park to see/hear music videos with explicit sexual content and innuendo. So what in particular about this video resulted in BET deciding to wave the censorship flag? Would BET ban the video of Chantal, the African Soukous Dancer? What differs about her presentation of her body in motion to that of Ciara's? One could argue that the skill sets/levels differ, but what connects both performances is the presentation of the black female body, and in particular the moving hips and buttocks of black women. The performances of both Ciara and Chantal be situated within a black feminist performance aesthetic that simultaneously recognizes the inglorious history of the sexual exploitation of black female bodies AND the empowering potential of black women functioning as authorial subjects who use their bodies as sites of expressivity and engagement. <br />
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I know both of these videos inspire me as an artist and scholar. It will also be in constant rotation as part of my Diva Feminist fitness program!Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com1tag:blogger.com,1999:blog-172775231391847731.post-38023323801323726922010-06-29T10:47:00.000-07:002010-06-29T10:50:19.514-07:00Attention Femcees and B-GirlsCheck out this wonderfully brilliant new video from Rapsody, The First Lady of Jamla! Produced by Grammy-Award Winning Producer 9th Wonder & Directed by Kenneth Price.<br /><br />http://vimeo.com/12944318Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-35048023355945082682010-05-27T08:02:00.000-07:002010-05-27T08:10:41.049-07:00Thinking Through the Intangible Cost of Wars of Aggressionhttp://vimeo.com/12061164<br /><br />My cousin is currently on her third tour in the Middle East. After witnessing the horrors and violence of war, she has become more invested in peace studies and addressing local, national, and global violent conflicts.<br /><br />As I think about the phrases like "Support Our Troops," I am struck by the emptiness of such a phrase in terms of us and our troops grappling with realities of the cost of war. This is not a new revelation, but this video has once again reminded me of the losses all families affected by wars incur. This video is not ground-breaking, but it does bring to light a particular experience had by many military families. Kudos to those involved with the production of this video and let us continue to support our loved ones by agitating and becoming vigilante about the true cost of war.Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-88166068124820705402010-04-20T09:52:00.001-07:002010-04-20T09:52:51.277-07:00In Memoriam: Dorothy I. Heighthttp://www.npr.org/templates/story/story.php?storyId=126128076Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-51171108691668562632010-04-19T07:51:00.000-07:002010-04-19T07:57:38.875-07:00Swag, Sex & Cipha: Trans/forming Hip Hop in the 21st Century<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI9Xit0ORjauXkhhAlH-8vkAO95k7ZrEzKn9GwYzmidyqdynTMLRnLekeauoxwYFm5qZEclSEsJYrAoLLUuHUbiuPN7jOYjdYPCYZTDotmc4ixY4xpghdJiqTeZCpW10KuJdbxVH2bHCYd/s1600/bowdoin_poster.bmp"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 207px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI9Xit0ORjauXkhhAlH-8vkAO95k7ZrEzKn9GwYzmidyqdynTMLRnLekeauoxwYFm5qZEclSEsJYrAoLLUuHUbiuPN7jOYjdYPCYZTDotmc4ixY4xpghdJiqTeZCpW10KuJdbxVH2bHCYd/s320/bowdoin_poster.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5461862816640771490" /></a>Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-84490326458186243472010-03-30T13:00:00.000-07:002010-03-30T13:01:12.457-07:00Femcee Cipher!!!!http://hiphopwired.com/2010/03/30/who-you-calling-a-bith-a-discussion-on-female-roles-in-hip-hop/<br /><br />Check me out at Hip Hop Wired!!!!Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-13095661615468452402010-01-13T16:04:00.001-08:002010-01-13T16:05:02.099-08:00Baby Got Back!An interesting study about the health benefits of being "Bootylicious.!<br /><br />http://www.essence.com/lifestyle/health/experts_say_your_booty_is_good_for_your.phpDiva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-78839228348627603042010-01-13T06:08:00.000-08:002010-01-13T06:09:39.419-08:00Almost There From Disney's "The Princess and the Frog"This scene is the inspiration for my Friday blog. Please check this out!<br /><br />http://www.youtube.com/watch?v=UAVM-vwX8PkDiva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-90454777066126565412009-05-29T08:07:00.000-07:002009-05-29T08:34:31.018-07:00A More Perfect Union: Fighting for EqualityA Rant....<div><br /></div><div>My excitement regarding the District of Columbia's 12-1 vote for recognizing same-sex marriages performed in other states in the nation's capital was quickly diminished by California's most recent setback in the push toward "fuller" equality for the GLBT community. </div><div><br /></div><div>Let me first start this rant by affirming that the securing of the right to marry is by no means a "cure all" for the plethora of injustices confronting GLBT communities in the United States, particularly GLBT individuals of color and those from the working and underclass. The right to marriage and the rights and privileges afforded those relationships recognized by our governments as legal unions, though desired by many, has many classist underpinnings that do not account for the daily struggles for equal rights that many GLBT individuals confront. Nevertheless, at this crucial historical moment, the right to marry is pivotal for the future of our nation achieving the kind of democracy that embraces ALL of its citizens without prejudice.</div><div><br /></div><div>President Obama's recent decision not to rescind the failed "Don't Ask, Don't Tell" policy has left our country less secure and the well-being of millions in war-torn countries in fatal jeopardy. Children across the country are being victimized for their perceived "sexual orientation", often with tragic consequences (Please see the horrific stories of Carl Joseph Walker-Hoover and Jaheem Herrera). The movement against equality has gained traction through mobilizing the social conservatism historically associated with Black and Latino communities. The stakes are high and the obstacles appear nearly insurmountable, but HOPE abides among those of us committed to a more perfect union.</div><div><br /></div><div>The fight for "gay marriage" is symbolic of something much greater, though on its own merit carries a particular significance for those invested in civil rights and true equality. With my eyes and heart fixated on the push for marriage in my hometown, the Chocolate City, I anxiously await what will happen next. Will Congress approve what appears to be nearly unwavering support for fuller rights for GLBT couples? Or, will Congress attempt to obfuscate this push toward democracy? Will D.C.'s African American and Latino residents (many of whom oppose gay marriage) support the city council (with the exception of council member and former mayor, Marion Barry) and Mayor Adrian Fenty in securing the right to marry for all people in the District? I wait with bated breath, as the fight for equality comes to my backyard.</div><div><br /></div><div>signing off,</div><div>diva feminist</div>Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-55509991120513318782009-05-01T10:19:00.001-07:002009-05-01T11:28:30.568-07:00Diva Feminist Nostalgia<span class="Apple-style-span" style="font-family: 'Trebuchet MS'; font-size: 13px; line-height: 20px; ">Throughout my high school years, I found myself mesmerized by the racy lyrics of women hip hop artists such as Lil' Kim, Foxy Brown, and even (dare I say) Trina. Their unabashed and often profane performances of female hypersexuality, crass materialism, and criminality (the ride or die bitch) intrigued me. I knew every sexually explicit lyric from each of their debut projects. Needless to say, questions about their authorship of these lyrics and their "Bad ASS" images arose and remain somewhat unanswered. We know that male hip hop heavyweights such as the late Notorious B.I.G. and self-proclaimed (and oft critically acclaimed) best rapper alive, Jay-Z heavily influenced the careers and personas of the women hip hop artists who brought a new version of hip hop femininity to mainstream hip hop. The words of these women, raunchy and un-ladylike, ushered in a new moment in hip hop history in which women embraced a pleasure politics that rejected being a lady. Though the sexual exploits, six-figure shopping sprees, and illegal drug economy were a far cry from my experiences attending an elite private school in upper-Northwest Washington, D.C., their lyrics were a part of my "coming of age." <div><br /></div><div>I was always a fan of hip hop and always gave particular attention to the women in the industry. When I was 7, I named my first parakeet, Spinderella. I mimicked Salt-N-Pepa, but always thought that the deejay was the most unique and underrated member of a group. Little did I know then, in the earliest days of hip hop, the deejay was the superstar. As I was becoming a loyal fan of hip hop, the transition from the focus on the deejay to focusing on the emcee occurred. </div><div><br /></div><div>I spent hours listening to MC Lyte, Roxanne Shante, Queen Latifah, Moni Love, Yo-Yo, Rage and any other woman emcee who dared to challenge and permeate the male-dominated culture. Though still marginalized within mainstream hip hop, throughout the late 1980s and the 1990s, I heard an array of women's voices attempting to articulate possibilities for a defiant black womanhood that could inspire and influence a generation combating crack, post-industrialization, HIV/AIDS, Reaganomics, the feminization of poverty, the decline of the social welfare state and the rise of the corporate welfare state, and various other social, economic, and political conditions unique to this era. </div><div><br /></div><div>The height of this moment of what I will term "hip hop musical feminism" came with release of Lauryn Hill's first solo album, The Mis-Education of Lauryn Hill. To this very day, I can recite every rhyme, chorus, and interlude from this dynamic album. In one album, she recreated the standard for what a hip hop album should be: evocative, emotional, vulnerable, self-critical, gritty, sentimental, sonically innovative, lyrically imaginative, creative, and most importantly, a sincere reflection of the life and times we experience. I knew Lauryn Hill would be a definitive figure within hip hop after listening to The Score (The Fugees). It was either when she rhymed "And even after all my logic and my theory/I add a muthafucker/So you ignant niggas hear me" or " So while you imitatin' Al Capone/I be Nina Simone/And defecation on your microphone" that I knew Ms. Hill would be synonymous with hip hop for me.</div><div><br /></div><div>So how do I reconcile enjoying the depth and weight of Lauryn Hill and the raunchy and sexually explicitness of Lil' Kim? I don't! I appreciated this era/epoch in hip hop because of the extant variety. Foxy Brown's lyrics incited a boldness, while Queen Latifah and Moni Love made me think about what I called myself and what I allowed others to call me as well as how to think about the world from a socially responsible standpoint. Salt-N-Pepa encouraged me to think about sex and sexuality. MC Lyte provided a template for confidence that so many black and brown girls lack. The list goes on and on, but each of these emcees influenced my understanding of the possibilities for black women in my generation as well as how I could address the pressing issues confronting my generation.</div><div><br /></div><div>So why this brief recollection of my love of women emcees in hip hop? I can't find the love now. It's not on most of the albums I hear. It's formulaic these days, no variety and limited lyrical or creative prowess. Exceptions such as Jean Grae exist, but I remember hearing at least 3 or 4 different female voices on a regular basis in an earlier moment in hip hop history. I'm not lamenting the loss so much because I know that black and brown music must evolve and shift and reinvent Soul every few decades. But I just can't stand seeing less-than-mediocre emcees, like most of those who vyed for the Ms. Rap Supreme title on VH-1's reality contest show, attempting to claim a stake within a modern tradition that helped me locate my feminist self. Call me a hip hop elitist or a nostalgic hater, but I just want my last memories of hip hop to include women's voices that speak to black girls the way Hill, Latifah, Lyte, and even Trina, to an extent, spoke to me. </div><div><br /></div><div>Perhaps it will not be through hip-hop, but through whatever youth, musical culture that evolves. Wherever it emerges, women artists, we need you, WE NEED YOU more than ever. </div><div><br /></div></span>Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0tag:blogger.com,1999:blog-172775231391847731.post-76961997688246190872009-04-30T14:03:00.000-07:002009-05-01T10:15:27.412-07:00Diva Feminism?????<span class="Apple-style-span" style=" line-height: 20px; font-family:'Trebuchet MS';font-size:13px;"><div>For me, diva feminism exists in space somewhere between hip hop feminism, the black feminist tradition, "Third World" feminism, and perhaps "lipstick feminism". I recognize the dangers of the objectification of black female bodies in contemporary popular culture, but also ponder if there is a possibility of "pleasurable objectification" for video models/vixens. I am critical of campaigns that encourage "shopping" as a way to contribute to causes such as addressing the global HIV/AIDS pandemic, and yet, I acknowledge the positive impact that these consumption-driven philanthropic/charitable initiatives can have. We are living in complicated times which require careful consideration of all potentialities and perspectives.<br /></div><div><br /></div><div>The theoretical lens of diva feminism openly incorporates the importance of pleasure, visibility, and profit, while remaining critical of the exploitation and dehumanization that evolve as a result of our contemporary global political economy. Diva feminism engages popular culture as a vehicle for thinking through and devising solutions to pressing social issues. Popular culture is far-reaching and often representative and illustrative of the state of our societies. Using pop culture also allows me to reach a generation of "potential" feminists, because of how integral popular culture is in youth culture.</div><div><br /></div><div>So that's diva feminism in a still-forming nutshell. I will be posting reviews, rants, commentaries, observations, and blunt criticisms on this site, so definitely check me out! I appreciate any and all feedback.</div><div><br /></div><div>in the struggle for equality, justice, and peace</div><div>a diva feminist!? </div></span>Diva Feministhttp://www.blogger.com/profile/06039637912284023653noreply@blogger.com0