CSW Update - Thinking Gender Issue

7/31/2019 CSW Update - Thinking Gender Issue

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updateCSWthinking gender 2012

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Panel Summaries byAMANDA APGAR, LiNDA

JuHAsz-WooD, ANDLiNDsey McLeAN

38

Staf

33Coordinators Notes

By MIRASOL RIOJAS

3 5Performative Metaphorsby Leticia isabeL

soto FLores

Choreographing Collective

Intersectional Identities...by yvette Martnez-vu

19Warping the Architectural

Canon by JAMIE ARON

2413

Leader-Follower

by I-Wen Chang


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updateCSWTHINKING GENDER 2012

coordinators notes

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Because I had

coordinated CSWs

Thinking Gender

conerence in 2009, I

knew exactly what I was

in or when I had the

good ortune o being

selected as the coordina-

tor or Thinking Gender

2012: a really un six months o planning and preparation

or an extraordinary day that makes a real dierence in

the lives o young scholars who are, in turn, making a real

dierence in other peoples lives. There would be brain-

storming sessions and some creative problem solving

some arranging and then some rearrangingI wouldget to read and hear about all kinds o interesting projects

in all sorts o areas o study. Lots o anticipation and lots

o excitement, all because o one day, one opportunity

to be surrounded by all kinds o people rom all over the

country and, in act, all over the world. It would be one

day during which I could enjoy being completely sur-

rounded by people eager to share their ideas and researchabout women, gender, and sexuality. My mind would be

3

stimulated, but even more, my heart would be warmed.

I knew my heart would be warmed because, as I re-

membered it, coordinating Thinking Gender meant working

with CSWs incredible network o good, kind, and generous

people. It meant the excitement o meeting lots o new

people, along with the joy and comor t o working with

amiliar aces. This year, 82 presenters shared their work

at the UCLA Faculty Center. There was, o course, a strong

showing o students rom UCLA and the surrounding Los

Angeles area. We had students come in rom Oregon, Ohio,

Maryland, Texas, New Mexico, Indiana, New York, New

Jersey, Kentucky, North Carolina, Michigan, and the list goes

on... Some o our panelists had even longer journeys and

joined us rom Hawaii, Canada, England, Germany, and The

Netherlands. The result was a Faculty Center lled with acrowd o people who represented not only geographic di-

versity, but a range o perspectives and approaches to some

really exciting work. As one presenter told me ater the

conerence, she elt Thinking Gender was one o the most

genuinely interdisciplinary conerences shed ever attended.

In act, she said she was happy Thinking Gender was the last

conerence she would attend beore graduating, because itwas a truly supportive environment and a positive experi-

ence, which is what conerences are supposed to be. Bravo,

on all counts!

CSW works very hard to create opportunities or people

to connect, and thats exactly what we saw at Thinking

Gender this year. I you were at the morning panel Mods

and Vlogs: Gender Techs, you know there was even an

unexpected virtual connection that took place! Panelist

Gopinaath Kannabiran almost missed out on his own panel

when he got stuck at the airport during a winter storm.

The Mods and Vlogs moderator, CSW Research Scholar

Rosemary Candelario, wouldnt hear o it! When I delivered

her what I thought was some bad news, she didnt miss a

beat: why not just Skype the presenter in? I asked, Can you

do that? No problem! And suddenly, there was Gopi on

the screen. How tting or a panel on Gender and Technol-ogy Once again, CSWs crew came through. Everyone

just rolls with the punches, and they do it with a smile.

What I witnessed on the day o the conerence was,

quite simply, a lot o sharing. Presenters were engaged in

conversations about each others work, both inside and

outside the sessions. They raised their hands with questions,

sought each other out in the halls, and oered each otherresourcesbut it doesnt end there. I have received so

cn contents


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updateCSWTHINKING GENDER 2012

coordinators notes

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many inquiries rom panelists, as well as audience members,

who want to get in touch with one another and nd out more

about the work that was presented at Thinking Gender. People

want the dialogue to continue, and it will. It does!

I you missed some o the panels because you couldnt be

in two places at once, or i you were, unortunately, not able

to make your way to the Faculty Center this year, there is still

more Thinking Gender to be had:

Many o the papers, drawn rom the plenary and the

other 20 panels included in the program, will be published

through the Caliornia Digital Library at the beginning o next

month. Papers rom panels such as Altar Alternatives, Voices

on Violence/Wars on Women, Pedagogies across Time: Cre-

ated, Contested, and Changed, Global Spirits, and The 99%,

among others, will be available soon. Do watch or their

posting at http://escholarship.org/uc/search?entity=csw_

thinkinggender in early April.

In addition, CSW lmed the ollowing panels, which

you can watch now, at http://www.youtube.com/playlist

?list=PLA929BBD1F30DC69A&eature=plcp: Mumbling,

Stuttering, Yelling: Gender Inarticulation in Argentina, Chile,

Brazil and Downtown Los Angeles; Parasexuality and theArts; Masculinity Inside Out; From Chickens to Cookbooks:

Creating Community and Meaning with Household Ar tiacts;

and the plenary session: Thinking Gender in Space, Place,

and Dance.

My personal thanks go out to all o Thinking Genders

presenters and moderators, with a special thank you to

Jacqueline Shea Murphy, Associate Proessor o Dance at UC

Riverside, or leading a lively discussion a ter the plenary,

which included papers on women and textiles, the indig-

enous perormance group FOMMA, emale mariachis, and

gender shiting in Taiwanese salsa. Abbreviated versions o all

the plenary presentations can be ound in this very newslet-

ter, so please be sure to read on (as well as watch the video

that I-Wen Chang has provided to illustrate some o the danc-

ing techniques she describes)!

As I prepare to wrap things up and hand over the reins

to next years Thinking Gender conerence coordinator, Im

reminded o what I said about the CSW sta when I wrote the

Coordinators Notes ater my last conerence, back in 2009.

To the next conerence coordinator, I wrote: You have a phe-

nomenal group o people upon which to depend while you

are at CSW. Our Director, Kathleen McHugh, has assembled

one o the best teams I have ever had the pleasure to workwith, and you will enjoy ever y minute you are in the ofce.

Whats unny is that while the actual sta and volunteer base

I had at my side this round was almost entirely dierent than

it was last time, I am compelled to say the same thing. This

years Thinking Gender team was truly one o the best groups

o coworkers with which Ive had the pleasure to work. Our

Director, Kathleen McHugh, and Managing Editor, Brenda

Johnson-Grau, have been par t o Thinking Genders success or

many years, and they have a wealth o inormation to share

with the next conerence coordinator. Assistant Director Julie

Childers was never more than a phone call or e -mail away and

always either had or ound the answers to my many ques-

tions. Associate Director Rachel Lee, thank you or all your

enthusiasm and ideas. Your energy is just inectious! No matter

who is at CSW next year, I know the next coordinator will have

a great team o people behind her or him. While I was coordi-

nating this conerence, I never worried about a thing because

I knew I had so many reliable people working with me to pull

this great day together. I know it will be the same or the next

coordinator. Actually, I know it will be even better, because

Thinking Gender just seems to keep getting better with every

year that passes. So, heres to the next year Thinking Gender

2013 February 1st, to be exact see you there!Mirasol Riojas

contents
http://escholarship.org/uc/search?entity=csw_thinkinggenderhttp://escholarship.org/uc/search?entity=csw_thinkinggenderhttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://escholarship.org/uc/search?entity=csw_thinkinggenderhttp://escholarship.org/uc/search?entity=csw_thinkinggender


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5 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012

In music studies, holar hav o

xplor a a aphor or oo,

hogh, a l. i h 19h r,

r ewar Halk rogz h hr

aphoral o al or. A h

a 1891, wha vr ohr ar ll -

rpo alra aphor, (Halk

1986: 30). Wh vrbalzg wha , ro

rprao o hq, o ao avo -

g grav lagag, aphor parlar,

ba a vrbal rpo osound, o -

, a rprao.

i h r a rgarg aphor

, aphoral lagag o rb

rlao o al pra or

hor. T aphoral rpo hav -

avoabl b o h ologal horzo

a hrogh lagag. molog sa

mclar rr o h a gr ap o ra-

oal hor Feminine Endings (1991),

a og x olog. sh a:

hor a aal q rql

bra a xpl rla o aphor o g-

r (al v. ) a xal-

hr orlao. T o vrabl o

hba ha roo raoal po-

volv h laao o a-p

or g aorg o gr (mclar 1991:

9). ma a r lz h r

g a al g o

rb how a a , o who vr

ralzg ha h aphor prpa xal

The Doing of image by Women in mariachi musicr hrogh al lagag. i arah

, a lar ao ha a wh

h rag parpao o wo arah

a. A or a or wo pror

arah bl, h og raoall a

voal rgr or ar arl rapo

o h al vo. T alrav voal rg-

r qkl ba agorz a h grl k,

or tono para mujer. Whl h o h gr

aphor olloqal, w ao gor h ral-

ha h aphor rolog rl

xpll o aphor o gr. maphor

h o rl a po ap o lagag;

alo a wa whh val a o-

opalz hr og hrogh a-

phoral lagag.

excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by leTicia isabel soTo flores

contents


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i h o a, aphor abo , aphor

o ol rpr h al xpr l, b h alo

a h wa h o b xpr. T p o

aphor o boh r a hag o xpr

o h . mclar rgar h a gr a xal-

al arrav: no ol o gr a xal-

or or abra hor, b l orl havl po h aphoral lao o xal

av or (mclar 1991: 12). i h a o

arah , h arl 1990 wh all-al ara-

h bl bga akg hr pr kow o h

u.s. or ag, i rbr a lr rbg

hr xpr o h wh oal o ak o b

aral, ho aoa wh a al-

. Jg rgarg hr l o

a opla ha o , wak, low,

a ha ohg wa g. T b all-al

arah grop wa o jg o al qal alo;

a h a plo aphoral lagag o

hararz a xpr wha h a o them, h

lr. T wa hr h aho al o a

wr ao o, or wa pr h aho a-

l ag bqol aoa wh arah .

exprv o jg o a arb o h ;

arb to h . i h , rv a a

aphor or h ga o h xpr, whr h

ga o o a ologal rawork.

Alhogh rarh org aphor a abo

oo , i wol lk o propo

a alrav wa o approahg aphor a rla oprora. Phloophr Joh L. A, og h

contents


7/437 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012

wor prorav, rr o h ag o

ra, or pok wor, a h og o h

ao ha aoplh (A 1978: 5-6).1

Alhogh h h a wh pok wor, wha

happ wh h og ha ha o wor? For

h, i rr o Jh Blr oo o

bol ao. i rag h rlaohpbw h ph a a h bol a, Blr

wr, hr wha a, a h hr a

k o ag ha h bol r o h

ra pror (Blr 1997: 11). Ao ar

h o b roo a prorav aphor,

whh ar v brgg abo h ao

h rpr, g a ag rahr ha wor.

T ag ra a goa b wo

arah a, boh hr vrbal rp-

o o hlv a wll a h o-vrbal

og o hr ag, afr h a ha a

aphor o rl a lg ha;

aphor a alo b pror, ag ha

o o o hav o a ohg o a

a aphoral rh-val. A prora, or

xapl, a pbl ao whh ag ar

a o ao (a wor) ha a or

ohg l. i h ollowg, i wll llra

br how aphor a b pror, o

hrogh h l, b hrogh h ag

pr b al arah a.

1. Ardng t Atn, thr ar tw tp prrmatv: 1) a prltn

ar at what w r ng at r ahv ang mthng, (nqn

rght at a ph at); 2) an lltnar at th at w prrm n

ang mthng.

Image In marIachI musIcAro h worl, arah a powr-

l o o lral xpro ha ha b

proal rogz a a al-oa

al rao, p h a ha wo

alo pla a gral rol. s h bgg

o worlw poplar, h arah ag

ha b lz o rpr a bol o al-

par ablh b h naoal charroAoao 1921 o o h ao o

ga a a bol o mxo.

ebra a a bl o mxa

rg h aoal ov h 1930, h

arah ag wa or ro a ollo

o bolh a h obrro, h traje de

charro (h lz bllghr o aop b

arah a), a pol brahgall

whh ollvl pr a ag o mxa

al hrogh l, lvo, a rao.morovr, h al l-rprao o

F I g u r e 1 : E x a m p l e of t h e

m a s c u l i ne m a r i a c hi i m a g e

p op u l a r i z e d w i t h t he G ol d e n

E r a o f M e x i c a n F i l m

contents



al arah prorr ha largl

h oo prpo o h al xpr-

o, a h al opo ha ha b

prarl ap b h o h a a

holar o h prora pra.

i hr arl o h or rrog

h mxa charro, Olga njra-Rarz po- ha h charro b approah a boh a

aoal bol a a lral oro o

al (njra-Rarz 1994). dp h a

ha hr a ralao or h wor

charro (charra), arah a o o -

rb h al vro o h arah a a

traje de charra. Wo hav ohl ra

a goa hr ag a var o rav

wa. T ollowg ar ol a w o h wa

whh wo arah a hav ova

h traje de charro.

all-femalemarIachI ensemblesi h 1950 mxo, hr all-al arah

grop wr or a r b wo

h mxa apol: marah La Ala b A-

la Ala chvz, marah Fl erlla

mxo (all all marah mhoaao)

b Lp Lpa moral Aala, a marah La

corola (all all marah norga) b

carloa norga, ar a a a. T

wo, a o aopg a z vroo h traje de charro whl prorg arah

F i g u r e 2 : M a r i a c hi

F e m i ni l E s t r e l l a s

d e M e x i c o

ha n d c r a f t e d t h e i r

o w n o u t f i t s .

C o u r t e s y o f F e l i s a

G o n z l e z , 2 0 1 1

F i g u r e 3 : M e x i c o

C i t y s M a r i a c hi

X o c hi t l wa s fo r m e d

i n 1 9 8 2 b y R a m o na

M a d e r a G l v e z

contents



, h hara hr ow o, o

o h k-lgh varao o mxa r-

goal r. Fgr 2 how marah F-

l erlla mxo xapl o h vr

r h oo.

s hr orao 1982, mxo c

marah Xohl b Raoa mara Glvzha a r vo o how o hghlgh hr

a a all-al arah bl

(g. 3). dp h a ao o h

al ag aoa wh h traje de

charro, a h xapl b h

r all-al arah grop ha pr

h, marah Xohl z hr ag

b warg hor lgh kr ha a jabov h k.

i h u sa, marah Ra Lo

Agl Jo L. Hrz, ablh

1994, ha h oppor o pror or Pr-

Barrak Obaa a r la mhll

Obaa a a h Wh Ho or hr 2009

co mao lbrao (g. 4). For h l-

brao, aog hr larg var o , h

ho o war hr prpl traje de charro wh a

wh ah rapg ro h rgh hp.

i sa Aoo, txa, marah mjr

iraoal b Lla torr, or 2008,

o h harro ag b ag a brgh

pkreboso (hawl) wh a ahg owr

hr har (g. 5). T rbozo ha a pal g-

a o mxa wo; alhogh warl

F i g u r e 4 : M a r i a c h i

R e y na d e Lo s

A ng e l e s d e J os

L. H e r n n d e z ,

e s t a b l i s he d i n

1 9 9 4 , p e r f or m e d

a t t h e W h i t e

H ou s e i n 2 0 0 9 .

F i g u r e 5 : M a r i a c h i

M u j e r I n t e r n a c i o n a l

b y Lu c i l a T or r e s ,

f o r m e d i n 2 0 0 8 ,

m od i f i e d t he c ha r r o

i m a g e b y a d d i ng a

b r i g ht p i nk r e b o s o

( s ha w l ) w i t h a

m a t c hi ng f l ow e r .

contents



F i g u r e 6 : M a r i a c hi C ont i ne nt a l F e m e ni l b y C a r l a B i b i a n o

R i v e l e s e m p l oy a v a r i e t y of m a r i a c hi s u i t s t ha t u ni q u e l y d r a w

a t t e nt i on t o t he f e m a l e b od y .

h hav h ow-ovoal al traje de

charro, h alo pr hr warg a

op a pa wh a r owr hr har

(g. 7).

marah Fl Ara b mara

J Xolooz maa a hr hba, Arao

moz Vaqz, wa or 2011 tlaxala Xohal, tlaxala. i gg hr r

traje de charro, mara J ho o hav a

or raoal look, alb wh pr-

jak (g. 8).

B vlopg hr awar o h g

a gal ha rv a a lagag o hr bo,

a b hoog o o hr ag orr o

perorm a al vro o h horall a-

l arah , wo arah a

aphorall ar a o ha whh

val a o o opal-

z a h or: h traje de charro. T a-

phor aro b wo arah oa,

a prhap a aphor o h rol o wo

al av, h provok g q-

o rgarg rao, jg, a bol

ag.

speech acts andbodIly actIonsi oral rvw a oral ovrao

wh wo arah a, a h-

aall har wha h o o ak h arahag or . so rb h olor

F i g u r e 7 : I n Lo s A ng e l e s , f o u r w om e nc a m e t og e t he r t o c r e a t e M a r i a c h i

B e l l a .

lk o go a rral mxa wo,

phaz aro oal la.

i Jrz, Zaaa, marah coal F-

l b carla Bbao Rvl plo a var

o arah ha ql raw ao

o h al bo (g. 6). i o xapl, h

pror warg a oral oporar rap-

l r wh boara orao, o-

wh a jak, a how blow. i ohr

oao, h war a rapl op wh a log

a olorl mxa rgoal kr.

mor rl Lo Agl, or woa oghr o ra marah Blla. Togh

contents



h hoo or hr ar, h lgh o kr h

prr, whhr h prr kr or pa, a

o ll rq wo who hoo o o war

h log raoal kr whl pr-

org arah .

i ao o h r o ra a

ag, hr h rlg oo o h ra-oal a h propr. i a r rvw wh

Raoa mara, ror o marah Fl

Xohl, h l h o j wh h prr

warg hr hor kr, j abov h k. sh

xpla ha wa or ov ba h

log kr a b agro a hr hl

o g k h h, ag h o rp

h ar o arl. sh a ha wh h lograoal arah kr, h wol b abl

o walk a h o.2 trhll, a h

lar rval, h o lookg lk x

wo arah a. dp hr rao

or warg k-lgh kr, marah Xohl

ha a ahg ll-lgh kr o ro o

a who prr or propr-lookg all-

al arah grop.

T aphor aro o marah Xohl

, or v x, arah ag ol o

xapl whh h vrbal rpo o hr

ag a a opl h o-vrbal

og o hr ag. T vr a ha

rpo o h prorav aphor, a

o whh or pora oo o rao,

2. Personal interview with Ramona Madera, 17 December 2011.

F i g u r e 8 : M a r i a c hi F e m e ni l d e A m r i c a , f or m e d i n 2 0 1 1 i n T l a x c a l a d e X i c oht nc a t l ,T l a x c a l a , ha v e a m or e t r a d i t i ona l l o ok, a l b e i t w i t h p r i nc e s s - c u t j a c ke t s .

contents



Vm Mkalhshnn. indanapl: Haktt

Plhng cmpan.

Mclar, san. 1991. Feminine Endings: Music, Gender,

and Sexuality. Mnnta: unvrt Mnnta

Pr.

sarl, Jhn R. 1969. Speech Acts: An Essay in the Philoso-

phy o Language. camrdg: camrdg unvrt

Pr.

jg, a bol ag, hav por-

a o wha hol b prrv a

wha ol volv hag.

O sa, novbr 27, 2011, El mariachi:

msica de cuerdas, canto y trompeta (Mariachi:

string music, song, and trumpet) wa aog

gh w o agbl worl hrago b a o h Rprav L o h

iagbl clr o Ha b h u

nao Orgazao or eao, s

a clr (unescO). T a ha ow

a rpobl o h mxa govr a

h arah a hlv o prrv

h (whh abgol a) ha

h w lgh o how al arah gropwll b l or o prrv h al

rao, parlarl unescO rog-

o a o pro hrago rpr

a ola all al grop ar or r.

performatIvemetaphorsProrav aphor ar bo a-

o ha apr oo a xpro h

a aapabl o ha av. T

ar aoa wh l-prao, pla,

a rproal oao. i h ,

h aphor pror ao or a appro-

prao a raorao o h bqo

al arah appara. Prora

o j abo ; alo abo h bol

ao. T, a lor look a h prorav

ao, whh ar a h roo o h prrvao

o prorg ar, h lgh o h qoa

aphor aro a b wo arah

a oa.

Prorav, h, ao b l o

aphor a abo . A lor look ahow wo arah a o hr ag

ak o ao o ol wha h war a

how h look, b alo h prorav a-

phor ha l h harar, a,

gr, bhavor, a h al a-

ao hlv. All o h ar bj o

rxv jg ha olla bw prr-

vao a hag.

Leticia Isabel St Flres is a dctral studet i

the Departmet f Ethmusiclgy at UCLA. She

preseted a versi f this essay at the pleary

sessi, which was titled Thiig Geder i

Space, Place, ad Dace.

REFEREnCESAtn, Jhn L. 1978. How To Do Things With Words, 2nd

dtn. btn: Harvard unvrt Pr.

btlr, Jdth. 1997. Excitable Speech: a Politics o the Per-

ormative. Flrn, Ky: Phlg Pr.

Dlgad, Martha i. 2010. La Metora en la Imagen

Fotogrca. Mx D.F.: T d Matra, unvr

dad Nanal Atnma d Mx.

Ktta, eva Fdr. 1998. Wman a Mtaphr. Hypatia

3(2):6386.Hanlk, edward. 1986. On the Musically Beautiul, tran

latn Gr Paant th 8th dtn (1891)

contents



agency and flow InpaIr-dancIngi h raoal opo o gr rol a-

g or par-ag, h woa pal-

l opalz a a pav ollowr. Howvr,

w xa h ow bw h wo ar

or lol, w a ha h rao

ar or oplx. i parr ag, parr

ao b roo a para par, b

b aalz a a gl whol a xpral

bo. T whol lv bo a oal bo,

whh lv hrogh a rlao o po-

bl h worl. i orr or h a o go

oohl a ll, hr ha o b larbilateraloao bw h a a

ThroWing ouT genDer rules in TaiWanese salsa ToDay

excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by i-Wen chang

h wo, h a bg abl o rpr hag-

prr, poo, a wgh ha gal a

hag h ov a h ro o h

a. i h wa, a l k a ovrao;

lk a ovrao, rol a powr ar go-

a a o arl gv, gvg ag o

boh a wo.

to rhr ra arg or-

g ow, i wol lk o ak h aalog ha

ow lk h rg ha ah pro po-

, lar o h or l-or aral ar.

mor orl par-a, h xhag

o rg ha or rg h a, whh

a a bl bo lagag, hag oa, a v o o parr.

expr ar ar abl o h rg

o hr parr a aj hr rpo aor-

gl. T r a ooh rao bw

h wo, akg v o h rg val

a.

sala parlar ha a ov ow ha

avor qal bw parr. ulk walz or

ago, whh hghl phaz gr q

wh lo poo, ala parr op

poo whh parr ar o prar-

l a h ha. Tror, opar wh ohr

or o par-ag, ala ha wr pr-ab-

lh ov bw parr, whh allow or

or provao a a rao. iao, ala ov ar xpll al

contents



a ro, a boh a wo ov hr

hp a wa hr ppr bo a o a

bl wa. T ov qal ala o

arl orall lok a gr bar

b xbl, allowg or or qal.

T qal o ala hav orb o

a aopo tawa, whr ha baap o phaz al rp bw

h parr a jo rahr ha how

aroba ov. T vr r ro wha

i h Lo Agl ala l, whh a

al-r or a ha vlop o a

h or ag prora ll o ah a

how rk. i tawa or propr

q or al ar o b v o hrparr kll lvl a o x hall

fl a orl ov h a l or

p xvl. i a, ha k o pal

rarl a all. s hr l prr o

pror ah ov, wo ar abl o

or avl parpa h ow pro.1 For

xapl, al ar ar abl o oa

hr wllg o o ra ov h

a h br o r or hr wllg o o

olo a va h po o oa (all pr-

r o h pal). mor poral, h al

ar ar rpv o h, a h xpao

o opl wh al ar o. i

h wa, hr a bala ow, pall

a whr hr lo phal oa. i h

1. clk hr t vw th Tawan ala n vd.

tawa ala , grall xp

hr wll b al agr o h ow, a

h al ar h al ar

wh o go a ra ro, grall h

al ar wll l orr o prrv h

haro o h ow.

cultural backgroundIn taIwansala abl o ra a a pa or wo o

b r o raoal lral or tawa

aohr rao or poplar a apa

aog tawa wo. i orr o ra

h phoo br, pora or

o ra how raoal lr tawa

pl h tawa bo. tawa ha a h-

or o lpl olozao; hr i o ol

o h ajor log rao o ch a

coa orva. T al bo vr

rr tawa o, a a woa

bo poo pbl hghl rgla. O

rlva xapl o h h ol ch ag

ha a, [Wo] b wh o

a a (). d

h ox a ha wo kp

hr lg oghr a hr ha o hr k

wh h . Wh wo a, h hav o

a p ragh a o wa. slohg a

gg ar alo row po. ur h

rglao o h bo, popl alwa a pragh a all, a avo rokg h lowr par

SalSaS abIlIty to

create a Safe Space

for women to be

free of tradItIonal

cultural normS In

taIwan IS another

reaSon for ItS

popularIty and

acceptance among

taIwaneSe women

contents
http://www.csw.ucla.edu/publications/newsletters/2011-2012/issue-pdfs/vedio.wmvhttp://www.csw.ucla.edu/publications/newsletters/2011-2012/issue-pdfs/vedio.wmv



T a i w a ne s e s a l s a s c e ne

contents



o hr bo whl ag or g ow.

T ov o ala rl ora h

or. Frhror, hr a ol ag b

m (a ao coa holar): m a

wo hol o oh ah ohr wh gvg

or rvg a (), whh -

a a rl rgla bo a bw a wo. T op ha b x

o a gral pbl oa. To rao

ll opra oporar tawa.

T, or tawa praor ala a

or o ap hrogh whh h r h

op o l wh a paoa a rpov

bo o ora h oa o h ra-

oal ch ao a hallg hrro o bo a pbl. i ao,

ala, wh bl a o o-o-bl

kg o orhp a xal r,

prov a wa or ar tawa o ak

oo. T rao wh h oppo x

o a prvlg ol or b or wo a

wll.

i tawa hr ar alo a-x al

ala opl.2 Ba o h xalz ar

of salsa and its inclusion of masculine and

feminine expression, the salsa dance scene allows

Taiwanese men to explore their feminine dance

quality safely in a public space without fear of

being labeled homosexual. From this, we can see

that the traditional roles of male leader and fe-

2. clk hr t vw th Tawan malmal danng pl vd

male follower are not strictly adhered to and that

gender roles are blurred. These male dancers can

easily switch the leaderfollower roles without

difculty and display different leaderfollower

roles freely in public without fear.In fact, it is notunusual for other people to form a crowd around

them to watch and encourage them with clapping.However, rarely are women seen dancing

with women. Same-sex dance couples are a privi-

lege almost exclusively for male dancers, and

allow them to transgress the heterosexual nor-

mativity. They exercise their power and are able

to inhabit the femininity in the practice of salsa.

They are gambling their masculinity by being

feminine in public while at the same time show-

ing their dance techniques. They are so "brave"

to dance together in public; people look at them

and admire them. The existence of these male-

male dance couples at the exclusion of same-sex

female dance couples actually reinforces the

patriarchyby claiming gender latitude as a form

of male power in male-dominated public space.

class In taIwanesesalsa scenecla alo pla a pora rol h tawa-

ala . d o h oparavl hghr

o o larg ala a ag ala lb,

h ajor o ala lb-gor tawa o

b og l-la prooal wh lr a xra o. sala rqr kll a

becauSe of the

SexualIzed nature

of SalSa and

ItS IncluSIon of

maSculIne and

femInIne expreSSIon,

the SalSa dance Scene

allowS taIwaneSe

men to explore theIr

femInIne dance qualIty

Safely In a publIc

Space wIthout fear

of beIng labeled

homoSexual.

contents
http://www.csw.ucla.edu/publications/newsletters/2011-2012/issue-pdfs/male%20dance.wmv/http://www.csw.ucla.edu/publications/newsletters/2011-2012/issue-pdfs/male%20dance.wmv/http://www.csw.ucla.edu/publications/newsletters/2011-2012/issue-pdfs/male%20dance.wmv/



T a i w a ne s e m a l e - m a l e d a n c i n g c o u p l e

contents



pra orr o ow wh a parr. Tror,

h ala a lb ra a rror o h l

bo h rah o tap workg-la popl.

T lavh rhg o h a oor l

a roo ra worl o rba or-

a rv ol h popl who a aor .

T ra pa ar o j a plao a b alo o a alo whr og

prooal a gahr oghr o pr a

har orao o a w rag o oal,

llal, a polal . T alo o

h ala la ak xlv a polz pa

o bo. B akg a pa o goa oal

bo pol h ala alo, h vra

xpro o bo o h r polz a vr ao o la- polal

ral.

conclusIonT global r ala rval r ho-

rograph bo h r oal

o ha ar plo ala pra var-

o aoal ox. i tawa, h wa h

praor ag hr gr rol pl

rla o h la poo h op, a ha

vr a gv h rlav ro o hallg

h raoal hrarh hrogh a var-

o pa. A ll grap o h ag o ala

pra tawa h rqr ra-

g how pror a par o a parlar la

rr, a alo how raoal gr or

ar boh hallg a ror. Trogh ala,

gr or r a op o l wh a

paoa a rpov bo o ora h

oa o ch ao. tawa

popl parpa h raoal ala r

o or hr aoal a ablh

global zhp. i h r i wll rhraalz how la, aoal, a gr opra

oplx wa tawa.

I-We Chage is a dctral studet i the

Departmet f Wrld Arts ad Cultures/Dace

at UCLA. She preseted a versi f this essay at

the Thiig Geder 2012 pleary sessi, which

was titled Thiig Geder i Space, Place, ad

Dace.

BiBLiOGRAPHyhmd, sara. 2006. Queer Phenomenology: Orientations,

Objects, Others. Drham, Nc: Dk unvrt Pr.

Appadra, Arjn. 1996. Modernity at Large: Cultural

Dimensions o Globalization. Mnnapl: u Mn

nta Pr.

brt, Rama. 1995. The male dancer: bodies, spectacle,sexualities. Lndn: Rtldg.

btlr, Jdth. 1990. Gender Trouble: Feminism and The

Subversion o Identity. Nw yrk: Rtldg.

Dmnd, Jan c. 2001. Dancing Desires: Choreograph-

ing Sexualities On and Of the Stage. Madn, W.:

unvrt Wnn Pr.

Ftr, san. 1998. chrgraph Gndr. Signs

24(1): 133.

Gr, elath. 1994. Volatile Bodies: Toward a Corporeal

Feminism. blmngtn: indana u Pr.

Nvak, cntha. 1990. Sharing the Dance: Contact Im-

provisation and American Culture. Madn, Wi: u

Wnn.

osha, Jant. 2007.At home in the world: bharata natyam

on the global stage. Mddltwn, cnn: Wlan u

Pr.

Ptrrn, shnagh. 2006. Salsa and its Transnational

Moves. oxrd: Lxngtn bk.

savglan, Marta. 1995. Tango and the Political Economyo Passion. bldr, co: Wtvw Pr.

yng, ir Marn. 2005. On emale body experience:

Throwing like a girl and other essays . Nw yrk:

oxrd u Pr.

contents


19/43


excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by yveTTe marTnez-vu

lAst summeR (2011) i rv a a r

a h maa Wo lral cr

chapa. T cr all FOmmA,

or Fortaleza de la Mujer Maya, ag maa

Wo srgh. i parr wh h c-

ro Hro, a rgoal rarh a lral

r b h Hphr i or

Prora a Pol. FOmmA r o

prora o Tar h cr a r-

rog maa vllag. T prora ag

in reflejo De la Diosa lunas migracin performance o gr khp rlao maa

o.

two porg maa wrr a ar,

iabl Jrz epoa a Proa la crz

crz, o FOmmA a or o proo

blgal har a ao h maa

lagag o tzozl a tzlal hrogh pror-

a a alo hrogh ohr progra. T

orgazao hlp maa wo a hlr

o vlop kll ha wll prov hr al

lv, org workhop o oral bakg

(bra-akg), wg, a opr lra,

a wll a org rag rav avor

h a phoograph a prora.

For h prao, i wa o o o

o o FOmmA ral o: o ag how

bo gr a prora pla

a rol proog a ollv roal

. spall, i wll vga Refejo de

la Diosa Lunas mgra (1996) o ror

contents


20/43


ha o ol pror b alo ho-

rograph a gr. Parlarl, i a o-

g o h har, hogh v, xpr

o roal aog go wo

mxo. T r roal, borrow

ro Kbrl crhaw hor o ro-

al whh h qo h wa ha xpr- o Blak wo ar xl ba -

pr wh a blak a

al. i h a, i wol a ha

o g o o l h o gr

ha oppr go wo. T prao

wll o o wo prora rag a a

rqg gr go rol or wo:

ro-rg a a aral o obj. iarg ha h or o ro-rg plo

a h wa prorr or obj

hr bo hq a or o ao. i

arg ha h prorr o hr bo ov-

pg o h harar h pla a

h oxal aor o h prora. sh

obj o a h bo a h . i og

o, h prorr prov alrav opo or

gr rprao, whh r

rprao o g.

i mgra, Proa la crz crz pla

h al proago, maro, who, hr ro-

rg, po o h al apo.

maro ov a llow arr, carlo alo pla

b a woa, o ov h al ro rral

hoow o h hop o g a br

contents


21/43


l. Who h w o, a h k o

h gr pol, carlo ll h ho, l,

a lvok o a r. T, wh h lo h

job h , h op wh h lo b rk-

g. Wh o hop o g a w job, carlo

hl a rok boo, a h al

l who ba lk oo a hl-r. T pla brg vral oo o h

rggl o h go wo o h ag:

al hav, xal ab, povr, gra-

o, alohol, a vol gral.

cross-dressIng andthe hybrIdIzatIon of

body technIquesi h pla, h aor ro-rg o ak

vbl h wa ha o aho a

gr aralz r bw a

wo. Wh carlo a maro r appar o

ag, boh war baball ap, khak pa, a

bo ow hr. maro war gla, k

h hr, a war lo-g pa whl

carlo lav h hr hagg ovr h ovrz

bagg pa. T l ar pal o maa

ro o chapa. Whl hr

r a oal gr o, h

o ol rlao o a r bar. i h

pro o prorg h harar, h wo

prorr lp o loha harp

ora o h orvav huipiles or bro-

r blo a log oo or wool kr ha

a maa wo aall war. T r

o ar rl ollow h o,

o j plag a h a g wo

h loh alra ak a rvo o

raoal gr o. iroall, b ro-

rg, h ar alo z h rao-

all al pa o har b h r a hah ar por go wo prorr.

A taara urr o, h prorr ar

rvrg h ro-gr ag rao,

o ol a, b alo l. O ag, h

ar abl o raho a whol prora ra-

o ha ha horall ok a xl

h (360).

T o al lohg orpr a al harar laol ak

vbl a hbrz bo hq. Wh

h or, maro a carlo o rggr a

o o oroao. Wh Ogra crz,

a carlo, a crz crz, a maro, pror a

o vol, h, ok a hra h ag

o a phall vol al, or aho a.

A h harar arg, crz crz roll p hr

lv, x hr ar, a hol o o O-

gra crz h. Boh wo al hr ar,

oall arl o o hr ah ohr, akg

a okr o h harar vol. i maa

lr, oopla or wo o b q

a bv. i orag h o,

h aor xr aggrv bo h-

q aoa wh . T, wh og

In uSIng maSculIne

and femInIne

coStumeS, the

actreSSeS offer

the optIon to

IdentIfy wIth more

than one gender.

they alSo offer a

Subject poSItIon

that reSIStS the

heteronormatIve

conStructIon of

femInInIty.

contents


22/43


lohg, h wo prorr ar a-

g a wr rag o ov apal or ma-

a wo a, a h a , h ok h

vr al ha rla h ro hr a-

g oal gr o. i rprg ohr

opo or wo, har bo a poal

o ra aga pararhal or o a

o ag.

Gv h a ha all h prorr ar

wo, hr prora xl h pr

o . B g al a

o, h ar or h opo o -

wh or ha o gr. T alo or a

bj poo ha r h hroorav

oro o . i porrag gro, h ar pla wh h o a rval

hr abl. A wo porrag h rol

o , Refejo ablz h oo o bj

havg a abl a b rvalg

h wa ha gr or rqr oa a-

o orr o aa powr. A i hav o,

h br oRefejo ar arl o ora-

v or bw a wo, b

og o h ollvl rpro or ha

o gr agor or go wo o

wh.

gendered sIgnIfIcatIonof objectsObj, lk lohg, po a gr bo or

whh h wa a (Ah 50). Alra-

l, obj hap h bo wh whh h ar

oa (54). A sara Ah arg Queer

Phenomenology, gr a o how bo

ak p obj, whh volv how h op

pa b bg op o wa or aohr.

Bo ar hap b h work h o (59).

Ah ra obj a ool. B wha a obj prpol or prpol o

? Wha happ o h gao o h

obj wh pla? Frhr, how o ha or

bo? i o, a obj a

hav a alro doing h right

wa. i h o, i wll hghlgh xapl

mgra ha rr or xhb gr -

b h () o obj. i wll hghlghhow obj ak par g a ho a pro-

g a o blogg. Howvr, wh h

ar or obj, h volv a .

i ohr wor, rahr ha g obj pr

o ag, h ar al o h a a

pro gr ha ov h a o a a-

o. T, h ab o h obj lo a

ablz h rrao o gr pro

wh qoa pa.

For xapl, h oRefejo a gl

gr bakrop wh ag ha boh o

a campesino (paa) ho a obj

ool wh ha pa. T o

pa orall rlga o h bakgro

a allow or ohr, all al-or, work.

i h a, h prva o h o pa b-

o pbl. T propr pla a rr-

o h bakrop l: a orlla pr (or

tortilladora), bk, bor, wow, a kh

abl, aog ohr. T bakrop bolz h

gr rprav o a go woa

qoa l chapa. i alo a or a

o pa, a ho, allg ao o howh o a a blogg wh a

pa pro hrogh h or o obj

pla h bakgro. T rg o ma-

a wo har, a prorr a hara-

r, pro a o a ha ob

prva oo o al a ho wh pbl

oo o arrav a prora. y Ah

ar ha ha whh ak hap a h bak-gro h rl o h o h rpo

o a ra ro (88). Rahr ha g

h obj, a org hlv owar

h, h ar rl h. iroall,

h bakrop a ag o obj bo

ha whh gravl pla wha wol pal-

l b h bakgro a h orro. so h

bo g o a maa woa, b h o o

hr. ia, h ak o h rol o

whl h g ra o h r.

T aal ho o obj o h ag

rval horograph ov,

pall wh org h wa ha a

hohol obj ar o a o ao

b o ag. i o , caala prpar

a bor. iabl Jrz epoa, a caala,

contents


23/43


arrag hr p o woo o ak a r o

h r ag oor. T ao bg

wh h kl ow o blow oo h r or a

w o. A Ogra crz plag carlo -

r h ag, Jrz epoa rgar h r

a gag alog. sh a p, ov

ow ag l, a a h a whlpakg o Ogra crz. sh blow o h

r aga b h h b ovr a

o klg, rag a largr a bw

hr bo a h woo. Fall, Jrz epoa

a p a a h a o aga. T

h op blowg. Wh arg h r,

h h ao. Alhogh akg a r

rpr a o a ha wo pror mxo, h prora r h rproo

o ha o. T a simulatedb o

replicatedba Jrz epoa larl -

g h ool rqr o ra a aal r. A a

rl, h a horograph a ; o

ar b Jrz epoa r o r

hrl o a o a. T, whl obj a

b gr, h ar hav h ho o r-

, rval, or xaggra h propr wa o g

h. i h a, Jarz epoza ra o

pror ral porraal o h o a,

alr a pro w gr ha ora-

v xpao or wo.

conclusIoni h prao, i hav vga how

bol gr, pall rlao o h

lohg a obj prora, boh

rpro rao a pro alra

opo or gr a hror oal rpr-

ao. spall, ro-rg a -g prov oppor o maa

pararhal val, whh ar rla o a -

o o wo, whh bologall r-

a al. i x arg o

o ha Refejos prora ar ool

goag a ollv roal

gv ha h hr rpr wo a

hol or abl a ba hr bo or

prora vr ra a. A roal

ollv o ha alwa hagg

b ra o hrogh af. Whl

propog a pa-mxa wol r h

rk o lg r a akowlgg -

r a r h rk o alzg, a-

ag a r af pro a pa

whr bj who wh a ro-

al a work oghr owar rral

hag.

Yvette Martez-Vu is a dctral studet i the

Departmet f Theater ad Perfrmace Studies

at UCLA.

WoRkS CITEDAhmd, sara. Qr Phnmnlg: orntatn, o

jt, othr. Drham: Dk u Pr, 2006.

FoMMA, Frtala d la Mjr Maa. Mgran. FOMMA

Video Collection. Hmphr inttt Dgtal Vd

Lrar, 2006. W. 7 Jn 2011, http://hdvl.n.d/

vd/000509445.html

Ftr, san. chrgraph Gndr. Signs 24 1

(1998): 133.Harawa, Dnna. A Mant r crg: sn, Th

nlg and salt Fmnm n th 1980.Socialist

Review8 2 (1985): 64107.

Kndn, sann. intrtnalta Thrtal

inpratn n th Anal Mnrt cltr and

idntt n Txtk. Caught in the Web or Lost in

the Textbook. ed. brllard, er; Aamtakkn, bnt;

Kndn, sann V; Hrl, Mk. 2006 6176. 3

Jn 2011, http://www.an.m.r/llq_ar

tm/pd/kndn.pd

undrnr, Tamara L. indnt Thatr n chapa,

Taa, and yatan: cltral enatmnt n Maan

Mx. Theatre Journal50 3 (1998): 349.

contents
http://hidvl.nyu.edu/video/000509445.htmlhttp://hidvl.nyu.edu/video/000509445.htmlhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://hidvl.nyu.edu/video/000509445.htmlhttp://hidvl.nyu.edu/video/000509445.html


24/43


excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by jamie aron

teXtiLes hav log b a par o h

ao o Wr arhrro h

ol o rap al or a

Grk pl o h abra maa par

k oghr Frak Llo Wrgh xl

blok ho o h 1920. y j a a aa

a oal wha , arhr har

hor wh wavg o obr. toa

arhr a h op alog h ar

o pag a lpr, whl wov xl

op a l pro poo h appl

or h orav ar. Apparg aral ow,

w rbr ha h hrarh o h ar wa

o alwa o abl. Arhr a wavg

wr boh a h boo h mval Pro

poo a haal ar rqrg lar

Warping The archiTecTural canonaal kll rahr ha val rav

or llal rv. evall, hrogh har

lobbg b Raa ar a ha,

h ablh o ar aa a

xlvl o h ahg o arhr, pa-

g a lpr, a horal bakg b

elgh phloophr, arhr pa-

ra ro haal oparo o bo

o o h oa val ar o or,

lavg wavg bh a hara wh h

agor o h orav ar. i o r ha

wo hav b grall l o o or

val ar hor a aoa wh h o-

rav ar. Trogh h l o hor rx-

aao i pr hr xapl o wavg

workhop l b wo, who work o ol

r arhr a k o h

wh r, b alo hallg h hr-

arhal poo a lral ag o arh-

r.

i h arl wh r, or arh-

a hor ra o broa oal hag

brogh abo b iralzao a oal

a polal phaval b rjg h hor

or o h pa. Parl o horal bl

p ro 19h r ah ba o l

a h val o ora, or arh

horz ha v xl, or hr-

l oraal wh h ror, o b

rj arhr wa gog o la o

owar a br r. i orr or xl o

b rgra o h pra o arhr,

contents


25/43


h wol hav o b rorla a oal

qp rahr ha appl orao, a o-

pal rggl xplor l b ava-gar

ar a wavr aro erop.1

A Albr r o h Baha ar

h hgh o h eropa ba o l a

ora. A a agr og Gra h la 1920, h lah hr ar arr

a h Baha, h xpral w hool

ablh 1919 b h arh, Walr Gro-

p, rg h War Rpbl Gra.

Brgg all o h ar oghr r o roo,

h Baha ogh o hz h a h

orav arwh arhr ag a h

ohr o h alla bl oalz bh -ghh r, pra b Ar

a cra rorr lk Wlla morr, a

hr b or arh lk Grop, L

corbr, a m va r Roh. Lk alo

all o h al a h , Albr

wa pla h Wavg Workhop, l b

hq ar, Ga solzl, ppl

wh la l b or ar lk Joha

i.2 dp h a ha h Baha wa o

o h o lbral ar hool o , gr

rol wr ll -p pa,

lp, a g blg, whl wo

1. chrtn bdll, Txtl n th Mdrn Hm, n Disentangling Tex-

tiles : Techniques or the Study o Designed Objects, d. chrtn bdll

and Mar shr (Lndn: Mddlx u Pr, 2002).2. Ta Ln smth, Weaving Work at the Bauhaus: The Gender and Engender-

ing o a Medium, 1919-1937(u Rhtr, 2006).

wov xl, hrw po, a a ra.3 T

paraoxorazao o h ar who

orazao o arl a Baha

wo ar o bo aoplh wav-

r ba o h rro pla o h o

h hghr ar o pag, lpr, a

arhr. A po h 1920 a 1930, hWavg Workhop rpr h o a-

all l or o h Baha, howg

apr a r ar aro Gra a

vall lg g o aarr.4

Wh h o o h hool h ro o-o

g o proop or a-proo, Albr

bra h rao who pa. For hr a

a a lar a a praor, ha wavgwa o ol a l b a ar pro-

opg proa al p ha h wol

ahr o Ara wh ah loo a

o oa h xl r ro h 1940

o. 5 Lar, ar grag o h us, a ah-

g a h xpral Blak moa collg,

Albr ga raoal 1949 a h

r woa wavr vr o hav a olo xhbo

a h mOmA nw york. no ol h

broaa h ahv o a woa ar o

a Ara a a r, lva

or wavg o h a o or ar, po-

og wov xl a a op o ovrao

3. ulrk Mllr, ingrd Radwaldt, and sandra Kmkr, Bauhaus Women :

Art, Handicrat, Design (Flammarn, 2009).

4. id.5. Ann Alr, Handwavng Tda: Txtl Wrk at blak M ntan cl

lg, The WeaverVi, n. 1 (1941).

aog h hghr ar. Whl Albr how o gl-hal p xl a a

qal o arhr, h v gal a po-

v h h prpo o or xl;

o ha gav or wgh o h llal a

rav apa o h or wavr pra.

Albr wro abo hr work xvl, -

lg wo bookOn Designing(1959) a On

Weaving(1962). T vol b wav-

g pr o h or or. Wh

h l o arhr, hr a log hor o

wrg rall abo blgro Vrv

o h prb hr wa o h log h-

or o wrg b wo wavr l br

o h Baha, Albr l, llalz

h pra ro wh.6 Wavga ra

6. smth n th mtl nplhd wrtng baha

wavr, ott brgr, wh wa a ntmprar Alr.

contents


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ha b r oa b a h gr-

all l o h pag o o par.7 Lk

ao r h a cl Grbrg a

powar Ara par lk mark Rohko, Al-

br wro abo hr xpr a h loo o

or a hor or wavg, vg, alog

h wa, a voablar q o h rr,

pro, a xpr ha akg a vw-

g xl ol pro. sh o o boh

r hr llow wavr a o h

akg o xl, alog wh prov pl-

ar boar ha wol p wavg a a

ar pra. sh a al bl

o hr pra, wrg, a lpor al wh

vol, a arh wh pa, a par wholor, ha a wavr wh al .8 i h

a Albr rov wavg ro h ra

agor b rg alog rogz ar-

pl, argg ha wavg har

q val a hap propr. Rjg

olog ha p wavg a gr ra,

Albr p h parar or a proo--

pl whh wavg ol b or a

ahorav l oo l, pporv o ar-

hr b o b wh . Hr work,

wrg, a ahg lpl gra-

o o xl gr, a whh a

ll b l oa.

7. Antha calln, sxal Dvn Lar n th Art and crat Mv

mnt, Womans Art Journal5, n. 2 (1984).

8. Ann Alr, Tatl snlt,On Weaving (Mddltwn, cT.: Wlan u Pr, 1965).

Whra Albr p a opal ra-

work or xl o gag wh or arh-

r h prwar pro, Flor Koll o-

o a o or hrogh xl

h powar pro. tra a a arh r

al gr ro h Baha a sa-

ava, r a h crabrook Aa o Ar mhga r ell a Loja saar, h a

h Arhral Aoao shool o Arh-

r Loo, a oplg hr gr 1941

a h nw Baha chago (ow kow a

h illo i o tholog), Koll a

o oa wh a o h eropa ga

o or, lg arh Walr Gro-

p a m va r Roh.9 Flor arhr arr a a arh a Harro & Abrao-

vz, palzg ror, o ba o h

gra g o hr aa

or, b ba o h oal oo ha

rr wo ro pro rol wh

h arhral proo.10 i powar Ara,

x wh h arhral proo wa

o a rogz pra o b ogh aga;

rarkabl ha Koll wa abl o r a

pla wh a arhral r a all. How-

vr, 1943, Koll arr h raaall

ar rla ror work or a l orph

o a ll- b parrhp wh hr

9. b Tgrman, i Am Nt a Dratr: Flrn Knll, th Knll

Plannng unt, and th Makng th Mdrn of (M.A th, u Dlawar Wntrthr Prgram, 2005), 29.

10. id., 33.

l, Ha Koll.11 A hora Gwol

Wrgh po o 1977, h raoal rol

o wo arhr l xpoal

wo, aj, aoo gr, a

woa o.12 Fro Koll bakgro

o o appar ha h wh o ra

aoo or o; rahr, h o a -

ovoal wa o pla a par arhral

proo. Ar arrg Koll a vg

h all-al rr opa, Flor

vlop a rr l hrogh k o-

o ro hr work o ablh arh-

ral ollag a p-a-og gr,

rg h saava- abl a

har opa o a ll-al, or ga plag opa.13 Aga h bakrop o

Ara op a a bl ha goo g

ol ak pov hag popl lv,

Koll Plag u a vlop h Koll

Looka lk, opha ror ha vall

rpr h p, rgh, a holog-

al ovao ha Ara opa rov

o bo b h powar pro.14

T proo o xl -ho ba

a val opo o h opa a h Koll

11. id.

12. Dlr Hadn and Gwndln Wrght, Arhttr and uran

Plannng, Signs 1, n. 4 (1976); Jan MGrart and sana Trr, Nw

Prnal idntt: Fr Wmn n th sxt, n Women in Ameri-

can Architecture : A Historic and Contemporary Perspective : A Publication

and Exhibition Organized by the Architectural League o New York through

Its Archive o Women in Architecture, d. sana Trr (Nw yrk: Wht

n Lrar Dgn, 1977), 131.

13. earl Martn and Dgn Htr Matral cltr bard Gradat cntr: Dratv Art, Knoll Textiles (Nw Havn: yal u Pr, 2011).

14. id.

contents


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Plag u ga or oo. For h

arl oo, Koll o pro hr

ow xl; a h oor h phol-

r a rapr or h o-g r-

r. T Rokllr al of wr o o

hr r oo 1946, ro o

hr b o o hr orr bo, Wall Harro,a Howar mr, or oArchitectural Fo-

rum.15 Lor ha ha Koll ha o arh wh

apparl abr o h appropra a-

ral o pholr a of har, lg o

g abr o h bll.16 T a or

appropra pholr a rapr abr wa a

pror o h r, a wa ol a ar ar h

jo ha Koll op a howroo o ea65h sr nw york o ll h r ollo

o Koll txl.17 Koll hr h o al

wavr a gr o g h r oll-

o, lg mara srgll o crabrook

uvr a hal a oz ohr, vall

hrg a r a o xl gr o g

boh ha-wov xl a xl a or

ah loo proo.

Hghl xr wav g w br h

a rao a pla a o o h rav

hob, rpag lara rqr o

rv wpra rogo arhral

rl a xhbo h a mo-

15. Tgrman, i Am Nt a Dratr, 35.

16. Knoll au Louvre: Catalog o the Exhibition held at Pavillon de Marsan

Muse des Arts Dcoratis (Nw yrk: Knll intrnatnal, in., 1971), 55.

17. id.

mA Good Design xhbo 1951 a h Tex-

tiles USA how 1956. upholr rr a

rapr wr wo opo o h Koll look

ha ba oal po wh proj. s-

, aall a r o ovav xl

g, p po g ha ol b

a-pro a al plgg o ror

lk a k-o-par, b opha ogh o ap-

pal o hr hgh prol l, lk h arh,

ero saar, a cBs pr, Frak sao.

Koll xl a h ral oaor

bw lolor a xr ol b

rpa o a oa a or a hr ra o ra

a val rhhwho rpg h ooh,

la l o a or ror. i h a

a a hal whh Flor wa h av r-

contents


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av ror o h opa, h txl dvo

orh a a ar hk aklpl

pl workg alog ah ohr o ak

o aral o h hgh lvl o ah o-

plx, rral gr, a rabl. sh

ava h oral ark or xl a a

ral ag Ara powar arhr,

alag h rproo o or arh-

r o a gra al b r lg h ar-

al, h h l, o or h or or

abr. Ovrog barrr pla o hr a a

woa arh a r, Koll pro

or arhr a a al aakr,

g olog ha ha xl wo ro

ga rol arhral proo.movg o h pr, h work o dh

xl gr, Pra Bla, ha rv r-

aoal rogo or hr brahakg ra

a wall ra. Kow wh h arh-

ral o a h o who ak ra,

Bla ha x bo h ral

o h orav ar o a w rra ha -

raoal boar bw orao

a rr. i ohr wor, hr work arh-

ral, rrall oplx, a rkgl

labora par a or. Bla h r

o all hr work arhral, v hogh h

o o hol a prooal l or or

blg.18 Howvr, hr ral awar o h

18. Ptra bla, Inside Outside (Rttrdam/Nw yrk, Ny: NAi Plhr;

Avalal n Nrth, sth and cntral Amra thrgh D.A.P./Dtrtd Art Plhr, 2007).

voablar o or arhr ha pr

r o raw lk bw hr pra a

ha o prwar xl gr lk Lll Rh a

h Baha, who arl ollaborao wh m

va r Roh, vgag h l o h r-

ag xl wall, har h oo

wh Bla alla wh R Koolhaa.19 Whl

Rh r hallg h oo o h ra a

orao wh ava-gar arhr, rap-

g o blak a r vlv a llow

lk ovr pla o vral gla wh h 1927

19. Drk van Hval ha mmntd n th mlart twn

bla and Rh prat, d.

Vlv a slk ca Brl, g xbl

ror pa, Bla ag h ra v

or rpobl orr o vga h

l o h xl o pror lk arhr.20

Bla ri/Oo rv

oo wll bor oro ar, jo-

g or wh arh a rral gr

a h opal ag o plag. i o o h

o ovav, oporar proj o or

h sal Pbl Lbrar (2004)Bla

20. Matlda MQad, Magdalna Drt, and Mm Mdrn Art

(Nw yrk N.y.), Lilly Reich, Designer and Architect(Nw yrk: Mm

Mdrn Art : Dtrtd H.N. Aram, 1996).

contents


29/43


wa hr 2000 o ol o all o h horzo-

al ra a o g a -p ra

or h ror aor, orbg a o

olv oal probl lk rlao, ao-

, a lghg, a wll a arg agbl

lk oo a aophr. For h glo-

rralvral l, Bla g a

av s-hap ra ha wrapp aro

h ror aor lk a lvg, brahg,

lpral wall. Ak o rolv ao or wo

pah aor a h oo ara

ohr a vlop a obl-

ra ha ppr o a lpl lvl,

wh a xr o pla bar har wov o

o o br vra lbrar raf agr a wh vral rp o h

ohr o ar aoal or h

har. A h xpla Inside/Outside (2007),

a o g a raoal, hav aral lk

vlv, Bla op or a brgh, lghwgh a

hologall oplx abr ha hr r p

vral ar vlopg hrogh h vgao

o h rrog laap a aa. Whl

a xr wol o, hr oral ao o

arhrogh h hk oa o a wl aal

pak o h ph o hr horal vga-

o a h opha rag o hr oral

voablar. Bla rawhhr h b a

h brl wall, a ga k l ra,

or a gall-pr aral vw o h or-

o wallpaprrall ava a pa b

hallgg h vor o ap arhral

or, lk ol wall a orav ra.

Wall wa wh vwr rah o o oh hr

gl o ra whl phooral

gra pr a o h oor look rghgl

alvo h o ha vor walk aro .

T l o xl g wh ol la

hr a hr ow, a o h pl o arh-

r. so laap arhr, o-

lpr, har g, gal ar, or a

allao, oal hr work alog wh

a pl b r o b p ow.

Wh row arh lk B va Brkl a

carol Bo o un so, Kazo sja o sA-

nAA, a R Koolhaa o OmA kg hr oo ollabora, Bla ha p h hrarh

o arhr ovr h orav ar o bark

po a w, o wov, rra.

Whl Bla work a ao

wh h arhral o, hr work ,

par, b o h opal o

boh Albr a Koll, who wr boh pao-

al a o hr work p pararhal

barrr ha orgall xl h ro hr

ho l. A h bgg o h w-r

r, arhr ha x wll bo

h o h blg, a arhral pro-

o o l o aral ara. co-

pal proo o arhrhrogh

horal phaval, rahr ha powr,

bvrv ho, a prorav aha

b a rlva o h o wo or-

bo o arhr a ha aral pro-

o. Who h xpa o o arh-

ral proo iv ol abov, wo

wol o o b argalz wh h

l. For arhr h oppor ar wo-

ol: w o allow or h rora-

o o hor o a aralh

a h work o h hr wo iv pr,

alog wh h rvalao o wha a o

b a arh prag oa, boh o whh

orb owar a or hol vw o

wo arhr.

Jamie Ar is a Ph.D. studet i Departmet fArchitecture ad Urba Desig at UCLA.

contents


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panel summary by amanDa apgar

di w: w ux l

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31 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012 contents


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w r: hi-b, l-b

ocd pi

panel summary by linDa juhasz-WooD

contents


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panel summary by linDsey mclean

grrr(l) f: s

ri w

J a c q u e s D e r r i d a . P h o t o by B e n

O s w e s t on F l i c kr

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C o o l M o m s

contents


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T hi r z a C u t h a nd s b l og

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Panel Summary by JoSh oleJarz

Mods and Vlogs: Gender Techs

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CSW


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DIRECTOR K a t h l e e n M c H u g hProfessor, english and Cinema and media studies

ASSOCIATE DIRECTOR R a c h e l L e eassoCiate Professor, english and Womens studies

ASSISTANT DIRECTOR J u l i e K . C h i l d e r s , P h . D.MANAGING EDITOR Br en d a J oh n s on - G r a uADMINISTRATIVE SPECIALIST Er m a Ac eb oADMINISTRATIVE ASSISTANT Em ily W a lker STUDENT ASSISTANTS Ch itr a G ur u, Ma r ys s a Ha l l , L in d a J uh a s z- W ood ,

A n g e l i ca L a i , S u s a n M c K i b b e n , L i n d s e y M c Le a n ,

C a t h y S o n , M i c h a e l W i t t e , a n d S t a c y E . W o o d

updateCSWucla c su w

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CSW Update is the newsletter o the UCLA Center or the

Study o Women. It is published monthly during the aca-

demic year. UCLA aculty, staf, and students are welcome

to submit articles or inclusion. I you have questions, please

email the publications staf at [email protected]

EDITOR/DESIGNER: Br en d a J oh n s on - G r a u

EDITORIAL ASSISTANTS: C h i t r a G u r u , M a r y s s a H a l l ,a n d Lin d s ey Mc Lea n
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