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https://www.them.us/story/bad-bunny-rolling-stone-interview

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Bad Bunny has spoken out about gender, sexuality, dressing up in drag, and using his platform to boost awareness of gender-based violence in a new Rolling Stone cover story.

In the profile written by Suzy Exposito, the Puerto Rican music star born Benito Antonio Martínez Ocasio addressed dressing up in drag for the first time for his recent music video for " Yo Perreo Sola," or "I Twerk Alone."

"I have always felt like there [was] a part of me that is very feminine," Martínez said. "But I never felt as masculine as I did the day I dressed up like a drag queen."

Martínez explained that he made his drag debut to "show support to those who need it." He continued, "I may not be gay, but I'm a human who cares," explaining that he was first exposed to the drag world after a cousin, who is a performer, came to him asking for help making mixes for shows.

According to Exposito, "Yo Perrero Sola" is about "women who want to dance alone at the club, unbothered by men," and that vantage point is represented by Puerto Rican artist Nesi, who sings the track's titular line in its chorus. "I wrote [the song] from the perspective of a woman," Martínez explained. "I wanted a woman to sing it, because it doesn't mean the same thing when a man sings it. But I do feel like that woman sometimes."

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Bad Bunny Discusses His "Feminine" Side and Combating Gender-Based Violence

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Bad Bunny has spoken out about gender, sexuality, dressing up in drag, and using his platform to boost awareness of gender-based violence in a new Rolling Stone cover story. In the profile written by Suzy Exposito, the Puerto Rican music star born Benito Antonio Martínez Ocasio addressed dressing up in drag for the first time for his recent music video for " Yo Perreo Sola," or "I Twerk Alone."

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NTNS Chapters 4-5 Facilitation by E. Crowe and K. Tiller

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Instructions: Copy/paste your question in the comments. Answer your question. Prepare to discuss.

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Rivera-Servera’s research focuses on contemporary performance with special emphasis on the ways categories of race, gender and sexuality are negotiated in the process of (im)migration.

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Indiana county councilman comes out as woman of color by Jasmine Minor (2023)

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Indiana county councilman comes out as woman of color by Jasmine Minor (2023)

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WISH-TV | Indianapolis News | Indiana Weather | Indiana Traffic

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MUNCIE, Ind. (WISH) - In a recent Facebook post, Delaware County Councilman Ryan Webb announced he now identifies as a Black woman. He clarified with I-Team 8 he identifies as an American Indian woman.

While Webb has received some support, he says he's been facing backlash, including violent threats.

"I'm hoping that this individual is not making a mockery of what it means to be more in a marginalized community, but I have a feeling that that's exactly what is happening," said Dana Black, political strategist and host of the " Turn Left " podcast.

Webb declined an interview but gave this statement to I-Team 8:

"Our family has been receiving violent threats throughout the day from intolerant liberals who refuse to accept my decision to live my life however I choose. I don't really see how an interview will improve the situation.

"It is unfortunate, but a group called Indiana Progressives has decided to organize a hate and harassment campaign against me and my family by publishing my address and encouraging people to unlawfully congregate at my home. You can read their comments on my public post. I have to look out for the safety of my family, including our 6 children. There are people with serious mental health issues encouraging people who are unwelcome to come to my home, so I think it's best to politely decline your on-camera interview.

"It is unfortunate that I cannot simply be given the same space and respect to explore my identity that so many of those targeting me demand for themselves. I have announced my position and that has not changed. I do not need anyone to approve or validate who I am for me to live my life the way I choose. I don't feel like an on-camera interview is necessary or warranted. I'm simply living my life without concern for what others may think about my own personal decisions.

"I have recently decided to live my life however I choose to identify which happens to be as a woman of color. My American Indian heritage is not up for debate, although many would like it to be. It's possible I may change my mind down the road. The process of identity exploration is complex and often times at the end of our personal journey we end right back where we started.

"I hope that in the future those asking for tolerance and understanding are willing to give it in return and not just to those who they feel is worthy of it. Nobody has the authority to validate or invalidate any individual who chooses to identify a certain way.
Delaware County Councilman Ryan Webb

Webb, a Republican, said in his Facebook post, "To avoid confusion, everyone can continue to address me as Ryan or as Councilman Webb. I will also retain my preferred pronouns of he/him, however, this will in no way diminish my true identity as a woman of color."

"Who wouldn't want to be a Black woman? But in reality, when you're taking up space that should be for Black women, that is problematic," Black said. "I think he's a nonfactor. There are real issues that people need to be focusing on, policies that are going to impact lives. Unless he's writing a policy that is going to harm communities, that shouldn't be our focus."

I-Team 8 has reached out to the Indiana Progressives organization for a response to the negative comments toward Webb, but the organization was unable to be reached.

This story has been updated to correct Webb's political party.

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Indiana county councilman comes out as woman of color

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MUNCIE, Ind. (WISH) - In a recent Facebook post, Delaware County Councilman Ryan Webb announced he now identifies as a Black woman. He clarified with I-Team 8 he identifies as an American Indian woman. While Webb has received some support, he says he's been facing backlash, including violent threats.

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Plot summary, “Trouble on Triton” by Samuel R. Delany in 4 Minutes - Book Review

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Michel Foucault, “Professor of the History of Systems of Thought” was a French philosopher, social theorist and historian of ideas.

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Michel Foucault was a French philosopher, social theorist and historian of ideas. He held a chair at the Collège de France with the title History of Sys...

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Snorton is a cultural theorist who focuses on racial, sexual and transgender histories and cultural productions.

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Foucault: WTF? An introduction to Foucault, Power, and Knowledge 

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Foucault: WTF? An introduction to Foucault, Power, and Knowledge 

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Foucault: WTF? An Introduction to Foucault, Power and Knowledge

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C. Riley Snorton, Professor of English Language and Literature, is jointly appointed in the department and the Center for Gender and Sexuality Studies. Snorton is a cultural theorist who focuses on racial, sexual and transgender histories and cultural productions. He is the author of Nobody Is Supposed to Know: Black Sexuality on the Down Low (University of Minnesota Press, 2014) and Black on Both Sides: A Racial History of Trans Identity (University of Minnesota Press, 2017), winner of the John Boswell Prize from the American Historical Association, the William Sanders Scarborough Prize from the Modern Language Association, the Lambda Literary Award for Transgender Nonfiction, the Sylvia Rivera Award in Transgender Studies from the Center for Lesbian and Gay Studies, and an honorable mention from the American Library Association Stonewall Book Award Committee. Snorton is also the co-editor of Saturation: Race, Art and the Circulation of Value (MIT Press/New Museum, 2020).

Snorton's next monograph, tentatively titled Mud: Ecologies of Racial Meaning examines the constitutive presence of swamps to racial practices and formations in the Americas. Currently, he is coediting The Flesh of the Matter: A Hortense Spillers Reader (forthcoming). He is the co-editor of GLQ: A Journal of Gay and Lesbian Studies(Duke University Press). He has also coedited several special issues of journals, including "Blackness" for Transgender Studies Quarterly (2017), "The Queerness of Hip Hop / the Hip Hop of Queerness" for Palimpsest: A Journal on Women, Gender, and the Black International (2013), and "Media Reform" for the International Journal of Communication.

Snorton has been a recipient of a National Endowment for the Humanities fellowship at the New York Public Library's Schomburg Center for Research in Black Culture, an Andrew W. Mellon postdoctoral fellowship at Pomona College, and two fellowships at Harvard's W.E.B. Du Bois Institute for African and African American Research. He received his PhD from the University of Pennsylvania Annenberg School for Communication with graduate certificates in Africana studies and women, gender, and sexuality studies.

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C. Riley Snorton, Professor of English Language and Literature, is jointly appointed in the department and the Center for Gender and Sexuality Studies. Snorton is a cultural theorist who focuses on racial, sexual and transgender histories and cultural productions.

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NYU Global Scholars & Innovators: A Conversation with C. Riley Snorton 5/31/2021

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NYU Global Scholars & Innovators: A Conversation with C. Riley Snorton 5/31/2021

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NYU Global Scholars & Innovators: A Conversation with C. Riley Snorton

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After Pretending to Be Black, Rachel Dolezal Opens Up About Life 6 Years Later

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After Pretending to Be Black, Rachel Dolezal Opens Up About Life 6 Years Later

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After Pretending to Be Black, Rachel Dolezal Opens Up About Life 6 Years Later

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Black on Both Sides: A Racial History of Trans Identity (2017) by C. Riley Snorton 

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Black on Both Sides: A Racial History of Trans Identity (2017) by C. Riley Snorton 

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Black on Both Sides: A Racial History of Trans Identity

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Black on Both Sides: A Racial History of Trans Identity [Snorton, C. Riley] on Amazon.com. *FREE* shipping on qualifying offers. Black on Both Sides: A Racial History of Trans Identity

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Nobody Is Supposed to Know: Black Sexuality on the Down Low (2014) by C. Riley Snorton

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Nobody Is Supposed to Know: Black Sexuality on the Down Low (2014) by C. Riley Snorton

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Nobody Is Supposed to Know: Black Sexuality on the Down Low

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Nobody Is Supposed to Know: Black Sexuality on the Down Low [Snorton, C. Riley] on Amazon.com. *FREE* shipping on qualifying offers. Nobody Is Supposed to Know: Black Sexuality on the Down Low

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A Sense of Wonder: Samuel R. Delany, Race, Identity, and Difference (2004) by Jeffrey Allen Tucker

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A Sense of Wonder: Samuel R. Delany, Race, Identity, and Difference (2004) by Jeffrey Allen Tucker

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A Sense of Wonder: Samuel R. Delany, Race, Identity, and Difference

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A Sense of Wonder: Samuel R. Delany, Race, Identity, and Difference [Tucker, Jeffrey Allen] on Amazon.com. *FREE* shipping on qualifying offers. A Sense of Wonder: Samuel R. Delany, Race, Identity, and Difference

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College of Fine Arts - University of Texas at Austin

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First student to graduate from the Performance as Public Practice doctoral program in the Department of Theatre and Dance.

Born and raised in San Juan, Puerto Rico.

Interdisciplinary scholar in the arts with a focus on creative ethnography, new work development in performance and other ephemeral art forms, and Black and Latinx arts and cultures in North America and the Caribbean.

Dr. Ramón H. Rivera-Servera is Dean and Professor in the College of Fine Arts at The University of Texas at Austin.

For over 20 years, Ramón H. Rivera-Servera has been a scholar focused on the ways the arts contribute to social transformation-from the emergence of collective identities and politics facilitated by media and performance cultures to the activation of art-based methodologies to address moments of collective crisis. He has produced award-winning scholarship, developed curatorial and arts development practices and platforms and advanced a significant portfolio of externally funded practice-based projects focused on the ways the arts can help us become a more intentionally collaborative and ethical society. Rivera-Servera has been specifically focused on how the arts generated from queer Latinx, Caribbean, Mexican and Afrodiasporic contexts across North America advance critical knowledges that build and sustain community through creative practice.

Rivera-Servera's research focuses on contemporary performance with special emphasis on the ways categories of race, gender and sexuality are negotiated in the process of (im)migration. His work documents a wide array of performance practices ranging from theatre and concert dance to social dance, fashion and speech. His teaching ranges from seminar courses on Latina/o and queer performance, sound and movement studies and visual cultural studies to workshop courses on social art practices, the performances of non-fiction, ethnographic research methods and performance art.

He is author of Performing Queer Latinidad: Dance, Sexuality, Politics (University of Michigan Press, 2012), a study of the role performance played in the development of Latina/o queer publics in the United States from the mid-1990s to the early 2000s. The book received the 2013 Lambda Literary Foundation Book Award (LAMMY) in the LGBT Studies, the 2013 Book Award from the Latino Studies Section of the Latin American Studies Association, the 2013 Outstanding Publication Award from the Congress on Research in Dance, the 2013 Honorable Mention for Best Book from the Association of Latino and Latina Anthropologists and a Special Citation for the 2012 de la Torre Bueno Book Prize in Dance Studies from the Society of Dance History Scholars.

Along with the pursuit of scholarship and creative practice, Rivera-Servera has advanced transformational change in the arts, especially around issues of equity and inclusion. Beginning with the co-founding of the Latinx Theatre and Performance Studies Focus Group at the Association for Theatre in Higher Education (now the Latinx, Indigenous and Americas Focus Group) and including the creation of two arts incubation platforms-the Performance in the Borderlands Project at Arizona State University and the Puerto Rican Arts Initiative at Northwestern University-he has worked to advance the artistic practices of communities not historically embraced in the national art scenes of the United States. He is associate editor of the Triangulations book series on LGBTQ drama, theatre, dance and performance studies at The University of Michigan Press.

He is the first student to graduate from the doctoral program in Performance as Public Practice (formerly Theatre History and Criticism) at The University of Texas at Austin, where he also completed a doctoral portfolio in Mexican American Studies. Prior to his appointment as dean at the College of Fine Arts, he directed one of the leading doctoral programs and an interdisciplinary graduate cluster in performance studies; chaired two of five departments in Northwestern University's School of Communication (Department of Performance Studies and Department of Theatre); served on the governing boards of three different academic programs in the interdisciplinary humanities at the Weinberg College of Arts and Sciences (Latinx Studies, American Studies, Gender and Sexuality Studies); and worked on the administrative committees of the School of Communication and the Graduate School.

His leadership service to the arts includes board service to organizations invested in advancing more inclusive institutional and industry cultures. He's served on the board of the National Association for Latino Arts and Culture, the largest funding and advocacy organization devoted to the support and promotion of Latinx arts in the United States, and the advisory board of OpenTV, a digital film and media production platform invested in producing the work of underrepresented communities and networking them into distribution platforms.

Major Publications

Queer Nightlife (University of Michigan Press, 2021) with Kemi Adeyemi and Kareem Khubchandani

Blacktino Queer Performance (Duke University Press, 2016) with E. Patrick Johnson.

solo/black/woman: scripts, essays, and interviews (Northwestern University Press, 2013) with E. Patrick Johnson.

Festival Latino: Six Plays from the Goodman Theatre Festival (Northwestern University Press, 2013) with Henry Godinez.

Performance in the Borderlands (Palgrave-Macmillan, Performance Interventions Series, 2011) with Harvey Young.

Performing Queer Latinidad: Dance, Sexuality, Politics (University of Michigan Press, 2012),

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Ramón H. Rivera-Servera | College of Fine Arts - The University of Texas at Austin

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First student to graduate from the Performance as Public Practice doctoral program in the Department of Theatre and Dance. Born and raised in San Juan, Puerto Rico. Interdisciplinary scholar in the arts with a focus on creative ethnography, new work development in performance and other ephemeral art forms, and Black and Latinx arts and cultures in North America and the Caribbean.

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Judith Butler Gender Trouble: Feminism and the Subversion of Identity (1990) pdf

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Judith Butler Gender Trouble: Feminism and the Subversion of Identity (1990) pdf

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Exhibiting Latinidad: New Choreographies of the USAmerican Museum-Dance Colloquium 4/19/2016 Ramon Rivera-Servera, Northwestern University

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Exhibiting Latinidad: New Choreographies of the USAmerican Museum-Dance Colloquium 4/19/2016 Ramon Rivera-Servera, Northwestern University

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Exhibiting Latinidad: New Choreographies of the USAmerican Museum

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Performing Queer Latinidad: Dance, Sexuality, Politics (Triangulations: Lesbian/Gay/Queer Theater/Drama/Performance), (2012) by Ramon H. Rivera-servera

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Performing Queer Latinidad: Dance, Sexuality, Politics (Triangulations: Lesbian/Gay/Queer Theater/Drama/Performance), (2012) by Ramon H. Rivera-servera

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Performing Queer Latinidad: Dance, Sexuality, Politics (Triangulations: Lesbian/Gay/Queer Theater/Drama/Performance) [Ramon H. Rivera-servera] on Amazon.com. *FREE* shipping on qualifying offers. Performing Queer Latinidad: Dance, Sexuality, Politics (Triangulations: Lesbian/Gay/Queer Theater/Drama/…

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Daddy Yankee - Gasolina (Video Official)

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Daddy Yankee - Gasolina (Video Official)

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Queer Nightlife (Triangulations: Lesbian/Gay/Queer Theater/Drama/Performance) (2021) by Kemi Adeyemi, Kareem Khubchandani, Ramon Rivera-Servera

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Queer Nightlife (Triangulations: Lesbian/Gay/Queer Theater/Drama/Performance) (2021) by Kemi Adeyemi, Kareem Khubchandani, Ramon Rivera-Servera

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How to Dance Reggaeton Co-authored by Yolanda Thomas (2022)

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How to Dance Reggaeton Co-authored by Yolanda Thomas (2022)

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Reggaeton is a type of late 1990s dance that began in Puerto Rico. It’s strongly influenced by Latin American, Caribbean, and hip hop music, and this fun, sexy, free-spirited style of dance is popular in nightclubs. To start dancing…

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Appropriation and Appreciation: What’s the Difference? Ashley Wells (2021)

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Appropriation and Appreciation: What’s the Difference? Ashley Wells (2021)

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Photo by Kevin Tachman via Vogue.

Ethnic hairstyles. Sports mascots. Runway fashion. We've all seen examples of cultural appropriation. Yet, the difference between cultural appropriation and appreciation is not always clear. Think of cultural appropriation as the "selecting of certain aspects of a culture, and ignoring their original significance." ¹ In March 2018, the Oxford English Dictionary defined cultural appropriation as: "The unacknowledged or inappropriate adoption of the practices, customs, or aesthetics of one social or ethnic group by members of another (typically dominant) community or society." ²

Social media, print media, and television programs can inspire us to appreciate the beauty and uniqueness of people from different backgrounds. Appreciating different cultures and traditions is encouraged with some caution-culture is not a hobby or a collectible item, it is a meaningful part of life, identity, and community. To start appreciating a culture different from your own, begin with good intentions and learn about the culture. This involves avoiding the temptation to assign new meaning to "cultural markers (such as food, clothing, or physical appearance)." ³

Context is critical because it allows us to determine if the intention behind adopting an aspect of a culture is meaningful. While learning about a cultural activity, event, meal, garb, or other cultural aspects from a person within the culture, who enthusiastically agrees to teach you, is a great way to connect and appreciate a culture, buying or using iterations of cultural items (like fast-fashion clothing, furniture, housewares, Halloween costumes, etc.) that give no credit or compensation to the original creator(s) is a form of appropriation. Here is a more specific example:

Likewise, feather headdresses are all the rage at music festivals. But these are tribal symbols of spirituality and status that don't have anything to do with these festivals. It's not that it's off-limits to wear accessories from aboriginal cultures, but context is critical. Does the context of Coachella have anything to do with the culture you're borrowing from? If not, then maybe you shouldn't be wearing that particular accessory. For this reason, some music festival organizers have prohibited feather headdresses. ⁴

Look for obvious context clues. Were you invited to a cultural event and asked to wear traditional clothing? Or did you notice that a culturally inspired style is trending and decide to wear that trendy outfit on your next night out? Appreciating culture often involves community, connection, and learning, whereas appropriation is typically an individual choice influenced by popular media.

So, what are some ways to celebrate a culture without exploiting it? Start with these basic tips:

1. Examine your own culture and beliefs. Knowing your own culture is one of the best ways to understand and appreciate other cultures.⁵

2. Recognize and embrace cultural differences.⁶ Allow these differences to spark healthy dialogue.

3. Refrain from using sacred artifacts or symbols from another culture as an accessory.⁷

4. Ask yourself why. Ensure your intentions are sincere and genuine.

5. Be an ally! Engage in important conversations and help others learn about cultural appropriation.

Sources

1. https://attheu.utah.edu

2. https://public.oed.com

3. https://race-and-social-justice-review.law.miami.edu

4. https://www.huffpost.com

5. https://www.unifrog.org

6. https://www.unifrog.org

7. http://affinitymagazine.us

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Appropriation and Appreciation: What's the Difference?

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Photo by Kevin Tachman via Vogue. Ethnic hairstyles. Sports mascots. Runway fashion. We've all seen examples of cultural appropriation. Yet, the difference between cultural appropriation and appreciation is not always clear. Think of cultural appropriation as the "selecting of certain aspects of a culture, and ignoring their original significance."

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Does fluidity create an erasure of important history?

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Does fluidity create an erasure of important history?

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I do not think fluidity in an of itself creates erasure of important history. It is the subjugation of fluid responses to socialized ways of being that creates oppression.