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Brooklyn Museum. (n.d.). Binder. Retrieved November 7, 2022, from https://www.brooklynmuseum.org/opencollection/objects/224731

Collymore, N. (2018, August 7). Contemporaryand.  Fearless Bodies and Identities in Elle Pérez’ Photography https://amlatina.contemporaryand.com/editorial/elle-perez-photography/

Goldstein, C. (2022, April 21). ‘They’re All Made From Really Strong Relationships’: Watch Elle Pérez Discuss the Emotional Alchemy of Their Tender Photographs. Artnet News. https://news.artnet.com/art-world/elle-perez-art21-venice-2102956

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Kritiek

BE

persoonlijke criteria opstellen op werk

wanneer is een werk geslaagd, hoe kun je een werk verbeteren?

hoe meet je een performance aan een installatie of schilderijen?

afstand nemen van het werk. kijk vanuit andere visies?

plan, uitvoering, ervaring (jou en publiek), reflectie (beter/anders), opnieuw?

KT

structuur opstellen.

Orden de werken volgens de begrippen intersectionaliteit, performativiteit en het lichaam. Deelvragen expliciet benoemen. “adhv de vraag… kijken we naar..”

De probleemstelling van KT is netjes geformuleerd, maar focust op het hoe en niet op het waarom= een inventariserende vraag.

Een cultuurhistorische context en/of theoretische kadering omtrent de hedendaagse belangstelling voor het lichaam en de relatie met genderstudies.

Kies een enkele methode.

In beeldanalyses lopen beschrijvingen en interpretaties door elkaar heen en de APA notatie is niet correct; je hoeft alleen in de tekst zelf te verwijzen, het gebruik van voetnoten is ten overvloede.

Wat kan het nogmeer zijn?

iconografisch. zien, betekenisvolle elementen, koppelen aan context (bronnen). Meerdere betekenissen, meerdere mensen.

Emancipatie theorieën en hun opkomst (bidoux, feministen (golf 2 en 3) emanciperen van meerdere groepen) paarse lens (betekenis en wat die is)

Ook lichamelijkheid vanuit jaren 60 feminisme

KE

deelvragen implementeren.

nut van bewustzijn beschrijven? bron bij? wanneer is voor mij dat geslaagd? Wanneer weet je dat dat vergroot is? is dat wel te meten, als het niet te meten is? is een veilige omgeving niet al het hoogst haalbare? krijg je het bewustzijn niet kado als die omgeving al lukt? (Voorwaarden scheppen, kwaliteit van het gesprek bewaken)

beslissen wel of geen beschouwings-modellen. begin ermee, wat mis ik erin? bewijzen vanuit kunsttheorie, blijft slechts instrumenteel.

Laat zien hoe het coöperatief debat werkt. concreet. (bij het Vml langs?)

hoe kom je tot een veilige omgeving creëren? locatie weglaten. hoe vul je die in met een groep. Deelvraag. (hoe andere mensen, buiten de community een goed gesprek erover houden?)

Hou het binnen de kunstvakken, anders vraag je veel van andere docenten.

Wat maakt het nodig bij kunst, omdat je het dus bij andere vakken wel kunt.

Wat is de informatie, ben ik het eens met de informatie, hoe werkt dat in de praktijk?

Duidelijker aangeven in alinea’s om gescheiden te houden wat mening en wat feit is, kopjes of blokjes of whatever.

Tekst (Bron) .punt

Deelvragen

Hoe spelen kunstenaars met de perceptie van het lichaam binnen de thematiek gender?

Als men een combinatie van benen en lange haren kan toewijzen aan een vrouw, wat betekenen deze termen vrouw en man dan nog?

Wat is een man die zich kleedt, gedraagt en uit als vrouw? Wat is een vrouw die zich kleedt gedraagt en uit als man?

Hoe kan je via kunst het bewustzijn van verschillende visies op gender vergroten?

Kan gender objectief worden bekeken als met het buiten diens intersectionaliteit bekijkt?

Hoe kan men het spectrum van mensen verbreden binnen de genderkwestie?

Wat brengt het verbreden van het zichtveld van mensen teweeg?

Waarom is het zo lastig om mensen hun visie te verbreden?

Wat kan kunst betekenen voor de genderkwestie?

Hoe kan het beschouwen en bespreken van een performance het bewustzijn t.o.v. visies op gender vergroten bij leerlingen in de bovenbouw van HAVO/VWO?

handleiding maken voor het bekijken / bespreken van performance. andere performance.

belangrijk in gesprek met. tegenover de modellen en straightforwardness zetten.

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Hattenstone, S. (2019, 11 oktober). Grayson Perry: ‘Just because you don’t have a dress on doesn’t stop you being a tranny’. The Guardian. https://www.theguardian.com/artanddesign/2014/oct/04/grayson-perry-dress-tranny-art-who-are-you-tv

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Robyn van Gennip afstudeeronderzoek 2023

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Maria, S. (2020, 18 september). Home. My Own Gender. https://myowngender.com/

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Maria, S. (2020, 18 september). Home. My Own Gender. https://myowngender.com/

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#MYOWNGENDER by Sevilay Maria explores the extensive grey zone that exists between man and woman. Retelling the stories of those who defy society’s gender spectrum with every form they fill out and every bathroom visit, #MYOWNGENDER captures all the nuances of gender in photography, audio, video and text.

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Mars, K. (2020, 24 juli). Kay Mars. Engaged. Geraadpleegd op 14 december 2021, van https://engagedscholarshipnarrativesofchange.org/blog/45-art-for-change/100-art-for-change-labyeeka-ya-hussein-by-mala-badi

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Engaged Scholarship Narratives of Change

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¨Labyeeka Ya Hussein" (¨Oh Hussein¨) is a live performance incorporating painting, dance, and music from Morocco, that explores the struggle of Muslim persons with their bodies, genders and faiths. The story piece by trans non binary Shia Muslims expresses the faith and feeling of their queerness in the struggle and resistance of Ahlu Albayeet. It is a way to look for liberation through the lens of an inherited Islam.

Labyeeka was performed in WUSS 3000 X QULTUR , a 'come together to reclaim a Queer space for thoughts and expression with drag shows, voguing, performance arts and installations' as part of "Queer and Now: From Stonewall to Queertopia", a festival organized by Beyond Color and KammerQueers. In the beginning of the video GodXXX Noirphiles (Adrian Marie Blount) who hosted the evening introduces the performance. All credits and further information can be found here.
A conversation:
Mala: I did kind of political performances about Palestine, about queerness, about being POC, about white supremacy, white women, white feminism. You know, these topics that interest me and I have things to say about. So I make it as performances.

Fabian: Could you say a bit about that?

Mala: Like things I want to change. Like, things en francais attaché, I'm attached to. I'm not going to do ' de L'art '. Art you don't understand anything about. Like not: 'This is art and you have to respect this because it's art.' I don't give a shit about these things that make no sense. I am not that kind of person who is very glad to say just anything artistic. I don't like it. It's art for doing art... You have everything and you give us nothing. It's just like white kids spinning there. So this is not my art and I don't consider myself as an artist like this. But people don't like this.

Fabian: You don't consider yourself an artist?

Mala: Yes, sometimes, but I have a lot of judgment on artists because I don't want to be an artist like that. I start to say that I'm an artist, but it was not really my goal. In Morocco we have collective arts. It's everyone dancing or everyone making art. The artist for us is who we saw on television. But we are artists. I learned to dance, I learned to do a lot of things. I was too young and I didn't have art education or something. But I say this because I feel super oppressed. When I see all these opportunities given to all these people and they don't really give me anything. For my situation as someone who comes from the bottom of the Dutch society as a refugee, as trans, as a person of color as very poor, etc. So what are you looking for? What are you talking about? What is going on here? Others have lots of opportunities, they go to big theaters, they go to big museums and whatever. They come from big schools but what the fuck, what are you doing? So I'm starting to do 'traumas art'. The art where I share my traumas. And I'm sharing my political reality. My political history. So I work on topics of queerness, queerness with oppression, with Islam, with being a person of color, with traveling. I use art to transfer myself as queer about colonialism, about colonial sex work, about capitalism. I present my art in 15 minutes, but people do not sleep at night. They will think about my performance for one or two months.

Fabian: And what does that do for you?

Mala: I like it. I love it. It's a very beautiful feeling. Actually, I start to work on my art like two years ago. Like to sit down and write performances. I'm also a writer of poems. And I started working on my performances two years ago by reading books, you know? I go to the bar, to the OBA to read books to have a view on how to make my art better or clearer. My performances are not very complicated. I'm not doing abstract things. But I have something to say. I say it and leave. It's another form of talking. And this gives me a lot of pleasure. When I finish my performance, I just want to be alone and they say, Mala you did it. It's beautiful.

Fabian: And do you have something your most proud of?

Mala: I am proud of all my performances. And I'm most proud of my last performance, because it traumatized me a lot. It took a lot of energy and people saw it and reacted not necessarily positive, but people cried. People were silent for a long time. You can see the effect of your performance if it's not an easy performance or whatever. It was very honest to see. And I had the courage to work with all my traumas and fear. I did this performance, it was too hard for me but I did it. And yeah, it made a point. I'm not proud, but I love it. I love it because it also makes me more confident about myself. I'm not doing something just to do it, I do things with a message and with quality. It gives me some respect from people.
Voice-over in 'Labyeeka Ya Hussein':
Doubting and questioning our faith, first as Muslims and then as queers, is a way to express the intersectionality of the oppressions based on our religious identities and ideologies.

People have always insisted on asking me, no shame, are you really Muslim and at the same time you're a man?

Are you really Muslim while wearing those clothes?

Don't you think you are contradicting yourself?

Are you really Muslim and practicing feminism? Are you really Muslim and queer?

How can you be Muslim wearing those faggoty feminine clothes?

Islam is very real and they will throw you down the cliff if they found out you are queer.

I know your truth. You are not Muslim by heart by taking Islam as a trend.

You contradict yourself being queer and Muslim. Same as Islam and feminism.

Did you really read the Quran well? Because the text is clear.

Why are you Shia not Suna? What did you find in Shi'ism and not in Sunism? They are alike?

By the way, few of them will ask me to explain them my Islam.

What is my definition to Islam? What is the tajdid, renovation, innovation I propose?

What queer, Islamic, feminism, revolution I'm talking about?

But my faith is to Allah Azza Wa Jall. And my belief is a feminist Shia belief.

I come from all creatures of Allah.

And there I learn my Imaan based on how Allah enlightened me.

For me the Shi is a way queers and feminists, cis and trans, become the renovators in din.

The revolutionists in understanding the meaning of the din.

And the renovators and the jihad against patriarchy, capitalism, colonialism, racism, religious

supremacy and arrogance in din.

Anyway, Allahu Akbar.

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Art for Change - Labyeeka Ya Hussein (By Mala Badi)

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¨Labyeeka Ya Hussein" (¨Oh Hussein¨) is a live performance incorporating painting, dance, and music from Morocco, that explores the struggle of Muslim persons with their bodies, genders and faiths. The story piece by trans non binary Shia Muslims expresses the faith and feeling of their queerness in the struggle and resistance of Ahlu Albayeet.

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onderzoeksportfolio Robyn van Gennip (1)

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Haanstra, F. (2001). De Hollandse schoolkunst: mogelijkheden en beperkingen van authentieke kunst-educatie. Oratie. Utrecht: Cultuurnetwerk Nederland. 

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Haanstra, F. (2001). De Hollandse schoolkunst: mogelijkheden en beperkingen van authentieke kunst-educatie. Oratie. Utrecht: Cultuurnetwerk Nederland. 

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De uitgangspunten van authentieke kunsteducatie worden omschreven aan

de hand van vier karakteristieken: kennis wordt geconstrueerd in complexe

taaksituaties die ruimte bieden voor eigen initiatief; het onderwijs gaat in

op de cultuur van de leerling; leertaken zijn afgeleid van activiteiten die professionals in de kunsten verrichten; en onderlinge samenwerking en communicatie spelen een prominente rol bij het leren (Haanstra, 2001).

Informele kunstproductie is sterk productgericht, maar omdat deelnemers

vaak lange tijd trouw blijven aan een bepaald interessedomein kunnen individuele producties gezien worden als onderdelen van een doorlopend artistiek proces. Daarbij vormen spel, simulatie, kopiëren, samplen en remixen belangrijke experimentele productiemethodes.

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why how what
visie als Kunsteducator
reflectie (BL!)
prototype

verbinden van debat, theater, beeldend

performance als prototype en eindprestatie. hoe zet je leerlingen in, niet performance wel debat ivm durf.

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-gender thematiek van alle tijden, diep menselijk terwijl dit nu pas speelt nu een discussie is

-beginnen met performances, het moet genuanceerd worden, het moet bekend worden

-discour - belangrijkste vertegenwoordigers (kort kenmerkend)

- uitgangspunt = theoretisch kader - lens over de werken)

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Het socratische gesprek lijkt een beetje op het coöperatieve gesprek. Maar er zijn duidelijke verschillen.

Om te beginnen verschilt de insteek. Wie kiest voor een socratisch gesprek is het te doen om de analyse en evaluatie van een voorbije situatie. Wie kiest voor een coöperatief gesprek, wil zich met anderen oriënteren in een probleemveld.

In het socratische gesprek gaat het er immers om argumenten en argumentatiestructuren helder te krijgen. De deelnemers aan het coöperatieve gesprek willen de 'wereld van de vraag' zo volledig mogelijk in beeld brengen. Dat doen ze door samen te onderzoeken welke drijfveren er spelen (in die wereld). De vraag wordt op die manier een bewegelijke kwestie en is niet langer een statisch gegeven.

In het verlengde daarvan maken de deelnemers van het socratische gesprek zich sterk om (de eigen) beweringen te onderbouwen, die van coöperatieve gesprek om die beweringen te bevragen.

Ten slotte leunt het coöperatieve gesprek minder op de gespreksleider. Daardoor verliest het aan analytische kracht, maar wint het dankzij zijn coöperativiteit aan zeggingskracht.

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Wat is coöperatief denken? - Coöperatief denken

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Het socratische gesprek lijkt een beetje op het coöperatieve gesprek. Maar er zijn duidelijke verschillen. Om te beginnen verschilt de insteek. Wie kiest voor een socratisch gesprek is het te doen om de analyse en evaluatie van een voorbije situatie. Wie kiest voor een coöperatief gesprek, wil zich met anderen oriënteren in een probleemveld.

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Vincent B. Leitch and al. The Norton Anthology of Theory and criticism, 2nd ed. Norton & Company. 2010, p. 2552

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Kuznicki, J. (2017, 6 juni). Gender as Art. Liberal currrents. Geraadpleegd op 13 februari 2022, van https://www.liberalcurrents.com/gender-as-art/

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Gender is both strange and hard to think about. Anyone who tells you otherwise probably hasn't given it much thought. In this essay I will describe two common theories of gender. I will criticize them both. Then I will use the more interesting bits of each to build something that I don't think I've seen before: a theory of gender that is neither essentialist nor constructivist, but something else entirely - a liberal and individualist account of gender.
Essentialism
Once a person's gender essence has been apprehended, it is often held that this essence entails ethical obligations: If you are a girl, you should act like one. This means bringing non-essential attributes into conformity: Girl toys should be for girls; boy toys should be for boys. Essence gives commands.

Essence is usually held to correlate to an observable (or an assumed) attribute: maybe to chromosomes, or to genitalia, or to the determination made by a doctor at the child's birth. Whatever the case may be, the essentialist will insist that this attribute reveals the gender. real attribute shows the essence, and as we have already observed, essence gives commands. This

Like left and right, masculine and feminine are generally held to be opposites; a single thing can't be both truly masculine truly and feminine. Now, androgyny is rather obviously possible in the real world, but an essentialist will often hold it to be suspect, because only one essence can hold true for any one person. Indeed, androgyny can even raise questions about someone's humanity: In pop culture and in science fiction, the androgynous has a touch of the alien to it, and it is a short step from there to much uglier forms of dehumanization. always

Thus it is usually thought best for gender-ambiguous people to become more conforming with their real self. . In the language of essentialism, being true to one's Deviations are likened to deception, and they may be subject to remarkably severe punitive violence gender can be a project much like telling the truth itself, albeit with penalties that far exceed those of ordinary lying. real

The assertion that a transgender man is still really a woman - still female deep down, any transformations notwithstanding - is one example of an essentialist claim. A gender essence has been claimed to exist in the person; it is commonly thought really , in this case, to spring from either chromosomes or from the medical determination made at birth. All the rest follows from this, and undergoing gender transition is then held to be improper.

Consider that to make this claim, one must identify a gender essence. The essence corresponds to an observable attribute, which in this case is the self-image or self-understanding of the individual in question. Yet again, this way of thinking holds that non-essential attributes should be brought into conformity. Essence gives commands, only here the process begins with a different identifying trait and reaches a different gender result.

These two positions - about which I personally have passed no normative judgments so far - are congruent when we look at the narrow question of how they build their moral claims: A part of the whole is taken to be more real, and more true, and more demanding of our moral allegiance, and thus the matter is settled.

Now, if I were forced to choose between these two forms of essentialism, I would not hesitate: I would side, always and strongly, with the trans-affirming variety of essentialism. I do this not because I accept essentialism as a valid moral method, but because among the various essentialist views, I find trans-affirming essentialism to be the most humane and the one that best conduces to dignity for all. I believe that there is something deeply human and deeply wonderful about individuals becoming the authors of their own destiny. If for some people self-authorship includes "I am a woman," then I say: More power to you. Be your real self, and don't let anything stand in your way.

In short, if we must be essentialists, then let us err in the direction of too much deference to the individual. It's the only decent thing to do.
Constructivism
In the previous section, I made heavy use of the words "real" and "really." They are especially important words for what comes next, where I will describe how constructivism looks at what's basically the same territory.

Whenever you see the word "real" in gender talk, you're almost certainly looking at a piece of essentialism. The reality of one's real gender is more than whatever other things might be taking place adjacent to it. It doesn't matter that some other things are also "real" in the more prosaic sense of the word. The beard, the muscles, the cowboy boots, the denim - that stuff's just plain old real. The chromosomes are real real. really

There is a lot that's intuitively plausible to the idea of a really-real gender. After all, we appear pretty good at tracking something that looks a lot like it. Indeed, just about all of us can identify gender in nearly everyone and nearly everything else, without even trying. Ask a six-year-old whether dolls are meant for boys or girls, and they'll immediately tell you: Dolls are girl toys. Should you question them, you'll be told - They really really . (I've tried this.) Dolls' feminine nature is presented as an irreducible reality. And people, too, have a are gender. real , as almost every child can tell you. They really really do

But we mustn't be content with explanations that reduce to " it really is ." Such explanations amount to question begging. They reutter an assertion without so much as the pretense of an argument in support. This gets us nowhere, most noticeably when two different essentialist accounts disagree with one another.

Rather than asking a gender essentialist, young or old, to re-re-affirm his or her belief that gender is really real, we should ask ourselves instead: What work is this assertion doing?

It appears to me, and I believe to constructivists as well, that the more accurate term here might not be that a given attribute is more real, gender-wise, but rather that it is more : The speaker asserts that the individual's controlling gender is A, and not B, because the choice between A and B is observable attribute C, which supplies the only correct answer. controlled by

But which attribute controls gender, and how does it do it? How do we recognize a controlling attribute when we see it, and how do we differentiate the controlling attribute from all the other, non-controlling attributes, which may also be gendered male or female, but which do not control? How do we know that the consequences that allegedly flow from a controlling attribute are themselves correctly inferred?

This matters a lot, because whenever a non-controlling attribute changes, essentialist theories will say that the real gender hasn't changed. Indeed, of the non-controlling attributes might change, but if - for example - the chromosomes do not, then a chromosome-essentialist will say that the person in question has not all changed gender. really

The immutability of chromosomes makes an appealing target for essentialism - in part, I think, because western philosophy since Plato has always held that essences are unchanging, and chromosomes are a thing we don't know how to change yet. But defending the assertion that chromosomes control gender turns out to be difficult: "Gender just is chromosomes" begs the question yet again. Asserting a claim extra hard, with feeling, and vigor, and italics, is never enough. We want to know , and knowing why takes more than that. why

The constructivist critique of chromosome-essentialism begins by noting that it puts a remarkably heavy metaphysical burden on chromosomes. Particularly when it turns out, as we now know, that chromosomes, genitalia, and gender expression are all pretty variable, and none of them always corresponds to any of the others.

We all know that humans are usually either XX (female) or XY (male), but there are also humans that are XYY, XYYY, XO, XXX, XXY, and XXYY. None of these is strictly speaking "normal," but usually they are found in individuals who present an unambiguous set of genitalia, and who are easily classified visually as biologically male or female. Their gender expression and identity, meanwhile, can be as mutable as anyone else's.

It doesn't end there. Other animals have a variety of sex-determination systems . Meanwhile, and even within the human species, . This phenomenon is known as androgen insensitivity syndrome; it's only one part of some people have XY chromosomes but physically present as women , in which, even at the biological level, one's chromosomes don't actually control much of anything. It has even been credibly suggested that a larger complex of intersex conditions . at least five human sexual phenotypes exist, and possibly more

Now, constructivist accounts of gender are commonly and grossly misunderstood. Thus it is often heard in conservative circles that the constructivist position amounts to the following: "Gender is arbitrary; nothing about it is real. So do whatever you want. You can gender-identify as a rutabaga if that's what makes you happy."

Many constructivists, and Butler in particular, recommend the parodic subversion of gender norms as a way to find breathing room in a stifling system of gender conformity, or at least to make the authorities as uneasy as possible: If you can't beat 'em, mock 'em. Yet they are pessimistic about the prospects for authentic long-term change. In their own way, many constructivists make deeply conservative predictions about the future. Not only is gender a prison today, Butler seems to say, but gender will be a prison forever. It's for exactly this pessimism - and not for a permissive, anything-goes approach to gender - that Martha Nussbaum famously excoriated her .
Expressivism
I believe that there is something entirely real about gender, but my idea of it is far removed from both essentialism and constructivism . I find it difficult to describe without resorting to a set of extended analogies.

The first analogy I would draw is to pareidolia, the phenomenon by which humans see faces in settings where no likeness of a face was intended. We see faces in clouds, rocks, and trees, and their effect on us is impossible to deny. We even respond to them in socially appropriate ways: We laugh when the faces laugh, and we recoil when they horrify us . Evolutionary psychologists believe that pareidolia likely exists because identifying and reacting to faces has helped our ancestors (and us) to survive.

In like manner it would appear that within most of us something is continuously looking for sex , and thus for sexually identifying traits. Yet it also seems clear that this search system can light up in some unlikely places. Many languages universally apply two genders even to biologically sexless nouns ("fire" in French is masculine; "justice" is feminine). Traditional Hawai'ian culture reserved certain foods for men and denied them to women, even to the detriment of women's health. We in the modern West view skirts as inherently feminine, and we may even think that a real man who dons a skirt has wrongly disobeyed the commands of his gender essence, although apart from the social sanctions that this action may bring, it's anyone's guess how he has been harmed.

Finding sex in objectively sexless things may be a hyperexpression of an inborn identification system - a pareidolia of the sexual part of the mind. The biological function of this sexual identification system is obvious, at least when it identifies the sex of a potential mate in a way that allows an organism to reproduce. As with the pareidolia of faces, it makes good evolutionary sense that a system like this should exist, and also that it should be hypertrophic: It is much better from an evolutionary standpoint to over-identify a face, or a potential sex partner, than to do the opposite.

Humans have a powerful tendency to categorize in this and many other ways, and some degree of categorization seems necessary to rational thought. But we also tend to regard our categories as if they arose from the natural world, and as if we only passively observed them. Gender essentialism arises not because it answers to some external Platonic form that we have apprehended, but because we carry within us a subsystem that instantly - and rightly or wrongly - classifies people and things by gender. This system tells us both (1) gender is a proxy for sex and (2) it can be found in things that lack any biological sex at all, like dresses or toy guns. Gender appears to be real in these items, and we react to them as if they were gendered, but we do so because the gender classification system is real . in us

Humans also have a long history of turning our evolutionary quirks into realms of meaningful personal expression and meaningful choice. Thus our tendency to pareidolia in the ordinary sense has grown into figurative art: Because we see faces in rocks, we can also put faces rocks. Our tendency to signal using voices into - a trait we share with other animals - we have turned into language, which we have developed far beyond mere animal signaling. Alone among animals, we have built musical instruments; these stimulate our evolved tendency to read emotions into sounds. If I'm right, cultural expressions of gender also began with our evolved biology, which we have turned into a complex, symbolically laden expressive outlet.

There's a word for this: Gender is an art.

Like the visual arts, language, or music, we use gender expression to communicate in ways that are deadly serious, or that are playful, or that can track the whole range of human emotions. Like other forms of expression, gender expression is often moralized. It can be downright upsetting. It can be inconvenient, or dangerous, or - yes - oppressive. Clearly we can and ought to take steps to minimize these harmful tendencies all around, and endeavor to use and respond to gender signaling in a responsible manner. But doing so requires a fuller understanding of what gender is - neither an innate natural essence nor an artificial tyranny. When we realize that a lot of what we call gender is probably a form of social signaling that's built atop an evolved substrate - like much of the rest of our culture - it stops looking like spooky metaphysics, and it starts looking like something wonderful that we can do with the mere matter of our selves. Just as we bring expressivity and fulfillment to the evolutionary imperatives of sex, eating, and vocal signaling, we do the same with gender.

From this perspective, the essentialist account of gender can be somewhat recast as follows: "Persons with observable attribute C will do best to conform to gender B." This, however, is an empirical claim, not a metaphysical one, and in part it necessarily references the individual's own self-reported happiness. Understood as an empirical claim, it appears at least in a significant number of cases to fail. In others it may succeed. But either way an outsider observer cannot serve as the final arbitrator. Only the individual can.

Gender is also a way that we communicate information about ourselves. A desire toward gender communication is likely to some degree inborn, but as with communication in language or the visual arts, gender communication is a stepping stone toward culture. Gender uses a medium - our bodies, clothing, language, and the everyday choices we make - and an inner classification system that we all have, so as to signal to others what we think and feel about who we are, sometimes in creative ways that begin with a strict gender duality but that need not end with it. And thus humans make meanings out of everything, including clouds and trees and rocks. And skirts and beards and vaginas and penises.

All this was made clear to me several years ago when I met a non-op transman who described his gender as "Boy Scout." To which I replied: "Hey! That's my gender too!" His gender expression had been the product of a conscious transformation; mine had been more or less where I'd ended up, but we immediately became friends. That he was attracted to women, and I was attracted to men, mattered hardly at all, apart from an added subversion: the actual Boy Scouts would have rejected both of us.

Whenever an individual asserts their gender identity, they are inviting you to participate in a creative social process that they experience to be a core part of their being. This is equally true of trans and cisgender identities. In both cases, the assertion of a gender identity is an invitation to participate in the creative, pro-social deployment of a pareidolia that we all experience.

This pro-social use of our evolved psychology may appear to be severely or even fatally constrained by technology. To my mind, though, this is so much the worse for our technology, which ought to be improved. Of course some gender expressions are easy; others are difficult; still others we don't know how to do at all, at least not yet. I could sit in a more feminine way right now if I so chose. Dressing in a more feminine way would take an afternoon shopping trip. If I wanted breast implants, I'd need a few months and a large amount of money, but I could probably get it done. If I wanted a uterus, or two X chromosomes, forget it - at least for now - though in fairness many women don't have those either. In the future, though, we may be able to acquire even these, and perhaps we should try. (Then where would the essentialists be?)

Against my characterization of gender, I can imagine someone objecting as follows: You, and not the constructivists, are the one who has made gender into a matter of whim and unreality. I would answer that my account remains grounded in reality at two points: First, this expansive, creative sense of gender begins with biological sex; without affiliating nonsexual things to biological sex, our tendency to categorize here would lack all meaning. Second, the fact that we all experience gender pareidolia, and that we constantly deploy and contest the meanings that develop from it, gives even the culturally contingent and shifting parts of gender the same ontological status as the meanings of words: They are real because we have made them so.

To say - as I do - that gender is a social construct is therefore not to say that gender is a matter of arbitrary choice. Nor would I say that gender is an inescapable social prison. Like language, gender is externally constrained as to many of its features, and yet it's also full of potential for nuanced and authentic self-expression. At its best, gender expression is neither arbitrary nor totalizing, but it occupies - if we allow it - a happy middle ground.

I believe that a free society would allow individuals a wide permission to make their own choices about these matters, and it would likewise permit others to honor the choices so made, insofar as possible. This permission would take two forms: a set of substantially gender permissive laws and a concomitant ethos that held that wherever possible, gender expression was a matter to be settled by the individual doing the expressing. We are not there yet, but I think we should be.

Situating the origin of gender in human evolutionary psychology - but doing the same for all of its cultural implications - not also holds out the possibility that a liberated, non-oppressive future need not be genderless. The idea that gender itself must be overthrown in order to overthrow gender oppression arises from an analogy that has often been made between gender theory and Marxist theories of class struggle, in which the proletariat ultimately abolishes class distinctions forever. But if the account of gender explored here is at least roughly accurate, then Marxist class struggle, whether plausible in itself or not, is no longer a satisfying analogy to gender. We may say with somewhat greater confidence that a better world is possible, and that it will still largely be populated by men and women.

The exact methods to achieve this goal cannot be discussed in detail at the moment, and much in this area is probably still unclear to nearly everyone, if we are being honest. But when it's a question of how one thinks of oneself, and how one expresses oneself, the appropriate analogy is perhaps not to telling a truth that is read in the chromosomes, or read anywhere else, but rather to the censorship, or not, of a deeply held artistic vision. We do not condemn Bach because he failed to tell the truth of the songbirds.

On this view there is something not merely off the mark about warning a trans person that they're not really of the gender that they assert, or that their attempts to achieve a desired gender expression are unlikely to succeed. No: there is something preposterous about these warnings. They are rather like walking around a museum and warning people that the paintings they stare at are not people, and that they would therefore do better not to stare. In the realm of gender we are all paintings. Gender is a museum of signifiers, one where we are simultaneously the artists, the canvasses, and also the viewers. really

And yet we must admit that this analogy is not entirely correct. Gender inferences also help us to do things like find mates, signal affection, and communicate our personal identity to one another. Flights of fancy notwithstanding, sometimes we just want gender to achieve its evolutionary purpose as well. (Or a near approximation of it: As a cisgender gay man, I don't depend on gender to find romance ... with women.)

It may appear at those times that the art of gender interferes with its more practical uses. Nonconformities of this type are perhaps akin to ambiguities in the use of language, that is, to equivocation or amphiboly. (Note that these too are often a part of a deeply held authorial vision.) And yet in matters of gender the response seems horrifically out of proportion. I cannot recall the last time that someone was stabbed over an amphiboly, and whereupon thousands of defenders rushed to the stabber's side say that anyone who uses an ambiguous comma deserves to bleed to death. Without wanting to deny the coordinating purposes of gender expression, I would urge more latitude in how we police the gender system, if we must police it at all. To the considerable degree that gender is an art, gender must also be free.
Featured image is the "face on Mars" formation, from NASA.

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Gender is both strange and hard to think about. Anyone who tells you otherwise probably hasn't given it much thought. In this essay I will describe two common theories of gender. I will criticize them both.

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Ball, T. (2021, 25 januari). Butler: Gender Trouble. American Journal of French Studies. Geraadpleegd op 13 februari 2022, van https://american-journal-of-french-studies.com/butler-gender-trouble

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Ball, Tom. "Butler: Gender Trouble." American Journal of French Studies, 2021.

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Introduction

Gender Trouble: Feminism and the Subversion of Identity has been published in 1990. Butler explores the way we shape our identity through social interactions. While Simone de Beauvoir stated :'one is not born, but rather becomes, a woman' Butler's thoughts on gender could be sum up by ':'one is not born, but rather becomes, a gender'. Gender can be defined as the way we express our sexuality ; for instance the way a female intends to express her sexuality will define her gender, and this can be also applied to any human being. The emphasis Butler puts on the will, on the intention, is important as she is not only suggesting that our gender is built and not received at birth, but is also pointing out the plasticity of our gender. Since it is an extension of our intention, our gender or what we express as sexual subject, is never fixed and can change over time. This intent gives birth to a performance, seen by Butler as the moment where we decide to express our gender. Therefore life is a succession of performances. Digeser confirms that, according to Butler, there exists no natural necessity to see bodies as ordered into distinct sexes: "whatever sense of giveness or facticity we may possess about our bodies is a matter of historically sedimented practices and performances. Our pleasures, desires and pains do not emanate from a prediscursive body. Rather, it is a matter of historical contingency that we see the body as we do"[1]. It is actually related to Nietzsche's idea that there is no doer behind the deed: with Butler it is gender or sexuality that does not exist before it is performed in a social context.

The question Butler asks is: "Does being a female constitute a "natural fact" or a cultural performance, or is "naturalness" constituted through discursively constrained performative acts that produce the body through and within the categories of sex?". In other words, is our identity a given or a performance?

In order to present Gender Trouble, we need to explain what Butler consider as the source of the problem affecting the deviants, the queer: a society promoting masculine hegemony and based on phallocentrism (I). The solution, according to Butler, would be to loosen identity/categories to broaden the margins of our society (II).

I. A society that promotes masculine hegemony and based on phallocentrism

a. People participate to this promotion through their acts

First, Butler explains that the restricted boundaries of our body are due to masculine hegemony and that such a dominant culture prevents the motion, the displacing of boundaries. In other words a society based on phallocentrism curbs, limits the freedom of those who intend to remove heterosexual boundaries. Butler is here suggesting a new feminism, since the problem is not anymore the recurring inequalities that occur between men and women but the determination of who are men and who are women and the oversimplification of gender-identity implied in a masculine society.

A new feminism is proposed as the real problem seems to be a masculine hegemony that perspires through social interactions and prevents people to perform, to express freely their chosen gender. The oppression comes from the society as a whole based on the heterosexual norm, translated in daily acts and behaviors. Butler quotes Mary Douglas' Purity and danger who "suggests that the very contours of 'the body' are established through markings that seek to establish specific codes of cultural coherence. Any discourse that establishes the boundaries of the body serves the purpose of instating and naturalizing certain taboos regarding the appropriate limits, postures, and modes of exchange that define what it is that constitutes bodies" [2] (p.2544).

The heterosexual society is thus responsible for oppressing, through taboos, the deviants. It is here a major difference with traditional feminism since it is not an order between men and women that is challenged but the whole order in the society, its foundation, understood as the binary distinction between male and female. According to April de Angelis, "Liberal essentialist feminism demanded an equal representation of women legally, socially, and politically, while deconstructionists critiqued this demand as entrenching the "construct" of woman in patriarchal society, arguing that equality could never be "won" for women, since the very construction of woman was predicated on a male/female binary that would by its very nature construct woman in relation to man"[3].

Worse, according to Butler, such heterosexual society is not only instituting taboos and controlled boundaries that block queer performance but is also designating the homosexual as a " polluting person " threatening the order of the society.

b. The polluting person and the disruption of boundaries

A society based on phallocentrism promotes a heterosexual behavior but also labels homosexuals as polluting persons according to Butler. We need to understand here that through the "polluting person" Butler is trying to show that the boundaries that limit the queer performance are physical before being mental/gender-based. According to Butler, homosexuals are seen as a source of pollution related to AIDS. Indeed it is first through physical oppression, exclusion, that boundaries are maintained.

Social boundaries then reflect these physical boundaries and lead to the ban of performances. It is prominent for Butler to start at a body level to explain where the biased society begins, to then be able to state that homosexuals are discriminated at a society level, by the heterosexual norm. Body and society are two concepts intertwined in Butler's philosophy and the gender trouble starts at a body level to end up as a need to change the boundaries of the society.

Homosexuality is a gender that seems to be not allowed, physically, in a phallocentric society. Pointing out that the society as a whole has developed a heterosexual norm allows Butler to demand broader boundaries, at a body and society level alike. Butler writes: "In a sense, Simon Watney has identified the contemporary construction of "the polluting person" as the person with AIDS in his Policing Desire: AIDS, Pornography and the Media. Not only is the illness figured as the "gay disease", but throughout the media's hysterical and homophobic response to the illness there is a tactical construction of a continuity between the polluted status of the homosexual by virtue of the boundary-trespass that is homosexuality and the disease as a specific modality of homosexual pollution. That the disease is transmitted through the exchange of bodily fluids suggests within the sensationalist graphics of homophobic signifying systems the dangers that permeable bodily boundaries present to the social order as such. Douglas remarks that 'the body is a model that can stand for any bounded system. Its boundaries can represent any boundaries which are threatened or precarious'" (p.2545)[4].

We can even trace, thanks to White, how Butler sees the pervasive problem of an heterosexual society developing a gender melancholy: "in the case of sexuality, the constitutive loss of the same sex as an object of desire manifests itself in the dominant heterosexual population as a 'pervasive melancholy'. Butler would even suggest that ours is a "culture of gender melancholy", exhibiting both aggression toward gays and lesbians and an incapacity to grieve the immense loss of life from AIDS." [5] (p.175).

Furthermore, Nayak and Kehily confirm through their social study how this gender melancholy - synonym of at least an indifference regarding open boundaries needed by queer people - is actually shared in recent times by young students: "The video the teacher deployed included black and white actors and focused upon two male protagonists: one gay, the other straight. In an attempt to subvert stereotypical associations that conflate homosexuality with AIDS, the film goes on to reveal that it is the straight man that is HIV positive. However, the resistance of the young men lies in part with the powerful identifications they are making with masculine heterosexuality." [6] (p.464.).

We have now seen how difficult it is for deviants to live and build their identity, their performance in a biased, heterosexual society. We have now to look up closer, deeper, at an organic level to understand where Butler starts her investigation.

c. The inner and outer: a dialectic that excludes the deviants

The inner and outer should be understood as the boundaries of our physical body. Here lies the trouble contained in the expression "gender trouble" as Butler suggests that the correspondence between the external side and internal side of our body (our anus, as she suggests with the word 'shit') is no longer relevant.

According to Butler, our external gender is not actually a reflection of our internal gender; it is not because I have the body of a female that I have to assume I am a female in exteriority, I can be a male as long as I perform such a behavior. I can reject, as shit, my internal gender, and perform what I consider my real gender, in my exteriority; and I can repeat this performance as many times as I want. I just need to reject, as shit, my current gender, to perform another one. "What constitutes through division the 'inner' and 'outer' worlds of the subject is a border and boundary tenuously maintained for the purposes of social regulation and control. The boundary between the inner effectively becomes outer, and this excreting function becomes, as it were, the model by which other forms of identity-differentiation are accomplished. In effect, this is the mode by which Others become shit."[7] (p.2546).

The dialectic of the outer and the inner, understood as a fight at an individual level that results in a specific performance, recalls the dialectic of the Master-Slave of Hegel. The main difference is that the slave effectively dies while the Master takes control as a performative gender, until a new performance is realized, putting on stage a new master, the previous one dying as a slave. This internal struggle that results in an effective external performance is asserted by Butler in Giving an account and explained by Ruti : "there is 'no recentering of the subject without unleashing unacceptable sadism and cruelty': To remain decentered, interestingly, means to remain implicated in the death of the other and so at a distance from the unbridled cruelty.. in which the self seeks to separate from its constitutive sociality and annihilate the other." In other words, the self assertion with Butler must take place at the expense of the others."[8] (p.106)

II. How to loosen identity/categories

a. The anatomy of the performer, the gender of the performer and the gender of the performance

Butler offers a new understanding of the way we express our sexuality through the concepts of performer that can be defined as a mere individual, the gender of the performer, defined as the sexuality expressed by this individual, as a person and possibly different than its 'natural' sex. The gender of the performance is distinct from the gender of the performer though: it results that a man, whose gender is female, who identify himself as a female, could perform an activity as a male. An example could be a man, queer dancer, dressing and behaving like a female and behaving, the time of a performance, as a male. "If the anatomy of the performer is already distinct from the gender of the performer, and both of those are distinct from the gender of the performance, then the performance suggests a dissonance not only between sex and performance, but sex and gender, and gender and performance."[9] (p.2549). Such a so-called "dissonance" serves Butler's demonstration: we are not supposed to be what our body says we are, not either what we show.

This lays the foundation of the following idea: our gender/identity is a succession of performance that do not always correspond to our labelled gender, making gender a performative action in itself (gender identified vs gender expressed) and over time (gender previously expressed vs gender currently expressed).

b. Understanding that identity/gender is performative..

Our identity is not any more viewed, considered as fixed in Gender Trouble. Our identity is a fluid, not a transparent one, but a colourful fluid managed by our will and that takes different forms: "This perpetual displacement constitutes a fluidity of identities that suggests an openness to resignification and recontextualization; parodic proliferation deprives hegemonic culture and its critics of the claim to naturalized or essentialist gender identities."[10] (p.2550). This diversity contained in our changing identity/gender opposes the idea of a given identity such as in an heterosexual society where the identity given at birth is supposed to be maintained over the time. Therefore, the splintering of the identity proposed by Butler questions the way we usually form but also think about gender. The Other is supposed to acknowledge this fluidity even if he does not always share and live such process. The performativity of the gender is a paradox: it is an endless way to build an identity but also, in our opinion, an endless trouble suffered not only by the one who performs but also for the individuals who attend the performance.

c. ... and therefore cannot be assigned

The conclusion of this new feminism aiming to reverse a society supposedly based on phallocentrism and promoting masculine hegemony is that gender should be now understood as an ephemeral and elusive form of identity, a norm that is never catchable. As Butler writes: "gender is also a norm that can never be fully internalized; "the internal" is a surface signification, and gender norms are finally phantasmatic, impossible to embody. The ground of gender identity is a stylized repetition of acts through time."[11] (p.2552).

Bibliography

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 1990.

De Angelis, April. "Troubling Gender on Stage and with the Critics." Theatre Journal, vol. 62, no. 4, 2010, pp. 557-559.

Digeser, Peter. "Performativity Trouble: Postmodern Feminism and Essential Subjects." Political Research Quarterly, vol. 47, no. 3, 1994, pp. 655-673

Nayak, Anoop, and Mary Jane Kehily. "Gender Undone: Subversion, Regulation and Embodiment in the Work of Judith Butler." British Journal of Sociology of Education, vol. 27, no. 4, 2006, pp. 459-472.

Ruti, Mari. "The ethics of precarity: Judith Butler's reluctant universalism." Remains of the Social: Desiring the Post-Apartheid, edited by Maurits Van Bever Donker et al., Wits University Press, Johannesburg, 2017, pp. 92-116.

Vincent B. Leitch and al. The Norton Anthology of Theory and criticism, 2nd ed. Norton & Company. 2010

White, Stephen K. "As the World Turns: Ontology and Politics in Judith Butler." Polity, vol. 32, no. 2, 1999, pp. 155-177.

Bibliography's choice

De Angelis'research paper is a good starting point to understand the difference (and the added value) of Butler's feminism compared to traditional feminism. Digeser confirms the radical suggestion Butler offer in Gender Trouble: our gender is not natural but made up over the time through interactions with our environment and is the result of our will. Therefore, both De Angelis and Digeser are important to get a first view of Gender Trouble. Nayak and Kehily and White are then helpful when it comes to dig in Butler's philosophy and figure out a specific situation where heterosexual norms are effective (the school). In the end, Ruti is prominent to acknowledge how the deviant builds his identitythrough the dialectic 'gender of the performer/gender of the performance'.

[1] Digeser, Peter. "Performativity Trouble: Postmodern Feminism and Essential Subjects." Political Research Quarterly, vol. 47, no. 3, 1994, pp. 655-673

[2] Vincent B. Leitch and al. The Norton Anthology of Theory and criticism, 2nd ed. Norton & Company. 2010

[3] De Angelis, April. "Troubling Gender on Stage and with the Critics." Theatre Journal, vol. 62, no. 4, 2010, pp. 557-559.

[4] Vincent B. Leitch and al. The Norton Anthology of Theory and criticism, 2nd ed. Norton & Company. 2010

[5] White, Stephen K. "As the World Turns: Ontology and Politics in Judith Butler." Polity, vol. 32, no. 2, 1999, pp. 155-177.

[6] Nayak, Anoop, and Mary Jane Kehily. "Gender Undone: Subversion, Regulation and Embodiment in the Work of Judith Butler." British Journal of Sociology of Education, vol. 27, no. 4, 2006, pp. 459-472.

[7] Vincent B. Leitch and al. The Norton Anthology of Theory and criticism, 2nd ed. Norton & Company. 2010

[8] Ruti, Mari. "The ethics of precarity: Judith Butler's reluctant universalism." Remains of the Social: Desiring the Post-Apartheid, edited by Maurits Van Bever Donker et al., Wits University Press, Johannesburg, 2017, pp. 92-116.

[9] Vincent B. Leitch and al. The Norton Anthology of Theory and criticism, 2nd ed. Norton & Company. 2010

[11] Vincent B. Leitch and al. The Norton Anthology of Theory and criticism, 2nd ed. Norton & Company. 2010

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Quote this article: Ball, Tom. "Butler: Gender Trouble ." American Journal of French Studies, 2021. Download this article: Gender Trouble: Feminism and the Subversion of Identity has been published in 1990. Butler explores the way we shape our identity through social interactions.

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Fulton, J. (z.d.). How I became an artist: Wu Tsang. Art Basel. Geraadpleegd op 24 januari 2022, van https://www.artbasel.com/news/wu-tsang-how-i-became-an-artist-art-basel

Fondation d’entreprise Galeries Lafayette. (z.d.). Wu Tsang. Lafayette Anticipations. Geraadpleegd op 24 januari 2022, van https://www.lafayetteanticipations.com/en/artiste/wu-tsang?nid=5647

Ravini, S. (2021, 22 februari). The Show Is Not Over. Kunstkritikk. Geraadpleegd op 30 januari 2022, van https://kunstkritikk.com/the-show-is-not-over/

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Wu Tsang, The Show is Over, 3-channel videoinstallation, 2020. Photo: Pierre Antoine.

In a lecture at the Philadelphia Museum College of Art in 1975, Marcel Duchamp made the following prediction: "The great artist of tomorrow will go underground." Then came postmodernism, which killed any inkling of subcultures by turning the avant-garde into mainstream. The myth of the subcultural icon is still alive, but the underground is no longer a destination, it's a point of departure. Wu Tsang is a subcultural icon that has been quite a sensation in the art world after her breakthrough in 2012 with the critically acclaimed film Wildness, a magical realist docu-fiction about fluid identities starring Silver Platter, a historic nightclub that has hosted the Latinx LGBTQI community in Los Angeles since the 1960s.

When I first saw the film, I immediately thought of my first experiences of clubbing in Stockholm in the early 1990s at the mythical club Extrakt, near the T-centralen subway station. I want to ponder this briefly before I return to Tsang. The club, which was frequented by the hippest celebrities of the day as well as wannabes, had a very strict dress code. Originality was key. The result? Latex, rhinestones, and plaid Vivienne Westwood-like creations. Some women walked around with semi-nude beefcakes trailing them on leashes. A man who used to show up dressed only in a vacuum cleaner hose, would sometimes vary his outfit by walking around naked with a plastic bag around his waist. I will never forget the man who looked like a strait-laced politician in a suit from the front and was thus turned away at the door. He smiled and spun around. He had cut a large hole in his pants, revealing his naked white bottom. He was let in immediately.

Since I was at boarding school in Sigtuna (a small town just north of Stockholm) at the time, my class mate and I used to show up in our school uniforms, with black pleated skirts, neckties, blazers, and black knee-highs. This was sufficiently kinky for the bouncers. Each Thursday, when everyone had gone to bed, we jumped out of a window at our residence hall, took the bus to nearby Tensta, then the commuter train to the club, partied all night, and rushed back in the morning, trying to climb back in through the window without getting caught. We often did get caught, but the penalties - morning clean-up, going for a run in woods with our German teacher, or fly fishing with our Latin professor - were essentially enjoyable.

The point is that Extrakt was an underground paradise. A place for fluid sexual and cultural identities, where no one seemed to care if you were lesbian, trans, bi, straight, or gay. The only rule was to look as eccentric as possible. That we stood out because of our uniforms is perhaps ironic, but to this day I remember the sense of belonging there, like we were all one big family based on radical respect and mutual admiration beyond identities such as gender, class, sexuality, and so on. Sure, the world outside the walls was nothing like that, but right there and then it was as if we were in a free zone untouched by AIDS and hardened identity discourses, and out of the reach of today's biopolitical verification machines like Facebook and Instagram, and pharma-pornographic forces trying to makes us become the panopticon.

Wu Tsang, The More We Read All that Beauty, the More Unreadable We Are, singel-channel videoinstallation, 2020. Photo: Pierre Antoine

Seeing Tsang's exhibition a few days before France - facing a higher COVID-19 infection rate than ever - closed all museums, shops, and restaurants again, was like returning to this utopian lost time. The Chinese American performance and video artist had just opened a solo exhibition at Lafayette Anticipations. All the floors of the building are occupied by a rather sophisticated and elegant total work of art. The galleries are dimly lit and filled with huge video projections. The exhibition begins on a curved wall with the enormous three-channel video installation The Show is Over (2020), made in collaboration with Tosh Basco (aka Boychild). The camera eye moves through a palimpsest of Black people in suits, moving and dancing on a dark stage, lit by bright spotlights. Every now and then they climb a staircase shaped like the Penrose triangle - an optical illusion which inspired both the acclaimed film The Name of the Rose (1986) and Harry Potter's impossible stairs - and then step down again, reciting verses from a poem by Fred Moten about the relationship between earth and water, mud, and myths about blackness. "The world is dry land. The world is water," is the refrain.

After a while, the people start crawling on the floor, among rolling red apples; they drag themselves over the muddy surface, and then climb up the stairs again, in a constant movement between death and resurrection. The beginning is the end, and the end is a beginning. The rolling apples are like something out of a lost paradise, where the fall is as much punishment as a rescue. The Penrose triangle reappears throughout the exhibition, not least in the form of sculptures on plinths; illuminated by strong spotlights, they evoke a revered cult object in a cathedral.

Wu Tsang, PIE Root "to see", hardened mud, blue pigment, 2020. Foto: Pierre Antoine.

Like many trans people, Tsang does not seek points of departure or arrival, but rather transitions, intersections, and changes with no beginnings or ends - like an endless Penrose staircase where one can descend while climbing and climb while descending. No wonder psychoanalysts tend to see transsexuality as a negation of the law - the father's law - and the real - that is, the impossible - a benign evil that comes and breaks the spell. But Tsang's Penrose stairs are broken. If you climb one step, you have to step down again, and the same with the next one. The two stairs never join. The gap opens onto the void, as a sign of the insurmountable deficiency, or castration, which analysts claim transsexuals negate when altering their bodies. I see Tsang's broken Penrose staircase as an indirect critique of this discourse and sign that the inadequacies persist despite the transformation. Something always remains impossible, no matter how much you try to transcend the boundaries of the body and the psyche.

The other works in the exhibition are not as strong. The glassed-in neon sign Safe Space (2014) - a reference to the sign outside Silver Platter which said, "the fist is still up," yet another commodified political slogan shining in the dark - looks great, but that's about it. The huge black and blue glass triptych Sustained Glass (2020) - an inversion of medieval allegorical stained glass windows, where the images have been swapped for text and each word is seen as an allegory and "glassblowing" is a symbol of "the unspeakable" (according to the gallery text) - mainly reminds me of evangelical art, although that in itself gives an interesting surrealistic twist to the exhibition. Close by is The more we read all that beauty, the more unreadable we are (2020), in which scenes from interviews with James Baldwin and film sequences featuring a Bette Davis-like actor are interspersed with rather clichéd images of whales and other National Geographic-like footage, to the sound of dramatic statements about earth's magnificent beauty and suffering. Sometimes, scenes with the besuited dancers from The Show is Over also appear.

Wu Tsang, Safe Space, wood, neon, mirror, acrylics, 2014. Photo: Pierre Antoine.

Things don't fall into place for me until I see the very last work in the exhibition. Here, in a very tight three-minute video, Tsang has crammed in so many seductive club sounds accompanied by philosophical statements and curiosities from antiquity to the present day that I rewatch it again and again. It's like falling between a rhythmically image-pumping Eric Pauser film and a slick Benetton commercial. Yes, human beings are to be pitied. Humanity is on the verge of collapse, and the only thing we can do is enjoy the show. Because we will re-emerge, at least in our minds, as long as we live. We are all trapped in the Penrose triangle's eternal loop; the gap, the break, the way out, is just an illusion.

I'm reminded of George Floyd, of all the Black bodies being pulled in Tsang's scenic mud, and of all the bodies crying for recognition and a life of peace and mutual respect. I'm reminded of the necrocapitalism of the virus experts, and all the bodies dying in my city, Paris, right now. I think of those who recently lost their lives, decapitated by terrorists, the teacher who showed his students caricatures of Muhammad, and the people who had come to the cathedral in Nice to pray to God, and wonder whether we'll ever see brighter days.

Then it occurs to me that it's all really about perception, about the art of seeing the world in a new light. Penrose's intention with the triangle was to train people in thinking the impossible. With the risk of sounding kitschy (but one becomes what one sees), perhaps we all should be practicing the art of the impossible. Trying to conceive of the world from a new perspective, like one big underground night club for peaceful transformation, where everything is in progress, where we all dance side by side, even tough the world is crumbling around us. It's like in the film Zorba the Greek (1964) where Zorba, played by Anthony Quinn, has just seen his life fall apart. He stretches out his hands and begins dancing. Because the beginning is the end, and the end is only the beginning.

Wu Tsang, The Show is Over, 3-channel videoinstallation, 2020. Photo: Pierre Antoine.

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In a lecture at the Philadelphia Museum College of Art in 1975, Marcel Duchamp made the following prediction: "The great artist of tomorrow will go underground." Then came postmodernism, which killed any inkling of subcultures by turning the avant-garde into mainstream.

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Claude Cahun en Marcel Moore, I am in training don't kiss me, 1927, Courtesy of the Jersey Heritage Collections.

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Claude Cahun en Marcel Moore, I am in training don't kiss me, 1927, Courtesy of the Jersey Heritage Collections.

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Het Cobra Museum voor moderne kunst. (2020). Claude Cahun was niet zó bijzonder. Cobra Museum Magazine, 2020/2021(najaar-winter), 6–9.

Jersey Heritage. (2005). SANS NOM: CLAUDE CAHUN AND MARCEL MOORE. Heritage Magazine, 8–17.

Kunsthal Rotterdam. (2022). Claude Cahun. Kunsthal. Geraadpleegd op 21 maart 2022, van https://www.kunsthal.nl/nl/plan-je-bezoek/tentoonstellingen/claudecahun/

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Cassils. (z.d.). Cassils: Artwork: Tiresias. Geraadpleegd op 13 december 2021, van https://www.cassils.net/cassils-artwork-tiresias

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Tiresias is a durational performance in which Cassils melts a neoclassical Greek male ice sculpture with pure body heat.

The mythological figure of Tiresias, known as the blind prophet of Thebes, was transformed from a man into a woman for seven years. By pressing their body against the ice torso, Cassils demonstrates both the instability of the body and desire for a certain unsustainable physique. Recasting the myth of Tiresias as a story of endurance and transformation, Cassils performs the resolve required to persist at the point of contact between masculine and feminine.

The life-sized video is rear-projected onto floating plexiglass.

Tiresias is presented as a life size video installation, featuring an ambient sound track blending birdsong, the sound of melting ice, and a vocal performance of Winterreise (Winter Journey), a song cycle for voice and piano by Franz Schubert. Tiresias was clairvoyant and interpreted birdsong to predict the future. Sound design is made in conjunction with Kadet Kuhne, with vocals performed by the artist's brother, Matthew Cassils, a classically-trained opera singer.

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Tiresias is a durational performance in which Cassils melts a neoclassical Greek male ice sculpture with pure body heat. The mythological figure of Tiresias, known as the blind prophet of Thebes, was transformed from a man into a woman for seven years.

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18 januari - zaandam

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Voor FOK ME HOKJE beelden jongeren van Nederlandse GSA's en de Open Schoolgemeenschap Bijlmer zich in hoe het zou zijn om als mannetje zelf een ei uit te broeden of te kunnen wisselen van geslacht. Onder regie van Bram Jansen gebruiken professionele theatermakers hun verhalen, scènes en sketches om te tonen wat we van het dierenrijk kunnen leren over gender en seksuele voorkeur.

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In COUPLEGOALS de podcast spreken queer koppel Mandy (@mandywoelkens) en Roos (@thorn.vineyard) met allerlei verschillende stellen. Hoe leerden ze elkaar kennen? Waar maken ze ruzie over? Wat is er nou zo leuk aan de ander? En bestaat er eigenlijk wel zoiets als 'couple goals'?

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Listen to CoupleGoals de podcast on Spotify. In COUPLEGOALS de podcast spreken queer koppel Mandy (@mandywoelkens) en Roos (@thorn.vineyard) met allerlei verschillende stellen. Hoe leerden ze elkaar kennen? Waar maken ze ruzie over? Wat is er nou zo leuk aan de ander? En bestaat er eigenlijk wel zoiets als 'couple goals'?

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Schoolpraat is een serie podcasts van de Kunskapsskolan Community Nederland. Waarin bestuurders, schoolleiders en docenten praten over gepersonaliseerd onderwijs en leerlingen optimaal voorbereiden op de snel veranderende wereld. Niet kijkend in een glazen bol maar met verhalen uit de dagelijkse praktijk. Want veranderen kan NU!

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We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

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Listen to Schoolpraat on Spotify. Schoolpraat is een serie podcasts van de Kunskapsskolan Community Nederland. Waarin bestuurders, schoolleiders en docenten praten over gepersonaliseerd onderwijs en leerlingen optimaal voorbereiden op de snel veranderende wereld. Niet kijkend in een glazen bol maar met verhalen uit de dagelijkse praktijk. Want veranderen kan NU!

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Onderstreep of highlight passages die gaan over de verschillende benaderingen in de

hedendaagse kunstwetenschap: wat is kunstgeschiedenis eigenlijk, wat wordt er onderzocht en

welke methodes zijn er?

"En daar zit de crux. Geschiedenis, cultuur, kunst, zij zijn niet zomaar te bevatten, noch keurig in lineaire structuren in te passen. Maar er is nog meer: de bezoeker loopt niet rond met wat kunsthistoricus Ernst Gombrich en filosoof Nelson Goodman een 'innocent eye' noemden, want ieder kijkt met zijn of haar eigen bagage naar beelden, dus al vol met kennis en verwachtingen. Daarom schokte de Asmat achter het drieluik mij zo, die had ik niet verwacht. 'Wij herkennen alleen wat we weten', zegt Gombrich, de beschouwer is cognitief actief in het kijken. Adéagbo voegt daar nog aan toe dat men alleen zichzelf kan kennen als men bereid is de ander te leren kennen. En kunst nodigt ons daartoe uit. "

"Veel kunsthistorische handboeken {Gardner, Gombrich Honour & Fleming,Janson) zijn gebaseerd op deze tegelijk lineaire en cyclische opvatting van stijlontwikkeling: lineair omdat alles op één tijdlijn plaatsvindt, en daarbinnen cyclisch, omdat perioden en kunstenaarslevens -  en in de optiek van sommigen onze hele kunstgeschiedenis -worden getypeerd in termen van opkomst-bloei-verval: opkomst in de Klassieke Oudheid, hoogtepunt met de renaissance en een neergang van dat ideaal in de eeuwen erna."

"...maar ook daarmee maakt het poststructuralisme korte metten. Dat gaat immers uit van de kunstgeschiedenis als constructie met een grote nadruk op de vraag wie deze schrijft, vanuit welke optiek of ideologie, en waarop de selectie van de kunstenaars en kunstwerken is gebaseerd. In die optiek gaat kunstgeschiedenis niet over een dood verleden, maar brengt ze dit verleden in het heden weer tot leven."

"Zoals hierboven beschreven, is veel kunstgeschiedschrijving lange tijd eigenlijk een verkapte kunstenaarsgeschiedenis geweest, omdat het kunstwerk en zijn maker als innig verstrengeld worden gezien."

"Kort gezegd bestudeert de kunstgeschiedenis het fenomeen kunst in al zijn facetten en door de tijd heen vanuit een veelheid aan perspectieven (artistiek, cultureel, intercultureel, sociaal, politiek, institutioneel, materieel) en beziet zo telkens opnieuw met een frisse blik de artistieke uitingen van heden en verleden."

"...van nogal monodisciplinair toen zien we nu een rijkgeschakeerd palet van allerlei mogelijke onderwerpen, benaderingen en vraagstellingen."

"Kunstgeschiedenis is tegenwoordig per definitie interdisciplinair."

"Kunst is overal en van iedereen, en iedereen heeft er wel een gevoel bij of een mening over. Dat is maar goed ook, want dat is misschien wel het eerste belang van kunst."

"Kunst is een vorm van visuele cultuur.."

"simpel gezegd is de kunsttheorie het totaal van uitspraken over kunst met als doel hanteerbare regels voor de kunst op te stellen, alsook de uitingen van kunstenaars om hun eigen werk te verduidelijken en te funderen."

---------

Op basis van wat de auteur schrijft, denk je kritisch na over hoe kunstgeschiedenis/kunsttheorie

zich verhoudt tot andere andere richtingen in de geesteswetenschappen. Wat zijn de

overeenkomsten en verschillen tussen kunstgeschiedenis, esthetica en filosofie?

--> antw.: de kunstfilosofie gebruikt kunst om het verhaal te illustreren, in de kunsttheorie is de kunst de context en vanuit daar kijkt men verder.

"De studie richt zich op de visuele kunsten, design en architectuur en niet ook op muziek, theater, dans, literatuur -dat zijn eigen disciplines -  noch wordt de praktijk van de kunst gedoceerd. Dat gebeurt op de kunst en designacademies en architectuuropleidingen. Ondanks dat er meer dan voorheen toenadering is tussen de theorie en de praktijk zijn het verschillende opleidingen. Deze interdisciplinaire interesse staat niet op zich, over en weer doet men methodische inspiratie op en vindt uitwisseling plaats met aanpalende of verder weg liggende
vakgebieden zoals de cultural studies, literatuurwetenschap, antropologie, archeologie, material culture studies, cultuur wetenschap, museum-studies, conservation studies, erfgoed studies, geschiedwetenschap, sociologie en andere sociale geschiedwetenschappen als ook natuurwetenschappen."

"Hierboven viel al even het woord 'filosofie'. De kunsttheorie valt niet samen met de kunstfilosofie (of esthetica), maar ze zijn ook moeilijk los te zien van elkaar. De esthetica vraagt naar de aard en werking van het schone en uiteindelijk wat goede en slechte kunst is, en vanuit die vraag worden esthetische visies ontwikkeld. Filosofen hebben zich vele honderden jaren het hoofd gebogen over het esthetisch oordeel."

------------
Op welke manier heeft de tekst je eye-openers of inspiratie gegeven als het gaat om het doen

van kunsttheoretisch onderzoek als kunsteducator?

Voor mij is het voornamelijk duidelijk geworden dat het zoeken naar antwoorden waarschijnlijk zeer subjectief zal zijn, aangezien de vragen dat ook zullen zijn. Dit in de context van altijd subjectief zijnde kunst, omdat de definitie hiervan niet vastligt, zowel als de geschiedschrijving. Hierdoor lijkt het me ook lastig om concrete vragen en concrete antwoorden te kunnen vastleggen, en lijkt het alsof slechts de opening tot conversatie en discussie ruimte te geven.

-

Wat kun je daarvan meenemen voor je eigen onderzoek? Denk aan de invalshoeken,

aanknopingspunten en/of  methodieken die Zijlmans bespreekt.

Hiervan zal ik de veelheid aan tegenspraken gaan meenemen; de afweging van verscheidene dingen en het contrast moeten gaan opzoeken. Voornamelijk in het grijze gebied van de menigte blijven.
--------

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b. 1961, Sandusky, Ohio. Self-Portrait/Cutting (1993), Chromogenic print, 40 inches x 29 7/16 inches (101.6 x 74.8 cm). © Catherine Opie

Sinds het begin van de jaren negentig heeft Catherine Opie een rijk, complex fotografisch oeuvre geproduceerd dat noties van gemeenschappelijke, seksuele en culturele identiteit onderzoekt. Van haar vroege portretten van queer subculturen, ongerepte stedelijke panorama's en uitgestrekte landschappen tot indringende kijk op haar eigen huiselijke leven, geeft Opie diepgaande inzichten in de omstandigheden waarin gemeenschappen zich vormen en de voorwaarden waarin ze worden gedefinieerd. Gedurende haar hele carrière dienden zelfportretten als een teken van persoonlijke en artistieke ontwikkeling, evenals een herinnering dat zij, als fotograaf, niet los staat van de groepen die ze documenteert. In deze geest maakte ze Self-Portrait/Cutting (1993) en Self-Portrait/Pervert (1994) naast haar beroemde serie die mede-leden van San Francisco's homoleersubcultuur portretteerde. Net als die beelden richten haar zelfportretten zich op hedendaagse zorgen over queer-identiteit, terwijl ze hun inhoud plaatsen in een formele traditie die doet denken aan de zestiende-eeuwse schilderijen van Hans Holbein. In deze beelden biedt Opie iets heel persoonlijks, zelfs biechts, dat krachtige verlangens onthult die verergerd worden door de grote fysieke kwetsbaarheid van de sadomasochistische handelingen die de foto's documenteren. Tien jaar later, in Self-Portrait/Nursing (2004), keerde Opie terug naar het genre, waarbij ze haar imago opnieuw overspoelde met een gevoel van meeslepende tevredenheid, terwijl ze haar zoontje vasthoudt in een klassieke moederlijke pose die nog meer kunsthistorische beelden oproept. Vaag maar duidelijk zichtbaar op haar borst, verschijnt het woord 'pervert' nog steeds als een litteken, een spoor van haar geschiedenis dat door de tijd wordt gedragen.

Guggenheim. (z.d.). Self-Portrait/Cutting. The Guggenheim Museums and Foundation. Geraadpleegd op 19 september 2021, van https://www.guggenheim.org/artwork/30354

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...American, 1907–1955
Untitled, ca. 1941
Gelatin silver print
image: 24.6 x 19.5 cm (9 11/16 x 7 11/16 in.)
sheet: 25.4 x 20.4 cm (10 x 8 1/16 in.)
Princeton University Art Museum. Gift of H. Kelley Rollings, Class of 1948, and Mrs. Rollings
© Estate of George Platt Lynes

George Platt Lynes genoot een privé-opleiding en ging in 1926 voor een enkel semester naar de Yale-universiteit in New Haven. Zijn vroegste ambitie was om een ​​literaire uitgever te worden en tijdens zijn eerste reis naar Frankrijk, in 1925, ontwikkelde hij een vriendschap met schrijver en kunst patroon Gertrude Stein. Ze steunde zijn ambities en voorzag hem van een entree in de sfeer van de intellectuele avant-garde. Lynes begon in 1927 aanvankelijk met fotografie, maar dat werd al snel zijn hoofdberoep. Tijdens een volgend bezoek aan Frankrijk, in 1928, fotografeerde hij vooraanstaande culturele figuren, waaronder Jean Cocteau, en zag hij het werk van surrealistische fotografen zoals Man Ray.
In New York werd Lynes aanvankelijk geïdentificeerd met de surrealistische beweging, vooral sinds hij de goedkeuring kreeg van de prominente galeriehouder Julien Levy, die verschillende gevestigde surrealistische fotografen vertegenwoordigde. Door Levy kreeg Lynes veel bekendheid, waardoor hij in 1932 een professionele studio kon openen. Zijn reputatie groeide en in 1934 voerde hij portret- en modecommissies uit, de laatste vaak gebaseerd op surrealistische principes. In deze composities maakte Lynes gebruik van achtergronden, rekwisieten en poses om een ​​dromerige wereld te suggereren, waarbij de grenzen tussen commerciële en beeldende kunstfotografie werden vervaagd. Lyned fotografeerde ook balletdansers en werd in 1935 ingehuurd om promotionele beelden te maken voor George Balanchine's American Ballet Theatre in New York. In veel van zijn beeldende kunst verkende Lynes homo-erotische thema's door zich te concentreren op mannelijke naakten, sensuele beelden die soms expliciet zijn in hun vertolking van homoseksualiteit.
De populariteit van Lynes bereikte zijn hoogtepunt in 1941 met een overzichtstentoonstelling in de Pierre Matisse Gallery, New York, met meer dan tweehonderd portretten. In die tijd raakte hij meer betrokken bij het nastreven van zijn persoonlijke fotografische projecten en werd hij steeds ontevredener over commercieel werk. De erotische mannelijke naakten die Lynes privé bleef creëren, vormen een oeuvre dat uniek is - vooral gezien de professionele status van de fotograaf - vanwege de positieve portrettering van homoseksuelen en in zijn aanhankelijkheid aan mannelijk naakt als onderwerp. Het werk van Lynes zou een rolmodel worden voor latere fotografen zoals Robert Mapplethorpe.
In een poging zijn carrière nieuw leven in te blazen, verhuisde Lynes in 1946 naar Los Angeles om de functie van hoofdfotograaf voor de studio van Vogue magazine in Hollywood op zich te nemen. Financiële moeilijkheden dwongen hem echter in 1948 terug te keren naar New York. Hoewel Lynes er niet in slaagde zijn vroegere carrière te hervatten vanwege zijn veranderde smaak in de fotografie, was zijn werk van groot belang voor Dr. Alfred C. Kinsey, die het rond 1950 begon te verzamelen in samenhang met zijn onderzoek naar homoseksualiteit. Na zijn dood in 1955 waren de foto's van Lynes grotendeels vergeten, behalve de portrettententoonstelling 'George Platt Lynes, Portraits 1931 - 1952' uit 1960 in het Art Institute of Chicago. Het was zelfs pas in het begin van de jaren tachtig dat zijn oeuvre kritische aandacht kreeg, met een tentoonstelling in Boston's Institute of Contemporary Art.

Blessing, J., Halberstam, J., Museum, S. N. Y., Harris, L. A., Tyler, C. A., Spector, N., Wilson, S., Solomon R. Guggenheim Foundation, Solomon R. Guggenheim Museum, & Guggenheim Museum, S. N. Y. (1997). Rrose is a Rrose is a Rrose. Guggenheim Museum.

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wie, wat, specialiteiten, hulpvraag

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uitbreiden van mn kunstwerken

kader van ene werk leidt tot kader van andere werk, breedte in gaan. verdiepende info zoeken, wie schrijft.

door lack van kunst van ihlia, iets kunst educatiefs maken. ze hebben misschien wel contacten, mensen die er wel iets mee doen.

wereldmuseum event netwerkennnnnnnn

contact leggen, uitbreiden van mn kunstwerken

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Hines, S., & Taylor, M. (2018). Is Gender Fluid? (1ste editie). Thames & Hudson Ltd.

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Hines, S., & Taylor, M. (2018). Is Gender Fluid? (1ste editie). Thames & Hudson Ltd.

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Ga naar zoeken Ga naar hoofdinhoud

Samenvatting

The Big Idea shortlisted for series design in the British Design and Production Awards When we are born, we are each assigned a gender based on our physical anatomy. But why is it that some people experience such dissonance between their biological sex and their inner identity? Is gender something we are or something we do? Is our expression of gender inborn or does it develop as we grow? Are the traditional binary male and female gender roles relevant in an increasingly fluid and flexible world? This intelligent, stimulating volume assesses the connections between gender, psychology, culture and sexuality, and reveals how individual and social attitudes have evolved over the centuries.

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Ga naar zoeken Ga naar hoofdinhoud The Big Idea shortlisted for series design in the British Design and Production Awards When we are born, we are each assigned a gender based on our physical anatomy. But why is it that some people experience such dissonance between their biological sex and their inner identity?

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Al-Kadhi, A., & Clinton, P. (2019). Kiss My Genders. Van Haren Publishing.

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Awkward-Rich, C. (2019). Thinking Black [Trans] Gender. American Quarterly 71(3), 903-914. doi:10.1353/aq.2019.0065.

Ball, T. (2021, 25 januari). Butler: Gender Trouble. American Journal of French Studies. Geraadpleegd op 13 februari 2022, van https://american-journal-of-french-studies.com/butler-gender-trouble

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Volman, M., Poorthuis, A., & Verhoeven, M. (2017). Exploreren kun je leren. Printpartners Ipskamp.

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Volman, M., Poorthuis, A., & Verhoeven, M. (2017). Exploreren kun je leren. Printpartners Ipskamp.

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Welke context is ervoor nodig dat leerlingen comfortabel genoeg zijn om zich te openen en te uiten over en voor het onderwerp gender? Wat is mijn rol als docent binnen de kunst educatie over het onderwerp gender?

contact coc nederland - voorlichting aanvullen met beeldend, gebruiken als onderlegger. onderwijsstandaard als beeldend vak

musea interviewen
hoe gaat musea en kunstenaars om met het thema van gender en hoe kan dit een goede inspiratie zijn voor scholen? Waar hebben scholen en leerlingen de meeste behoefte aan en hoe kan je dit met kunst bewerkstelligen?

doelgroep uitkiezen waarbij het meer van belang is? montessori Amsterdam, Marokkaanse kinderen

Britt van Son
presentatie en representatie
buiten europa checken?

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Dohmen, J. (2015). Moderne Bildung / druk 1 (1ste ed.). Ambo|Anthos.

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Dohmen, J. (2015). Moderne Bildung / druk 1 (1ste ed.). Ambo|Anthos.

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In Moderne Bildung laat Joep Dohmen zien wat het belang is van eigentijdse Bildung , waarin autonomie, burgerschap en persoonsvorming elegant en overtuigend met elkaar verbonden worden. Hiermee treedt hij in het voetspoor van filosofen als Peter Bieri en Gert Biesta, Martha Nussbaum en Peter Sloterdijk.
Het huidige onderwijssysteem beschouwt opvoeding en vorming niet als haar taak. Leerlingen worden getoetst op de competenties die ze in vakken als rekenen en taal, aardrijkskunde en geschiedenis hebben verworven. Brede vorming en filosofie passen niet in dit curriculum.
Onderwijs en opvoeding missen zo het ideaal van Bildung, het moderne en romantische project waarin jonge mensen leren hoe ze hun eigen leven vorm kunnen geven. Maar het tij lijkt te keren.
Joep Dohmen is verbonden aan de Hogeschool voor Toegepaste Filosofie en aan de Bildung Academie van de Universiteit van Amsterdam. Recent werd hij benoemd tot lector Bildung aan het Centrum voor Humanistische Vorming.

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Lack, J. (2017). Why Are We “Artists”? 100 World Art Manifestos (1ste ed.). Penguin Classics.

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Lack, J. (2017). Why Are We “Artists”? 100 World Art Manifestos (1ste ed.). Penguin Classics.

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'Kunst is geen luxe. Kunst is een sociale basisbehoefte waar iedereen recht op heeft'. Deze buitengewone verzameling van 100 kunstenaarsmanifesten van over de hele wereld van de afgelopen 100 jaar brengt activisten, postkolonialisten, surrealisten, socialisten, nihilisten en tal van andere stemmen samen. Van de Négritude-beweging in Afrika en Martinique tot het Mud/Meat Sewer Manifesto in Brazilië, van het Iraakse modernisme tot het Cyberfeminist Manifesto in Australië, ze zijn afwisselend persoonlijk, politiek, utopisch, boos, subliem en revolutionair. Sommige zijn nog niet eerder in het Engels gepubliceerd; sommige zijn geschreven in een klimaat van censuur en wreedheid; sommige bevatten visioenen van een toekomst die nog in het verschiet ligt. Wat hen verenigt, is de overtuiging dat kunst de wereld kan veranderen.

Werd me aangeraden door een docent wie voor ogen had dat ik niet volledig ben van het bouwen en schreeuwen, maar meer van het schrijven.

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Frida Kahlo & Diego Rivera: A Love Revolution

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Frida Kahlo & Diego Rivera: A Love Revolution

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Frida Kahlo seems to have lived her entire life in defiance of normalcy. In this lecture, Musoke Nawolga wants to show how the younger generation of Amstelveen, Amsterdam and the The Netherlands at large by their own means is doing the same. Pushing boundaries in terms of what it means to be gendered, what it means to be free and finally, what it means to stand for a cause.

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Sunday October 3rd 4 - 5 pm Frida Kahlo seems to have lived her entire life in defiance of normalcy. In this lecture, Musoke Nawolga wants to show how the younger generation of Amstelveen, Amsterdam and the The Netherlands at large by their own means is doing the same.

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Butler, J. (1999). Gender Trouble (2nd New edition). Taylor & Francis.

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Butler, J. (1999). Gender Trouble (2nd New edition). Taylor & Francis.

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"Judith Butlers Gender Trouble, een van de meest spraakmakende wetenschappelijke werken van de afgelopen vijftig jaar, is even gevierd als controversieel. Met het argument dat traditioneel feminisme verkeerd is om te kijken naar een natuurlijke, 'essentiële' notie van het vrouwelijke, of zelfs van geslacht of geslacht, begint Butler met het in twijfel trekken van de categorie 'vrouw' en gaat in deze geest verder met onderzoek naar 'het mannelijke' en ' het vrouwelijke'. Het meest bekend, maar ook vaak verkeerd geïnterpreteerd, is Butlers concept van gender als een herhaalde sociale prestatie in plaats van de uitdrukking van een eerdere realiteit. Spannend en provocerend, weinig andere academische werken hebben in dezelfde mate passies opgewekt."

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Hoe kan Kunst en cultuur onderwijs helpen met het vinden van het zelf en de vragen die hierbij opkomen?
+Op welke manier drukken kunstenaars zich uit in hun werk?
+Hoe onderzoeken zij het grijze gebied van gender?
+Hoe kan Kunst onderwerpen bespreekbaar maken?
+Hoe kan ik didactisch verantwoord ervoor zorgen dat dit op een veilige manier gebeurd?
--> bespreekbaar kunnen maken op een veilige manier.
--> topics activisme, (zelf)expressie, persoonsvorming, gender en seksualiteit, onderzoek en experiment
--> minder duidend meer onderzoekend, wat zou het kunnen zijn?

;Kunstlessen brengen vaak al leerlingen naar voren die buiten de stroming van de menigte vallen, wie al bijzondere denkwijzen en uitingen hebben (ondersteuning door grijze literatuur! opinie/blogs). interviews met docenten of leerlingen?

+experimenteren met samen/naast elkaar leren
+verbreden mensperspectief docenten
+connecties buitenschools maken
+samenwerking met verschillende scholen
+veilige en welkome sfeer binnen de school

-inspirerende bronnen aan het zoeken als drijfveer
-Judith Butler - Gender Trouble (verwoording van dingen die voor mij vanzelfsprekend zijn)

interview met Mik, loopt steady maar langsaam

kunskapskolan stage zoeken --> weert proberen
20 ec - 14 t/m 20 jaar (Havo Vwo) - middelbare school
mogelijkheden op school of stage proberen

fout is ook goed, conclusion matters

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https://web-a-ebscohost-com.fontys.idm.oclc.org/ehost/detail/detail?vid=0&sid=d32a6248-f2a6-4b83-a977-838f5110f123%40sdc-v-sessmgr02&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=28865124&db=a9h

https://www-jstor-org.fontys.idm.oclc.org/stable/10.1086/669331?pq-origsite=summon&seq=1#metadata_info_tab_contents

https://www-jstor-org.fontys.idm.oclc.org/stable/10.1086/669331?pq-origsite=summon&seq=1#metadata_info_tab_contents

https://web-a-ebscohost-com.fontys.idm.oclc.org/ehost/detail/detail?vid=0&sid=6af4b1fd-d227-4a80-a770-b3489af269b4%40sessionmgr4008&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=88395872&db=a9h

https://web-a-ebscohost-com.fontys.idm.oclc.org/ehost/detail/detail?vid=0&sid=6af4b1fd-d227-4a80-a770-b3489af269b4%40sessionmgr4008&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=88395872&db=a9h

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Blessing, J., Halberstam, J., Museum, S. N. Y., Harris, L. A., Tyler, C. A., Spector, N., Wilson, S., Solomon R. Guggenheim Foundation, Solomon R. Guggenheim Museum, & Guggenheim Museum, S. N. Y. (1997). Rrose is a Rrose is a Rrose. Guggenheim Museum.

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Blessing, J., Halberstam, J., Museum, S. N. Y., Harris, L. A., Tyler, C. A., Spector, N., Wilson, S., Solomon R. Guggenheim Foundation, Solomon R. Guggenheim Museum, & Guggenheim Museum, S. N. Y. (1997). Rrose is a Rrose is a Rrose. Guggenheim Museum.

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"This volume features portraits, self-portraits and photomontages in which the gender of the subject is highlighted through performance for the camera or through technical manipulation of the image. In many of the works, photography's strong aura of realism and objectivity promotes a fantasy of total gender transformation. In other pieces, the photographic representation articulates an incongruity between the posing body and its assumed costume."

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Research Group Arts Education of the Amsterdam University of the Arts. (2020). Wicked Arts Assignments. Wicked Arts Assignments. https://www.wickedartsassignments.com/

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Research Group Arts Education of the Amsterdam University of the Arts. (2020). Wicked Arts Assignments. Wicked Arts Assignments. https://www.wickedartsassignments.com/

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"Hoe kun je je kunstlessen relevanter, betekenisvoller en uitdagender maken? Geef je leerlingen opdrachten die een kunstenaar ook had kunnen bedenken. Of leen ze direct van kunstenaars. Een atelier vol voorbeelden en tips met de Wicked Arts Assignments van Melissa Bremmer en Emiel Heijnen als inspiratiebron."

Ik vind het belangrijk dat leerlingen actief blijven omdat ze dan vaak met meer plezier bezig zijn. Zelf aankloten, ontdekken en dingen naar eigen hand zetten zijn waarden die ik graag hanteer. Ze zijn van kwaliteit omdat ik de boeken van hen in gewaardeerde musea heb zien liggen met zeer interessante opdrachten.

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Blei, M. (2018). Students Speak: The Impact of Personal Narrative Performance on Student Experience. Teaching Artist Journal, 16(3–4), 117–122. https://doi.org/10.1080/15411796.2018.1535663

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Blei, M. (2018). Students Speak: The Impact of Personal Narrative Performance on Student Experience. Teaching Artist Journal, 16(3–4), 117–122. https://doi.org/10.1080/15411796.2018.1535663

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ABSTRACT
The Moth is a nonprofit performing arts organization dedicated to true stories told live, and its education programs make space for students and educators to tell their stories. In this edited transcript of a panel discussion given by student alumni of Moth storytelling programs, participants discuss the impact of personal narrative performance on their lives and perspectives, as well as the challenges and surprises of doing personal narrative performance work.

Additional information

Notes on contributors

Micaela Blei
Micaela Blei, PhD, co-founded and led the Education Program at the storytelling nonprofit The Moth. She has facilitated storytelling workshops and directed performance programs in schools across New York City and nationwide. She is also a two-time Moth GrandSLAM Champion and Moth Mainstage storyteller. Her solo storytelling show, "The Secret Life of Your Third Grade Teacher," was a sold-out FringeFAVE at the 2016 NYC Fringe. Micaela earned her PhD at NYU's Program in Educational Theatre, focusing on personal narrative performance in education spaces.

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Students Speak: The Impact of Personal Narrative Performance on Student Experience

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ABSTRACT The Moth is a nonprofit performing arts organization dedicated to true stories told live, and its education programs make space for students and educators to tell their stories. In this edited transcript of a panel discussion given by student alumni of Moth storytelling programs, participants discuss the impact of personal narrative performance on their lives and perspectives, as well as the challenges and surprises of doing personal narrative performance work.

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Feedback:

Je hebt een relevant onderwerp te pakken en hebt je goed georiënteerd op pedagogische aanpak van de thematieken. Het voelt alsof je nog wel een laatste keuze moet maken: staat gender of mentale gezondheid centraal: je portfolio doet het eerste vermoeden... Je leest en put inspiratie uit een grote diversiteit aan bronnen, maar je toont weinig twijfels, doet weinig aan tegenlezen (tegenstanders kunnen je goed scherpen), je ziet amper dilemma’s of struikelingen, terwijl dat allemaal wel bij je onderwijsvisie past.

Let op je cursiveert de titels van de boeken/tijdschriften enz. niet, dit is niet conform APA . Je stelt overigens ook aan de anderen goede vragen na afloop van de presentaties!

In je inleiding sla je een brug van mentale gezondheid naar zelfexpressie die we niet kunnen volgen, maar zelfexpressie wordt voor jou een soort paraplu waar je alles aan ophangt en we betwijfelen of dat werkt voor je onderzoek. De deelvragen zijn soms nog in al te algemene term en geformuleerd, dat zou de volgende stap kunnen zijn: Wat is zelfexpressie? Dat geeft een definitie, heb je daar wat aan? Welke aspecten kent zelfexpressie en kan je ze ontwikkelen? En de volgende: Hoe verloopt de ontwikkeling van zelfexpressie en op welke leeftijd wordt men zich daar bewust van (metacognitie)? Er zit één deelvraag in je plan die mogelijk wel (bijna) kan dienen als een mooie hoofdvraag: Hoe kan kunst en cultuur onderwijs helpen met het vinden van het zelf en de vragen die hierbij op komen? Dan zou je als deelvragen kunnen kijken naar identiteitsvorming (misschien alleen gericht op gender om het behapbaar te houden), hoe je dat binnen het onderwijs bespreekbaar kunt maken op een veilige manier (je hebt al wat mooie didactische vormen bekeken) en thema's die daarbinnen aan de orde kunnen komen (die je weer vanuit een KT perspectief kunt koppelen aan bepaalde kunstenaars die je al geselecteerd hebt). In hoeverre mentale gezondheid daarbinnen nog een plek moet krijgen is dan te heroverwegen (in relatie tot zelf expressie als overkoepelende paraplu zie ik de relevantie van mentale gezondheid niet echt), maar dat voelt als een apart spoor. Wellicht is het aan te halen als een subthema binnen de thematiek gender?

De persoonlijke en maatschappelijke relevantie voor dit plan is zeer duidelijk. Je hebt een helder onderzoek gedaan en in je portfolio zit veel sterk materiaal en je hebt ook relevant materiaal voorgesteld dat je nog wilt gaan lezen. Hak nog wel een paar knopen door om het geheel scherp en behapbaar te houden.

Je toont in je plan weinig over hoe je de diverse vragen en deel vragen wilt gaan onderzoeken volgend jaar. Alleen maar heel veel boeken lezen is super, maar nog niet onderzoekend. Met welke vragen ga je je bronnen te lijf en welke andere methodes ga je wanneer en waarom in zetten? Let op je stelt dat je een enquête afnam om te bevestigen... dit is een valkuil, door je onderzoek op die manier in te starten. Je kunt je beter van je uitgangspunt bewust zijn, deze als ‘aanname’ benoemen en dan te onderzoeken of de aanname correct is of niet. Wel mooie resultaten, de enquête had neutraler en systematischer/onderzoekender gekund. Let daar volgend jaar goed op.

De jeugd herinneringen kwamen vooral uit je eigen beeldende werken daar hadden we niet alledrie even goed zicht op dus dat kwam voor ons een beetje uit het niets. Maar de veilige leeromgeving die je neer wilde zetten was zeer overtuigenden relevant in relatie tot de rest van je onderzoek!

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Vilkin, E., Einhorn, L., Satyanarayana, S., Eisu, A., Kimport, K., & Flentje, A. (2019). Elementary Students’ Gender Beliefs and Attitudes Following a 12-Week Arts Curriculum Focused on Gender. Journal of LGBT Youth, 17(1), 70–88. https://doi.org/10.1080/19361653.2019.1613282

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Vilkin, E., Einhorn, L., Satyanarayana, S., Eisu, A., Kimport, K., & Flentje, A. (2019). Elementary Students’ Gender Beliefs and Attitudes Following a 12-Week Arts Curriculum Focused on Gender. Journal of LGBT Youth, 17(1), 70–88. https://doi.org/10.1080/19361653.2019.1613282

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"Middle- and high school-based programs that affirm diverse sexual orientations and gender identities are related to lower rates of bullying and better mental health for LGBTQ students, yet little is known about how to implement affirming programs for elementary-aged children. This study is among the first to examine how an arts-based curriculum for grades K-5 that embraced expansive understandings of gender was related to children's gender attitudes and beliefs. Structured interviews queried beliefs and attitudes towards activities associated with traditional gender norms with 83 students in a California afterschool program. Following the curriculum, more students reported their gender in expansive terms, specific changes in gender norm beliefs were observed, and attitudes became more positive towards those who engage in gender-expansive roles, activities, and attire (e.g. a boy who becomes a mother). Results suggest that gender-focused arts-based curricula may be associated with increased awareness of gender norms, shifts in understandings of gender, and more positive attitudes toward gender-expansive roles, activities, and attire."

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Notes on contributors

Ellora Vilkin is a clinical psychology doctoral student at Stony Brook University. Ellora received a B.A. in English with Honors in Nonfiction Writing from Brown University and completed post baccalaureate studies in Psychology at UC Berkeley Extension. Her research focuses on the wellbeing and close relationships of sexual and gender minority people.

Leslie Einhorn is the Founder and Executive Director of CASA (Children's After School Arts), a nonprofit after school arts program that has a focus on social justice and social emotional wellness. For over twenty years CASA has been guiding San Francisco youth toward open expression, expansive hearts, and questioning minds.

Satyanand Satyanarayana is a clinical psychology graduate student, health track, at the University of Miami. He received his JD from Harvard Law School and his post baccalaureate diploma in psychology from UC Berkeley. His research interests are focused on behavioral interventions to improve health outcomes for people at risk of contracting HIV as well as for people living with HIV.

Ammo Eisu is a Bay Area-born, Asian-Latinx, first generation American artist and educator. He studied Electrical Engineering at Yale University. After completing his BS in 2004, he pursued his passions for music and performance, touring the US and playing music at festivals such as South by Southwest, Noise Pop, and CMJ. In 2011, he obtained his MFA in Design from California College of the Arts. In 2018, Ammo became the Director of Upper School at CASA.

Katrina Kimport is Associate Professor in the Department of Obstetrics, Gynecology & Reproductive Sciences and a research sociologist in the Advancing New Standards in Reproductive Health (ANSIRH) program at the University of California, San Francisco. Her research focuses on the construction-and opportunities for deconstruction-of gender- and sexuality-based inequality.

Annesa Flentje is an Assistant Professor at the University of California, San Francisco, School of Nursing. Dr. Flentje's research has targeted multiple ways to reduce health disparities among sexual and gender minority people including prevention, increasing visibility of sexual and gender minority people in research, understanding the biological mechanisms of minority stress, and developing interventions to reduce minority stress. Dr. Flentje was an inaugural recipient of the 2018 National Institutes of Health Sexual and Gender Minority Investigator Award in recognition of contributions to sexual and gender minority health research.

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Elementary Students' Gender Beliefs and Attitudes Following a 12-Week Arts Curriculum Focused on Gender

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Ellora Vilkin is a clinical psychology doctoral student at Stony Brook University. Ellora received a B.A. in English with Honors in Nonfiction Writing from Brown University and completed post baccalaureate studies in Psychology at UC Berkeley Extension. Her research focuses on the wellbeing and close relationships of sexual and gender minority people.