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7/31/2019 CSW Update - Thinking Gender Issue
1/43
1
updateCSW
contents
7/31/2019 CSW Update - Thinking Gender Issue
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updateCSWthinking gender 2012
2
updateCSW
Panel Summaries byAMANDA APGAR, LiNDA
JuHAsz-WooD, ANDLiNDsey McLeAN
38
Staf
33Coordinators Notes
By MIRASOL RIOJAS
3 5Performative Metaphorsby Leticia isabeL
soto FLores
Choreographing Collective
Intersectional Identities...by yvette Martnez-vu
19Warping the Architectural
Canon by JAMIE ARON
2413
Leader-Follower
by I-Wen Chang
7/31/2019 CSW Update - Thinking Gender Issue
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updateCSWTHINKING GENDER 2012
coordinators notes
3
Because I had
coordinated CSWs
Thinking Gender
conerence in 2009, I
knew exactly what I was
in or when I had the
good ortune o being
selected as the coordina-
tor or Thinking Gender
2012: a really un six months o planning and preparation
or an extraordinary day that makes a real dierence in
the lives o young scholars who are, in turn, making a real
dierence in other peoples lives. There would be brain-
storming sessions and some creative problem solving
some arranging and then some rearrangingI wouldget to read and hear about all kinds o interesting projects
in all sorts o areas o study. Lots o anticipation and lots
o excitement, all because o one day, one opportunity
to be surrounded by all kinds o people rom all over the
country and, in act, all over the world. It would be one
day during which I could enjoy being completely sur-
rounded by people eager to share their ideas and researchabout women, gender, and sexuality. My mind would be
3
stimulated, but even more, my heart would be warmed.
I knew my heart would be warmed because, as I re-
membered it, coordinating Thinking Gender meant working
with CSWs incredible network o good, kind, and generous
people. It meant the excitement o meeting lots o new
people, along with the joy and comor t o working with
amiliar aces. This year, 82 presenters shared their work
at the UCLA Faculty Center. There was, o course, a strong
showing o students rom UCLA and the surrounding Los
Angeles area. We had students come in rom Oregon, Ohio,
Maryland, Texas, New Mexico, Indiana, New York, New
Jersey, Kentucky, North Carolina, Michigan, and the list goes
on... Some o our panelists had even longer journeys and
joined us rom Hawaii, Canada, England, Germany, and The
Netherlands. The result was a Faculty Center lled with acrowd o people who represented not only geographic di-
versity, but a range o perspectives and approaches to some
really exciting work. As one presenter told me ater the
conerence, she elt Thinking Gender was one o the most
genuinely interdisciplinary conerences shed ever attended.
In act, she said she was happy Thinking Gender was the last
conerence she would attend beore graduating, because itwas a truly supportive environment and a positive experi-
ence, which is what conerences are supposed to be. Bravo,
on all counts!
CSW works very hard to create opportunities or people
to connect, and thats exactly what we saw at Thinking
Gender this year. I you were at the morning panel Mods
and Vlogs: Gender Techs, you know there was even an
unexpected virtual connection that took place! Panelist
Gopinaath Kannabiran almost missed out on his own panel
when he got stuck at the airport during a winter storm.
The Mods and Vlogs moderator, CSW Research Scholar
Rosemary Candelario, wouldnt hear o it! When I delivered
her what I thought was some bad news, she didnt miss a
beat: why not just Skype the presenter in? I asked, Can you
do that? No problem! And suddenly, there was Gopi on
the screen. How tting or a panel on Gender and Technol-ogy Once again, CSWs crew came through. Everyone
just rolls with the punches, and they do it with a smile.
What I witnessed on the day o the conerence was,
quite simply, a lot o sharing. Presenters were engaged in
conversations about each others work, both inside and
outside the sessions. They raised their hands with questions,
sought each other out in the halls, and oered each otherresourcesbut it doesnt end there. I have received so
cn contents
7/31/2019 CSW Update - Thinking Gender Issue
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updateCSWTHINKING GENDER 2012
coordinators notes
4
many inquiries rom panelists, as well as audience members,
who want to get in touch with one another and nd out more
about the work that was presented at Thinking Gender. People
want the dialogue to continue, and it will. It does!
I you missed some o the panels because you couldnt be
in two places at once, or i you were, unortunately, not able
to make your way to the Faculty Center this year, there is still
more Thinking Gender to be had:
Many o the papers, drawn rom the plenary and the
other 20 panels included in the program, will be published
through the Caliornia Digital Library at the beginning o next
month. Papers rom panels such as Altar Alternatives, Voices
on Violence/Wars on Women, Pedagogies across Time: Cre-
ated, Contested, and Changed, Global Spirits, and The 99%,
among others, will be available soon. Do watch or their
posting at http://escholarship.org/uc/search?entity=csw_
thinkinggender in early April.
In addition, CSW lmed the ollowing panels, which
you can watch now, at http://www.youtube.com/playlist
?list=PLA929BBD1F30DC69A&eature=plcp: Mumbling,
Stuttering, Yelling: Gender Inarticulation in Argentina, Chile,
Brazil and Downtown Los Angeles; Parasexuality and theArts; Masculinity Inside Out; From Chickens to Cookbooks:
Creating Community and Meaning with Household Ar tiacts;
and the plenary session: Thinking Gender in Space, Place,
and Dance.
My personal thanks go out to all o Thinking Genders
presenters and moderators, with a special thank you to
Jacqueline Shea Murphy, Associate Proessor o Dance at UC
Riverside, or leading a lively discussion a ter the plenary,
which included papers on women and textiles, the indig-
enous perormance group FOMMA, emale mariachis, and
gender shiting in Taiwanese salsa. Abbreviated versions o all
the plenary presentations can be ound in this very newslet-
ter, so please be sure to read on (as well as watch the video
that I-Wen Chang has provided to illustrate some o the danc-
ing techniques she describes)!
As I prepare to wrap things up and hand over the reins
to next years Thinking Gender conerence coordinator, Im
reminded o what I said about the CSW sta when I wrote the
Coordinators Notes ater my last conerence, back in 2009.
To the next conerence coordinator, I wrote: You have a phe-
nomenal group o people upon which to depend while you
are at CSW. Our Director, Kathleen McHugh, has assembled
one o the best teams I have ever had the pleasure to workwith, and you will enjoy ever y minute you are in the ofce.
Whats unny is that while the actual sta and volunteer base
I had at my side this round was almost entirely dierent than
it was last time, I am compelled to say the same thing. This
years Thinking Gender team was truly one o the best groups
o coworkers with which Ive had the pleasure to work. Our
Director, Kathleen McHugh, and Managing Editor, Brenda
Johnson-Grau, have been par t o Thinking Genders success or
many years, and they have a wealth o inormation to share
with the next conerence coordinator. Assistant Director Julie
Childers was never more than a phone call or e -mail away and
always either had or ound the answers to my many ques-
tions. Associate Director Rachel Lee, thank you or all your
enthusiasm and ideas. Your energy is just inectious! No matter
who is at CSW next year, I know the next coordinator will have
a great team o people behind her or him. While I was coordi-
nating this conerence, I never worried about a thing because
I knew I had so many reliable people working with me to pull
this great day together. I know it will be the same or the next
coordinator. Actually, I know it will be even better, because
Thinking Gender just seems to keep getting better with every
year that passes. So, heres to the next year Thinking Gender
2013 February 1st, to be exact see you there!Mirasol Riojas
contents
http://escholarship.org/uc/search?entity=csw_thinkinggenderhttp://escholarship.org/uc/search?entity=csw_thinkinggenderhttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://www.youtube.com/playlist?list=PLA929BBD1F30DC69A&feature=plcphttp://escholarship.org/uc/search?entity=csw_thinkinggenderhttp://escholarship.org/uc/search?entity=csw_thinkinggender7/31/2019 CSW Update - Thinking Gender Issue
5/43
5 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
In music studies, holar hav o
xplor a a aphor or oo,
hogh, a l. i h 19h r,
r ewar Halk rogz h hr
aphoral o al or. A h
a 1891, wha vr ohr ar ll -
rpo alra aphor, (Halk
1986: 30). Wh vrbalzg wha , ro
rprao o hq, o ao avo -
g grav lagag, aphor parlar,
ba a vrbal rpo osound, o -
, a rprao.
i h r a rgarg aphor
, aphoral lagag o rb
rlao o al pra or
hor. T aphoral rpo hav -
avoabl b o h ologal horzo
a hrogh lagag. molog sa
mclar rr o h a gr ap o ra-
oal hor Feminine Endings (1991),
a og x olog. sh a:
hor a aal q rql
bra a xpl rla o aphor o g-
r (al v. ) a xal-
hr orlao. T o vrabl o
hba ha roo raoal po-
volv h laao o a-p
or g aorg o gr (mclar 1991:
9). ma a r lz h r
g a al g o
rb how a a , o who vr
ralzg ha h aphor prpa xal
The Doing of image by Women in mariachi musicr hrogh al lagag. i arah
, a lar ao ha a wh
h rag parpao o wo arah
a. A or a or wo pror
arah bl, h og raoall a
voal rgr or ar arl rapo
o h al vo. T alrav voal rg-
r qkl ba agorz a h grl k,
or tono para mujer. Whl h o h gr
aphor olloqal, w ao gor h ral-
ha h aphor rolog rl
xpll o aphor o gr. maphor
h o rl a po ap o lagag;
alo a wa whh val a o-
opalz hr og hrogh a-
phoral lagag.
excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by leTicia isabel soTo flores
contents
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6 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
i h o a, aphor abo , aphor
o ol rpr h al xpr l, b h alo
a h wa h o b xpr. T p o
aphor o boh r a hag o xpr
o h . mclar rgar h a gr a xal-
al arrav: no ol o gr a xal-
or or abra hor, b l orl havl po h aphoral lao o xal
av or (mclar 1991: 12). i h a o
arah , h arl 1990 wh all-al ara-
h bl bga akg hr pr kow o h
u.s. or ag, i rbr a lr rbg
hr xpr o h wh oal o ak o b
aral, ho aoa wh a al-
. Jg rgarg hr l o
a opla ha o , wak, low,
a ha ohg wa g. T b all-al
arah grop wa o jg o al qal alo;
a h a plo aphoral lagag o
hararz a xpr wha h a o them, h
lr. T wa hr h aho al o a
wr ao o, or wa pr h aho a-
l ag bqol aoa wh arah .
exprv o jg o a arb o h ;
arb to h . i h , rv a a
aphor or h ga o h xpr, whr h
ga o o a ologal rawork.
Alhogh rarh org aphor a abo
oo , i wol lk o propo
a alrav wa o approahg aphor a rla oprora. Phloophr Joh L. A, og h
contents
7/31/2019 CSW Update - Thinking Gender Issue
7/437 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
wor prorav, rr o h ag o
ra, or pok wor, a h og o h
ao ha aoplh (A 1978: 5-6).1
Alhogh h h a wh pok wor, wha
happ wh h og ha ha o wor? For
h, i rr o Jh Blr oo o
bol ao. i rag h rlaohpbw h ph a a h bol a, Blr
wr, hr wha a, a h hr a
k o ag ha h bol r o h
ra pror (Blr 1997: 11). Ao ar
h o b roo a prorav aphor,
whh ar v brgg abo h ao
h rpr, g a ag rahr ha wor.
T ag ra a goa b wo
arah a, boh hr vrbal rp-
o o hlv a wll a h o-vrbal
og o hr ag, afr h a ha a
aphor o rl a lg ha;
aphor a alo b pror, ag ha
o o o hav o a ohg o a
a aphoral rh-val. A prora, or
xapl, a pbl ao whh ag ar
a o ao (a wor) ha a or
ohg l. i h ollowg, i wll llra
br how aphor a b pror, o
hrogh h l, b hrogh h ag
pr b al arah a.
1. Ardng t Atn, thr ar tw tp prrmatv: 1) a prltn
ar at what w r ng at r ahv ang mthng, (nqn
rght at a ph at); 2) an lltnar at th at w prrm n
ang mthng.
Image In marIachI musIcAro h worl, arah a powr-
l o o lral xpro ha ha b
proal rogz a a al-oa
al rao, p h a ha wo
alo pla a gral rol. s h bgg
o worlw poplar, h arah ag
ha b lz o rpr a bol o al-
par ablh b h naoal charroAoao 1921 o o h ao o
ga a a bol o mxo.
ebra a a bl o mxa
rg h aoal ov h 1930, h
arah ag wa or ro a ollo
o bolh a h obrro, h traje de
charro (h lz bllghr o aop b
arah a), a pol brahgall
whh ollvl pr a ag o mxa
al hrogh l, lvo, a rao.morovr, h al l-rprao o
F I g u r e 1 : E x a m p l e of t h e
m a s c u l i ne m a r i a c hi i m a g e
p op u l a r i z e d w i t h t he G ol d e n
E r a o f M e x i c a n F i l m
contents
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al arah prorr ha largl
h oo prpo o h al xpr-
o, a h al opo ha ha b
prarl ap b h o h a a
holar o h prora pra.
i hr arl o h or rrog
h mxa charro, Olga njra-Rarz po- ha h charro b approah a boh a
aoal bol a a lral oro o
al (njra-Rarz 1994). dp h a
ha hr a ralao or h wor
charro (charra), arah a o o -
rb h al vro o h arah a a
traje de charra. Wo hav ohl ra
a goa hr ag a var o rav
wa. T ollowg ar ol a w o h wa
whh wo arah a hav ova
h traje de charro.
all-femalemarIachI ensemblesi h 1950 mxo, hr all-al arah
grop wr or a r b wo
h mxa apol: marah La Ala b A-
la Ala chvz, marah Fl erlla
mxo (all all marah mhoaao)
b Lp Lpa moral Aala, a marah La
corola (all all marah norga) b
carloa norga, ar a a a. T
wo, a o aopg a z vroo h traje de charro whl prorg arah
F i g u r e 2 : M a r i a c hi
F e m i ni l E s t r e l l a s
d e M e x i c o
ha n d c r a f t e d t h e i r
o w n o u t f i t s .
C o u r t e s y o f F e l i s a
G o n z l e z , 2 0 1 1
F i g u r e 3 : M e x i c o
C i t y s M a r i a c hi
X o c hi t l wa s fo r m e d
i n 1 9 8 2 b y R a m o na
M a d e r a G l v e z
contents
7/31/2019 CSW Update - Thinking Gender Issue
9/439 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
, h hara hr ow o, o
o h k-lgh varao o mxa r-
goal r. Fgr 2 how marah F-
l erlla mxo xapl o h vr
r h oo.
s hr orao 1982, mxo c
marah Xohl b Raoa mara Glvzha a r vo o how o hghlgh hr
a a all-al arah bl
(g. 3). dp h a ao o h
al ag aoa wh h traje de
charro, a h xapl b h
r all-al arah grop ha pr
h, marah Xohl z hr ag
b warg hor lgh kr ha a jabov h k.
i h u sa, marah Ra Lo
Agl Jo L. Hrz, ablh
1994, ha h oppor o pror or Pr-
Barrak Obaa a r la mhll
Obaa a a h Wh Ho or hr 2009
co mao lbrao (g. 4). For h l-
brao, aog hr larg var o , h
ho o war hr prpl traje de charro wh a
wh ah rapg ro h rgh hp.
i sa Aoo, txa, marah mjr
iraoal b Lla torr, or 2008,
o h harro ag b ag a brgh
pkreboso (hawl) wh a ahg owr
hr har (g. 5). T rbozo ha a pal g-
a o mxa wo; alhogh warl
F i g u r e 4 : M a r i a c h i
R e y na d e Lo s
A ng e l e s d e J os
L. H e r n n d e z ,
e s t a b l i s he d i n
1 9 9 4 , p e r f or m e d
a t t h e W h i t e
H ou s e i n 2 0 0 9 .
F i g u r e 5 : M a r i a c h i
M u j e r I n t e r n a c i o n a l
b y Lu c i l a T or r e s ,
f o r m e d i n 2 0 0 8 ,
m od i f i e d t he c ha r r o
i m a g e b y a d d i ng a
b r i g ht p i nk r e b o s o
( s ha w l ) w i t h a
m a t c hi ng f l ow e r .
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10/4310 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
F i g u r e 6 : M a r i a c hi C ont i ne nt a l F e m e ni l b y C a r l a B i b i a n o
R i v e l e s e m p l oy a v a r i e t y of m a r i a c hi s u i t s t ha t u ni q u e l y d r a w
a t t e nt i on t o t he f e m a l e b od y .
h hav h ow-ovoal al traje de
charro, h alo pr hr warg a
op a pa wh a r owr hr har
(g. 7).
marah Fl Ara b mara
J Xolooz maa a hr hba, Arao
moz Vaqz, wa or 2011 tlaxala Xohal, tlaxala. i gg hr r
traje de charro, mara J ho o hav a
or raoal look, alb wh pr-
jak (g. 8).
B vlopg hr awar o h g
a gal ha rv a a lagag o hr bo,
a b hoog o o hr ag orr o
perorm a al vro o h horall a-
l arah , wo arah a
aphorall ar a o ha whh
val a o o opal-
z a h or: h traje de charro. T a-
phor aro b wo arah oa,
a prhap a aphor o h rol o wo
al av, h provok g q-
o rgarg rao, jg, a bol
ag.
speech acts andbodIly actIonsi oral rvw a oral ovrao
wh wo arah a, a h-
aall har wha h o o ak h arahag or . so rb h olor
F i g u r e 7 : I n Lo s A ng e l e s , f o u r w om e nc a m e t og e t he r t o c r e a t e M a r i a c h i
B e l l a .
lk o go a rral mxa wo,
phaz aro oal la.
i Jrz, Zaaa, marah coal F-
l b carla Bbao Rvl plo a var
o arah ha ql raw ao
o h al bo (g. 6). i o xapl, h
pror warg a oral oporar rap-
l r wh boara orao, o-
wh a jak, a how blow. i ohr
oao, h war a rapl op wh a log
a olorl mxa rgoal kr.
mor rl Lo Agl, or woa oghr o ra marah Blla. Togh
contents
7/31/2019 CSW Update - Thinking Gender Issue
11/4311 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
h hoo or hr ar, h lgh o kr h
prr, whhr h prr kr or pa, a
o ll rq wo who hoo o o war
h log raoal kr whl pr-
org arah .
i ao o h r o ra a
ag, hr h rlg oo o h ra-oal a h propr. i a r rvw wh
Raoa mara, ror o marah Fl
Xohl, h l h o j wh h prr
warg hr hor kr, j abov h k. sh
xpla ha wa or ov ba h
log kr a b agro a hr hl
o g k h h, ag h o rp
h ar o arl. sh a ha wh h lograoal arah kr, h wol b abl
o walk a h o.2 trhll, a h
lar rval, h o lookg lk x
wo arah a. dp hr rao
or warg k-lgh kr, marah Xohl
ha a ahg ll-lgh kr o ro o
a who prr or propr-lookg all-
al arah grop.
T aphor aro o marah Xohl
, or v x, arah ag ol o
xapl whh h vrbal rpo o hr
ag a a opl h o-vrbal
og o hr ag. T vr a ha
rpo o h prorav aphor, a
o whh or pora oo o rao,
2. Personal interview with Ramona Madera, 17 December 2011.
F i g u r e 8 : M a r i a c hi F e m e ni l d e A m r i c a , f or m e d i n 2 0 1 1 i n T l a x c a l a d e X i c oht nc a t l ,T l a x c a l a , ha v e a m or e t r a d i t i ona l l o ok, a l b e i t w i t h p r i nc e s s - c u t j a c ke t s .
contents
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Vm Mkalhshnn. indanapl: Haktt
Plhng cmpan.
Mclar, san. 1991. Feminine Endings: Music, Gender,
and Sexuality. Mnnta: unvrt Mnnta
Pr.
sarl, Jhn R. 1969. Speech Acts: An Essay in the Philoso-
phy o Language. camrdg: camrdg unvrt
Pr.
jg, a bol ag, hav por-
a o wha hol b prrv a
wha ol volv hag.
O sa, novbr 27, 2011, El mariachi:
msica de cuerdas, canto y trompeta (Mariachi:
string music, song, and trumpet) wa aog
gh w o agbl worl hrago b a o h Rprav L o h
iagbl clr o Ha b h u
nao Orgazao or eao, s
a clr (unescO). T a ha ow
a rpobl o h mxa govr a
h arah a hlv o prrv
h (whh abgol a) ha
h w lgh o how al arah gropwll b l or o prrv h al
rao, parlarl unescO rog-
o a o pro hrago rpr
a ola all al grop ar or r.
performatIvemetaphorsProrav aphor ar bo a-
o ha apr oo a xpro h
a aapabl o ha av. T
ar aoa wh l-prao, pla,
a rproal oao. i h ,
h aphor pror ao or a appro-
prao a raorao o h bqo
al arah appara. Prora
o j abo ; alo abo h bol
ao. T, a lor look a h prorav
ao, whh ar a h roo o h prrvao
o prorg ar, h lgh o h qoa
aphor aro a b wo arah
a oa.
Prorav, h, ao b l o
aphor a abo . A lor look ahow wo arah a o hr ag
ak o ao o ol wha h war a
how h look, b alo h prorav a-
phor ha l h harar, a,
gr, bhavor, a h al a-
ao hlv. All o h ar bj o
rxv jg ha olla bw prr-
vao a hag.
Leticia Isabel St Flres is a dctral studet i
the Departmet f Ethmusiclgy at UCLA. She
preseted a versi f this essay at the pleary
sessi, which was titled Thiig Geder i
Space, Place, ad Dace.
REFEREnCESAtn, Jhn L. 1978. How To Do Things With Words, 2nd
dtn. btn: Harvard unvrt Pr.
btlr, Jdth. 1997. Excitable Speech: a Politics o the Per-
ormative. Flrn, Ky: Phlg Pr.
Dlgad, Martha i. 2010. La Metora en la Imagen
Fotogrca. Mx D.F.: T d Matra, unvr
dad Nanal Atnma d Mx.
Ktta, eva Fdr. 1998. Wman a Mtaphr. Hypatia
3(2):6386.Hanlk, edward. 1986. On the Musically Beautiul, tran
latn Gr Paant th 8th dtn (1891)
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agency and flow InpaIr-dancIngi h raoal opo o gr rol a-
g or par-ag, h woa pal-
l opalz a a pav ollowr. Howvr,
w xa h ow bw h wo ar
or lol, w a ha h rao
ar or oplx. i parr ag, parr
ao b roo a para par, b
b aalz a a gl whol a xpral
bo. T whol lv bo a oal bo,
whh lv hrogh a rlao o po-
bl h worl. i orr or h a o go
oohl a ll, hr ha o b larbilateraloao bw h a a
ThroWing ouT genDer rules in TaiWanese salsa ToDay
excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by i-Wen chang
h wo, h a bg abl o rpr hag-
prr, poo, a wgh ha gal a
hag h ov a h ro o h
a. i h wa, a l k a ovrao;
lk a ovrao, rol a powr ar go-
a a o arl gv, gvg ag o
boh a wo.
to rhr ra arg or-
g ow, i wol lk o ak h aalog ha
ow lk h rg ha ah pro po-
, lar o h or l-or aral ar.
mor orl par-a, h xhag
o rg ha or rg h a, whh
a a bl bo lagag, hag oa, a v o o parr.
expr ar ar abl o h rg
o hr parr a aj hr rpo aor-
gl. T r a ooh rao bw
h wo, akg v o h rg val
a.
sala parlar ha a ov ow ha
avor qal bw parr. ulk walz or
ago, whh hghl phaz gr q
wh lo poo, ala parr op
poo whh parr ar o prar-
l a h ha. Tror, opar wh ohr
or o par-ag, ala ha wr pr-ab-
lh ov bw parr, whh allow or
or provao a a rao. iao, ala ov ar xpll al
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14/4314 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
a ro, a boh a wo ov hr
hp a wa hr ppr bo a o a
bl wa. T ov qal ala o
arl orall lok a gr bar
b xbl, allowg or or qal.
T qal o ala hav orb o
a aopo tawa, whr ha baap o phaz al rp bw
h parr a jo rahr ha how
aroba ov. T vr r ro wha
i h Lo Agl ala l, whh a
al-r or a ha vlop o a
h or ag prora ll o ah a
how rk. i tawa or propr
q or al ar o b v o hrparr kll lvl a o x hall
fl a orl ov h a l or
p xvl. i a, ha k o pal
rarl a all. s hr l prr o
pror ah ov, wo ar abl o
or avl parpa h ow pro.1 For
xapl, al ar ar abl o oa
hr wllg o o ra ov h
a h br o r or hr wllg o o
olo a va h po o oa (all pr-
r o h pal). mor poral, h al
ar ar rpv o h, a h xpao
o opl wh al ar o. i
h wa, hr a bala ow, pall
a whr hr lo phal oa. i h
1. clk hr t vw th Tawan ala n vd.
tawa ala , grall xp
hr wll b al agr o h ow, a
h al ar h al ar
wh o go a ra ro, grall h
al ar wll l orr o prrv h
haro o h ow.
cultural backgroundIn taIwansala abl o ra a a pa or wo o
b r o raoal lral or tawa
aohr rao or poplar a apa
aog tawa wo. i orr o ra
h phoo br, pora or
o ra how raoal lr tawa
pl h tawa bo. tawa ha a h-
or o lpl olozao; hr i o ol
o h ajor log rao o ch a
coa orva. T al bo vr
rr tawa o, a a woa
bo poo pbl hghl rgla. O
rlva xapl o h h ol ch ag
ha a, [Wo] b wh o
a a (). d
h ox a ha wo kp
hr lg oghr a hr ha o hr k
wh h . Wh wo a, h hav o
a p ragh a o wa. slohg a
gg ar alo row po. ur h
rglao o h bo, popl alwa a pragh a all, a avo rokg h lowr par
SalSaS abIlIty to
create a Safe Space
for women to be
free of tradItIonal
cultural normS In
taIwan IS another
reaSon for ItS
popularIty and
acceptance among
taIwaneSe women
contents
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15/4315 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
T a i w a ne s e s a l s a s c e ne
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o hr bo whl ag or g ow.
T ov o ala rl ora h
or. Frhror, hr a ol ag b
m (a ao coa holar): m a
wo hol o oh ah ohr wh gvg
or rvg a (), whh -
a a rl rgla bo a bw a wo. T op ha b x
o a gral pbl oa. To rao
ll opra oporar tawa.
T, or tawa praor ala a
or o ap hrogh whh h r h
op o l wh a paoa a rpov
bo o ora h oa o h ra-
oal ch ao a hallg hrro o bo a pbl. i ao,
ala, wh bl a o o-o-bl
kg o orhp a xal r,
prov a wa or ar tawa o ak
oo. T rao wh h oppo x
o a prvlg ol or b or wo a
wll.
i tawa hr ar alo a-x al
ala opl.2 Ba o h xalz ar
of salsa and its inclusion of masculine and
feminine expression, the salsa dance scene allows
Taiwanese men to explore their feminine dance
quality safely in a public space without fear of
being labeled homosexual. From this, we can see
that the traditional roles of male leader and fe-
2. clk hr t vw th Tawan malmal danng pl vd
male follower are not strictly adhered to and that
gender roles are blurred. These male dancers can
easily switch the leaderfollower roles without
difculty and display different leaderfollower
roles freely in public without fear.In fact, it is notunusual for other people to form a crowd around
them to watch and encourage them with clapping.However, rarely are women seen dancing
with women. Same-sex dance couples are a privi-
lege almost exclusively for male dancers, and
allow them to transgress the heterosexual nor-
mativity. They exercise their power and are able
to inhabit the femininity in the practice of salsa.
They are gambling their masculinity by being
feminine in public while at the same time show-
ing their dance techniques. They are so "brave"
to dance together in public; people look at them
and admire them. The existence of these male-
male dance couples at the exclusion of same-sex
female dance couples actually reinforces the
patriarchyby claiming gender latitude as a form
of male power in male-dominated public space.
class In taIwanesesalsa scenecla alo pla a pora rol h tawa-
ala . d o h oparavl hghr
o o larg ala a ag ala lb,
h ajor o ala lb-gor tawa o
b og l-la prooal wh lr a xra o. sala rqr kll a
becauSe of the
SexualIzed nature
of SalSa and
ItS IncluSIon of
maSculIne and
femInIne expreSSIon,
the SalSa dance Scene
allowS taIwaneSe
men to explore theIr
femInIne dance qualIty
Safely In a publIc
Space wIthout fear
of beIng labeled
homoSexual.
contents
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T a i w a ne s e m a l e - m a l e d a n c i n g c o u p l e
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pra orr o ow wh a parr. Tror,
h ala a lb ra a rror o h l
bo h rah o tap workg-la popl.
T lavh rhg o h a oor l
a roo ra worl o rba or-
a rv ol h popl who a aor .
T ra pa ar o j a plao a b alo o a alo whr og
prooal a gahr oghr o pr a
har orao o a w rag o oal,
llal, a polal . T alo o
h ala la ak xlv a polz pa
o bo. B akg a pa o goa oal
bo pol h ala alo, h vra
xpro o bo o h r polz a vr ao o la- polal
ral.
conclusIonT global r ala rval r ho-
rograph bo h r oal
o ha ar plo ala pra var-
o aoal ox. i tawa, h wa h
praor ag hr gr rol pl
rla o h la poo h op, a ha
vr a gv h rlav ro o hallg
h raoal hrarh hrogh a var-
o pa. A ll grap o h ag o ala
pra tawa h rqr ra-
g how pror a par o a parlar la
rr, a alo how raoal gr or
ar boh hallg a ror. Trogh ala,
gr or r a op o l wh a
paoa a rpov bo o ora h
oa o ch ao. tawa
popl parpa h raoal ala r
o or hr aoal a ablh
global zhp. i h r i wll rhraalz how la, aoal, a gr opra
oplx wa tawa.
I-We Chage is a dctral studet i the
Departmet f Wrld Arts ad Cultures/Dace
at UCLA. She preseted a versi f this essay at
the Thiig Geder 2012 pleary sessi, which
was titled Thiig Geder i Space, Place, ad
Dace.
BiBLiOGRAPHyhmd, sara. 2006. Queer Phenomenology: Orientations,
Objects, Others. Drham, Nc: Dk unvrt Pr.
Appadra, Arjn. 1996. Modernity at Large: Cultural
Dimensions o Globalization. Mnnapl: u Mn
nta Pr.
brt, Rama. 1995. The male dancer: bodies, spectacle,sexualities. Lndn: Rtldg.
btlr, Jdth. 1990. Gender Trouble: Feminism and The
Subversion o Identity. Nw yrk: Rtldg.
Dmnd, Jan c. 2001. Dancing Desires: Choreograph-
ing Sexualities On and Of the Stage. Madn, W.:
unvrt Wnn Pr.
Ftr, san. 1998. chrgraph Gndr. Signs
24(1): 133.
Gr, elath. 1994. Volatile Bodies: Toward a Corporeal
Feminism. blmngtn: indana u Pr.
Nvak, cntha. 1990. Sharing the Dance: Contact Im-
provisation and American Culture. Madn, Wi: u
Wnn.
osha, Jant. 2007.At home in the world: bharata natyam
on the global stage. Mddltwn, cnn: Wlan u
Pr.
Ptrrn, shnagh. 2006. Salsa and its Transnational
Moves. oxrd: Lxngtn bk.
savglan, Marta. 1995. Tango and the Political Economyo Passion. bldr, co: Wtvw Pr.
yng, ir Marn. 2005. On emale body experience:
Throwing like a girl and other essays . Nw yrk:
oxrd u Pr.
contents
7/31/2019 CSW Update - Thinking Gender Issue
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19 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by yveTTe marTnez-vu
lAst summeR (2011) i rv a a r
a h maa Wo lral cr
chapa. T cr all FOmmA,
or Fortaleza de la Mujer Maya, ag maa
Wo srgh. i parr wh h c-
ro Hro, a rgoal rarh a lral
r b h Hphr i or
Prora a Pol. FOmmA r o
prora o Tar h cr a r-
rog maa vllag. T prora ag
in reflejo De la Diosa lunas migracin performance o gr khp rlao maa
o.
two porg maa wrr a ar,
iabl Jrz epoa a Proa la crz
crz, o FOmmA a or o proo
blgal har a ao h maa
lagag o tzozl a tzlal hrogh pror-
a a alo hrogh ohr progra. T
orgazao hlp maa wo a hlr
o vlop kll ha wll prov hr al
lv, org workhop o oral bakg
(bra-akg), wg, a opr lra,
a wll a org rag rav avor
h a phoograph a prora.
For h prao, i wa o o o
o o FOmmA ral o: o ag how
bo gr a prora pla
a rol proog a ollv roal
. spall, i wll vga Refejo de
la Diosa Lunas mgra (1996) o ror
contents
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20 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
ha o ol pror b alo ho-
rograph a gr. Parlarl, i a o-
g o h har, hogh v, xpr
o roal aog go wo
mxo. T r roal, borrow
ro Kbrl crhaw hor o ro-
al whh h qo h wa ha xpr- o Blak wo ar xl ba -
pr wh a blak a
al. i h a, i wol a ha
o g o o l h o gr
ha oppr go wo. T prao
wll o o wo prora rag a a
rqg gr go rol or wo:
ro-rg a a aral o obj. iarg ha h or o ro-rg plo
a h wa prorr or obj
hr bo hq a or o ao. i
arg ha h prorr o hr bo ov-
pg o h harar h pla a
h oxal aor o h prora. sh
obj o a h bo a h . i og
o, h prorr prov alrav opo or
gr rprao, whh r
rprao o g.
i mgra, Proa la crz crz pla
h al proago, maro, who, hr ro-
rg, po o h al apo.
maro ov a llow arr, carlo alo pla
b a woa, o ov h al ro rral
hoow o h hop o g a br
contents
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21 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
l. Who h w o, a h k o
h gr pol, carlo ll h ho, l,
a lvok o a r. T, wh h lo h
job h , h op wh h lo b rk-
g. Wh o hop o g a w job, carlo
hl a rok boo, a h al
l who ba lk oo a hl-r. T pla brg vral oo o h
rggl o h go wo o h ag:
al hav, xal ab, povr, gra-
o, alohol, a vol gral.
cross-dressIng andthe hybrIdIzatIon of
body technIquesi h pla, h aor ro-rg o ak
vbl h wa ha o aho a
gr aralz r bw a
wo. Wh carlo a maro r appar o
ag, boh war baball ap, khak pa, a
bo ow hr. maro war gla, k
h hr, a war lo-g pa whl
carlo lav h hr hagg ovr h ovrz
bagg pa. T l ar pal o maa
ro o chapa. Whl hr
r a oal gr o, h
o ol rlao o a r bar. i h
pro o prorg h harar, h wo
prorr lp o loha harp
ora o h orvav huipiles or bro-
r blo a log oo or wool kr ha
a maa wo aall war. T r
o ar rl ollow h o,
o j plag a h a g wo
h loh alra ak a rvo o
raoal gr o. iroall, b ro-
rg, h ar alo z h rao-
all al pa o har b h r a hah ar por go wo prorr.
A taara urr o, h prorr ar
rvrg h ro-gr ag rao,
o ol a, b alo l. O ag, h
ar abl o raho a whol prora ra-
o ha ha horall ok a xl
h (360).
T o al lohg orpr a al harar laol ak
vbl a hbrz bo hq. Wh
h or, maro a carlo o rggr a
o o oroao. Wh Ogra crz,
a carlo, a crz crz, a maro, pror a
o vol, h, ok a hra h ag
o a phall vol al, or aho a.
A h harar arg, crz crz roll p hr
lv, x hr ar, a hol o o O-
gra crz h. Boh wo al hr ar,
oall arl o o hr ah ohr, akg
a okr o h harar vol. i maa
lr, oopla or wo o b q
a bv. i orag h o,
h aor xr aggrv bo h-
q aoa wh . T, wh og
In uSIng maSculIne
and femInIne
coStumeS, the
actreSSeS offer
the optIon to
IdentIfy wIth more
than one gender.
they alSo offer a
Subject poSItIon
that reSIStS the
heteronormatIve
conStructIon of
femInInIty.
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22 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
lohg, h wo prorr ar a-
g a wr rag o ov apal or ma-
a wo a, a h a , h ok h
vr al ha rla h ro hr a-
g oal gr o. i rprg ohr
opo or wo, har bo a poal
o ra aga pararhal or o a
o ag.
Gv h a ha all h prorr ar
wo, hr prora xl h pr
o . B g al a
o, h ar or h opo o -
wh or ha o gr. T alo or a
bj poo ha r h hroorav
oro o . i porrag gro, h ar pla wh h o a rval
hr abl. A wo porrag h rol
o , Refejo ablz h oo o bj
havg a abl a b rvalg
h wa ha gr or rqr oa a-
o orr o aa powr. A i hav o,
h br oRefejo ar arl o ora-
v or bw a wo, b
og o h ollvl rpro or ha
o gr agor or go wo o
wh.
gendered sIgnIfIcatIonof objectsObj, lk lohg, po a gr bo or
whh h wa a (Ah 50). Alra-
l, obj hap h bo wh whh h ar
oa (54). A sara Ah arg Queer
Phenomenology, gr a o how bo
ak p obj, whh volv how h op
pa b bg op o wa or aohr.
Bo ar hap b h work h o (59).
Ah ra obj a ool. B wha a obj prpol or prpol o
? Wha happ o h gao o h
obj wh pla? Frhr, how o ha or
bo? i o, a obj a
hav a alro doing h right
wa. i h o, i wll hghlgh xapl
mgra ha rr or xhb gr -
b h () o obj. i wll hghlghhow obj ak par g a ho a pro-
g a o blogg. Howvr, wh h
ar or obj, h volv a .
i ohr wor, rahr ha g obj pr
o ag, h ar al o h a a
pro gr ha ov h a o a a-
o. T, h ab o h obj lo a
ablz h rrao o gr pro
wh qoa pa.
For xapl, h oRefejo a gl
gr bakrop wh ag ha boh o
a campesino (paa) ho a obj
ool wh ha pa. T o
pa orall rlga o h bakgro
a allow or ohr, all al-or, work.
i h a, h prva o h o pa b-
o pbl. T propr pla a rr-
o h bakrop l: a orlla pr (or
tortilladora), bk, bor, wow, a kh
abl, aog ohr. T bakrop bolz h
gr rprav o a go woa
qoa l chapa. i alo a or a
o pa, a ho, allg ao o howh o a a blogg wh a
pa pro hrogh h or o obj
pla h bakgro. T rg o ma-
a wo har, a prorr a hara-
r, pro a o a ha ob
prva oo o al a ho wh pbl
oo o arrav a prora. y Ah
ar ha ha whh ak hap a h bak-gro h rl o h o h rpo
o a ra ro (88). Rahr ha g
h obj, a org hlv owar
h, h ar rl h. iroall,
h bakrop a ag o obj bo
ha whh gravl pla wha wol pal-
l b h bakgro a h orro. so h
bo g o a maa woa, b h o o
hr. ia, h ak o h rol o
whl h g ra o h r.
T aal ho o obj o h ag
rval horograph ov,
pall wh org h wa ha a
hohol obj ar o a o ao
b o ag. i o , caala prpar
a bor. iabl Jrz epoa, a caala,
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23 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
arrag hr p o woo o ak a r o
h r ag oor. T ao bg
wh h kl ow o blow oo h r or a
w o. A Ogra crz plag carlo -
r h ag, Jrz epoa rgar h r
a gag alog. sh a p, ov
ow ag l, a a h a whlpakg o Ogra crz. sh blow o h
r aga b h h b ovr a
o klg, rag a largr a bw
hr bo a h woo. Fall, Jrz epoa
a p a a h a o aga. T
h op blowg. Wh arg h r,
h h ao. Alhogh akg a r
rpr a o a ha wo pror mxo, h prora r h rproo
o ha o. T a simulatedb o
replicatedba Jrz epoa larl -
g h ool rqr o ra a aal r. A a
rl, h a horograph a ; o
ar b Jrz epoa r o r
hrl o a o a. T, whl obj a
b gr, h ar hav h ho o r-
, rval, or xaggra h propr wa o g
h. i h a, Jarz epoza ra o
pror ral porraal o h o a,
alr a pro w gr ha ora-
v xpao or wo.
conclusIoni h prao, i hav vga how
bol gr, pall rlao o h
lohg a obj prora, boh
rpro rao a pro alra
opo or gr a hror oal rpr-
ao. spall, ro-rg a -g prov oppor o maa
pararhal val, whh ar rla o a -
o o wo, whh bologall r-
a al. i x arg o
o ha Refejos prora ar ool
goag a ollv roal
gv ha h hr rpr wo a
hol or abl a ba hr bo or
prora vr ra a. A roal
ollv o ha alwa hagg
b ra o hrogh af. Whl
propog a pa-mxa wol r h
rk o lg r a akowlgg -
r a r h rk o alzg, a-
ag a r af pro a pa
whr bj who wh a ro-
al a work oghr owar rral
hag.
Yvette Martez-Vu is a dctral studet i the
Departmet f Theater ad Perfrmace Studies
at UCLA.
WoRkS CITEDAhmd, sara. Qr Phnmnlg: orntatn, o
jt, othr. Drham: Dk u Pr, 2006.
FoMMA, Frtala d la Mjr Maa. Mgran. FOMMA
Video Collection. Hmphr inttt Dgtal Vd
Lrar, 2006. W. 7 Jn 2011, http://hdvl.n.d/
vd/000509445.html
Ftr, san. chrgraph Gndr. Signs 24 1
(1998): 133.Harawa, Dnna. A Mant r crg: sn, Th
nlg and salt Fmnm n th 1980.Socialist
Review8 2 (1985): 64107.
Kndn, sann. intrtnalta Thrtal
inpratn n th Anal Mnrt cltr and
idntt n Txtk. Caught in the Web or Lost in
the Textbook. ed. brllard, er; Aamtakkn, bnt;
Kndn, sann V; Hrl, Mk. 2006 6176. 3
Jn 2011, http://www.an.m.r/llq_ar
tm/pd/kndn.pd
undrnr, Tamara L. indnt Thatr n chapa,
Taa, and yatan: cltral enatmnt n Maan
Mx. Theatre Journal50 3 (1998): 349.
contents
http://hidvl.nyu.edu/video/000509445.htmlhttp://hidvl.nyu.edu/video/000509445.htmlhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://www.caen.iufm.fr/colloque_iartem/pdf/knudsen.pdfhttp://hidvl.nyu.edu/video/000509445.htmlhttp://hidvl.nyu.edu/video/000509445.html7/31/2019 CSW Update - Thinking Gender Issue
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24 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
excerpT from Thinking genDer in space, place, anD Dance,Tg 2012 plenary session by jamie aron
teXtiLes hav log b a par o h
ao o Wr arhrro h
ol o rap al or a
Grk pl o h abra maa par
k oghr Frak Llo Wrgh xl
blok ho o h 1920. y j a a aa
a oal wha , arhr har
hor wh wavg o obr. toa
arhr a h op alog h ar
o pag a lpr, whl wov xl
op a l pro poo h appl
or h orav ar. Apparg aral ow,
w rbr ha h hrarh o h ar wa
o alwa o abl. Arhr a wavg
wr boh a h boo h mval Pro
poo a haal ar rqrg lar
Warping The archiTecTural canonaal kll rahr ha val rav
or llal rv. evall, hrogh har
lobbg b Raa ar a ha,
h ablh o ar aa a
xlvl o h ahg o arhr, pa-
g a lpr, a horal bakg b
elgh phloophr, arhr pa-
ra ro haal oparo o bo
o o h oa val ar o or,
lavg wavg bh a hara wh h
agor o h orav ar. i o r ha
wo hav b grall l o o or
val ar hor a aoa wh h o-
rav ar. Trogh h l o hor rx-
aao i pr hr xapl o wavg
workhop l b wo, who work o ol
r arhr a k o h
wh r, b alo hallg h hr-
arhal poo a lral ag o arh-
r.
i h arl wh r, or arh-
a hor ra o broa oal hag
brogh abo b iralzao a oal
a polal phaval b rjg h hor
or o h pa. Parl o horal bl
p ro 19h r ah ba o l
a h val o ora, or arh
horz ha v xl, or hr-
l oraal wh h ror, o b
rj arhr wa gog o la o
owar a br r. i orr or xl o
b rgra o h pra o arhr,
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25 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
h wol hav o b rorla a oal
qp rahr ha appl orao, a o-
pal rggl xplor l b ava-gar
ar a wavr aro erop.1
A Albr r o h Baha ar
h hgh o h eropa ba o l a
ora. A a agr og Gra h la 1920, h lah hr ar arr
a h Baha, h xpral w hool
ablh 1919 b h arh, Walr Gro-
p, rg h War Rpbl Gra.
Brgg all o h ar oghr r o roo,
h Baha ogh o hz h a h
orav arwh arhr ag a h
ohr o h alla bl oalz bh -ghh r, pra b Ar
a cra rorr lk Wlla morr, a
hr b or arh lk Grop, L
corbr, a m va r Roh. Lk alo
all o h al a h , Albr
wa pla h Wavg Workhop, l b
hq ar, Ga solzl, ppl
wh la l b or ar lk Joha
i.2 dp h a ha h Baha wa o
o h o lbral ar hool o , gr
rol wr ll -p pa,
lp, a g blg, whl wo
1. chrtn bdll, Txtl n th Mdrn Hm, n Disentangling Tex-
tiles : Techniques or the Study o Designed Objects, d. chrtn bdll
and Mar shr (Lndn: Mddlx u Pr, 2002).2. Ta Ln smth, Weaving Work at the Bauhaus: The Gender and Engender-
ing o a Medium, 1919-1937(u Rhtr, 2006).
wov xl, hrw po, a a ra.3 T
paraoxorazao o h ar who
orazao o arl a Baha
wo ar o bo aoplh wav-
r ba o h rro pla o h o
h hghr ar o pag, lpr, a
arhr. A po h 1920 a 1930, hWavg Workhop rpr h o a-
all l or o h Baha, howg
apr a r ar aro Gra a
vall lg g o aarr.4
Wh h o o h hool h ro o-o
g o proop or a-proo, Albr
bra h rao who pa. For hr a
a a lar a a praor, ha wavgwa o ol a l b a ar pro-
opg proa al p ha h wol
ahr o Ara wh ah loo a
o oa h xl r ro h 1940
o. 5 Lar, ar grag o h us, a ah-
g a h xpral Blak moa collg,
Albr ga raoal 1949 a h
r woa wavr vr o hav a olo xhbo
a h mOmA nw york. no ol h
broaa h ahv o a woa ar o
a Ara a a r, lva
or wavg o h a o or ar, po-
og wov xl a a op o ovrao
3. ulrk Mllr, ingrd Radwaldt, and sandra Kmkr, Bauhaus Women :
Art, Handicrat, Design (Flammarn, 2009).
4. id.5. Ann Alr, Handwavng Tda: Txtl Wrk at blak M ntan cl
lg, The WeaverVi, n. 1 (1941).
aog h hghr ar. Whl Albr how o gl-hal p xl a a
qal o arhr, h v gal a po-
v h h prpo o or xl;
o ha gav or wgh o h llal a
rav apa o h or wavr pra.
Albr wro abo hr work xvl, -
lg wo bookOn Designing(1959) a On
Weaving(1962). T vol b wav-
g pr o h or or. Wh
h l o arhr, hr a log hor o
wrg rall abo blgro Vrv
o h prb hr wa o h log h-
or o wrg b wo wavr l br
o h Baha, Albr l, llalz
h pra ro wh.6 Wavga ra
6. smth n th mtl nplhd wrtng baha
wavr, ott brgr, wh wa a ntmprar Alr.
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ha b r oa b a h gr-
all l o h pag o o par.7 Lk
ao r h a cl Grbrg a
powar Ara par lk mark Rohko, Al-
br wro abo hr xpr a h loo o
or a hor or wavg, vg, alog
h wa, a voablar q o h rr,
pro, a xpr ha akg a vw-
g xl ol pro. sh o o boh
r hr llow wavr a o h
akg o xl, alog wh prov pl-
ar boar ha wol p wavg a a
ar pra. sh a al bl
o hr pra, wrg, a lpor al wh
vol, a arh wh pa, a par wholor, ha a wavr wh al .8 i h
a Albr rov wavg ro h ra
agor b rg alog rogz ar-
pl, argg ha wavg har
q val a hap propr. Rjg
olog ha p wavg a gr ra,
Albr p h parar or a proo--
pl whh wavg ol b or a
ahorav l oo l, pporv o ar-
hr b o b wh . Hr work,
wrg, a ahg lpl gra-
o o xl gr, a whh a
ll b l oa.
7. Antha calln, sxal Dvn Lar n th Art and crat Mv
mnt, Womans Art Journal5, n. 2 (1984).
8. Ann Alr, Tatl snlt,On Weaving (Mddltwn, cT.: Wlan u Pr, 1965).
Whra Albr p a opal ra-
work or xl o gag wh or arh-
r h prwar pro, Flor Koll o-
o a o or hrogh xl
h powar pro. tra a a arh r
al gr ro h Baha a sa-
ava, r a h crabrook Aa o Ar mhga r ell a Loja saar, h a
h Arhral Aoao shool o Arh-
r Loo, a oplg hr gr 1941
a h nw Baha chago (ow kow a
h illo i o tholog), Koll a
o oa wh a o h eropa ga
o or, lg arh Walr Gro-
p a m va r Roh.9 Flor arhr arr a a arh a Harro & Abrao-
vz, palzg ror, o ba o h
gra g o hr aa
or, b ba o h oal oo ha
rr wo ro pro rol wh
h arhral proo.10 i powar Ara,
x wh h arhral proo wa
o a rogz pra o b ogh aga;
rarkabl ha Koll wa abl o r a
pla wh a arhral r a all. How-
vr, 1943, Koll arr h raaall
ar rla ror work or a l orph
o a ll- b parrhp wh hr
9. b Tgrman, i Am Nt a Dratr: Flrn Knll, th Knll
Plannng unt, and th Makng th Mdrn of (M.A th, u Dlawar Wntrthr Prgram, 2005), 29.
10. id., 33.
l, Ha Koll.11 A hora Gwol
Wrgh po o 1977, h raoal rol
o wo arhr l xpoal
wo, aj, aoo gr, a
woa o.12 Fro Koll bakgro
o o appar ha h wh o ra
aoo or o; rahr, h o a -
ovoal wa o pla a par arhral
proo. Ar arrg Koll a vg
h all-al rr opa, Flor
vlop a rr l hrogh k o-
o ro hr work o ablh arh-
ral ollag a p-a-og gr,
rg h saava- abl a
har opa o a ll-al, or ga plag opa.13 Aga h bakrop o
Ara op a a bl ha goo g
ol ak pov hag popl lv,
Koll Plag u a vlop h Koll
Looka lk, opha ror ha vall
rpr h p, rgh, a holog-
al ovao ha Ara opa rov
o bo b h powar pro.14
T proo o xl -ho ba
a val opo o h opa a h Koll
11. id.
12. Dlr Hadn and Gwndln Wrght, Arhttr and uran
Plannng, Signs 1, n. 4 (1976); Jan MGrart and sana Trr, Nw
Prnal idntt: Fr Wmn n th sxt, n Women in Ameri-
can Architecture : A Historic and Contemporary Perspective : A Publication
and Exhibition Organized by the Architectural League o New York through
Its Archive o Women in Architecture, d. sana Trr (Nw yrk: Wht
n Lrar Dgn, 1977), 131.
13. earl Martn and Dgn Htr Matral cltr bard Gradat cntr: Dratv Art, Knoll Textiles (Nw Havn: yal u Pr, 2011).
14. id.
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27 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
Plag u ga or oo. For h
arl oo, Koll o pro hr
ow xl; a h oor h phol-
r a rapr or h o-g r-
r. T Rokllr al of wr o o
hr r oo 1946, ro o
hr b o o hr orr bo, Wall Harro,a Howar mr, or oArchitectural Fo-
rum.15 Lor ha ha Koll ha o arh wh
apparl abr o h appropra a-
ral o pholr a of har, lg o
g abr o h bll.16 T a or
appropra pholr a rapr abr wa a
pror o h r, a wa ol a ar ar h
jo ha Koll op a howroo o ea65h sr nw york o ll h r ollo
o Koll txl.17 Koll hr h o al
wavr a gr o g h r oll-
o, lg mara srgll o crabrook
uvr a hal a oz ohr, vall
hrg a r a o xl gr o g
boh ha-wov xl a xl a or
ah loo proo.
Hghl xr wav g w br h
a rao a pla a o o h rav
hob, rpag lara rqr o
rv wpra rogo arhral
rl a xhbo h a mo-
15. Tgrman, i Am Nt a Dratr, 35.
16. Knoll au Louvre: Catalog o the Exhibition held at Pavillon de Marsan
Muse des Arts Dcoratis (Nw yrk: Knll intrnatnal, in., 1971), 55.
17. id.
mA Good Design xhbo 1951 a h Tex-
tiles USA how 1956. upholr rr a
rapr wr wo opo o h Koll look
ha ba oal po wh proj. s-
, aall a r o ovav xl
g, p po g ha ol b
a-pro a al plgg o ror
lk a k-o-par, b opha ogh o ap-
pal o hr hgh prol l, lk h arh,
ero saar, a cBs pr, Frak sao.
Koll xl a h ral oaor
bw lolor a xr ol b
rpa o a oa a or a hr ra o ra
a val rhhwho rpg h ooh,
la l o a or ror. i h a
a a hal whh Flor wa h av r-
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av ror o h opa, h txl dvo
orh a a ar hk aklpl
pl workg alog ah ohr o ak
o aral o h hgh lvl o ah o-
plx, rral gr, a rabl. sh
ava h oral ark or xl a a
ral ag Ara powar arhr,
alag h rproo o or arh-
r o a gra al b r lg h ar-
al, h h l, o or h or or
abr. Ovrog barrr pla o hr a a
woa arh a r, Koll pro
or arhr a a al aakr,
g olog ha ha xl wo ro
ga rol arhral proo.movg o h pr, h work o dh
xl gr, Pra Bla, ha rv r-
aoal rogo or hr brahakg ra
a wall ra. Kow wh h arh-
ral o a h o who ak ra,
Bla ha x bo h ral
o h orav ar o a w rra ha -
raoal boar bw orao
a rr. i ohr wor, hr work arh-
ral, rrall oplx, a rkgl
labora par a or. Bla h r
o all hr work arhral, v hogh h
o o hol a prooal l or or
blg.18 Howvr, hr ral awar o h
18. Ptra bla, Inside Outside (Rttrdam/Nw yrk, Ny: NAi Plhr;
Avalal n Nrth, sth and cntral Amra thrgh D.A.P./Dtrtd Art Plhr, 2007).
voablar o or arhr ha pr
r o raw lk bw hr pra a
ha o prwar xl gr lk Lll Rh a
h Baha, who arl ollaborao wh m
va r Roh, vgag h l o h r-
ag xl wall, har h oo
wh Bla alla wh R Koolhaa.19 Whl
Rh r hallg h oo o h ra a
orao wh ava-gar arhr, rap-
g o blak a r vlv a llow
lk ovr pla o vral gla wh h 1927
19. Drk van Hval ha mmntd n th mlart twn
bla and Rh prat, d.
Vlv a slk ca Brl, g xbl
ror pa, Bla ag h ra v
or rpobl orr o vga h
l o h xl o pror lk arhr.20
Bla ri/Oo rv
oo wll bor oro ar, jo-
g or wh arh a rral gr
a h opal ag o plag. i o o h
o ovav, oporar proj o or
h sal Pbl Lbrar (2004)Bla
20. Matlda MQad, Magdalna Drt, and Mm Mdrn Art
(Nw yrk N.y.), Lilly Reich, Designer and Architect(Nw yrk: Mm
Mdrn Art : Dtrtd H.N. Aram, 1996).
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29 UCLA Center for the StUdy of Womencsw upa: thinking gender 2012
wa hr 2000 o ol o all o h horzo-
al ra a o g a -p ra
or h ror aor, orbg a o
olv oal probl lk rlao, ao-
, a lghg, a wll a arg agbl
lk oo a aophr. For h glo-
rralvral l, Bla g a
av s-hap ra ha wrapp aro
h ror aor lk a lvg, brahg,
lpral wall. Ak o rolv ao or wo
pah aor a h oo ara
ohr a vlop a obl-
ra ha ppr o a lpl lvl,
wh a xr o pla bar har wov o
o o br vra lbrar raf agr a wh vral rp o h
ohr o ar aoal or h
har. A h xpla Inside/Outside (2007),
a o g a raoal, hav aral lk
vlv, Bla op or a brgh, lghwgh a
hologall oplx abr ha hr r p
vral ar vlopg hrogh h vgao
o h rrog laap a aa. Whl
a xr wol o, hr oral ao o
arhrogh h hk oa o a wl aal
pak o h ph o hr horal vga-
o a h opha rag o hr oral
voablar. Bla rawhhr h b a
h brl wall, a ga k l ra,
or a gall-pr aral vw o h or-
o wallpaprrall ava a pa b
hallgg h vor o ap arhral
or, lk ol wall a orav ra.
Wall wa wh vwr rah o o oh hr
gl o ra whl phooral
gra pr a o h oor look rghgl
alvo h o ha vor walk aro .
T l o xl g wh ol la
hr a hr ow, a o h pl o arh-
r. so laap arhr, o-
lpr, har g, gal ar, or a
allao, oal hr work alog wh
a pl b r o b p ow.
Wh row arh lk B va Brkl a
carol Bo o un so, Kazo sja o sA-
nAA, a R Koolhaa o OmA kg hr oo ollabora, Bla ha p h hrarh
o arhr ovr h orav ar o bark
po a w, o wov, rra.
Whl Bla work a ao
wh h arhral o, hr work ,
par, b o h opal o
boh Albr a Koll, who wr boh pao-
al a o hr work p pararhal
barrr ha orgall xl h ro hr
ho l. A h bgg o h w-r
r, arhr ha x wll bo
h o h blg, a arhral pro-
o o l o aral ara. co-
pal proo o arhrhrogh
horal phaval, rahr ha powr,
bvrv ho, a prorav aha
b a rlva o h o wo or-
bo o arhr a ha aral pro-
o. Who h xpa o o arh-
ral proo iv ol abov, wo
wol o o b argalz wh h
l. For arhr h oppor ar wo-
ol: w o allow or h rora-
o o hor o a aralh
a h work o h hr wo iv pr,
alog wh h rvalao o wha a o
b a arh prag oa, boh o whh
orb owar a or hol vw o
wo arhr.
Jamie Ar is a Ph.D. studet i Departmet fArchitecture ad Urba Desig at UCLA.
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panel summary by amanDa apgar
di w: w ux l
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w r: hi-b, l-b
ocd pi
panel summary by linDa juhasz-WooD
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panel summary by linDsey mclean
grrr(l) f: s
ri w
J a c q u e s D e r r i d a . P h o t o by B e n
O s w e s t on F l i c kr
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C o o l M o m s
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T hi r z a C u t h a nd s b l og
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Panel Summary by JoSh oleJarz
Mods and Vlogs: Gender Techs
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CSW
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DIRECTOR K a t h l e e n M c H u g hProfessor, english and Cinema and media studies
ASSOCIATE DIRECTOR R a c h e l L e eassoCiate Professor, english and Womens studies
ASSISTANT DIRECTOR J u l i e K . C h i l d e r s , P h . D.MANAGING EDITOR Br en d a J oh n s on - G r a uADMINISTRATIVE SPECIALIST Er m a Ac eb oADMINISTRATIVE ASSISTANT Em ily W a lker STUDENT ASSISTANTS Ch itr a G ur u, Ma r ys s a Ha l l , L in d a J uh a s z- W ood ,
A n g e l i ca L a i , S u s a n M c K i b b e n , L i n d s e y M c Le a n ,
C a t h y S o n , M i c h a e l W i t t e , a n d S t a c y E . W o o d
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