Embodied choreography and performance of gender

Norms of fitting embodied behaviour for males and females, as promoted in Australian public arenas of popular culture and the everyday, disempower and marginalise those not inclined to embody in gendernormative and heteronormative ways.

This thesis engages with concepts of embodiment as meaning the manner of physical deportment in which a physical practice is performed, and with concepts of gender as social constructions of femininity and masculinity. It investigates the demands and implications of dominant norms of gender embodiment for those whose embodied inclinations do not fit comfortably with such dichotomous models. It interrogates gender inequitable machinations of education and performance arts disciplines by which educators and arts practitioners train, teach, choreograph, and direct those with whom they work, and theorises ways of broadening personal and social notions of possible, aesthetic, and acceptable embodiment for all persons, regardless of biological sex or sexual orientation.

This research is grounded in two major qualitative methods of enquiry. First, through an autoethnographic lens, it focuses on the impacts that social constructions of masculinity have on me, both as a person in the everyday and as a performance arts practitioner/educator. Through writing, illustration, choreography, and performance, as well as interviews with 3 members of my family, I analyse the delicacy of the relationship between social control/surveillance and personal agency over my embodiment of gender. Second, through empirical ethnographic fieldwork with some 400 high school students and 160 educators and performance arts practitioners, I utilise a combination of performance, discussion, practical workshop, and avenues for anonymous response to explore the potential of the performance arts in challenging inequitable notions of gender embodiment.

My findings demonstrate that inherent ideologies in dominant discourses regarding the execution and display of feminine and masculine embodiment continue to work, overtly and covertly, as definitive and restrictive barriers to the realm of possibilities of embodied gender expression and appreciation in the everyday and in the performance arts. This thesis recommends drawing individuals’ attention to embodied gender inequities and enculturation processes, not ordinarily critiqued within mainstream society, as a key toward safeguarding the well-being of those whose embodied performance inclination is at odds with prescribed norms of behaviour. Performance arts arenas are powerful sites in which such deconstructive work can occur, both cognitively and practically. However, as this thesis explores and illustrates, performance arts practitioners/educators need to first scrutinise existing and hidden inequities regarding the embodiment of gender within their own habitus, perspectives, taste, and practices.

Sharing the moment : on the Olympic Games as spectacle

Article examining the 'sale' of Olympics drawing on Kant's aesthetics of beauty in the Critique of Judgment.

Adorno reframed

Dismissed as a miserable elitist who condemned popular culture in the name of ‘high art’, Theodor W. Adorno (1903–1969) is one of the most provocative and important yet least understood of contemporary thinkers. This book challenges this popular image and re-examines Adorno as a utopian philosopher who believed authentic art could save the world. Adorno Reframed is not only a comprehensive introduction to the reader coming to Adorno for the first time, but also an important re-evaluation of this founder of the Frankfurt School. Using a wealth of concrete illustrations from popular culture, Geoff Boucher recasts Adorno as a revolutionary whose subversive irony and profoundly historical aesthetics defended the integrity of the individual against social totality.

Disorder and the body of drugs : addiction, consumption, control, and city space

Different cultures and the specific culture manifested within them are intrinsically linked to addiction in a complex fashion which has a long history. For important thinkers, such as Nietzsche, addiction actually embodies human culture, rendering addiction and culture inseparable. This is clearly seen within the Western world’s addiction to the consumption of material goods and the damage that results.

Utopia has often become dystopia. Not only is an understanding of addiction key to understanding culture but to an understanding of the very act thinking itself and the way of being in the world. Addiction raises key philosophical questions, such as: do people really have a choice in their behavior, and what governs them; is it free will or predetermination? Is it biology or environment is it the external world or the internal that drives addiction, or a complex combination of both?

In a contemporary context the media frenzy around celebrity addiction continually fuels public debate in this area, and this book deepens the understanding of addiction within this contentious context. This book addresses a key concern over how addiction became the norm, and it seeks to understand its dominance comprehensively. How did it come to pass that not being an addict was a transgressive act and way of being?

While there has been a great deal of debate about addiction utilizing the discourse of individual and often competing disciplines such as biology and psychology, little attention has been paid to the cultural aspects of addiction. The innovative approach taken by this book is to offer insights into this complex area through a contemporary methodology that covers diverse interrelated areas. Drawing on different disciplines, offering deeper insights, from the analysis of music lyrics to empirical social science and anthropological work in AA groups in Mexico and the portrayal of the “addiction’ to therapy in film and television, amongst other areas, this book addresses the need for a more comprehensive approach.

Academic analysis is also given to the discourse on celebrity culture and addiction. A contemporary fusion of the humanities and the social sciences is the best way forward to tackle this subject and move the debate on. The focus of this study is an innovative interdisciplinary and intercultural approach to addiction, from the social sciences to the humanities, including cultural studies, film and media studies, and literary studies. Areas that have been overlooked, such as lost women’s writings, are examined, in addition to comics, popular film and television, and the work of AA groups.

This edited collection is the first study to provide such a comprehensive analysis of the cultures of addiction. Traversing cultures across the globe, including Asia, Central America, as well as Europe and America, this book opens up the debate in addiction studies and cultural studies. The important insights the book delivers helps to answer questions such as: In what way can Deleuze further the understanding of addiction through the analysis of rock lyrics? How does anthropology improve the understanding of AA groups? How can cultural studies deepen knowledge on the “addiction” to therapy? These are just some of the vast array of areas this book covers. Other areas include the condemnation of “addiction” to comic reading through an historical examination, violence in popular culture, and lost women’s writing on addiction. No other book has such depth and contemporary breadth.

Cultures of Addiction is an important book for those taking cultural studies courses across a range of interrelated disciplines, including English and literary studies, history, American studies, and film and media studies. This will be invaluable to library collections in these fields and beyond in the social sciences, and specifically in addiction studies and psychology.

(Jason Lee, Editor)

"These are our children" : polyamorous parenting

Some LGBT individuals are polyamorous—that is, they have relationships with multiple partners of the same and/or the other gender. This chapter discusses the findings from an Australian focus group of 13 polyfamily participants, and also presents an overview of previous research on polyparenting. Issues of being “out” to their children, relations with extended families and friendship networks, and navigating broader societal systems and structures are the greatest concerns for polyparents. The duality of lack of visibility and fear of disclosure is examined in the context of formal societal structures such as education, health, and the law; less formal networks such as family, friends, neighbors, and social groups; and the mass media and popular culture. Another theme we discuss is how polyfamilies can be supportive environments. Shared child rearing is creating new forms of kinship structures that are beneficial to both children and adults in polyfamilies, although attachment to transient members of the family is raised as a concern. The chapter concludes with a call for more research into all facets of polyfamilies as well as the need for legitimization and resource development in social, health, educational, media, and legal institutions.

I vote and tote : moral panics, resistance and the failure of quiet regulation

The term moral panic has entered the media and popular culture lexicon, but retains a particular meaning for sociologists. This chapter expands on existing models of moral panics and outlines a case study that illustrates that folk devils have fought back in recent years, using technologies such as social media to present their arguments (in this instance, turning a local political controversy in Melbourne, the Australian state of Victoria, to their advantage). The battle began over a classice law-and-order issue, that is, the problem of  alcohol-related violence, expecially as it involves young people. However, the conflict took an unexpected turn when the fold devils successfully used the media to prosecute their case and force the state government's hand.

Gaining a past, losing a future : Web 2.0 and internet historicity

This article explore how, in the first decade of the twenty-first century, the internet became historicised, meaning that its public existence is now explicitly framed through a narrative that locates the current internet in relation to a past internet. Up until this time, in popular culture, the internet had been understood mainly as the future-in-the-present, as if it had no past. The internet might have had a history, but it had no historicity. That has changed because of Web 2.0, and the effects of Tim O'Reilly's creative marketing of that label. Web 2.0, in this sense not a technology or practice but the marker of a discourse of historical interpretation dependent on versions, created for us a second version of the web, different from (and yet connected to) that of the 1990s. This historicising moment aligned the past and future in ways suitable to those who might control or manage the present. And while Web 3.0, implied or real, suggests the 'future', it also marks out a loss of other times, or the possibility of alterity understood through temporality.

Defacing the acquisitions: a museal-analysis of serial killing horror in cinema

Explores the relationship between serial killing and affect as a form of cinematic horror that repositions the viewer away from the logic of reason through a dismantling of subjectivity via 'modifications' to the body. The chapter has a particular attention to the representation of serial killing in the museum space - theoretically a locus of modern rationality and order- to argue that the museum can be philsophically understood as functioning to detatch desire from subjective formation and fixed encoding of identies. The chapter draws on philosopher Gilles Deleuze and theorists Anna Powell and Steven Shaviro.

Miley Cyrus, Sinéad O’Connor and the future of feminism

Since her tongue-poking and “twerk”-filled performance at the American Video Music Awards, Miley Cyrus has been the subject of intense media discussion. This has only magnified in the past week, after Irish singer Sinéad O’Connor wrote an open letter to Cyrus, imploring her to “refuse to exploit your body or your sexuality in order for men to make money from you". Cyrus did not react well to being chided by one of her idols and her tweets in response have provoked two further open letters by O’Connor.

Persona studies: mapping the proliferation of the public self

Celebrity has developed into a particularly powerful and pervasive trope for contemporary culture. It works at organising what we perceive as significant and this is made evident through its permeation of what constitutes news. Similarly, celebrity has been well documented in terms of its capacity to shape our entertainment: stardom is at least one of the cultural economies in which our stories and fictions are selected or read and recreated in popular culture. This article argues for the development of persona studies, where research on the celebrity is a subset of a wider study of how the self and public intersect and produce versions and identities that in some way continue to support the wider demands of our work economies.

Prison rape : is it okay to make jokes about rape in prison?

The trivialisation of sexual violence through what passes as humour is much less common than it once was. Jokes about rape are not innocent, are not harmless fun, are not unconnected to the horrible crime they make light of. Their gradual marginalisation represents social change of real importance. But there is one last refuge of the rape joke in mainstream popular culture, and its continued presence reflects a shameful blind spot in our society. It is a joke which conceals a horrible and damaging reality which is somehow both a taboo topic and a truth universally acknowledged.

A picture that circulated widely on Facebook and other social media last year captures the horror in the humour. It is a picture of a man’s back, decorated with a huge image of an alluring, naked woman, with the man’s buttocks marked to look like breasts. The caption: This man had what he thought was the best tattoo in the world . . . until he went to prison. How can a gag about a man being anally raped while in prison be widely popular, seen as funny, a giggle to share? Were the prospective victim a child or a woman, or were the rape in almost any other setting, the reaction would surely be revulsion and anger. Jail rape, though, somehow remains funny.

Small axe

‘18C’ was a response to the impending amendments by the Coalition Government which will remove sections 18B – E of the Racial Discrimination Act (RDA). The Coalition has left a brief window to gauge community responses – so artists, writers and academics were requested to respond with a work on paper (photographic or pulp) to this change of the RDA. Incorporating many new and existing works ‘18C’ sends notice with visual, verbal and written work to ensure that this does not go unchallenged.

An open mic will part of the opening night for performances and responses throughout the evening. Documentation collated from the exhibition and opening night will be submitted to the office of the Australian Attorney General.

Artists include: Ange Bailey, Bumpy Favell, David Blumenstein, Dominic Golding, Heather Horricks, Jef Tan, Kirsten Lyttle, Lulu Quintanilla, Megan Evans, Peter Waples Crowe, Susan Forrester, Tama TK Favell, Torika Bolatagici, Angela Tiatia, Chiara Scafidi, Deborah Kelly, Frances Tapueluelu, Jason Heller, Jenny Fraser, Lian Low, Martin Nixon, Megan Cope, Robyne Latham, Taloi Havini, Texta Queen, Weniki Hensch.

“For them, it seems to be an abstract philosophical or legal argument. For them it’s a game, it’s a debate about words and abstract principles… For people who have experienced racism, it is a deeply personal debate, and it’s actually a debate about real people and real hurt.” - Penny Wong

The ‘Australian Girl’ and the domestic ideal in colonial women’s fiction

The vast majority of novels and periodicals read by colonial Australian girls were written and published in Britain. ‘Daughters of the Southern Cross’ were more likely to have access to the Girl’s Own Paper by subscription or to imported fictions that had proven popular with British girl readers than any locally produced depictions of girlhood. From the 1880s, however, Australian authors produced several milestone fictions of girlhood for both adult and juvenile audiences. Rosa Praed's An Australian Heroine (1880) and Catherine Martin’s An Australian Girl (1890)  gave voice to the lived experience of Australia for young women, and their publication in Britain contributed to an emergent reciprocal transpacific flow of literary culture.

Two canonical Australian novels that focus on the maturation of girl protagonists who live on bush homesteads were also published in this period. Ethel Turner’s Seven Little Australians (1894) and Miles Franklin’s My Brilliant Career (1901) feature intelligent girls who are not able to be effectively socialised to embrace domesticity. Turner’s Judy Woolcot is distinct among her six siblings as a plucky girl who instigates trouble, while Franklin’s aspiring writer Sybylla Melvyn is informed that ‘girls are the helplessest, uselessest, troublesomest little creatures in the world.’

The 1890s saw an agricultural depression in Australia that only fuelled the urban perpet-uation of the idealised and nationalistic bushman myth in literary and popular culture. The ubiquity of the myth problematised any attempt to situate women heroically within the nation outside of the home. British fictional imaginings of Australian girls lauded their lack of conformity and physical abilities and often showed them bravely defending the family property with firearms. In contrast, Australian domestic fiction, this chapter argues, is unable to accommodate bracing female heroism, postulating ambiguous outcomes at best for heroines who deviate from the feminine ideal.

Judy’s grandmother describes her ‘restless fire’ as something that ‘would either make a noble, daring, brilliant woman of her’, or ‘would flame up higher and higher and consume her’. Turner does not allow Judy’s unconventionality to prosper. Instead, she is killed by a falling gum tree while saving the life of her brother, leaving the future fulfilment of the domestic ideal to her sister, Meg, whose subsequent story occupies Little Mother Meg (1902). Franklin’s Sybylla expresses her inability to be content with the simple pleasures of keeping a home, and this informs her decision to reject a marriage proposal from a wealthy suitor. The novel’s indeterminate conclusion does not allow fulfilment of Sybylla’s writing aspirations, situating her outside the feminine ideal yet not affirming the merits of her desire to reject married life.

While Sharyn Pearce suggests that Judy’s tragic end follows a narrative pattern that sup-ports the glorification of male heroes and renders ‘over-reaching women’ as ‘noble failures’, the novel might also productively be read within the context of other fictions featuring girl protagonists of the period, such as Praed and Martin's novels. This chapter makes the case that Turner and Franklin’s thwarted heroines critique the containment of Australian girls to the banalities of the home by exposing the negative and uncertain outcomes for those who desire the freedoms and aspirations permitted to boys and men. Unlike British fictions that champion adventurous girls, these Australian fictions critique the continuation of gendered restrictions in the colonies by proposing that girls who desire excitement and independence ‘should have been…boy[s]’ (as Sybylla’s mother remarks).