This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is her PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn (This part seems hilariously telling to me, as well. She's 36 now, which seems to point to her getting her PhD in gender studies finished up when she was 34? This woman has spent her entire fucking life at school, echo chambering with other assholes just like her...)
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys gaming, D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole "intersectional feminist" that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way/politics into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities. She studied this crap until she was 34 fucking years old, and what - you might ask yourself - does she do now (when she's not busy making a mockery of someone else's culture) ? She's a lecturer, that is responsible for further perpetuating the leftist rot in the universities.
Goddamn, was it a colossal fuckup that previous generations allowed these people to entrench themselves in our higher education system.
This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is here PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn (This part seems hilariously telling to me, as well. She's 36 now, which seems to point to her getting her PhD in gender studies finished up when she was 34. This woman has spent her entire fucking life at school, echo chambering with other assholes just like her...)
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys gaming, D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole "intersectional feminist" that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way/politics into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities. She studied this crap until she was 34 fucking years old, and what - you might ask yourself - does she do now (when she's not busy making a mockery of someone else's culture) ? She's a lecturer, that is responsible for further perpetuating the leftist rot in the universities.
Goddamn, was it a colossal fuckup that previous generations allowed these people to entrench themselves in our higher education system.
This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is here PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn (This part seems hilariously telling to me, as well. She's 36 now, which seems to point to her getting her PhD in gender studies finished up when she was 34. This woman has spent her entire fucking life at school, echo chambering with other assholes just like her...)
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys gaming, D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole "intersectional feminist" that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way/politics into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities. She studied this crap until she was 34 fucking years old, and what - you might ask yourself - does she do now (when she's not busy making a mockery of someone else's culture) ? She's a lecturer, that is responsible for further perpetuating the leftist rot in the universities.
This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is here PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn (This part seems hilariously telling to me, as well. She's 36 now, which seems to point to her getting her PhD in gender studies finished up when she was 34. This woman has spent her entire fucking life at school, echo chambering with other assholes just like her...)
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys gaming, D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole "intersectional feminist" that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way/politics into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities.
This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is here PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn (This part seems hilariously telling to me, as well. She's 36 now, which seems to point to her getting her PhD in gender studies finished up when she was 34. This woman has spent her entire fucking life at school, echo chambering with other assholes just like her...)
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys gaming, D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole "intersectional feminist" that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities.
This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is here PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn (***This part seems hilariously telling to me, as well. She's 36 now, which seems to point to her getting her PhD in gender studies finished up when she was 34. This woman has spent her entire fucking life at school, echo chambering with other assholes just like her...)
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys gaming, D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole "intersectional feminist" that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities.
This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is here PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys gaming, D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole "intersectional feminist" that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities.
This lady is literally exactly what she looks/sounds/acts like: a raging shitbag leftist academic.
Here is here PhD "thesis": Deterritorializing gender in Sydney's breakdancing scene: a B-girl's experience of B-boying
thesis posted on 2022-03-28, 05:49 authored by Rachael Louise Gunn
This thesis critically interrogates how masculinist practices of breakdancing offers a site for the transgression of gendered norms. Drawing on my own experiences as a female within the male-dominated breakdancing scene in Sydney, first as a spectator, then as an active crew member, this thesis questions why so few female participants engage in this creative space, and how breakdancing might be the space to displace and deterritorialise gender. I use analytic autoetthnography and interviews with scene members in collaboration with theoretical frameworks offered by Deleuze and Guttari, Butler, Bourdieu and other feminist and post-structuralist philosophers, to critically examine how the capacities of bodies are constituted and shaped in Sydney's breakdancing scene, and to also locate the potentiality for moments of transgression. In other words, I conceptualize the breaking body as not a 'body' constituted through regulations and assumptions, but as an assemblage open to new rhizomatic connections. Breaking is a space that embraces difference, whereby the rituals of the dance not only augment its capacity to deterritorialize the body, but also facilitate new possibilities for performativities beyond the confines of dominant modes of thought and normative gender construction. Consequently, this thesis attempts to contribute to what I perceive as a significant gap in scholarship on hip-hop, breakdancing, and autoethnographic explorations of Deleuze-Guattarian theory.
So, basically, she's the same sort of person that destroys D&D, M:TG, Star Wars, Star Trek, Dr. Who, boardgamming, etc. She's another asshole intersectional feminist that forces her way into everyone else's communities, cultures, hobbies, complains that they don't conform to her gender/politics, and then attempts to destroy them.
This is literally all she does. Here are more of her papers/research:
In this article, I analyse how bodily potential is culturally regulated in Sydney's breakdancing (breaking) scene through drawing both on my breakdancing practice and interviews conducted with prominent figures in this scene. I critically examine my lived experiences as one of only a few female breakdancers ("b-girls") in Sydney through analytic autoethnography, and use the theoretical tools of Deleuze and Guattari to unpack and challenge normative gendered narratives. With breakdancing culturally inscribed as masculine ("b-boying") and its conventions interlocking with broader patriarchal restrictions that inhibit female participation and bodily expression, I argue that the Sydney breaking scene is both a site of transgression and regression for the female body. This paradox confronting the b-girl sees her participation as "othered", while also challenging normative assumptions of gender. Through situating specific practices of breaking within broader Australian culture and gender norms, I examine how the performances of b girls and b-boys in Australia disrupt the stability of binary logic on which the organization of bodies is so heavily reliant and, in doing so, allow for the experience of breaking as a site of "pure" difference. Normal 0 false false false EN-US JA X-NONE
Dancing away distinction: Queering hip hop culture through all style battles
This article analyses how ‘all style’ battles facilitate a queering of hip hop’s dance floor. ‘All style’ battles incorporate various ‘street dance’ styles and their respective music genres (such as breaking, popping, locking, [freestyle] hip hop, waacking, krumping and house). The intermixing and joining of divergent performativities, styles and cultural histories on the all style dance floor reconstitute hip hop’s rigid hierarchies of gender and sexuality by offering a site that celebrates plurality. In doing so, all style battles bypass the foundations that inform and legitimize hip hop’s heteropatriarchal distinctions, including the naturalization of an inherent, stable gendered self. ‘Queering’ the dance floor calls into question all bodily performance previously organized through gender. It exposes the stylization of the body, and the logic it rests upon, as an artifice. Through queering the dance floor, this article shows how all style battles can deconstruct, disrupt and expose the hierarchized heteropatriarchal distinctions in hip hop culture, calling attention to their arbitrary constructedness.
Where the #bgirls at? Politics of (in)visibility in breaking culture
Representation is a central tenet of hip-hop culture, yet women’s experiences and contributions have long been invisibilised. This article reveals some of the barriers to visibility facing women in breaking (“b-girls”). It shows how b-girls respond to gender-based challenges and their sense of obligation to be visible in order to promote gender equality. Through participant-observation, interviews with Sydney b-girls, and online case studies, this article situates b-girling practices “in relation to” a hip-hop feminist framework. This article shows how white hetero-patriarchal neoliberal structures shape visibility in breaking culture, and how b-girls respond to, negotiate, challenge, and enact their representation.
Seriously... this is all she does. Every paper she's published is exactly like this. She goes around inserting/forcing her way into cultures/hobbies that other people have worked on making for decades, and then complains about how they're not built with her in mind.
It's so fucking tiresome that this is what goes on at all the west's universities.