Abstract:This article investigates the 'becoming' of queer female punx in the contemporary hardcore scene in a regional Australian city. Twelve young women aged 20-30 years were interviewed about their experiences of queer identity. They emphasized their involvement in the music scene as a key catalyst for the development of a queer punk identity even though the local hardcore scene is male-dominated and homosocial. We find that these young female queer punx assert their identity through collectively summoning and synt… Show more
“…The narrative of the participant above features her finding her belonging in Kazakhstani punk subculture. The connection between queer and punk has been previously discussed in many studies, predominantly originating from the Global North (for example, Halberstam, 2003;Sharp & Nilan, 2015). Halberstam (2003) points out that punk can be seen as creating its own community through exclusion from and rejection of dominant societal norms.…”
Recent years have seen the development of new approaches to the study of gender and sexuality in childhood, with attention given to socio-historical, cultural and political contexts. This chapter aims to contribute towards a limited field of research on queer childhood and youth in Central Asia by considering how narratives of queer childhood in Kazakhstan are culturally produced. This chapter draws on the material from in-depth interviews of 11 queer people living in Kazakhstan, focussing on their narratives of childhood. The study exposes the effect of silence about non-heteronormative identities in Kazakhstan on queer children. Narratives of bullying and managing school violence are explored along with narratives of queer childhood within the families of origin. Lastly, the chapter foregrounds instances of agency and resilience, considering how queer children manage to steer themselves away from being an 'impossible subject' and contest dominant societal attitudes and discourses.
“…The narrative of the participant above features her finding her belonging in Kazakhstani punk subculture. The connection between queer and punk has been previously discussed in many studies, predominantly originating from the Global North (for example, Halberstam, 2003;Sharp & Nilan, 2015). Halberstam (2003) points out that punk can be seen as creating its own community through exclusion from and rejection of dominant societal norms.…”
Recent years have seen the development of new approaches to the study of gender and sexuality in childhood, with attention given to socio-historical, cultural and political contexts. This chapter aims to contribute towards a limited field of research on queer childhood and youth in Central Asia by considering how narratives of queer childhood in Kazakhstan are culturally produced. This chapter draws on the material from in-depth interviews of 11 queer people living in Kazakhstan, focussing on their narratives of childhood. The study exposes the effect of silence about non-heteronormative identities in Kazakhstan on queer children. Narratives of bullying and managing school violence are explored along with narratives of queer childhood within the families of origin. Lastly, the chapter foregrounds instances of agency and resilience, considering how queer children manage to steer themselves away from being an 'impossible subject' and contest dominant societal attitudes and discourses.
“…If the hegemonic masculine view seeks man's pleasure, a queer view questions any expression taken as 'normal' and emphasises the transformability of identities. Sharp and Nilan (2015) analyse queer as an umbrella term for LGBTQI+ minorities to produce counter-spaces of existence and resistance. Thus, artistic interventions are made in the geographies and at the heart of the experiences of the disenfranchised and dispossessed to subvert homogenous stigmatising narratives and achieve new heights of decolonised social and spatial justice (Kilomba, 2020).…”
Section: Does the Liberation Of The Earth Imply The Liberation Of Women?mentioning
In late modernity, artistic-social movements play a central role in renewing societal processes. This article aims to understand how the do-it-yourself (DIY) ethos builds bridges of understanding for these challenges, taking the artistic practice of fanzine production of Fernanda Meireles as a starting point. Based on a qualitative methodology, we analyse Meirele's use of a DIY ethos and practice, contextualised within ecofeminism, the Anthropocene and the Phallocene, as well as in the city of Fortaleza, Brazil, where Meireles resides. Through a DIY lens, we highlight the perspectives that favour the resignification of urban spaces in new territorialities, giving rise to new ways of relating to the city and criticising or contesting it using an ecofeminist perspective of (re)existence in the face of the Anthropocene and the Phallocene.
“…In addition to scholarly work analysing punk and gender there has been a significant body of literature more recently which explores gender and sexuality within punk (Sharp, 2019; Sharp & Nilan, 2015, 2017). Despite this, there remains a lack of literature on ‘post-youth’ punk women, with research focusing predominantly on punk girls/women in their teenage years or twenties.…”
What does punk mean to older punk women? And how are such understandings interwoven with experiences of ageing and gender? The complexity in defining punk has been noted and it has been suggested that this complexity in part results from punk’s dislike of being labelled/categorised. Drawing upon interviews with 22 self-identifying older punk women, this article considers how they conceived punk as ‘a state of mind’, exploring the four shared punk values seen to comprise this: DIY, subversion, political consciousness and community. An unpacking of these values in terms of what they might ‘look like’ and how they are put into action by the women highlights the considerable roles ageing and gender play.
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