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Graffiti GrrlzPerforming Feminism in the Hip Hop Diaspora$
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Jessica Nydia Pabón-Colón

Print publication date: 2018

Print ISBN-13: 9781479806157

Published to NYU Press Scholarship Online: January 2019

DOI: 10.18574/nyu/9781479806157.001.0001

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PRINTED FROM NYU Press SCHOLARSHIP ONLINE (www.nyu.universitypressscholarship.com). (c) Copyright University of NYU Press Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NYSO for personal use.date: 20 June 2021

Performing Feminist Masculinity in a Postfeminist Era

Performing Feminist Masculinity in a Postfeminist Era

Chapter:
(p.41) 1 Performing Feminist Masculinity in a Postfeminist Era
Source:
Graffiti Grrlz
Author(s):

Jessica Nydia Pabón-Colón

Publisher:
NYU Press
DOI:10.18574/nyu/9781479806157.003.0002

This chapter engages an ongoing conversation within Hip Hop Studies in regards to masculinity. Instead of asking what Hip Hop masculinity does to girls and women, whereby they become victims of masculine gender performance, this chapter asks what graff grrlz do with masculine gender performance. Examining the self-presentation, aesthetics of, and approach to graffiti art by graffiti writers Are2 (USA), Miss17 (USA), Motel7 (South Africa), Jerk LA (USA), EGR (Canada), and Ivey (Australia), the chapter proposes “feminist masculinity” to name performances of masculine gender characteristics that empower rather than subjugate. Rather than reproducing oppressive toxic masculinity at the center of Hip Hop’s discourse of “realness,” upholding hegemonic liberal feminism, or accepting a politically sterilized postfeminism, these grrlz fashion the traits of masculinity to demand equity on behalf of their graffiti grrl community.

Keywords:   Masculinity, Postfeminism, Feminism, Graffiti, Femininity, Performance, Gender

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