Location: KAPU, Kapuzinerstr. 36, 4020 Linz
Costs: Admission free! Registration deadline:
max. participants:

Speaker:
Rosa Reitsamer: is a sociologist and lives in Vienna. Her main areas of interest are representations of women in the visual arts and popular culture

Girls and young women are hardly perceived as (pop) cultural producers in everyday life. They are seen as passive consumers, while boys and (young) men are ascribed the active position of subcultural producers. The lecture dispels this prejudice:
(Young) women have been actively involved in pop culture since its inception. They create their own "shadow cultural economy" (John Fiske) - on the one hand through the active consumption of cultural artifacts from the "mainstream", on the other hand they become active as subcultural producers outside of the "mainstream".

In the lecture, I will trace selected historical developments in feminist-queer and anti-racist pop culture, starting with the organization of women's music festivals and the founding of women's punk bands in the 1970s. Since the 1980s and 1990s, "hip-hop feminism" as a feminist-antiracist production possibility and riot grrrl, lady festivals and other queer-feminist music and art festivals as well as associations of female DJs and music producers have led to extensive networks and heterogeneous cultural productions that challenge "hegemonic femininity" and attack social inequalities.
Based on these practices, the terms "pop feminism", "new feminism" and the less emancipatory term "postfeminism" are explored and the erosion of the boundaries between "high" and "popular culture", "mainstream" and "subculture"/"underground" are discussed.

The last part of the lecture is dedicated to "deja vu discourses" (Radford Curry) in feminist pop cultural practices of white majority members, which should have long been a thing of the past due to the criticism of white "middle class feminism" by women of color and postcolonial theories. Against the background of the continuous reference and appropriation of Black pop culture and the emergence of "popular anti-racism" on the one hand, and the racist constructions of "the others" on the other, the question arises: Which strategies and practices drive feminist-queer and anti-racist pop culture and transnational networking?

No registration required!

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