992 research outputs found
'Do it Yourself' Girl Revolution: LadyFest, Performance and Fanzine Culture
No full textRiot grrrl began as an independent music and political movement in the early 1990s emerging initially in the USA and few years later in the UK. From the beginning riot grrrl embraced a 'do-it-yourself' ethos operating outside the mainstream music business organising independent music festivals, workshop events and encouraging self-published fanzines (fan magazines which were distributed primarily through word of mouth, music gigs, artists and zine book fairs or by post). These zines became recognisable forms of personal expression and made visible a specific DIY approach alongside the development of a coherent style of graphic language in the producer's use of the photocopier, handwritten and graffiti texts, cut-n-paste and ransom note lettering style, collage and the co-option of mainstream media imagery. These production techniques made fanzine publishing accessible and played a central role in the development of a non-hierarchical community.
The main intent of this talk is to explore the idea of 'event as performance' using as a case study the specific activities of riot grrrl and focussing on a series of international events called 'LadyFests' and the graphic language of self-published riot grrrl fanzines. This will be achieved by examining the origins of today's riot grrrl performances (e.g. theatre, spoken word, music events) in 1970s feminist art, as well as locating the activities within the specific context of their counter-cultural predecesors including punk and punk performance
In riot
No full textMany scholars and historians have professed that America’s “original sin” is slavery and that the nation has moved slowly, and at times stubbornly, towards repentance and atonement for this sin. Even after the emancipation of blacks in America, the scars of racism remain. Throughout the centuries, there have been a number of slave revolts, rebellions and race riots that have reddened America’s soil. In Riot is a volume of poetry that examines these riots, most specifically the race riots of the 20th century from the 1906 riot of Atlanta to the 1992 LA riots. The events of these riots are told through the voice of a collective “We,” which may be interpreted as the voice of a people who participated or suffered in these riots. Martin Luther King said, “A riot is the language of the unheard.” But in In Riot we hear their actual thoughts and justifications for rebellion. Each riot is dealt with in its own section but pieced together to create a long narrative or “epic” poem. Each section opens with a brief overview of the time and place the riots occurred. The reader is then introduced to a number of characters who help tell the story; some of these characters are actual historical figures that played a central role in the riot or its causes. The second section of the volume deals with other issues of race and racism in America from injustices of the criminal justice system to poverty, gentrification and the destructive nature of dangerous stereotypes in the media and popular culture of black violence and criminality.M.F.A.by Malik Abdul-Jabbaa
The great riot : vox populi, vox dei : intense excitement in Hartford, troops called out!
No full text1 sheet (1 page) : illustration ; 37 x 24 cm. Humorous description of a riot in the July 26th issue of the Hartford Daily Courant against the corrupt practices of the the Charter Oak Life Insurance Company in Hartford, Connecticut in 1877. http://morris.law.yale.edu/record=b155253
Aftermath of a Riot
No full textThis editorial discusses and condemns a riot that took place in Vancouver on September 7, 1907 after the Asiatic Exclusion League led a protest parade against Asian and South Asian immigrants that turned violent.Research project undertaken by the University of the Fraser Valley South Asian Studies Institute, formerly the Centre for Indo-Canadian Studies in 201
Riot in love - Mute X Arctic Pride -muotinäytös : tuotanto
No full textRIOT IN LOVE - Mute X Arctic Pride on Lapin yliopiston muoti- ja tekstiilisuunnittelun koulutusohjelman järjestämä muotinäytös. Näytös järjestettiin yhteistyössä Arctic Priden kanssa osana Arctic Pride viikon Arctic Queer Art Extravaganza tapahtumaa. Näytökseen osallistui 14 suunnittelijaa ja kaikkiaan työryhmässä oli mukana 24 opiskelijaa. Näytöksessä oli esillä yhteensä 18 opiskelijoiden itse valmistamaa asukokonaisuutta
RA RA Riot with Maps & Atlases
No full text20 x 8 1/2 in. woodcut handset lead type poster advertising Billikin Club shows on March 17, 2009; featuring RA RA Riot with Maps & Atlases.RA RA Riot with Maps & Atlase
What is an urban riot today?
No full textWhat is an urban riot today? Author: Juan_Jose Villalon_Ogayar A local urban riot is a violent social action often characterized by disorganized groups of neighbours lashing out in a sudden and intense rash of violence against authority, property or people in urban agglomerations. According to these sociological studies, these actions occur as the outcome of historical processes that imply underlying structural and cultural aspects together with precipitant actions (Liebersom & Silverman, 196..
La revolución de 1848
No full textEste artículo constituye un breve resumen del trabajo de investigación realizado por la autora, la historiadora Michèle Riot-Sarcey, junto a Maurizio Gribaudi, publicado en París por Éditions La Découverte en, 2008, con el título 1848, La révolution oublié. Esta lectura se ha constituído en un referente importante en la actual discusión abierta en Francia sobre la relación entre historia, pensamiento utópico y revolución, y permite, al mismo tiempo, una nueva lectura del llamado «48 chileno»This article constitutes a brief summary of the research work carried out by the author, the historian Michèle Riot-Sarcey, together with Maurizio Gribaudi, published in Paris by Éditions La Découverte in, 2008, with the title 1848, La révolution oublié. This reading has become an important reference in the current open discussion in France on the relationship between history, utopian thought and revolution, and allows, at the same time, a new reading of the so-called «48 Chilean»
La revolución de 1848
No full textThis article constitutes a brief summary of the research work carried out by the author, the historian Michèle Riot-Sarcey, together with Maurizio Gribaudi, published in Paris by Éditions La Découverte in, 2008, with the title 1848, La révolution oublié. This reading has become an important reference in the current open discussion in France on the relationship between history, utopian thought and revolution, and allows, at the same time, a new reading of the so-called «48 Chilean».Este artículo constituye un breve resumen del trabajo de investigación realizado por la autora, la historiadora Michèle Riot-Sarcey, junto a Maurizio Gribaudi, publicado en París por Éditions La Découverte en, 2008, con el título 1848, La révolution oublié. Esta lectura se ha constituído en un referente importante en la actual discusión abierta en Francia sobre la relación entre historia, pensamiento utópico y revolución, y permite, al mismo tiempo, una nueva lectura del llamado «48 chileno
A Resurrected Revolution: Riot Grrrl Remembered, Revived, and Redefined
No full textHow has the Riot Grrrl movement of the 1990s been remembered and redefined? Riot Grrrl is typically remembered as an organized movement based on universal girl love which made the personal political, when in reality it had multiple leaders, many manifestos, and several identities beyond just the college educated white women commonly associated with the creation of its girl power agenda. Memory formation is a process. This dominant narrative that emerged about Riot Grrrl was constructed overtime by a number of participants, but also contradicts the lived experiences of many grrrls. To make sense of this tension, this thesis relies on the idea of cultural memory to recount the history of Riot Grrrl. Cultural memory is an ongoing relationship between institutional narratives and the memories of individuals; applied to Riot Grrrl, this thesis unravels the dominant narrative by comparing “official” narratives found in books, archives, and scholarly work with the recollections of individuals, found mostly in zines and oral histories.
The author argues that Riot Grrrl never truly ended, but adapted to new technology. In particular, the Riot Grrrl movement has been redefined on the popular social media app TikTok, whose for-profit interests dictate the limits of its users’ self-made content. Exemplifying a trend in media viewing known as nichification, TikTok is built around an algorithm that curates content for each individual in a never-ending stream on a home page, called the For You Page. The algorithm learns what each user likes and dislikes based on their in-app interactions and data provided from third parties, should the user accept that arrangement. This makes it particularly useful for young people seeking to network with others with similar interests, no matter how “niche” they might seem.
Using TikTok posts and comments from the current Riot Grrrl community, the author showcases its similarities to the movement of the 1990s, such as the Do-It-Yourself ethos which remains prominent in the contemporary generation. The digital version of the subculture is also wildly different from the previous iteration, explicitly focused on a form of punk feminism that iii centers intersectionality and embraces multiplicity. Though these were goals of the 1990s movement, they remained unrealized after its supposed demise prior to the turn of the millennium. With new digital tools, the current generation of Riot Grrrl participants can network faster than ever before and embrace a plethora of new identities.
Riot Grrrl’s turn to social media is not without flaw. While there are many inspiring individuals using TikTok to educate others on the subculture, spread information on activist causes, or participate in everyday forms of activism in-app, the revived Riot Grrrl subculture is defined by contradiction. As dictated by the demands of consumer culture, TikTok is an ambivalent space enabling expression of all kinds. Rather than definitively assessing the usefulness of social media for online activism and networking, the author chooses to highlight this ambiguity in several topics related to contemporary Riot Grrrl. Touching upon performative activism, popular feminism, and digital racism, this thesis concludes that the modern Riot Grrrl remains influenced by multiplicity, perhaps even messiness. As a result, the author suggests that future analysts consider spectrums, rather than binaries, to accomplish more thorough, nuanced narratives of both Riot Grrrl and new media
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