Sex, Gender, Becoming - PULP

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18 Amanda du Preez words, to the degree that one ‘makes’ one’s own sex and gender, one is in turn correspondingly being made by sex and gender.
Two / Exhibiting the expulsion of transgression Rory du Plessis 1. Introduction This paper aims to investigate the use of violence and expulsion to maintain deviant and transgressive gender identities. This investigation is articulated with reference to the performance art of Steven Cohen that transgresses established gender binaries. 1 As a Jewish homosexual, Cohen can be described as a quintessential other to both masculinity and hetero-normative society. This results in Cohen being cast out to the periphery of mainstream society. However, in his performance art, Cohen attempts to negotiate his position as ‘the other’ by inserting himself into the centres of straight consumption. In attempting to do so he reveals to the viewer the structures that discipline individuals to gender binary conformity through his forced expulsion from these hetero-normative centres. Cohen’s expulsion from these centres is evaluated according to the ‘policing of gender borders’ that punishes individuals deemed as ‘other’ either via expulsion or through the infliction of violence. Furthermore, Cohen’s performances exhibit hegemonic masculinity’s violent intersections with marginalised and persecuted identities while simultaneously highlighting the violence that ensues from performances that transgress the norms of gender constructs. Cohen transgresses the norms of gender constructs by exhibiting the performativity of gender. This is enacted through his use of drag that subverts patriarchal prescriptions of hegemonic masculinity. Judith Butler 2 describes the subversive potential of the performative nature of gender as allowing for ‘... the possibility of a different sort of 1 Performance art achieved its golden era internationally during the 1970s but only achieved an acclaimed status within South Africa post-liberation. It embodies an endeavour to embark on challenging the traditional hegemonic conception of masculinity being both heterosexual and patriarchal. In challenging these established conceptions of masculinity it grapples with the body directly and the spaces that advocate hetero-normative masculine depictions. Thus the larger body of performance art engages in spaces outside the gallery in order for the artist to assist in the reclaiming of space by various masculinities and the conquering of new territories of urban areas. See C Brown ‘Why curate an exhibition about men?’ http://www.artthrob.co.za/02jul/news/male.html (accessed 22 September 2005). 2 J Butler ‘Performative subversions’ in S Jackson & S Scott (eds) <strong>Gender</strong>. A sociological reader (2002) 48. 19
Page 1 and 2: Sex, Gender, Becoming Post Aparthei
Page 3 and 4: Contents Acknowledgments V Introduc
Page 5: Acknowledgments This book is an ini
Page 8 and 9: viii kARIN VAN MARLE Spaces of refu
Page 10 and 11: x kARIN VAN MARLE Following Arendt
Page 12 and 13: xii kARIN VAN MARLE the feminine as
Page 14 and 15: xiv kARIN VAN MARLE was seen in the
Page 16 and 17: 2 Amanda du Preez Transsexuality re
Page 18 and 19: 4 Amanda du Preez It should be note
Page 20 and 21: 6 Amanda du Preez of transsexuality
Page 22 and 23: 8 Amanda du Preez categories almost
Page 24 and 25: 10 Amanda du Preez Another limitati
Page 26 and 27: 12 Amanda du Preez presented must a
Page 28 and 29: 14 Amanda du Preez transsexuality f
Page 30 and 31: 16 Amanda du Preez If there is any
Page 34 and 35: 20 Rory du Plessis repeating, in th
Page 36 and 37: 22 Rory du Plessis Artist: Steven C
Page 42 and 43: 28 Rory du Plessis Sedgwick 36 furt
Page 44 and 45: 30 Rory du Plessis Munoz’ stateme
Page 46 and 47: 32 Rory du Plessis poses also such
Page 48 and 49: 34 Rory du Plessis social necessity
Page 50 and 51: 36 Rory du Plessis system of fixed,
Page 52 and 53: 38 Rory du Plessis into the audienc
Page 54 and 55: 40 Rory du Plessis to constantly re
Page 56 and 57: 42 stella viljoen Figure 1: GQ Cove
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Page 70 and 71: 56 stella viljoen Figure 6: Man Ray
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Page 78 and 79: 64 Jeanne van Eeden The investigati
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68 Jeanne van Eeden way to a sedent
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70 Jeanne van Eeden feminine, while
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72 Jeanne van Eeden space of the de
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74 Jeanne van Eeden Figure 1: Adver
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86 Jeanne van Eeden department stor
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88 Jeanne van Eeden the domestic sp
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90 Jeanne van Eeden The gendered se
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Five / Agency amidst adversity: Pov
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Agency amidst adversity: poverty an
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118 Christo Venter, Mac Mashiri, De
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142 Jean Triegaardt and Mike Batley
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Eight / tini’s testimony: the sig
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tini’s testimony 155 Stech had be
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tini’s testimony 157 how they end
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tini’s testimony 159 consequences
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tini’s testimony 161 year, almost
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tini’s testimony 163 to keep up t
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tini’s testimony 165 Alan Kirkald
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tini’s testimony 167 the girdle,
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sources Archival sources Berliner M
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sources 171 Batley, M ‘Restorativ
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sources 173 Buck-Morss, S (ed) (198
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sources 175 Crang, M (1998) Cultura
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sources 177 Emmison, M & Smith, P (
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sources 179 Poverty (HABITAT): “G
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sources 181 Kleeblatt, NL ‘The bo
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sources 183 Conference on Justice w
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sources 185 Overholt, C; Anderson,
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sources 187 Senft, TM ‘Introducti
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sources 189 Ushedo, BO ‘Unloading
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contributors Batley, Restorative Ju
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Index A access to employment 117 ac
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Index 195 E economic insecurity 93,
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Index 197 I identity 2, 3, 9, 15, 1
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Index 199 O objectification 41, 43,
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Index 201 South Africa 17, 19, 25,
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Index 203 120, 121, 122, 123, 124,
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