New Documentary on Graff and Street Art Grrlz: “Street Heroines”

Because I’m a mother of a beautiful amazing brilliant small child, sometimes I miss the other stuff going on in life. But don’t get it twisted, I’m still down! 😉

Last night was one of those times, but luckily because Pau is painting at SUNY New Paltz this week (and on a panel today with me!), I got to experience the brilliance second hand.

Alexandra Henry screened her new documentary Street Heroines: “A FEATURE DOCUMENTARY ABOUT THE COURAGE AND CREATIVITY OF FEMALE GRAFFITI AND STREET ARTISTS.”

Peep the trailer! Fall in love. Feel the energy around this movement to uplift women putting in the work. Donate Money.

Support Women in Street Art!

Know Your Herstory: CatFight Digital Zine

So I’m in the middle of writing a new chapter for Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora based on two old ones (from my dissertation) and I realized two things: 1) I’m writing about how performances of feminism circulate online and my blog has been woefully neglected (my bad! writing a book, teaching, and momming is incredibly time consuming) and 2) not enough people know about the e-zine (digital zine, digizine, or whatever you want to call it) CatFight: Female Graff Update!

In brief, CatFight was a labor of love for F. Lady in the Netherlands of Bitches in Control crew (BIC). Begun in 2005, F. Lady produced 9 spectacular issues that–except for #6–are still available as free downloadable PDFs.

To make your life easy, here are the links!

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From the Archives: An interview with hemispheric graffitera MISS163

[written Summer 2013]

No Somos “Mariposas,” Somos “MariPUSSY”: An Interview with Graffiti Art Activist MISS163 aka Sharon Lee De La Cruz.

Walking through the streets of New York City you are bound to note the graffiti-covered buildings, bridges, and tunnels. You may ask yourself “how,” but have you ever wondered: “why” or “who?” Approximately 28 years of aggressive Broken Window[1] policing has answered the “who and why” with a single, decidedly gendered and racialized, qualifying designation—vandal—effectively denying the art form and the art makers any kind of social legitimacy or political import. No matter, though. Hip Hop graffiti writers have never been that interested in obtaining permission or legitimacy from any kind of governing body. They write on walls for a wide variety of reasons including subcultural infamy, sociopolitical rebellion, and aesthetic expression. Since Hip Hop graffiti appeared on the streets of NYC in the late 1960s/early 1970s, writers have intermittently “flipped” their formerly criminal activity into an income-producing creative practice—exploiting consumer culture’s fetish for niche markets and the gallery system’s taste for the raw energy of the “exotic,” the “other,” the criminal. Some writers have also utilized graffiti art’s quasi-fashionable/quasi-criminal, always public and communicative character for social and political purposes. MISS163 aka Sharon Lee De La Cruz is one such graffitera (female graffiti artist). Currently stretching the boundaries of legal mural artist vs illegal graffiti “bomber,” and capitalist vs radical feminist activist, she exemplifies how contemporary graffiteras are successfully navigating conventional limitations, answering the question of “who” is behind the writing on the wall with a resounding “why.”

MISS163 was born in 1987, raised on 163rd street and Hoe Avenue in the Bronx, and started tagging in 2004. She earned her BFA from The Cooper Union (2008) and was awarded a one-year Fulbright to study experimental filmmaking and mural making in Lima, Peru (2008­-2009). In Lima, she advanced from tagging to more intricate pieces and mural painting as a founding member of Maripussy Crew—an international, all-female, feminist, Latina and Latin American graffiti collective. As a hemispheric radical feminist artist, MISS163 focuses her artistic activist energies on women’s issues and youth development in the Bronx and in Lima. Currently, she is an after-school Program Director for ACTION (Activists Coming to Inform Our Neighborhood) and WOMEN (Where Our Minds Empower Needs) at The Point Community Development Corporation in the Bronx. In February 2012, she was awarded a “Woman Warrior Award” from Project Reach and the NY Daily News quoted MISS163 stating, “You don’t have to leave your community to live in a better one” (Whitehead, 2012). That same year, she became a Calvin Klein Brand Ambassador designed a four-part assortment of “graffiti glam” make-up under the name CK1 Street Edition (News 12 Bronx, 2013). Described by Vanity Fair reporter Lynden Volpe as a collection with a “girly yet edgy vibe,” the lipstick, nail strips, nail polish, and eye shadow feature the literally brilliant color-palette MISS163 uses in her graffiti art (Volpe 2013). With names like Vandalize, Sketched, Painted, Tagged, and Punked, MISS163’s set exposes and explores the aesthetic lines between the grimy and the beautiful. Starting in Fall 2013, she will begin her Master’s research on temporality and permanence in graffiti art in the Interactive Telecommunications Program at NYU.

At 26, MISS163 continues to make quite an impact in both of her chosen communities. She is the epitome of a millennial digital activist. Skillfully managing a dynamic online presence on most, if not all, social media outlets, the public can find her on: Tumblr; YouTube; Facebook; Twitter (@Miss163); Instagram; Myspace; Flickr; Vimeo; and, of course, her own website. Her digital presence amplifies her local community work. We sat down in Pop’s of Brooklyn in Manhattan to discuss her social justice work, her experiences living in Peru, the gender and sexuality politics in graffiti subculture, her role as mentor and leader to the other women in Maripussy, her struggles as a self-identified pansexual AfroLatina, and her solo exhibition at bOb bar & gallery: Wild Thing.

JP: In Hip Hop graffiti subculture, everyone has an alter ego—a kind of stage name referred to as a “tag name,” under which they practice their art form. Tag names tend to refer to something personal like a favorite color, nickname, or the place one was raised. How did you choose yours?

MISS163: My name is Sharon De La Cruz, aka MISS163, aka uno seis tres (one, six, three), aka Charo—that’s what my family calls me. I started painting “Charo” at 18 years old, but that was small tags here and there until I realized “if my momma sees this on a wall, it ain’t gonna be too cute,” haha. I was raised on 163rd street and Hoe Avenue, so I changed it to 163. I wanted to be old school so I crowned myself “Miss 163”.

JP: So after painting sola (alone) for a couple of years, while you were getting your BFA, you spent some time in Peru on a Fulbright and that’s where you founded Maripussy?

MISS163: At Cooper, I took a course on Urban Experience in Latin America and it was based on the history of Mexico and Peru, and focused on the psychology of urban planning. I knew I wanted to travel to Latin America after school and my homeboy told me to check out this thing called a Fulbright. I applied thinking that I wasn’t gonna get it. Turns out, I was wrong.

JP: Can you briefly explain your project?

MISS163: I was doing experimental filmmaking with high school kids. Originally, I wanted to do stop-motion graffiti, but my advisor “advised” me not to do that; haha. I understood why. The Fulbright is the US Government, so they want nothing that has to do with illegality. I kind of masked the project and said “we will do movie projections.” We were basically experimenting with late-night humor, like Jay Leno style. It was really hard to get the students involved. They were natural at it, but they learned that it was bad. I even had teachers that were concerned about what I was teaching. In Peru, people disappeared after using humor against the government. Silly little me wanted to do that, but it was something that was frowned upon. It was very interesting. I learned so much from those kids!

JP: And it was in your first trip to Peru, during your Fulbright year, that you met the other ladies of your now-international graffiti crew right?

MISS163: Yes. While I was in Lima, I met up with tons of local artists and we started painting walls. It was great. That’s where I met Nemiye. She’s the one that does all these crazy Q’s. It’s just so interesting that we grew up in two totally different hemispheres, but the politics of growing up as a Latina are so similar…it’s also disgusting. The first time we painted together was in March 2009 for International Women’s Day. That’s when we knew that we had to keep painting with each other because the chemistry was flawless. We had the same humor, politics, and view on life. Being a crew was a joke at first, and then I told them my story about what my mother called my vagina, which is mariposa (butterfly). And then our friend said, “You should call yourself ‘Las Mariposas’.” The four of us—Mishap, Bronik, Nemiye, and myselfhat mariposa wasn’t strong enough. We wanted a PUNCH. So I asked, “What about MariPUSSY crew?” Maripussy is a super feminist collective, and with our graffiti we tell stories about the effects of patriarchy in relationship to women’s health. We were originally based in Lima, but now we’re also in Paris (Nemiye), Barcelona (Bronik), and New York (yours truly). There are seven of us now: six graffiteras (Mishap, Nemiye, Perez, Monica Miros, Biarck, and myself) and one rapper (Blue). I was so happy to find a group of women to whom I didn’t have to explain everything. I didn’t have to explain sexism or racism. I didn’t have to explain how oppression affects how we love, live, and make art. Before then, my dream of being a part of a sorority, or a women’s crew, seemed like it was far-gone. I always dreamt of having what I call “sister friends”—this unbroken bond between women. But it never happened because I went to art school with no sorority clubs. I didn’t have any friends who wrote [graffiti], nonetheless any women. And if I knew about women writers, they were older; there wasn’t anyone in my age bracket. So I knew graffiteras who were geographically close, but for whatever reason they were either inaccessible or it felt less natural to form a crew. Especially because I didn’t learn how to paint walls in the US, most of my murals were in Peru and that’s where I learned narrative and colors on a large scale. In Peru, I finally found women my age and they had vagina politics.

JP: It’s interesting that you keep pointing to the similarities in the “vagina politics” that you’ve experienced in the US and that they’ve experienced in Peru. What are “vagina politics” anyway?

MISS163: When we came together and shared our stories, they were similar despite happening in two different hemispheres. I lived in both places and I spoke with a lot of women, and it’s the same fundamental concept of being a “woman,” particularly a graffiti artist, in a patriarchal world. We call it “vagina politics” because as a result of having vaginas we’ve gotten to this…place. When I talk about this “place,” I mean we’ve become who we are because we’ve self-reflected about our experiences. We listened to our gut feelings about sexism and feminism. We understand that the stereotypes of women being emotional and crazy came from a sexist place. We’ve listened to ourselves. We’ve paid attention to what was going on around us, and we chose this thing called graffiti painting in order to express ourselves. To explore and flesh out our ideas about vagina politics, while opening the conversation up to complete strangers. We feel it is important to continue to initiate these conversations beyond our crew—and that’s what’s so fun, and ironic, about art! Once you create it, it no longer needs you to continue to carry out your intention.

JP: And the intention of forming Maripussy was to build a support system of like-minded women artists. Doing so reminds you that you’re not alone. It’s much more productive to have a network, right?

MISS163: Especially in the game called painting or writing, it’s all about support. It’s dark and you’re alone and my instincts say: no, don’t go into the dark! Painting sometimes goes against my instincts, but I keep doing it. I call the women in Maripussy my sister-friends, and to me sister-friends are really important. They keep you grounded. Even though Maripussy isn’t always with me physically, they can still say to me: “Sharon, you’re not painting!” And I’m like, “How do you know?!” We share all our stuff on the internet, so if nothing new has been posted someone like Mishap will know that I haven’t been painting. I also know that people depend on me in this weird way—we need to keep our name alive. I have a tattoo on my chest that says Maripussy. I don’t want another little Sharon growing up saying she doesn’t have a mentor or a network. I take feminist community building very seriously, especially with young women.

JP: Your visibility is really important for young women looking for mentors, for established pathways into the subculture. How has your position as brand ambassador for CK1, and your community work with the Point, elevated your visibility and altered how you feel as a woman in a numerically male-dominated subculture?

MISS163: It’s overwhelming because I feel like I have to represent all women, which is ridiculous because every woman is different and those differences are complicated. BUT, it’s also sweet because I get to give a voice to a lot of women and I get to exercise my power in a sustainable, fruitful way. I can model what being a “voice” looks like, how to be comfortable in your own skin, and how to be fulfilled without compromising your politics. The politics are so intense. I don’t paint with certain people because of the politics. Feeling like you have to prove yourself because you are a woman is not fun. I transform the negative energy, in regards to proving yourself, and turn that into “proving” how conscious, creative, and inspiring women can be. Yes, every time I hold a spray can I am “proving” something on an artistic level and as a woman. I have many limitations, but I refuse to let my gender be one of them. You just gotta keep doing it.

JP: Does that sense of having to prove yourself as a woman in a “man’s world” subside when you paint with Maripussy?

MISS163: When I paint with Maripussy it is fun. I feel like I’m on clouds. We’ve come to the point now, where we don’t have to talk about a piece—we just paint it out. We’re always dancing and laughing. We joke throughout the whole thing because we’re chillin with our girls.

JP: After meeting with two all-female crews in Chile, I started thinking about the production of feminist community by graffiteras who do not identify as “feminist.” I never would have written that chapter if I’d focused on New York City, or the States in general for that matter. All-female crews seem to be the social-subcultural norm in Latin America, whereas in the States they are few and far between. Initially, I thought it had something to do with the kind of “gray space” of legality that some Latin American writers work within—with more visibility on the street as you paint, you might be more likely to paint together, etc. Is graffiti art in Lima quasi-legal, like in Santiago and Rio?

MISS163: Yea, it depends. Walls are less idolized because of the money it takes to keep them up. So if a landlord can get a free “paint” job then why not? Graffiti artists take advantage of the situation and find more creative ways to send a visual political message. In Peru, I can’t just paint a “pro-choice” wall because it is a very conservative place, but I can mask it with characters and the use of colors. It challenges you to become a better artist, I think. My boyfriend pointed this out and I thought it was really interesting. He asked: “Why do the girls in Hip Hop in Peru look so masculine?” I didn’t realize until he pointed it out, but I was like: “Well, because that’s Hip Hop.” I feel like there’s less room to play with being girly and hardcore. You just gotta be hardcore. One of my Maripussy friends is in Bogota now with her girlfriend.

JP: Isn’t it interesting that we went from the “masculinity in Hip Hop” to the Maripussy crew member who is a lesbian? The subconscious word association “masculine woman=lesbian” is frequently uttered, regardless of the speaker’s politics. And is a really great example of why graffiteras tend to keep their sexuality to themselves. They might come out to me, but they don’t want to feed into the heterosexist rumor mill that uses their sexuality against their subcultural credibility (i.e. women writers are “dykes” or “whores”).

MISS163: I consider myself pansexual. If you’re attractive, you’re attractive. Our fascination with gender is corrupt. We are more focused on the gender of folks, than the partnership that they are building. Not only are we fighting because we’re women and feminists, but also how and who we love. Those things are

JP: One of the reasons I started writing about gender politics in graffiti was because of the notion that graffiti transcends all systems of identity-based oppression. Since graffiti is an anonymous act (mostly), the idea is that anyone can do graffiti. But the thing is: you can do it, but will you be supported or mentored in any way that enables you to keep doing it?

MISS163: The guys who showed me how to paint a mural were actually three of the high school boys I was teaching in Lima. I was showing them that I could draw and I did graffiti and they were like: “You wanna paint a wall?” I was like, “YEAH”! Imagine. These young men had more privilege to go out and seek these walls and show me this life! year old me was like, “Wow. Okay, this is crazy.” To be in certain parts of Lima to paint a wall, I had to be accompanied by three high school boys.

JP: You said that your graffiti takes a specifically feminist stance to illustrate particular narratives regarding vagina politics; how do you incorporate the politics of race and colorism into those narratives?

MISS163: The last piece I painted on my first visit to Peru was about “Doña Papa.” Doña Papa is basically what Aunt Jemima is in the U.S; but instead of syrup, she sells candy. She’s a slave woman with the hair wrap and all of that. I painted her vomiting all the candies. Mishap said “all these Black guys and girls are going wild over your piece.” They loved it because Doña Papa was finally doing something—she was the actor, not the acted upon. That’s when I learned how to mess with politics in another country. I like to twist pop culture images so they tell a more complex story.

JP: You’re working on a series for your solo show at bOb bar & gallery, right?

MISS163: Yes. I’ve been researching how women of color are used as community-organizing tools and I’m basing the series on Ruby Bridges as “Max” from Where The Wild Things Are. Bridges is the perfect example of why being Black and a woman is political from the start. Imagine: you’re seven years old, and you’re brought in as a political tool. Her parents were approached by the NAACP because she got the highest GPA in her all-Black elementary school and once the government ordered integration she was chosen. The NAACP specifically chose young Black girls. They could not be boys because little Black boys grow up to be educated Black men and that ain’t flyin’. But because she was a young female, the perception of her femininity as fragile, inferior, and most importantly less threatening positioned her as the perfect transitional subject in a larger movement for equality and integration. Her story is mind-blowing. I’m getting goose bumps just talking about it. Using women so strategically…and I think that’s a larger metaphor. Have you read Sister Citizen: Shame, Stereotypes, and Black Women in America by Melissa Harris-Perry? That book is killer. It’s about carrying, not only your race, but your sex, on your back. I think Bridges is a perfect example of this. Putting the two together in this way makes too much sense to me.

JP: Obviously your Wild Things series critiques a particular moment in history, but, do you think that it “makes too much sense to you” because you identify with the difficulties of race and gender politics in a particular way?

MISS163: Oh yea, totally. In New York, I’m Dominican. In Florida, I was half-Black and half-white. Then, when I went to Peru, I was gringa (white girl). Then I was “chinch,” which is Black in Peru. It’s like, “Okay…whatever you see.” When I’m in the States I tell people I’m Afro-Latina, but when I go to Peru that doesn’t mean anything. I told one of my girls that I was Afro-Latina and she laughed at me. I was like, “what are you laughing at?” I’m not Latina to her. My parents are from the Caribbean and they speak Spanish, but that doesn’t make me Latina to her. My brother makes a lot of racist remarks about Black women, and I’m like: “Hey I’m your sister!” But he sees me as Dominican and Puerto Rican.

JP: Your work communicates an ethic of resistance in regards to a variety of social messages while being attentive to aesthetics, to style. I see no separation between your art and your activism, but rather a kind of reproductive feedback loop.

MISS163: Graffiti is consciousness; it is the visualization of “thinkers” and “questioners.” For example, making sure that there is a “Female Flava”[2] wall, a wall dedicated to women in The South Bronx. Making sure that you create spaces to tell a story that has been marginalized and normalized simultaneously. We want to create art that questions social conditions, that celebrates women and generates fruitful discussion. Both my graffiti art and my activism are about organizing and energizing women.

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References

News 12 Bronx. 2013. “Bronx Graffiti Artist Sharon De La Cruz Teams up with Calvin Klein for Street Edition Cosmetics Line,” April 16. (http://bronx.news12.com/news/bronx-graffiti-artist-sharon-de-la-cruz-teams-up-with-calvin-klein-for-street-edition-cosmetics-line-1.5083018), accessed on June 6, 2013.

Volpe, Lynden. 2013. “CK One Goes Street for Spring.” Vanity Fair Blogs, March 11. (http://www.vanityfair.com/online/beauty/2013/03/CK-One-Goes-Street-for-Spring), accessed on June 6, 2013.

Whitehead, Kim. 2012. “Sharon De La Cruz, Artist and Activist from The POINT, Honored for Community Work in the Bronx.” NY Daily News, February 23. (www.nydailynews.com/new-york/bronx/sharon-de-la-cruz-artist-activist-point-honored-community-work-bronx-article-1.1026377), accessed on June 6, 2013.

WYSK. 2013. “Women Talk: 10 Questions With Miss 163, Art Meets Activism -WYSK.” (http://www.womenyoushouldknow.net/women-talk-10-questions-with-miss-163-art-meets-activism/), accessed on June 6, 2013.

[1] Graffiti’s eradication has been a central component of “Broken Windows” policing since Glazer’s 1979 Public Interest article and expanded by Kelling and Wilson’s 1982 eponymous piece in The Atlantic Monthly. In 1985, the NYC Transit Authority hired Kelling to consult on the implementation of Broken Windows theory.

[2] Female Flava is an annual South Bronx event organized by De La Cruz that focuses on women. The 2013 theme is “No Means No, An End to Violence Against Women.” See http://www.facebook.com/events/526315694099978/?fref=ts.

Support Few and Far at Art Basel!!!

Art Basel is America’s largest art fair which happens during the first week of December each year in Miami, Florida, gathering thousands from around the world to view the spectacle.

Few & Far needs your help to make this happen!!

Each year we have gone out and painted, each time with a larger and more prominent wall than before. Thousands of people from all over the world see these walls and its an amazing way for each of us to grow as artists and collectively show the world what we are about:  A crew of women mural painters from around the world. This is our largest wall to date, 30′ tall and over 90′ wide.

This year, as always, we are mainly paying out of pocket for our flights and accommodations for this giant project, the time we spend painting is voluntary, but we have accounted for that… what we now have to come up with is the huge cost of materials, the paint, rollers, ladders, lift rentals, porto potty rental (yes, we’ll need that too!)… and so we are asking our friends, businesses and communities to help sponsor us.. Thank you in advance to those that can give to this project. Few and Far loves you!

FewandFarWomen.com

Visit their GoFundMe page: 2412465_1414022029.1271http://www.gofundme.com/fewandfarartbasel

Femme Fierce: Leake Street All Female Take Over

My timing in terms of availability for travel this Spring is–to say the least–utterly tragic. First, I missed hanging out with the street artists in Cairo during Phase 2 of the WOW campaign. And now, to add insult to injury I will be missing a mega-event for female graffiti artists in London on March 8th…International Women’s Day. #ouch Since I can’t be everywhere all the time, I AM DEPENDING ON YOU! GO to this event if you can! Support these fierce femmes! Love on some street art and graffiti! And raise money for breast cancer awareness. You really can’t go wrong here.

Details:

Earth Tone Arts and Street Art Agency proudly present

Femme Fierce  at Cre8 Gallery

An All Female Street Art Extravaganza

Exhibiting at: Cre8 Gallery, 80 Eastway, Hackney Wick, London E9 5JH 7th March to 14th March 2014 Diary of Events:

Exhibition Opening Party – Friday 7th March 2014 –  6pm to 10pm Exhibition open daily 12pm to 7pm till Friday 14th March 2014 Femme Fierce Leake St Takeover – Saturday 8th March – 6pm to 10pm Hoxton to the Wick Street Art Tours – Sunday 9th March – 11am and 2pm Femme Fierce Graffiti Workshop – Sunday 9th March – 12pm – 3pm “Women on Walls” Film Premiere – Sunday 9th March – 4pm – 7pm

Live Group Mural & Closing Party – Friday 14th March – 6pm to 10pm Contact Earth Tone Arts for more information, bookings and interviews.

e. info@earthtonearts.com w. http://www.earthtonearts.com m. 07983442876 / 07534799079

You are cordially invited to the highly anticipated street art extravaganza Femme Fierce featuring some of the very best UK female street artists.

Can you imagine a female ruled planet where street art defines the rules and what we call reality? Femme Fierce will provoke the thought of a female planet that is governed by art… a world where you will find everything from the earthly, surreal to otherworldly.

This seven day event is a celebration of female street art in the run up to International Women’s Day and incorporates Femme Fierce: The All Female Street Art Group Show, which will feature  street artists Amara Por Dios, Artista,  Ashes 57, Box Head, Girls on Top (GOT) Crew, Thieu and Zina.

Although each of the ladies are established artists in their own right, in a predominately male influenced scene they have pulled together their creative yin energy to deliver a series of street art inspired events and will make herstory.

Femme Fierce will kick start with the exhibition opening party at Cre8 Gallery on March 7th. The following day (International Women’s Day), will see the Femme Fierce group show artists joined by over 100 International female graffiti writers and street artists from across the globe for the “Femme Fierce:  The All Leake Street  Tunnel TakeOver”  while raising much needed money for Breast Cancer Awareness and celebrating womanhood.

The diary of events also includes the world premiere of “Women On Walls”, a street art documentary by Danish filmmaker Cathrine Cort Koppel looking at the role of women as street artists and the incredible array of styles and diversity in their approach to painting.

In addition there will be graffiti workshops, street art tours and live painting events celebrating female street artist in the UK.

Femme Fierce Flyer Front

Femme Fierce Flyer Back

BUY this issue!!! Read my piece: Graffiteras Performing Feminist Community!!

I’m THRILLED to announce that the Fall 2013 issue of TDR: The Journal of Performance Studies has DROPPED!!

My piece on Crazis Crew, Turronas Crew, and Rede Nami “Be About it: Graffiteras Performing Feminist Community” joins works on Censorship in Egypt, Hip Hop in Israel, TDR’s first born–digital article and more!

Here is the (truncated) Table of Contents:

Social Performance Studies: Discipline vs. Freedom by Faye C. Fei and William H. Sun

The Fire and the Frying Pan: Censorship and Performance in Egypt by Nehad Selaiha

African Tongues on the Israeli Stage: A Reversed Diaspora by Sarit Cofman-Simhon

Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop by David A. McDonald

Be About It: Graffiteras Performing Feminist Community by Jessica N. Pabón 

Death Dressed As a Dancer: The Grotesque, Violence, and the Argentine Tango by Julie Taylor

The Aesthetics of the Invisible: Sacred Music in Secular (French) Places by Deborah Kapchan

Hearing the Music of the Hemispheres by Erin B. Mee

CLICK here to purchase the issue for $13. Unless you want to subscribe to the journal (which is way more bang for your buck, so you definitely should), make sure you select Single Issue “T219, Fall 2013 Volume 57, Issue 3.”

Special Offer: Subscribe to TDR/The Drama Review and receive a 35% discount off the regular subscription rate PLUS a free MIT Press book: http://www.mitpressjournals.org/page/TDR13

Teachers/Professors! Tell your students to subscribe to TDR for only $25.00 per year!

Like them on Facebook! http://www.facebook.com/TDR.TheDramaReview

T219 Cover

“Tough as Nails,” Artwork from the Women of Few & Far Crew at APSF Gallery

For Immediate Release, Art Primo SF Gallery presents:

Tough as Nails: Artwork from the Women of Few & Far Crew

Opening Reception: Saturday, August 3rd 2013, 6-10pm @ 1124 Sutter st, San Francisco 94109

Exhibit: Aug 3rd – Sept 29th, 2013

Press Contact: Kelsey Lannin- gallery@ArtPrimoSF.com This is an all-ages event, open to the public.

Photo courtesy of Erin Ashford

Photo courtesy of Erin Ashford

About the Artists

Few & Far is a collective of highly creative female graffiti artists from around the world, working together to promote participation of women in typically male dominated sub-cultures. They travel the globe connecting women through artistic and social exchange, showcasing their art on walls and in the streets. “Tough as Nails” is a representation of their collective belief that all women should feel encouraged to do what they love, despite gender imbalances found throughout society.

About Art Primo SF Gallery

Art Primo SF Gallery works to showcase graffiti art in the gritty and subversive spirit out of which the subculture has grown. We strive to make artwork available both to serious collectors and the general public, with affordable pricing and public, all-age events. Our top priority is the preservation of anonymity for those artists working with us who wish to keep their identity private. Art Primo SF Gallery is attached to the Art Primo SF graffiti art supply store, offering the best selection of high quality street art supplies in the Bay Area.

For media inquiries and photo requests please email gallery@ArtPrimoSF.com

Art Primo SF Gallery

1124 Sutter St.

San Francisco, CA 94109 415.547.0087

ArtPrimoSF.com

Under Pressure Graffiti Festival: Women & Hip Hop Symposium

Sadly, I can’t always make it to the events I’m invited to…but I can help promote and get bodies there! I’ve attached the press release for this women in hip hop event in Montreal below the digital flyer.

CONF_IMG

Press Release

Women & Hip Hop: Conference.

Long before its popularization by the established art world, street art was viewed as a second class art form, associated with nighttime, deviance and crime. This stigma and its sharp contrast with the stereotypical ideals and values society has historically imposed on women ensured that street art remained a mostly inaccessible and uninviting platform  for  women  to  showcase  their  talent. Despite its commercialization, street art has so far been closed to women, both globally and locally. Hoping to address this, the Montreal group OFFMural-es was formed, its mission being to shed some light on the inequalities that exist between men and women street artists.

Launching this movement has helped us to focus our criticism of the representation and visibility of women in Hip Hop. Whether as Bgirls, street artists, graffiti artists, MCs, or Deejays, women are part of this culture. Our goal is to encourage them to come together with their male colleagues and begin a dialog about the status of women in a cultural industry that remains very sexist.

Do these women feel 100% integrated into Hip Hop culture, and if so, how have they have achieved this integration? Were they obligated to deny their femininity in order to be accepted in a milieu where women are often seen as objects? We also invite those rare feminist men taking part in Hip Hop culture and ask them whether they consider women as artists, and whether they engage with their female colleagues in the same way as males. Although there is no single answer, we hope this new conference will help us find ways of encouraging women to commit to and involve themselves in Hip Hop culture entrepreneurship, so that they are no longer mere actresses, but real and significant players.

Information:

-Thursday August 8th

-Starting at 6:30PM

-At Fresh Paint Gallery, 221 Saint Catherine East.

-A 2$ contribution is asked at the Fresh Paint gallery door.

-Limited acces, only on booking confirmation (name and surname of each guests) at

marine@underpressure.ca

For any questions please contact marine@underpressure.ca

Week 4 with Graf Grrlz on the Rise, sidewalk chalk extravaganza!

It’s hard to believe, but we are almost done with the program. *sigh*

Anywho, this week was all about crews: what they are and mean for graffiti writers, why writers form them, what their purpose is, and of course…the girls decided what their crew names would be. They learned about Maripussy (well, the older ones because having 2nd graders say “pussy” didn’t really seem right), the Stick Up Girls, Crazis, Turronas, PMS (provoked many giggles), Girls on Top, and Few and Far. We talked about how being in an all-female crew might make you feel more empowered to keep painting because you are part of a community, and also  how you could feel equally disempowered because women are often really hard on each other. We talked about the importance of having each others backs, finding out who someone is before believing a rumor you might hear about them, and the concept of strength in numbers. We also talked about how gender might influence aesthetic choices and value systems ( they learned this after I explained what “aesthetics” are..”oooh, like how you decide to dress”). When I asked them to brainstorm their own crew names, they came up with:

PBC: PINK A BOO CREW
PJC: PINK JAGUARS aka PEANUT BUTTER AND JELLY CREW
SGD: SASSY GOLDEN DIVAS CREW
DTM: DOING THE MOST CREW (I’m a big fan of this one)
H2O: HAVE TO OVERCOME CREW
LIP: LADIES IN POWER CREW (and this one)
SSC: SWEET ‘N SOUR CREW

There are more groups that we didn’t get to see this week, but this is a great start. To prepare them for the field trip to Brisky Gallery in Wynwood, we had them use chalk on black construction paper. At times it felt like nails on a chalkboard, but I did my best to power through. Ha.

We visited Brisky Gallery to see the Few & Far production from 2012 Basel. After the Gallery Director, Luis Valle, gave us a tour of the show “Eternal Reflection” we headed to the backyard (BTW, go see this show!!). So finally, we had the chance to talk about graffiti art in front of a real live wall! Once the girls got over the grass being tall and the many little bugs, they focused on what was in front of them–a gorgeous production composed of 13 separate pieces, woven together through color and shape. I walked them through each piece, explaining a little bit about each artist–and I have to say, they are getting pretty good at reading the letters! *swells with pride*

And then we all realized it was like 95 degrees and we were slowly dying. So we went back in, took a mini break and then grabbed some sidewalk chalk and they went to town. We had made photocopies of parts of the wall so the girls could look at them and try to mimic the style of the character or the piece with sidewalk chalk. Then Luis told us that not only could we draw on the sidewalk but also on the building next door! Woot! Some of them were too hot to focus, but others…well, they had a BLAST!