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• W2965446723 abstract "Performing Archives in the Present:Exploring Feminist Performance Art, The Politics of (In)Visibility, and the Archive in #MeToo and #TimesUp Hannah Bonner (bio) We want this.The end to sleeping, the bittersweetarousal, the peeling back, the soft bathin resin, the release. It can't come quickenough, the hot touch that breaks the crustand lets us go. Hear it now: a crackling,as the woods begin to sing alongside the birds.To cry out! To be transformed, like Daphneback into a girl. Pine—as if our very naturedemanded that we long without relief. But the coneis like a shotgun on the wall; it must erupt.All it takes is one dumb fuck, trigger-happy,with a six-pack and bad aim,to generate the spark that turns the world to flames. —Dana Goodyear, Dormant Introduction What is the ontology of an archive that is (re)currently occurring in the present tense? On October 16th, 2017 my Facebook feed reverberated with the echo of #MeToo as countless friends electronically recorded (and, thus, digitally archived and curated) their experiences regarding gas lighting, sexual assault, rape, and/or sexual violence. In the wake of Hollywood producer Harvey Weinstein's and actor Kevin Spacey's multiple accusations of rape, a global outpouring of individuals on social media platforms such as Facebook, Instagram, and Twitter brought the hashtag #MeToo (originally coined by Tarana Burke in 2006) again to the cultural fore. Subsequently, actresses and activists including Reese Witherspoon, America Ferrera, Tracee Ellis Ross, and Natalie Portman created the initiative #TimesUp whose epigraph states: The clock has run out on sexual assault, harassment and inequality in the workplace. It's time to do something about it.1 In addition to persistently using these hashtags on social media, in interviews with Oprah Winfrey, and even at [End Page 33] award ceremonies such as the 2018 Golden Globes, the coalition created their own type of performance art by crafting a black out to address systematic abuses of power. The black out asked individuals to wear all black in solidarity with the movement, photograph themselves in their black garb, and post to social media with the hashtag #MeToo and/or #TimesUp. One could also consider this movement, with its concurrent political and sartorial message, as not just a performance art, but a performance archive. A performance connotes the embodied experience of seeing an artist in the present tense, of bearing witness to the performer's artistic event in the moment of its becoming. Performance art thus imbues these transient moments with aura—an image that can be indexed or preserved—though not the experience's ethos. The aura exists within the immediacy of that moment. In Performing Archives/Archives of Performance, editors Gunhild Borggreen and Rune Gade define performing archives as a process in which human beings create and handle archives, but it also alludes to how archives are formative in shaping history and thus perform human beings, structure, and give form to our thoughts and ideas.2 Archives allow us to (re)examine history, shaping our understanding of social and political events with the accretion of varied sources and primary documents. In this way, archives are constantly rewriting and redefining themselves. They are not static entities, but constantly in flux. As the #TimesUp and #MeToo movements gain momentum, it is important to consider how this political and social measure perform[s] human beings, structure, and give[s] form to our thoughts and ideas regarding consent, gender, and sexuality. This movement, occurring predominantly on social media platforms, is at once ephemeral, fleeting, and in the present tense like performance art; yet, this movement is also paradoxically a locus of perpetual remembering and forgetting, susceptible to consistent revision just like the archive. When writer and director Lena Dunham joined #TimesUp only after the preliminary legwork and foundation had been laid, actress Tessa Thompson questioned Dunham's intentions on Instagram; Thompson later deleted the post, an electronic modification emblematic of a movement still in the nascent stage.3 Furthermore, #MeToo is a collective plural that is simultaneously intrinsic to the individual: in other words, an individual tweet becomes a part of..." @default.
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• W2965446723 date "2019-01-01" @default.
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• W2965446723 title "Performing Archives in the Present: Exploring Feminist Performance Art, The Politics of (In)Visibility, and the Archive in #MeToo and #TimesUp" @default.
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• W2965446723 doi "https://doi.org/10.1353/scr.2019.0012" @default.
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