Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Wednesday, 29 April 2015

Michfest cuts right through to your heart

The Michigan Womyn's Festival is calling it a day after 40 years.  For many, Michfest is the epitome of Trans-Exclusionary Radical Feminism.  The eviction of Nancy Burkholder in 1991 sparked protests which have continued to this day.
"She said that MWMF policy was that the festival was open to “natural, women-born-women” only. I replied that nowhere, in any festival literature or the program guide was that policy stated. I asked Chris to please verify that policy and she went to the office to contact the festival producers, Lisa Vogel and Boo Price.
Del stated that the reason the policy was not in any literature was because the issue of transsexuals had never come up as a problem before. Del added that the policy was for the benefit of the transsexuals’ safety and the safety of the women attending the festival. When I pointed out that there were other transsexuals on the land she acknowledged that this was true. Then she added, ‘We haven’t caught them yet, but we did catch you.”
I went to Michfest in the early 1990s in my early 20s, and it was beautiful.  Camping on forested wild land.  Music, workshops, arts, crafts.  Ten thousand women dancing under the stars.

I heard Melissa Ferrick and Phranc and Sweet Honey in the Rock.  Learnt salsa dancing with naked women.  Enjoyed workshops on racism, non-monogamy, writing and s/m.  Talked to women from all over the world about sexism and gender politics and queer life and violence.  Kissed some cute queer girls.  Asked Alison Bechdel to sign one of her books.  Watched sex toy demonstrations.  Realised for the first time that I "did" being queer like a bogan while listening to Dorothy Allison reading stories of working-class women-loving-women.  Went back to the tent and changed my flannel shirt.

There were separate spaces for women who experienced oppressions related to class, race, sexuality, disability, age.  Camping areas for disabled women and Women of Colour, caucus groups and workshops that were open only to specific groups.

I went to a Bisexual Caucus with about 150 women.  We spent an afternoon doing two things - hearing from every bi woman present what it was like being bi where she lived, and drafting a statement to Michfest opposing their exclusion of trans women. 

It's fair to say at that point I knew nothing about gender diversity.  I didn't know any trans people to my knowledge, I'd read one book talking about trans issues - the hateful Janice Raymond's "Transsexual Empire" - and I'd yet to consider that growing up comfortable in the gender I'd been assigned at birth was a privilege not available to many.  I'm grateful to the staunch bi women I met at Michfest for opening my eyes for the first time to what I'd call now cissexism.

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The internet probably doesn't need another ode to the wonders of Michfest.  It's clear that for many cis women, particularly cis lesbians, Michfest has been an important safe space from sexism, misogyny and violence against women:
"Vogel was determined to have MichFest be as welcoming as possible for as many women as possible. Which demanded both that it be women-only and that it be accessible to women of all classes. Vogel also wanted to establish space for women of color to have the option of being in a space solely for them. One African-American lesbian told me that the WOC space was the only space her partner, a rape survivor, had ever felt safe. She said, “She knows no one will come for her in the night.” She said no one could imagine her own relief at being able to see her partner sleep soundly, free from nightmares. “That week–”she said."
Those women are angry Michfest has ended.  They say "only one" trans woman has been excluded in 40 years.  They quote key festival organiser Lisa Vogel saying she just wants respect for womyn-born womyn's experiences.  They describe as "McCarthy-like" the tactics of Michfest critics who call for boycotts of the festival.  They feel like their desire for safe space is not being respected.

But the truth is excluding trans women has made Michfest increasingly unpopular.  Even back in 1992, three quarters of women attending Michfest were happy for trans women to come.  These days just 3000 women attend, and artists are dropping like flies.
It’s in that spirit that in 2013, comedian/activist/writer Red Durkin called for a boycott of Michfest and its performers until the policy was changed.
Andrea Gibson dropped out in March. In April, The Indigo Girls announced that this would be their last year at the festival until the policy changes. The Indigo Girls are festival mainstays, and Amy Ray‘s partner is a longtime Michfest volunteer. By taking a stand, The Indigo Girls weren’t just standing up against political adversaries, they were severing decades-long friendships. I anticipated their withdrawal would be the ultimate catalyst for change, yet the festival’s intention lives on.
Nona Hendryx dropped out in June. JD Samson, who’d been attending the festival for half her life and was pulled from a number of queer events for playing it, announced in June that she remained confident “that the MWMF will one day become a place of safety, solidarity, and unconditional love for ALL Womyn,” but that “this will be my last year attending the festival until that day comes.”

Despite being a woman who loved Michfest myself, I'm not in that camp.  The consistency of founder Lisa Vogel's transmisogyny has been tracked by The Transadvocate, which is just as well, since it's been in serious danger of rewriting.  It's worth reading closely.

In 1971, Ms Vogel signed a letter outing a trans woman in an attempt to get her sacked.  "Men without penises" are compared to white women dying their skin to look like Black women. In 1991, Ms Vogel describes the eviction of Nancy Burkholder as necessary to ensure only "womyn born womyn" attend.  She describes Ms Burkholder as a "known transsexual man."  Again in 1999 Ms Vogel describes trans women as men.

By 2000, Michfest issues a pamphlet saying only womyn born womyn who live as womyn are welcome, and asks for this to be respected because it will not be policed.  The pacifist version of Don't Ask, Don't Tell.  Throughout the 2000s, on a number of occasions, Ms Vogel compares Michfest policy of cis only (though never calls it that) with Women of Colour asking for and needing separate space.  To call Michfest policy transphobic is equated with calling Women of Colour space racist.  She also begins to refer to trans women as women.

In 2014 in an open letter, Ms Vogel acknowledges "trans womyn and transmen have always attended this gathering" but again asks for cis only space to be respected because "being born female in this culture has meaning, it is an authentic experience, one that has actual lived consequences."

It's clear Lisa Vogel's commitment to Michfest being for cis women only has not wavered, even if over time she has recognized trans women are women.  

What's curious to me is her justification - that an event open to cis women but not trans women is analogous to Women of Colour wanting separate space, and therefore, it's not transphobic.

This device only works if you believe trans women oppress cis women.  Only then is it possible to conceive of cis only space as necessary.  Because an oppressed group needing space to regroup from experiences of oppression, that's self-determination, that's resistance.  A group which experiences oppression, but not from the group they are trying to exclude, that's privilege.  

This is at the root of the Michfest controversy - and many other places where feminists who have established women-only havens have struggled to welcome trans women.  Instead of seeing trans women as other women needing safe space, trans women have been constructed as part of the oppressive forces, the oppressive patriarchal forces, which do not understand why women need a break from patriarchy.

Diverse experiences of women's lives should be part of any conversation about gender.  The fact is, working class girls get different messages about how to be female than middle class girls.  Race and ethnicity shape our understanding of ourselves as women.  Disabled women have experiences of female embodiment that bear little resemblance to non-disabled women.  And trans women and cis women have some things in common, and some experiences of femaleness that are profoundly different.

If we are scared of our diverse experiences, unable to name differences in women's experiences, we are never going to be able to change the social and material conditions that structure women's lives in ways which constrain us.  Our feminism will not be useful. 

I'm sorry Michfest is shutting it's gates, but not because I think I had an authentic experience of being a woman there.  Rather I'd like to think, after so many messages from other feminists and the surrounding queer community, that Lisa Vogel and Michfest could have acknowledged they were getting it wrong, and thrown the gates open to trans women.  Explicitly open.  They have been going for years anyway, and it's not made one cis woman any less safe.

There's perhaps a lesson here, for other feminist women's spaces that have been hard fought.  Trans women are not our oppressors.  Trans women as a group do not have power cis women as a group cannot access.  We have much in common, and many gendered experiences of lack of safety which may not be exactly the same, but nevertheless require mutual support and solidarity. 

I'm going to finish in the words of one trans woman attendee:
When people all around you are telling you directly that you have no claim to your womanhood, that there is no way you are welcome, and that by merely existing you are furthering the patriarchy, it cuts right through to your heart.

Thursday, 23 August 2012

Sing it.

Some music loving feminists put together their fave 16 songs about violence against women last year, and while it has some definite highlights (Tracey Chapman, Aretha Franklin and Suzanne Vega would make my playlist too) there are so many songs missing I thought I'd add a few. 

Lucinda Williams changes the locks, her phone number, her car, her clothes, the train tracks and the name of her town to get away from an abusive man.  It's easier, after all, than him stopping his violence.


Ani DiFranco makes sure she has control over her sexuality as a survivor of childhood sexual abuse, and has plans to get away from it all.


The extraordinarily talented Ms Dynamite calls out domestic violence big time and asks for better relationships for our daughters.


But the next runaway hit, I'm pretty sure, is by Taylor Ferrera, explaining what "legitimate rape" looks like for all those American politicians who are not quite sure.


More in comments, please.

Sunday, 12 February 2012

a rather cynical (early) valentine's day post

reading a post on stephanie's blog last week reminded me (of all things) about how much i used to love this song:



so i had to go searching for it on youtube. and as is usual with these things, the memory of them turns out to be better than the reality. it's not that i don't like the tune any more - i still do. it's just that i never really paid attention to any of the words other than the chorus. but the clip above forced me to pay attention to the words, and i've decided i don't like them.

i'm generally not a fan of love songs. there are very few i can be bothered listening to. most of the music i really like has something meaningful to say, and yes, love can be meaningful. so let me say that i'm not a romantic at heart. i've never been one to believe in true love and happily ever after. maybe it happens, but in my experience, successful relationships don't come effortlessly. they take a lot of work, attention and maintenance. a relationship tends to be as good as the amount of time you put towards it.

i'm certainly not a fan of relationships where one of the parties is using words like "worship" and "obsessed". maybe it's just me, but those are kind of creepy words and i'd rather not be worshipped or have anyone be obsessed with me. i'd rather that they saw me as a whole person, which includes the less charming bits. love tends to be more meaningful (for me anyway), when a person sees your flaws and decides they care for you regardless. which is much more than an obsession with the perfect someone they have always been looking for.

i guess i don't believe in perfect matches either. i don't think there's a single perfect person waiting out in the world - a perfect soulmate who will complete you. one of the most intelligent things i've heard is that a relationship is not about two halves making up a whole, but it's two whole people coming together. the thing is that if you're not complete in yourself, then you're not going to find that completeness from someone else. looking to someone else to make your life perfect always seemed to me to be a recipe for disaster.

maybe i'm too much of a realist, but i prefer love songs and stories that include the messiness, the awkwardness and sometimes the heartbreak & ugliness that are part of human relationships. as you can imagine, i don't do well with romance movies either - whether they be comedies or dramas. aside from all the gender stereotypes that are so annoying, and the fact that women are generally supposed to give up their career & all ambitions for their man, when they end up with the happy couple looking forward to their glorious new life, i'm sitting there thinking "yeah right".

but getting back to the song, stealing of hearts with spells and the like doesn't sound so wonderful to me either. hearts should be won over, not stolen. and even then, only with the consent of the owner of said heart. not with incessant stalking when the object of your affections has clearly shown a lack of interest. i'm reminded of "the graduate", which i saw again last year, and again realised it was more awful than i remembered. particularly the stalking of the daughter by dustin hoffman's character, to the extent of going to her university and getting access to her dorm. that is not not romantic, it's scary and unfair.

so i'm really wishing that someone would write new lyrics to this song so that i could like it again. i'm not any good with poetry, so i'm not even going to try. and i'd just like to acknowledge that there will be people for whom the true love, romantic fairytale has worked, and for whom the relationship doesn't require too much effort but just comes naturally. if you're in that category, then i'm really happy for you.

while we're on music, i'm sad to hear of whitney houston's passing. yes, i used to adore her music in my younger days & loved the power of her voice. regardless of how her life has played out in more recent years, it's hard to forget the talent she possessed. right now, i'm going with this as one of my favourites:



i hope you had your moment whitney. RIP.

Tuesday, 8 November 2011

Odd Future, Stuff and Freedom of Speech

I know, I know, criticising Stuff polls goes very well with the words 'fish' and 'barrel', but something's got to ease me back into blogging after my mostly study induced hiatus.

Background: hip hop (or possibly rap according to another source; I'm too musically clueless to attempt to settle this) group Odd Future Wolf Gang Kill Them All was booked to perform at the Auckland Big Day Out. A Wellington man wrote a letter objecting to the homophobia and misogyny of their lyrics which resulted in their invitation being rescinded.

Which brings us on to Stuff. Stuff has a poll on the issue which gives three options:

  • Yes, their lyrics are homophobic and misogynistic
  • No, I love the band
  • No, I don't really like the band but I'm for Freedom of Speech

Which, seriously. It is entirely possible to object to the band playing at BDO, believe their lyrics are homophobic and misogynistic and still believe in the helpfully capitalised concept of 'Freedom of Speech'. No Platform is not a new concept (that link goes to a specific example of an anti racist policy, but it's the best general explanation I've can find easily). It's not new to state that limiting someone's freedom of speech is not uninviting them to perform at a music festival, but imprisoning people or executing them. But I think sometimes we miss just how much how giving a platform to some people limits the ability of others to speak.


Comment direction: I won't accept queerphobia  in the comments, but feel free to discuss this issue generally from a feminist/queer rights perspective. There have been a few interesting points made, including a possible racial dimension, whether the banning will actually cause more problems for the queer community and the subtleties of the musical genre (of which I admit to being rather ignorant).


Sunday, 8 August 2010

we shall overcome

a few weeks ago, i was talking to someone about my love of bruce springsteen songs, which started when i was about 18 years old. of course it was him looking & sounding totally hot in the song dancing in the dark which first caught my eye, but from there i went on to discover his earlier music, which meant that i became and have stayed a fan ever since.

the thing with mr springsteen is his ability to tell working class stories, in a way that's accessible. i'd be hard-pressed to pick a favourite song cos i haven't anything from him i didn't like, but my favourites tend to be the slower songs like atlantic city, racing in the streets, the river, independence day. my favourite album of his would be the river. i'd have to credit mr springsteen with raising my consciousness for working class issues, because i have never actually been a working class person nor have i had to face the struggles around poverty and unemployment that he sings about. i am one of the privileged, and he brought that home to me in his lyrics about broken dreams and empty futures.

another thing about mr springsteen is that he has never sold out. throughout this decade, i've watched him campaign for mr kerry and mr obama, and he continues to highlight issues of social justice and poverty, and the struggle of those at the bottom end of society. i don't think you could beat this man for sheer decency & integrity. i remember seeing an old interview from back in the late 70s i think, and a reporter was almost outraged at him singing about the broken american dream, when he happened to be the living embodiment of said dream. she demanded an explanation of what she seemed to think of as hypocrisy, without seeming to realise that while that dream had come true for mr springsteen, there were millions of others for whom it hadn't.

so anyway, i was talking to someone about some of this, and he lent me a copy of the album we shall overcome: the seeger sessions. it's an album full of american folk music, including "freedom songs" sung as part of the civil rights movement, anti-war songs and union songs. i've had it playing in the car over the last few weeks, and just love it.

tonight i thought i'd find out more about the history of the songs, and have spent the evening reading up about them. and it seemed to me, as i read, that in this day and age we don't seem to have that sense of a "movement" - a collective struggle for social justice. when i look at the movements that some of these songs represent, i think that somehow we've lost the plot or maybe lost the will to fight? have we lost the passion and the commitment that earlier generations, particularly in the twentieth century, were able to bring to their struggles?

i guess we saw a glimmer of it recently in the march against mining on conservation land. but in the minds of many people, past battles are over and we have apparently reached equality now. even though there is plenty of evidence to show otherwise. we know that many battles won in previous decades have since been lost (remember the 40 hour working week, overtime, compulsory breaks?), others have never been won (pay equity, discrimination) although some things have improved considerably.

maybe it's a sense of powerlessness that stops us, the fear that our efforts will be fruitless or that those ideals can never be achieved. who knows. but i have to say that i was inspired by the commitment of pete seeger and his band, who travelled around his country raising consciousness through music. and i love that mr springsteen puts these memories and issues back in front of us in a way that continues to inspire.

so here's my favourite song from the album, with bruce springsteen and the seeger band playing live with conan o'brien on his late night show:

Monday, 10 May 2010

funny




via facebook, university of oregon acapella group "on the rocks" doing lady gaga's bad romance. i just had to share.

Sunday, 19 April 2009

The Susan Boyle phenomenon

A month ago who knew who Susan Boyle was? Now you'd think anyone with a radio, a television, an internet connection will have heard her amazing voice*, and probably also seen just why her singing ability was a shock to so many.

Dennis Palumbo at The Huffington Post considers what might have happened had the book matched the expectations so many formed on viewing the cover:
The unspoken message of this whole episode is that, since Susan Boyle has a wonderful talent, we were wrong to judge her based on her looks and demeanor. Meaning what? That if she couldn't sing so well, we were correct to judge her on that basis? That demeaning someone whose looks don't match our impossible, media-reinforced standards of beauty is perfectly okay, unless some mitigating circumstance makes us re-think our opinion?

Personally, I'm gratified that her voice inspires so many, and reminds us of our tendency to judge and criticize based on shallow externals of beauty. What I mean is, I'm glad for her.

But I have no doubt that, had she performed poorly, Simon Cowell would be rolling his eyes still. And the audience would have hooted and booed with the relish of Roman spectators at the Colosseum. And that Susan Boyle's appearance on the show would still be on YouTube, but as an object of derision and ridicule.

So let's not be too quick to congratulate ourselves for taking her so fully to our hearts. We should've done that anyway, as we should all those we encounter who fall outside the standards of youth and beauty as promulgated by fashion magazines, gossip sites, and hit TV shows.

We should've done that anyway, before Susan Boyle sang a single note.

Susan Boyle's voice is fantastic, and her song choice brilliant. The Cinderella aspect of her story has undoubted widespread appeal; and that's exactly what gets me posting. What will Susan Boyle look like by the final of Britain's Got Talent? Will she still be unemployed? Will she still have never been kissed?

There seems to have been a presumption that she was unhappy as she was, and that her singing voice will rescue her from all that. Maybe she was, maybe she will look back in five years and be infinitely pleased by how her life has changed. I'm uncomfortable with the idea that someone can't possibly be satisfied with the life she was living already.

And I can't help thinking that if we weren't so judgemental about appearances, if we didn't assume that beautiful voices only emanate from bodies that conform**, then Susan Boyle would probably have already made a career from her voice many years ago.

* If not, you could try here.
** Or rather seem to conform.

Monday, 12 January 2009

Quick hit: Not all boys at the Big Day Out

Harvest Bird walled me on this Stuff article on one of this year's BDO offereings, the Ting Tings, including:
Myriad publications have labelled [Katie] White an example of a new brand of feminist - girly but staunch. Does she consider herself to be a feminist?

"I think most women are feminists. You'd be pretty stupid if you didn't feel a little bit like you have to prove yourself, especially in music, it's a very man's world."

Thanks HB!