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Dancefloor Explorations of Feminism and Hip Hop Ilana Kelemen A

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Dancefloor Explorations of Feminism and Hip Hop Ilana Kelemen A The Booty Don’t Lie: Dancefloor Explorations of Feminism and Hip Hop Ilana Kelemen A Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada June 2013 © Ilana Kelemen, 2013 CONCORDIA UNIVERSITY ii School of Graduate Studies This is to certify that the thesis prepared By: Ilana Kelemen Entitled: The Booty Don’t Lie: Dancefloor Explorations of Feminism and Hip Hop and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Media Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Dr. Peter Van Wyck Chair Dr. Owen Chapman Examiner Dr. Krista Lynes Examiner Dr. Martin Allor Supervisor Approved by Dr. Peter Van Wyck Graduate Program Director Brian Lewish Dean of Faculty Date June 14th 2013 iii Abstract The Booty Don’t Lie: Dancefloor Explorations of Feminism and Hip Hop Ilana Kelemen This thesis draws on theories of affect, performativity, and dance practice to consider how women with varying feminist values negotiate them within sexist hip hop spaces. Using a targeted group of research participants, accessed through snowball sampling, the author engaged in four different outings which produced four specific scenic descriptions and twelve interviews to better investigate if such a negotiation is possible. Taking the view that negotiation can occur between feminist values and sexist hip hop spaces through the body, this research demonstrates four particular tactics through which such a negotiation occurs. In engaging theories of affect and performativity in dance the author outlines humour as intervention, hypersexualization of movement as a resistance, memory and nostalgia as a buffer and disassociation as negotiation, as tactics that reveal themselves in sexist hip hop spaces. iv Acknowledgments For Mariana Kelemen and in loving memory of Matei and Andrei Kelemen. First and foremost I would like to thank my supervisor Dr. Martin Allor. Without his guidance, knowledge and affirmations, I would not have been able to express what hip hop dance and feminism mean to me. Our conversations, which extended beyond these topics, were eye-opening, honest and heartfelt. I could have not asked for a more remarkable supervisor. I consider myself extremely lucky to have had his support and wisdom and I am sincerely grateful to have had the chance to study alongside him. I am equally thankful to the Communications Department at Concordia University. I came into this program unsure of my steps, with a burgeoning “idea,” and I come out of it a more confident and critical researcher. Professors such as Dr. Owen Chapman and Dr. Matt Soar, as well as Dr. Krista Lynes, all helped shape my research and cultivate my passions in the course of this program. I would also like to take this opportunity to mention two significant professors from my undergraduate studies in the Communications Department who encouraged me to pursue graduate studies: Matthew Hays, and Rae Staseson, both who have had a tremendous impact on my academic pursuits. I would like to thank all of my amazing participants: Meagan, Alin, Martha, Stephanie, Dalia and Emilie who have shared with me some of their most intimate thoughts, and who of course, amazed me on the dancefloor. I am beyond lucky to be surrounded by such thoughtful, sincere, funny and smooth women. Though at times it was challenging to differentiate between my role as friend, dance partner and researcher, your implications, questions, comments, video dairies and “aha” moments were inspiring. v Each one of you has contributed not only to this research but to my personal growth. For that I am ever grateful. There is a particular person who supported me and contributed tremendously to this project by virtue of keeping me grounded. I would like to take the opportunity and thank my partner, David Gagné, who stood by my side through the trials and tribulations, and of course the unbelievable pleasure, of thesis writing. I am reminded of Aristophanes’ myth of love, of the being with four legs, and as the story goes, when one side got tired the other was strong enough to carry both. Your encouragement, support, humour and love through the last year and a half carried me through, and while I was busy being half a person, you were the whole for the both of us. Thank you. I would like to extend my thanks to two particular participants: Emilie and Dalia. Emilie, there will never be enough words to describe what your support and time mean to me. Thank you for sitting with me countless hours, working silently and reading passages that to any other soul would be incomprehensible. You made me feel like it all made sense. You were a classmate, a soundboard, and my writing partner in crime. Thank you. Dalia, thank you for joining the days long writing sessions. Your encouragement even in your own time of panic was a source of inspiration. I would also like to thank Maike Althaus, supervisor, colleague and friend, for her unwavering support while I juggled both work and school. While it was not an easy task, she always encouraged me, believed in me, and provided me with the space and trust to do what I needed. If I was able to complete two tasks simultaneously, it was due to her patience and generosity. vi I would be remiss not mention my wonderful friends, colleagues, cohort and extended family, who encouraged me along the way with wonderful words of wisdom and unbelievable humour. I am truly amazed and humbled by your confidence in me. Finally, I would like to extend a special thanks to La Petite Cuillère and its wonderful staff, for not throwing me out when I extended their hours; for saving my seat no matter how early or late I showed up; for making me meals that weren’t on the menu; for letting me occupy the two best tables even during the lunch rush, and for being considerate enough to put wine on their list of beverages. I would be remiss to not mention Valentine, Maude, Selena, Vincent and Louise in providing me with sustenance and comfort at their café for the last two years in preparation of and during this project. vii Table of Contents Introduction ....................................................................................................................... 9 From the Schoolyard to the School Books: My Love for Hip Hop ................................ 9 The Theory .................................................................................................................... 14 The Methodology .......................................................................................................... 16 The Fieldwork Methodology ..................................................................................... 16 The Participants ........................................................................................................ 19 The Researcher ......................................................................................................... 21 The Spaces ................................................................................................................ 22 (RE)Defining Hip Hop Music Within the Scope of this Project .................................. 24 The Thesis ..................................................................................................................... 25 Chapter One: The Hip Hop Feminist: Finding the Intersection Between Hip Hop and Feminism .................................................................................................................. 27 Introduction ................................................................................................................... 27 Hip Hop: Not a Generation but a Culture ..................................................................... 28 The Hip Hop Feminist .................................................................................................. 30 Consumption of Hip Hop Beyond the Borders of the Bronx........................................ 42 Conclusion .................................................................................................................... 44 Chapter Two: Affect, Performativity and the Hip Hop Dancing Body ..................... 47 Introduction ................................................................................................................... 47 Affect, “Thisness” and Performativity; The Feminist Kill-Joy on the Dancefloor ...... 49 Understanding Affect in Performative Hip Hop Dances .............................................. 64 Conclusion .................................................................................................................... 70 Chapter Three: Hip Hop Dancing Events: Four Scenic Descriptions ....................... 72 Introduction ................................................................................................................... 72 Outing 1 – B-Side Bar – November 18th 2012 .............................................................. 75 Outing 2 – Royal Phoenix Bar – December 15th 2012 ................................................ 81 Outing 3 – Salon Officiel – January 26th 2013 ............................................................. 87 Outing 4 – Blizzarts – February 15th 2013 .................................................................... 92 Feeling the Event(s) .....................................................................................................
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