Performativity+PROS

=**GENDER PERFORMATIVITY **= //“...gender is a kind of imitation for which there is no original; in fact, it is a kind of imitation that produces the very notion of the original as an effect and consequence of the imitation itself” (Butler, 2008, p.172). //

Butler argues that the idea that speech, actions, and reactions to societal factors and discourses shape and construct gender identity, not that identity is constructed based on a gender. The performances we act out construct a gendered view of ourselves and from those perceiving us and to match gender norms is an imitation of what we've constructed as "original".

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 Butler’s concept of gender performativity is still being used and analyzed to this day. Since gender is perceived as a social construct perpetuated by individual action and outside forces, it allots for several questions to be brought up and many societal concepts to be reexamined. Gender performativity, as noted in “Imitation and Gender Subordination,” draws correlations between gender and sexuality representations. As noted in the above video, there is an expectation from those that identify a certain way and an expected reaction when confronted with the identities.
 * PRODUCTIVENESS: **

The work of Tyler and Cohen (2008) take the theories and constructs of Judith Butler and look at the queering the concept of gender as it applies to the BBC version of The Office. This work looked at the television program as a critical piece that not only parodied but also analyzed and criticized hegemonic infrastructure. Their conclusions derived that The Office as a text effectively queers the patriarchal structure of the work force. The authors claim the critical analyses of texts like these “include[e] critical forms of reflection and engagement” (Tyler & Cohen, 2008, p. 128), however thorough or incomplete they may be.

A recent controversy in France led to discriminatory practices against Muslim women by banning the burqa within the country’s borders. Monika Salzbrunn (2008) critically examines this phenomena looking at both religious and gender performativity and how these performances and expectations surrounding gender shape the barriers and constraints set in place on specific groups. To quote specifically, she claims “I hold that gender and religion are performed and take on meaning in a context of boundary making and exclusion processes” (Salzbrunn, 2012, p. 684). Her argument builds upon a concept of “non-belonging,” which builds on Butler’s concept of the “other” constructing societal norms. These women developed their own concepts of genders and barriers in response to how they were perceived, and the French government created barrier based on their outward perceptions. By understanding Butler’s arguments of performativity, society could effectively critique and understand the events that are unfolded and react in a much less problematic matter.

Salzbrunn, M. (2012). Performing Gender and Religion: The Veil’s Impact on Boundary-Making Processes in France.Women’s Studies, 41(6), 682–705. http://doi.org/10.1080/00497878.2012.691823

Tyler, M., & Cohen, L. (2008). Management in/as Comic Relief: Queer Theory and Gender Performativity in The Office. Gender, Work & Organization, 15(2), 113–132. http://doi.org/10.1111/j.1468-0432.2007.00351.x

There are two practical implications that show the positive repercussions of understanding gender performativity and being able to deconstruct the binary. First, if this discourse on performativity became a predominate discourse, then gender would be perceived as more fluid. This would allow those that identify as trans or non-binary to express their gender more freely among the general public. Beyond these identities, it does not uphold traditional gender roles for those that do identify within the binary. Hypermasculinity would not be expected of those that identify as male and unobtainable levels of femininity would not be expected of those that identify as women. We have chosen to illustrate both how the idea of performativity has practical implications as well how it is being portrayed to upcoming generations.
 * RELEVANCE: **

A growing trend across college campuses has been to offer gender-neutral facilities, such as bathrooms, locker rooms, and dormitories, across college campuses in the United States. Though the concept is being promoted as a “radical” and “innovative” one, many of these institutions are supplying the demand of the student base, as noted in Kilen and Belz article for USA Today (2011). With recent controversies surrounding those that identify as trans or nonbinary status involving public restrooms, this discourse seems like a viable solution. As Butler points out, it is problematic to associate gender identity or biological sex with sexual identity, which causes society to correlate something sexual with a normal bodily function based on gender, rather than sexual preferences.

College adds locker rooms to gender-neutral policy. (n.d.). Retrieved April 2, 2015, fromhttp://www.usatoday.com/news/nation/story/2011-11-09/gender-neutral-college/51134546/1//

The Butlerian concept of gender performativity is also becoming more and more present in children’s media. Concepts of gender that exist outside of the traditional binary and heteronormative matrix are becoming more prevalent. For example, take the predominant gender ideal presented to young girls: the Disney Princesses. Some of the classic princesses are Aurora from Sleeping Beauty, Snow White, and Cinderella. The three of these princesses are complete dependent on men to save them from their respective predicaments. Aurora remains asleep for the majority of her film, only to be saved by a man forcing himself upon her without her consent. Snow White is also incapacitated for a portion of her film and saved by similar means. The rest of the time, she is trapped in subservitude to seven men within the domestic sphere. Cinderella is also forced into the domestic sphere against her will only to be saved by submitting herself to a magical makeover to impress a man. The women in these films who portray roles of power (Maleficent, the Evil Queen, and the Wicked Step-Mother) are presented as evil and a direct attack on the heroine’s femininity. These films equate happiness with subscribing to particular gender norms and deviance as a result of straying from those norms.

Though not without their respective problems, many Disney movies have shifted their presentations of gender to incorporate a larger spectrum of ideas. Tiana, from The Princess and the Frog, strives to own her own business. Elsa and Anna from Frozen rely on sisterhood and each other rather than a romantic savior. Merida from the film Brave rejects the notion of traditional femininity and prefers the use of a bow and arrow over the duties expected of her as a princess. Honey Lemon and Go-go from the film Big Hero 6 portray two very different images of women and both are exceptional scientists. By realizing that gender is not a biological construct to adhere too, the representations can start becoming more mainstream and expose young children to the idea that the performance of gender is fluid and can violate expectations.

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<span style="font-family: Arial,Helvetica,sans-serif;">Another example of media breaking down the binary and exposing gender as performative is the show Steven Universe. Steven is a young boy being raised by three strong female figures known as the Crystal Gems, super powered alien beings. Steven himself is half-gem/half-human, which serves as the basis for the plot. Each of these women are presented differently. Femininity in the traditional sense is not separated from high levels of intelligence, strength and dominance are not portrayed as masculine. Steven, as a character, is extremely emotional and yet, it is not treated as a weakness nor is he told to “man up” by other characters on the show. In fact, his emotions are often highlighted as a strength. One episode that particularly highlights gender fluidity is the episode titled Alone Together. In this episode, Steven successfully fuses with his friend, Connie. The two form the androgynous being of Stevonnie, who is admired by both young men and women through the town are enamored by. When Stevonnie reveals themselves to the Crystal Gems, one member named Garnet states the following: “You are an experience. Make sure that you’re a good experience”. Performances of gender vary and are expressed in a multitude of ways, yet questioning of gender based on these performances do not occur.

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<span style="font-family: Arial,Helvetica,sans-serif;">The contingency of this concept is very much dependent on its use. This concept is a tool or a lens for which people can see gender. Like any tool, this concept is more effective when used. Gender performativity ideas are very efficient in understanding gender outside of the binary and could help end a lot of stereotypes regarding queerness. <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">It has steadily increased in usefulness since its introduction in 1990 to the present day and does not show signs of slowing down. While there is no contingency on where and to whom this could be applied, the dominate discourse of a particular culture will determine the approach and success of deconstruction.This ideal becoming a popular discourse will benefit everyone along the gender and queer spectrum.
 * <span style="font-family: Arial,Helvetica,sans-serif;">CONTINGENCY: **

<span style="font-family: Arial,Helvetica,sans-serif;">This GoAnimate Video introduces the concept of gender performativity and the relevant concepts to be discussed in our debate. []