suffragettes invented performance art
Where does performance art have its origin? Did it begin with/in marginalized communities? Who defines what deems a piece/instillation/action “performance art”?
Although there is evidence that performance art emerged in the 1960s and 1970s, Hill argues that the deepest roots of performance art can be linked to the feminist movement. She says “the suffrage movement was the first in British history systematically to organize the arts in a massive scale into a political sword and shield.” (Hill 153) The goal was to bring about political reform through the use of propaganda in a political campaign. Though much performance art did come out of the 1960s and 1970s, this important aspect of its origin cannot be denied.
Performance art did begin with/in marginalized communities. Womyn being the first to take action by bringing the personal and political together, as one issue. Given the political nature of the origin of performance art, it is then no surprise that marginalized communities would use this art form as a political tool; to gain equal rights, to be heard; to change laws, etc. This is why performance art is dominated by queer people, people of colour, womyn, people with disabilities, working class people and all the other many areas of oppression shared by with/in various communities.
There are many definitions of performance art, however according to Hill, “the most fundamental element of performance art/live art is the live presence, the presence of the performer and the live reception by an audience.” (150) This often initiates a debate between theatre and performance art, as the live audience is a common factor of both. However, there are a number of stereotypes about performance art that Hill speaks of; that performance artists are perpetually naked and that performance art is probably political, even if no one can understand it, to name just two. (151) These stereotypes place performance art is a category to be questioned as a ‘real’ art form or perhaps to lead us to question what art is. According to Hill, the main difference between these two art forms is that “theatre is led by form and performance art is led by content.” (151)
Though there are many ideas about what constitutes a piece “performance”, the importance and value of performance art in making the personal political cannot be denied. In fact, it can be traced back to the suffragettes, early on in the feminist movement. Today, performance art is dominated by marginalized communities because it is a art form that originated in oppression and continues to best serve the needs of those wanting and needing to bring about political awareness and in doing so, bring about change.
Hill, Leslie. Suffragettes Invented Performance Art. The Routledge Reader in Politics and Performance. (2000): 150 – 156. Print.
Although there is evidence that performance art emerged in the 1960s and 1970s, Hill argues that the deepest roots of performance art can be linked to the feminist movement. She says “the suffrage movement was the first in British history systematically to organize the arts in a massive scale into a political sword and shield.” (Hill 153) The goal was to bring about political reform through the use of propaganda in a political campaign. Though much performance art did come out of the 1960s and 1970s, this important aspect of its origin cannot be denied.
Performance art did begin with/in marginalized communities. Womyn being the first to take action by bringing the personal and political together, as one issue. Given the political nature of the origin of performance art, it is then no surprise that marginalized communities would use this art form as a political tool; to gain equal rights, to be heard; to change laws, etc. This is why performance art is dominated by queer people, people of colour, womyn, people with disabilities, working class people and all the other many areas of oppression shared by with/in various communities.
There are many definitions of performance art, however according to Hill, “the most fundamental element of performance art/live art is the live presence, the presence of the performer and the live reception by an audience.” (150) This often initiates a debate between theatre and performance art, as the live audience is a common factor of both. However, there are a number of stereotypes about performance art that Hill speaks of; that performance artists are perpetually naked and that performance art is probably political, even if no one can understand it, to name just two. (151) These stereotypes place performance art is a category to be questioned as a ‘real’ art form or perhaps to lead us to question what art is. According to Hill, the main difference between these two art forms is that “theatre is led by form and performance art is led by content.” (151)
Though there are many ideas about what constitutes a piece “performance”, the importance and value of performance art in making the personal political cannot be denied. In fact, it can be traced back to the suffragettes, early on in the feminist movement. Today, performance art is dominated by marginalized communities because it is a art form that originated in oppression and continues to best serve the needs of those wanting and needing to bring about political awareness and in doing so, bring about change.
Hill, Leslie. Suffragettes Invented Performance Art. The Routledge Reader in Politics and Performance. (2000): 150 – 156. Print.