Jessica N Pabón-Colón | SUNY: New Paltz (original) (raw)
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Publications by Jessica N Pabón-Colón
Signs: Journal of Women in Culture and Society , 2017
Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop cultur... more Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop culture? In this essay, I examine three hip-hop events ranging in size, genre, and frequency that were US-based but drew an international crowd: B-Girl Be: A Celebration of Women in Hip Hop, the Women of the 5th Element Beatboxing Festival, and the Few and Far graffiti crew at Art Basel Miami. I focus on hip-hop’s subcultural practices not to reaffirm a too-simple divide between “underground” and “commercial” but to analyze the dynamics of gender performance in less mediatized, less commercial forms. These event spaces are voluntary, mostly grassroots, sometimes sponsored, but never populated by megastars tied to the “bling” of international hip-hop business. At these events, participants strategically utilize the masterword “woman” in a Spivakian sense, to activate the transformative and pedagogical potential in asserting a collective presence. They mobilize under the word “woman” as a minoritarian method for visibility and empowerment consciously and critically; their performances are based not only on how they identify but also on how they experience their subjectivity in hip-hop. They rely on the pedagogical promise of performance to make their differences visible—to do the work of complicating what it means to perform “woman” in hip-hop. By demonstrating the effects of this strategic performance for women in hip-hop, I call upon readers to acknowledge the continued necessity of such spaces.
La verdad : an international dialogue on hip hop Latinidades , 2016
Routledge Handbook of Graffiti and Street Art, 2016
In Identity & Anonymity: An Artful Anthology, Eds. Jonathan Talbot, Leslie Fandrich, and Stephen ... more In Identity & Anonymity: An Artful Anthology, Eds. Jonathan Talbot, Leslie Fandrich, and Stephen Specht, Mizzentop Publishing, 2016.
Women & Performance: a journal of feminist theory, 2014
Jessica N. Pabón interviews graffiti artist Abby Andrews, a.k.a. AbbyTC5, about her canvas painti... more Jessica N. Pabón interviews graffiti artist Abby Andrews, a.k.a. AbbyTC5, about her canvas painting Queens, the image on the front cover of the special issue.
Women & Performance: a journal of feminist theory, 2014
TDR/The Drama Review, 2013
Book Reviews by Jessica N Pabón-Colón
Women & Performance: a journal of feminist theory, 2012
TDR/The Drama Review, 2013
TED Talk by Jessica N Pabón-Colón
Jessica Pabón talks about the transformative power of female graffiti artists.
Papers by Jessica N Pabón-Colón
Signs: Journal of Women in Culture and Society, 2017
Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop cultur... more Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop culture? In this essay, I examine three hip-hop events ranging in size, genre, and frequency that were US-based but drew an international crowd: B-Girl Be: A Celebration of Women in Hip Hop, the Women of the 5th Element Beatboxing Festival, and the Few and Far graffiti crew at Art Basel Miami. I focus on hip-hop’s subcultural practices not to reaffirm a too-simple divide between “underground” and “commercial” but to analyze the dynamics of gender performance in less mediatized, less commercial forms. These event spaces are voluntary, mostly grassroots, sometimes sponsored, but never populated by megastars tied to the “bling” of international hip-hop business. At these events, participants strategically utilize the masterword “woman” in a Spivakian sense, to activate the transformative and pedagogical potential in asserting a collective presence. They mobilize under the word “woman” as a minoritarian method for visibility and empowerment consciously and critically; their performances are based not only on how they identify but also on how they experience their subjectivity in hip-hop. They rely on the pedagogical promise of performance to make their differences visible—to do the work of complicating what it means to perform “woman” in hip-hop. By demonstrating the effects of this strategic performance for women in hip-hop, I call upon readers to acknowledge the continued necessity of such spaces.
Women & Performance: a journal of feminist theory, 2014
Theatre History Studies, 2020
Signs: Journal of Women in Culture and Society , 2017
Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop cultur... more Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop culture? In this essay, I examine three hip-hop events ranging in size, genre, and frequency that were US-based but drew an international crowd: B-Girl Be: A Celebration of Women in Hip Hop, the Women of the 5th Element Beatboxing Festival, and the Few and Far graffiti crew at Art Basel Miami. I focus on hip-hop’s subcultural practices not to reaffirm a too-simple divide between “underground” and “commercial” but to analyze the dynamics of gender performance in less mediatized, less commercial forms. These event spaces are voluntary, mostly grassroots, sometimes sponsored, but never populated by megastars tied to the “bling” of international hip-hop business. At these events, participants strategically utilize the masterword “woman” in a Spivakian sense, to activate the transformative and pedagogical potential in asserting a collective presence. They mobilize under the word “woman” as a minoritarian method for visibility and empowerment consciously and critically; their performances are based not only on how they identify but also on how they experience their subjectivity in hip-hop. They rely on the pedagogical promise of performance to make their differences visible—to do the work of complicating what it means to perform “woman” in hip-hop. By demonstrating the effects of this strategic performance for women in hip-hop, I call upon readers to acknowledge the continued necessity of such spaces.
La verdad : an international dialogue on hip hop Latinidades , 2016
Routledge Handbook of Graffiti and Street Art, 2016
In Identity & Anonymity: An Artful Anthology, Eds. Jonathan Talbot, Leslie Fandrich, and Stephen ... more In Identity & Anonymity: An Artful Anthology, Eds. Jonathan Talbot, Leslie Fandrich, and Stephen Specht, Mizzentop Publishing, 2016.
Women & Performance: a journal of feminist theory, 2014
Jessica N. Pabón interviews graffiti artist Abby Andrews, a.k.a. AbbyTC5, about her canvas painti... more Jessica N. Pabón interviews graffiti artist Abby Andrews, a.k.a. AbbyTC5, about her canvas painting Queens, the image on the front cover of the special issue.
Women & Performance: a journal of feminist theory, 2014
TDR/The Drama Review, 2013
Women & Performance: a journal of feminist theory, 2012
TDR/The Drama Review, 2013
Jessica Pabón talks about the transformative power of female graffiti artists.
Signs: Journal of Women in Culture and Society, 2017
Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop cultur... more Do spaces where women are the empowered majority stimulate sociocultural shifts in hip-hop culture? In this essay, I examine three hip-hop events ranging in size, genre, and frequency that were US-based but drew an international crowd: B-Girl Be: A Celebration of Women in Hip Hop, the Women of the 5th Element Beatboxing Festival, and the Few and Far graffiti crew at Art Basel Miami. I focus on hip-hop’s subcultural practices not to reaffirm a too-simple divide between “underground” and “commercial” but to analyze the dynamics of gender performance in less mediatized, less commercial forms. These event spaces are voluntary, mostly grassroots, sometimes sponsored, but never populated by megastars tied to the “bling” of international hip-hop business. At these events, participants strategically utilize the masterword “woman” in a Spivakian sense, to activate the transformative and pedagogical potential in asserting a collective presence. They mobilize under the word “woman” as a minoritarian method for visibility and empowerment consciously and critically; their performances are based not only on how they identify but also on how they experience their subjectivity in hip-hop. They rely on the pedagogical promise of performance to make their differences visible—to do the work of complicating what it means to perform “woman” in hip-hop. By demonstrating the effects of this strategic performance for women in hip-hop, I call upon readers to acknowledge the continued necessity of such spaces.
Women & Performance: a journal of feminist theory, 2014
Theatre History Studies, 2020