Divas

interview for Billboard magazine. 5 While the Cardi B interview specifically is most relevant to this analysis, the other two interviews demonstrate the dearth of discussions by hip hop artists and #metoo. They also clarify that the discussions within the genre are just beginning. Of the three interviews, the Cardi B interview, especially, received a lot of playback. In it, she took a strong stance that criticized mainstream feminism, but supported both #metoo and women whose work relies on their sex appeal. She complained that #metoo excludes women's claims if their profession utilizes their sexuality, and also scrutinized the selectiveness of feminism aligned with the #metoo movement as predominately white and wealthy. She did not accuse anyone of sexual misconduct by name, but she identified with the movement by recounting her time as a video vixen when she was offered chances to be on magazine covers in exchange for sex. 6 She implied that this type of quid pro quo is pervasive in the field, but any claims of sexual misconduct would fall on deaf ears. She doesn't stop there, offering her opinion that producers and directors who claim to support #metoo, are "not woke, they're scared."

“Simplesmente Divas: para além da dança”, é um livro digital e interativo que mistura arte e tecnologia para agregar possibilidades sensoperceptivas.

Assim, a leitora deste livro será também uma ouvinte e uma espectadora, dado que terá à sua disposição áudios e vídeos de entrevistas, fragmentos de espetáculos e de dança, imagens de momentos da
vida, dos ensaios, making of, tornando assim, a leitura interessante e instigante, além de mais agradável e dinâmica.
Este livro evidencia a arte como abordagem democrática e possível para qualquer corpo; documenta mais uma das façanhas de Cláudia no mundo da dança. Dentre suas inúmeras criações, Cláudia Bittencourt, diretora artística, bailarina, coreógrafa e professora, teceu com mãos precisas, coração sensível e olhos atentos a modalidade de dança Retrô Pop  Dance. Este livro apresenta a potência da dança na vida de mulheres, a partir de alguma experiência enriquecedora e irá convencer as leitoras que é possível começar a dançar em qualquer tempo da vida.

Dentro deste livro contém narrativas de algumas mulheres que se propuseram a dançar e a descobrir seu corpo, sua sexualidade e plasticidade na idade madura, e que foram impactadas pela modalidade Retrô Pop Dance. A cada capítulo, um pouco dos bastidores e dos palcos dessas mulheres, a cada página, elas mostram garra, potência e identidade. Do início ao fim é um crescente de intensos sentimentos: liberdade, alegria, prazer, força e superação. “Simplesmente Divas: para além da dança” irá inspirar mulheres, professores, artistas, a partir de uma leitura instigante sobre a mulher do século XXI, seu corpo e a sua correlação com o mundo que ultrapassam limites e extirpam preconceitos. Retrata também a liberdade de sentir prazer e principalmente sobre a força da dança e do coletivo.

Queer analyses of Bollywood have, for the most part, attended to homosocial scenes and LGBT representation; this essay takes a different approach by tracing the mimicry of screen divas Madhuri Dixit and Sridevi by gay South Asian boys and men. Madhuri and Sridevi are important dance pedagogues in Hindi cinema and have established intimate and embodied relationships with their audiences. Many gay men interviewed for this project in both India and the South Asian diaspora cite these two women as dance inspiration, and the men explain how when they were young they mimicked these actresses. For some of these men, the effeminate gestures they drew from the Bollywood screen were met with praise, but for others they resulted in discipline. The essay imagines the efficacy of returning to these nostalgic film
gestures in adulthood, especially in the eroticized space of the nightclub. Combining film and dance analysis, interview and ethnography, this study maps the gestural language transferred between screen and body and the affective and embodied
politics of dancing like a diva.

El fenómeno de las divas cobra especial relevancia al momento de abordar diferentes sujetos, modelos y agencias de participación femenina en la esfera pública, pues permite religarlos a la sociedad del espectáculo en sus aristas más espinosas. En paralelo a las educadoras, las científicas o las obreras, en efecto, un creciente abanico de mujeres se desempeña en oficios basados en explotar los actos y apariencias corporales a lo largo del siglo XX. Sin embargo, son contadas las que acceden a la cumbre del sistema que organiza y estratifica dichos aspectos estéticos proyectándolos en la masividad. Si bien las primeras interpretaciones críticas, efectuadas desde el paradigma ilustrado y el feminismo de la igualdad, acusaban el carácter de meras mercancías de las estrellas, las perspectivas de género aliadas a diversos enfoques sobre la cultura han dejado traslucir a las artistas y las mujeres de carne y hueso opacadas por tales construcciones simbólicas. De allí que, en la actualidad, podamos entreverlas abocadas a actividades mundanas del orden económico-productivo, político-institucional y/o estético-cultural.

This chapter defines the diva as a specific cultural type that has been shaped by long-held ideas about the female voice, but has moved beyond the narrow category of the female singer, and grown to encompass many non-singing women and characters who are under stood as a "public success" but a "private failure." Using the operatic history of the term "diva," the chapter defines the type not by its reception in queer circles, but by its foun dation in a "doubly feminine" relation of desire. Via close readings of the films Rapsodia Satanica (1917), Funny Girl (1968), and Queen Christina (1933), it explores the queer va lences of female "narcissism," and argues that a transhistorical "diva genre" of film is de fined by a queer feminine "doubling," which manifests in scenes featuring the spectacularized longing of the female lead.

In order to analyse the Hollywood Diva as a special case of stardom, the diva needs to be

contextualised in the classical Hollywood framing and socio-politically in the post-war era. It

will be discussed how divadom is staged by the diva herself and the studio but also how she is

perceived by the audience and how this interrelation of staging and admiration affects the

interdependency of the audience and the star with the diva as a special case. The article is

intended for the Camera Obscura magazine. The ideas of this essay tie in well with the

magazine’s themes of feminism, culture and media as the article discusses the concept of

femininity in the diva-construction and the mediation of the diva. Camera Obscura offers a

range of articles on specified forms of divadom, very personal appreciation letters to divas and

inspirational and theoretical notions around divas. This is an approach to a broader thinking

around Hollywood divadom that discusses the mediation of the diva-concept but also around

the mediation of femininity as an integral part of the Hollywood Diva.

En este artículo abordo a la cantante peruana Yma Sumac en términos de su consagración cultural, es decir, la construcción social de su valor estético. Hoy los estudios sobre consagración cultural enfatizan el carácter crecientemente interactivo de este proceso, el peso que en él tienen los criterios no estéticos y el modo relativo en que integra las propuestas no metropolitanas. En este artículo, introducir el criterio civilizacional permite apreciar que la consagración puede responder a regímenes de valor diferentes entre sí que se relacionan en forma asimétrica, mediante configuraciones híbridas e inestables que pueden originar inesperadas revalorizaciones. A partir de los materiales hemerográficos, musicales y audiovisuales revisados, Yma Sumac emerge como una figura polivalente del espectáculo contemporáneo global, que actualiza la proyección identitaria del folclorismo peruano y la estelaridad del show hollywoodense, a la vez que los altera mediante una performance musical enrarecida y residual.

Prodigious: cultural consecration and contemporary spectacle in Yma Sumac (1922-2008)

Abstract

In this article I analyze the cultural consecration of Peruvian singer Yma Sumac, that is, her aesthetic value in terms of social construction. Lately, research on cultural consecration emphasizes its increasingly interactive character, the weight that non-aesthetic criteria have in it and the relative way in which it integrates non-metropolitan propositions. In this paper, introducing the civilizational criterion allows to appreciate that cultural consecration can respond to different value regimes that are related asymmetrically, through hybrid and unstable configurations that can be at the origin of unexpected revaluations. From the revised hemerographic, musical and audiovisual materials, Yma Sumac emerges as a versatile figure of the global contemporary scene, which updates the identity projection of Peruvian folklore and the stardom of the Hollywood show, while altering them through a rarefied and residual musical performance.

Keywords: Residual diva, Cultural consecration, Musical spectacle, Mass culture, Counter cultures