All Sheroes events are brainstormed and archived online at fuckyeahsheroes.tumblr.com, uniting digital communities with real-time audiences in an ongoing exploration into fan culture and collaborative content creation.
Virtual Season — our culminating presentation of new and past Sheroes on/offline works & performances — is currently gearing into its first international reunion tour. We will be announcing soon tour dates. (If you would like to book a Sheroes event, please contact us.)
Melissa Jane Hardie’s, “Camp quality: Dolly Parton’s Country Style” interrogated the ‘colonial’ ideology of country and Parton’s varied simulation, throughout her career, of the country way of life. The theme of transformation (e.g. in Parton’s use of fetishised prosthetics) was identified as critical to her practice and was usefully contextualised (according to Hardie, Trump and Dallas changed the valance of big hair from low to high class ‘from Jacqueline Suzanne to Onassis’). Importantly, Hardie demonstrated that ‘Kitsch is always class contingent’. In her paper “Dolly-izin’: Dolly Parton, singing as a woman” Jeannie Ludlow utilised Luce Iragaray’s theories of disruptive laughter, irruption and disruption of femininity and Mary Russo’s ‘Female Grotesque’, to assert that Parton is never merely subjected by her performance of feminine excess but manages to ‘recover the place of her exploitation’ through making sounds from underneath her encrusted femininity. ‘The dumb blonde has a drag voice’.
The monthly, limited-run art party series — which brings together on and offline works that playfully and peformatively explore the iconography and fan culture surrounding the League of Legendary Ladies — will be headlined by singer/songwriter Ada Dahli of the Toronto urban folk collective Fedora Upside-Down.
I already received what is probably the best Xmas present ever: a vintage Dolly Parton Barbie. I don’t know what’s sadder: that I love it so much or that people know to shop for me like they would a five year old girl.