the album by Aya Hiranoについては「Riot Girl
」をご覧ください。Riot grrrl
様式的起源
Musical
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Hardcore punk
punk rock
alternative rock
indie rock
Ideological
Second-wave feminism
punk
文化的起源Early 1990s, Pacific Northwest and Washington, US
使用楽器
Electric guitar
vocals
bass
drums
地域的なスタイル
Washington
ローカルシーン
Washington, D.C.
関連項目
Feminism
foxcore
Guerrilla Girls
identity politics
kinderwhore
punk subculture
queercore
テンプレートを表示
ライオットガールとは、1990年代初頭、アメリカはワシントン州Washington state[1] 、主にオリンピア Olympia[2] および太平洋岸北部から発信されたアンダーグランドなパンクミュージックの動向である。ワシントンD.C.も同様に発祥の地と言われる。それはフェミニズムとパンクスタイルと政治を結合させたサブカルチャー的な動向である。しばしばフェミニズムの第三の波と関連づけられるが、それは時にライオットガールの動きからおこったともみられている。また、インディーロックから生まれた音楽ジャンルとしても語られており、パンクシーンは、女性が過去数年における男性の活動同様に自分自身を表現できる音楽動向のヒントとなった。
ライオットガールは、レイプ、家庭内虐待、セクシュアリティ、人種差別、家父長制、女性の地位向上などの問題をとりあげることが多い。 Bikini Kill, Bratmobile, Heavens to Betsy, Excuse 17, Huggy Bear, Skinned Teen, Emily's Sassy Lime and Sleater-Kinney, そしてTeam Dresch やThe Third Sex.[3][4] といった風変わりなグループもこのムーブメントに関連している。[6] [7]音楽シーンとジャンルに加えて、ライオットガールは、他人任せにせず自身でおこすDIYの倫理、ZINE、アート、政治的行動、そして活動主義を含むサブカルチャーである。
ライオットガールの活動は急速にその音楽的なルーツをはるかに超えて広まり、勢いのあるZINEとインターネットベースの運動を生み出し、地域社会の集会と草の根運動で終末主義、同性愛、重量主義、人種差別、性差別、特に女性と少女に対する身体的および感情的な暴力を終わらせた。ライオットガールはミーティングやstart chaptersで支援し、女性を音楽によって組織することで知られることになった。
起源
1970年代後半から1980年代初頭および中頃にかけて、後にライオットガールに影響を与えた画期的な女性パンク・ロックミュージシャンが多くいた。Siouxsie Sioux, Poly Styrene, The Slits, Au Pairs, The Raincoats, Patti Smith, Chrissie Hynde, The Runaways/Joan Jett, The B-52's, LiLiPUT, Lydia Lunch, Exene Cervenka, Kim Gordon, Ut, Neo Boys, Bush Tetras, Y Pants, ESG, Chalk Circle, Fifth Column, Frightwig, X-Ray Spex, Scrawl, Anti-Scrunti Factionらである。[5]1980年代はNYから多くの女性のフォークシンガーfolk singersも排出された。その歌詞は個人的な親密さを含み現実的で社会政治的であった。[5]
Riot grrrl is an underground feminist punk movement that began in the early 1990s in Washington state[1] (particularly Olympia)[2] and the greater Pacific Northwest. It also had origins in Washington, D.C.[6] It is a subcultural movement that combines feminist consciousness and punk style and politics.[7] It is often associated with third-wave feminism, which is sometimes seen as having grown out of the Riot Grrrl movement. It has also been described as a musical genre that came out of indie rock, with the punk scene serving as an inspiration for a musical movement in which women could express themselves in the same way men had been doing for the past several years.[8]
Riot grrrl bands often address issues such as rape, domestic abuse, sexuality, racism, patriarchy, and female empowerment. Primary bands associated with the movement include Bikini Kill, Bratmobile, Heavens to Betsy, Excuse 17, Huggy Bear, Skinned Teen, Emily's Sassy Lime and Sleater-Kinney, as well as queercore groups like Team Dresch and The Third Sex.[3][4] In addition to a music scene and genre, riot grrrl is a subculture involving a DIY ethic, zines, art, political action, and activism.[9] The riot grrrl movement quickly spread well beyond its musical roots to create vibrant “zine” and Internet-based movement, complete with local meetings and grassroots organizing to end ageism, homophobia, weightism, racism, sexism and, especially, physical and emotional violence against women and girls.[10] Riot grrrls are known to hold meetings, start chapters, and support and organize women in music.[11] During the late 1970s and early and mid-1980s there were a number of groundbreaking female punk
Origins
During the mid-1980s in Vancouver the influential Mecca Normal fronted by poet Jean Smith formed, followed by Sugar Baby Doll in San Francisco whose members would all wind up in hardcore female bands.[12] In 1987, the magazine Sassy premiered and dealt with tough subjects that conventional magazines aimed at teenage girls did not.[12] An article "Women, sex and rock and roll" published by Puncture, edited by Katherine Spielmann, in 1989 became the first manifesto of the movement.[12] In 1991, a radio program hosted by Lois Maffeo entitled Your Dream Girl aimed at angry young women debuted on Olympia, Washington radio station KAOS.[12]
During the early 1990s the Seattle/Olympia Washington area had a sophisticated do it yourself infrastructure.[5] Young women involved in underground music scenes took advantage of this to articulate their feminist thoughts and desires through creating punk-rock fanzines and forming garage bands. The political model of collage-based, photocopied handbills and booklets was already used by the punk movement as a way to activate underground music, leftist politics and alternative (to mainstream) sub-cultures. There was a discomfort among many women in the punk movement who felt that they had no space for organizing, because of the misogyny in the punk culture. Many women found that while they identified with a larger, music-oriented subculture, they often had little to no voice in their local scenes. Women at the punk-rock shows saw themselves as girlfriends of the boys, so they took it upon themselves to represent their own interests by making their own fanzines, music and art.[13]
In 1991, young women coalesced in an unorganized collective response to several women's issues, such as the Christian Coalition's Right to Life attack on legal abortion and the Senate Judiciary Hearings into Anita Hill's accusations of sexual harassment by Supreme Court Justice Clarence Thomas.[14] Young feminist voices were heard through multiple protests, actions, and events such as the formative opening night of the International Pop Underground Convention[15] and later L7's Rock for Choice.
