Throughout the decade of 2010, a feminist movement emerged, an indication that translates into the unfinished feminist revolution under the current economic and social conditions with the feminization and racialization of large parts of the workforce, in particular the reproductive work.
“Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare”
Black lesbian feminist theorist Audre Lorde wrote in 1988 (Lorde 1988: 130)
The socio-cultural values that celebrate the individual's freedom have a lasting result of the feminist revolution. However, we must question whether what seems to be a success in fact has to do with the co-option of the central principles of feminism inserted in a value system of neoliberal capitalism. Feminism is now seen as a strong brand among other brands with interests in a cultural landscape and freedom, an effect of advanced commodification.
My interest is on how live art performances in public sphere and stage context connected to the feminist revolution help us to understand what remains to be done and the importance of carrying on the unfinished feminist revolution through live art, public space and stage performances.