FEMEN and Feminism Without Boundaries
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Abstract
FEMEN is a site for transnational debate over the effectiveness of a ‘‘Ukrainian form of pop feminism,’’ as core members describe their activities in a newly released historiography (Ackerman 133). Clearly situated in the hyperreality of postmodern feminism, FEMEN’s four core members, all in their twenties, admit to using media as a primary tool for discovering issues that might serve as a call to action in their quest to ‘‘kill patriarchy.’’ Using the street technique of ‘‘sextremism,’’ where ‘‘female nudity is a grave-digger of the system,’’ FEMEN claims a form of ‘‘peaceful terrorism’’ (FEMEN). Such a claim sets up a strange oxymoron that leaves one wondering whether extreme acts such as disrupting public meetings with bare breasts emblazoned with protest slogans and burning flags are rhetorically effective and in the best interests of feminist social change aims. Political scientist Valerie Sperling questions the extent to which FEMEN is actually a feminist group, given that normative gender patterns of masculinity, femininity, and heteronormativity support and legitimize the macho politics of Vladimir Putin in particular and Russian politics in general. FEMEN’s topless hallmark is clearly a parody of Putin’s shirtlessness, but their choice to use the naked female body to gain attention often loses political impact in a Russian context and in other countries where FEMEN has staged protests. Moreover, the FEMEN Web site is blocked in Russia, leaving little impact or opportunity for Russian feminists to follow their actions (N. Kukarenko, personal communication). FEMEN makes good theatre, but American interpretations are somewhat jaded after fifty years of street protest using the body in a variety of performative styles to raise consciousness about topics ranging from the Guerrilla Girls’ outrage over inequality in the world of art to SlutWalks’ demand to end police brutality of rape victims. In this case, a judgment on persuasive efficacy is actually more complicated for two reasons: FEMEN’s relationship to the context of sex and politics in Russia (Sperling), and the extensive exposure FEMEN has in global media. These two complications open their actions and ideology to debates on ethics, politics, the semantics of the body, as well as on feminism itself. FEMEN is sometimes immature and often borders on reckless when it comes to thinking through their actions, but this is unsurprising given the impulsive nature of their protests. Their decision to protest the niqab in Paris and again later in response to the case of 19-year-old Tunisian Amina Saboui (Tyler) sparked unprecedented