Theory of the Cyborg - Essay Example

?Theory of the Cyborg Donna Haraway’s article A Cyborg Manifes Science, Technology, and Socialist-Feminism in the Late Twentieth Century presents an examination of cultural trends in the current cultural climate. Within Haraway’s analysis emerges the image of the cyborg. As is established in terms of its popular understanding, the cyborg is a combination of a machine and an organism. For Haraway this becomes a metaphor for the contemporary human experience. One witnesses such cyborg aspects of life in many parts of contemporary existence. Haraway notes the frequent occurrence of cyborg life aspects of life in modern medicine, as individuals regularly implement machines or medicine to survive or live fuller lives. More specifically, the notion of the cyborg comes to be aligned with socialist-feminism in the 20th century. In these regards, Haraway notes, “The cyborg is a creature in a post-gender world” (Haraway, p. 2). Within this notion of understanding, there are a number of manifestations of this cyborg reality in the post-modern cultural landscape. This essay examines the emergence of Haraway’s cyborg within bounce music. In examining the theory of the cyborg within bounce music it’s necessary to consider the nature of this musical genre. Emerging in the late 1980s bounce music is a version of New Orleans hip-hop (Dee 2010). While it contains many traditional hip-hop elements, including rap lyrics and sampled beats, the genre is also very different from other forms of rap. In these regards, prominent bounce musicians have experimented with post-modern gender concerns and have implemented what is referred to as ‘drag rap’ vocals. Another prominent aspects are the lyrics, which are “mostly about sex and are so habitually obscene that they have helped keep bounce from spreading too far beyond its New Orleans borders” (Dee 2010, pg. 2) Still, it is these differences that make the genre particularly applicable to Haraway’s theory of the cyborg. When considering the theory of the cyborg in terms of bounce music some of the major concerns emerge in terms of aesthetics. In this context of understanding, Haraway notes that the “cyborg is resolutely committed to partiality, irony, intimacy, and perversity. It is oppositional, utopian, and completely without innocence” (Haraway, p. 2). These cyborg elements are directly witnessed in many of the aesthetic formulations that have emerged in bounce music. One of the most prominent such versions of this occurs through the bounce music performer named Big Freedia. Big Freedia is the stage name of Freddie Ross. With the Big Freedia character Ross dresses in drag and performs bounce music. It is this exploration of sexuality and perversity that are characteristic elements of the cyborg. Indeed, one considers that the theory of the cyborg presents a version of the modern human as existing in a post-gender environment. While many of the prominent themes in rap music value realism and a gritty depiction of street life, bounce music differs as it explores hybrid themes and increased emphasis on irony. Such themes, as shown above, are both prominent elements in Haraway’s theory of the cyborg. Another prominent example of these themes of irony can be seen in terms of the bounce music videos. One prominent artist in these regards is Katey Red. In her video ‘Where Da Melph At’ the director films a woman seated in a car. As the woman places on a bounce music CD the music begins and a house of people with bright colored pajamas exit and begin dancing to the music. The scene is one of great absurdity and humor, yet in this scene one witnesses what Haraway has envisioned as a modern manifestation of the human condition. In these regards, the perversity as seen in the dancing where the individuals rapidly shake their rear-ends. In addition, the bright colored pajamas also reflect the Haraway’s ironic criteria. Another prominent criterion of the cyborg is the breaking down of the separation of the human and the animal. Haraway notes that the, “cyborg appears in myth precisely where the boundary between human and animal is transgressed” (Haraway, pg. 3). There are many examples of this break down of the human and animal division within the context of bounce music. Another prominent bounce musician is Sissy Nobby. Nobby’s videos reflect much of the perversity and irony as seen in other bounce music videos that is typical of Haraway’s theory of the cyborg. In terms of the human and animal break down, this is found in many of Nobby’s videos. While the shaking of the buttocks is one of the main aspects of ‘bounce’ music, Nobby’s videos take this dance move to new extremes. During this video the dancers go beyond simply shaking their buttocks as they go down to their hands and knees in an animal-like position. The very nature of the shaking of the buttocks takes on the function of being an animal-like mating dance. One also considers the nature of the music. Rap music is particularly rooted in base instincts and primal concerns. The music’s improvisational aspects can be linked to a sort of animal mating call as well. While the emergences of ironic and perverse elements in bounce music place it firmly in the realm of Haraway’s notion of the cyborg, its exploration of post-gender roles is perhaps the genre’s most prominent cyborg element. Consider Haraway who states, “There is nothing about being female that naturally binds women. There is not even such a state as being female, itself a highly complex category constructed in contested sexual scientific discourses” (Haraway 2010, pg. 4). In this context of understanding, Haraway is indicating that the cyborg, post-gender identity does not simply refer to sexual preference, but also questions the nature of femininity. One witnesses this reimaging of the female in many aspects of bounce music. Perhaps most prominently is the Big Freedia character. In interviews and in performance, Big Freedia has established a hybrid feminine identity that goes beyond the traditional male female gender division. Consider Dee (2010, p. 1) who notes, “If “gay rapper” is an oxymoron where you come from, how to get your head around the notion of a gay rapper performing in a sports bar?” This description is referring to a bounce performance by Big Freedia. Here one witnesses a number of post-gender identity formulations; namely, the exploration of mixed forms of sexuality, as well as the performance in the traditional male and masculine domain of the sports bar. Another prominent cyborg aspect in this context of understanding is the costuming and makeup the performers use. While Big Freedia is an extreme example of these elements, other artists such as Katey Red and Sissy Nobby explore wigs and fanciful makeup combinations. These elements point to both reimagined identity and a machine like approach to changing the human self. In conclusion, this essay has examined Donna Haraway’s theory of the cyborg in terms of bounce music. In this context of understanding, it’s revealed that bounce music functions as a prominent example of this theory. In these regards, the essay has shown how elements of perversity and irony are prominent aspects of bounce music, as well as primary aspects of the cyborg. Similarly, bounce music represents a break down of the division between the human and animal also an aspect of the post-modern cyborg identity. Finally, the both bounce music and the cyborg prominently represents a post-gendered exploration of selfhood. References Dee, Jonathan . "Sissy Bounce, New Orlean's Gender Bending Rap." New York Times. N.p., 2010. Web. 30 Oct 2011. . Haraway, Donna. A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century. Routledge. 1991. Read More