Sexy jewess

To frame my research, I borrow from scholarship on Jewishness and humor, gender and feminist studies dance and performance studies to analyze sexiness and funniness in relation to femininity, race, and social mobility. In order to contextualize the Sexy Jewess construct and its relationships to spectacles of US Jewish femininity, I take a dance studies approach that combines methods of choreographic analysis, participant performance ethnography, and archival work on genealogies of Jewish female performers to theorize how the body renders meaning in historical and contemporary contexts. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege. Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. In order to question the viability of sexy ruse as a critical means of performing Jewishness, I draw on and intervene in three interrelated fields: In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. I argue that today's Sexy Jewess embodies the most recent addition of a specifically American lineage of Jewish jokes predicated on an excessive and unattractive Jewish female body, and assess how the self-professed sexiness of contemporary Jewish female performers both challenges and reiterates long-standing cultural anxieties tied to race, gender, class, and sexuality.

Sexy jewess


My project also makes use of personal interviews with performers, choreographer-directors, and audiences as well as focus groups among viewers with ranging familiarity with dance and Jewishness to better understand how Jewish female shtick operates from a diverse set of perspectives. In order to contextualize the Sexy Jewess construct and its relationships to spectacles of US Jewish femininity, I take a dance studies approach that combines methods of choreographic analysis, participant performance ethnography, and archival work on genealogies of Jewish female performers to theorize how the body renders meaning in historical and contemporary contexts. I argue that today's Sexy Jewess embodies the most recent addition of a specifically American lineage of Jewish jokes predicated on an excessive and unattractive Jewish female body, and assess how the self-professed sexiness of contemporary Jewish female performers both challenges and reiterates long-standing cultural anxieties tied to race, gender, class, and sexuality. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. And how does sex link to humor in order for this update to work? At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. In order to question the viability of sexy ruse as a critical means of performing Jewishness, I draw on and intervene in three interrelated fields: Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. I use print and online reviews, and performance ephemera like program notes, posters, photographs, giveaways, blogs and even tweets to discuss the textual and visual material surrounding live and online Jewess performances. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege. But why does "sexy" work to update tropes of the Jewish woman? Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. To frame my research, I borrow from scholarship on Jewishness and humor, gender and feminist studies dance and performance studies to analyze sexiness and funniness in relation to femininity, race, and social mobility.

Sexy jewess

Video about sexy jewess:

A very sexy Jewish girl's ass





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4 thoughts on “Sexy jewess”

  1. But why does "sexy" work to update tropes of the Jewish woman? I argue that today's Sexy Jewess embodies the most recent addition of a specifically American lineage of Jewish jokes predicated on an excessive and unattractive Jewish female body, and assess how the self-professed sexiness of contemporary Jewish female performers both challenges and reiterates long-standing cultural anxieties tied to race, gender, class, and sexuality.

  2. Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. I use print and online reviews, and performance ephemera like program notes, posters, photographs, giveaways, blogs and even tweets to discuss the textual and visual material surrounding live and online Jewess performances.

  3. Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

  4. To frame my research, I borrow from scholarship on Jewishness and humor, gender and feminist studies dance and performance studies to analyze sexiness and funniness in relation to femininity, race, and social mobility. Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny.

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