»Riot Grrrl« is a feminist subcultural movement that emerged in the early 1990s in the US hardcore punk scene. Kathleen Hanna, one of the most famous representatives, formulated feminist concerns in texts and interviews. Hannah is considered a symbolic figure of the movement and was a member of the bands Bikini Kill and Le Tigre. In addition to equal rights and the artistic realisation of women and men, the movement criticised and addressed the self-management of artists and the creation of alternative production and distribution structures within the music industry. Representatives are/were, among others: Babes In Toyland, Bikini Kill, Le Tigre, Bratmobile, Sleater-Kinney, Jack Off Jill, Excuse 17, Mecca Normal, Tribe 8, L7, Team Dresch and Beth Ditto.
Goals
Goals
Reaction to the strong preponderance of male musicians and their dominance in the music scene and perceived typically male components of stage shows. The resistance strategies of many were characterised by communication guerrilla tactics and exaggeration. The meanings of »female« and »normal« were to be exposed and shifted.
Outcomes
Outcomes
The coverage of the system-critical Moscow punk rock band Pussy Riot brought the term »Riot Grrrl Movement« back into the media in 2012. Riot grrrl movements also existed in other countries. Today, the movement lives on with the art event »Ladyfest« and the summer camp »Girls Rock Camps«, among others.
Initiators
Initiator*innen
Kathleen Hanna (Bikini Kill, Le Tigre)
Responsible
Responsible
Representatives included Babes in Toyland, Bikini Kill, Le Tigre, Bratmobile, Sleater-Kinney, Jack Off Jill, Excuse 17, Mecca Normal, Tribe 8, L7, Team Dresch, Beth Ditto
__Riot Grrrl, in: An Analysis on Andrea Sach’s Girl Power Spects and Woman’s Dis/Empowerment in Weisberger’s Chick Lit The Devil Wears Prada, Seite 24f.
__Joanne Gottlieb, Gayle Wald: Smells Like Teen Spirit. Riot Grrrls, Revolution und Frauen im Independent Rock. In: Cornelia Eichhorn, Sabine Grimm (Hg.): Gender Killer. Texte zu Feminismus und Politik. ID-Archiv, Berlin/Amsterdam 1994