Demetria Lucas Doyley81215 300am Savethe Blacker The Content Th ✓ Solved

Demetria Lucas D’Oyley 8/12/15 3:00AM • Save The Blacker the Content the Sweeter the Truth Shop Subscribe H O M E L AT E S T T H E R O O T 1 0 0 V E R Y S M A R T B R O T H A S T H E G LO W U P T H E G R A P E V I N E I T ' S L I T ! V I D E O T H E R O O T I N S T I T U T E C O R O N AV I R U S Sign of the Times: A Performance Artist’s Creative Approach to Finding a Husband Filed to: CULTURE Sign of the Times: A Performance Artist’s Creative Approach to Fi... 1 of 6 1/9/21, 10:19 PM On Sunday afternoon, I was at an annual event in Brooklyn, N.Y., which was attended by thousands of people, mostly young black professionals looking for a good time. In the crowd, I spotted a woman who left no doubt about why she’d shown up that day—not for the music or to hang with her girls or stunt for the Gram.

She was looking for a man. How did I know? She was wearing a sign on her back that read, “I just came here to find a husband.†A D V E R T I S E M E N T I was intrigued. I’ve spent more than a decade writing about dating and relationships, and I’d never seen anything like this. I just had to know what she was thinking and whether this unusual approach was effective.

But I had to wait. As I was making my way over to ask her, a guy knelt on one knee before her, offering her a mock marriage proposal. “Hmm. Maybe this lady is on to something,†I thought. Ayana Evans, wearing her sign in Brooklyn, N.Y., Aug.

9, 2015 Instagram Sign of the Times: A Performance Artist’s Creative Approach to Fi... 2 of 6 1/9/21, 10:19 PM G/O Media may get a commission BlitzWolf 10" LED Ring Kit “This lady†is Ayana Evans, a Brooklyn-based performance artist “in her 30s†who’s best-known for “Operation Catsuit,†in which she traverses New York City in a neon- green catsuit to make a statement about the male (and female) gaze. You might also find her jumping in heels, for hours at a time, to highlight the demands of being a woman, or you could spot her literally carrying a woman on her back, a testament to the strength and expectations of black women’s friendships. A D V E R T I S E M E N T But the sign on her back Sunday?

Was she performing or was she for real? And again, does this approach work? The Root caught up with Evans the next day to find out. The Root: How did you come up with this idea? Ayana Evans: As an artist, when I have a block and I can’t think of anything to make art about, it usually means I’m not being honest about something.

There have been a lot of points where I have been desperate about finding a husband, feeling anxious, wondering, “When is it going to happen? Where am I going to meet him?†I’m not proud of that, but that’s definitely how I felt. I haven’t been in a relationship in six years. I realized worrying about getting married was something I edit out a lot in work. So I was like, “All right, let’s make a piece about how I feel.†A D V E R T I S E M E N T at Amazon Sign of the Times: A Performance Artist’s Creative Approach to Fi...

3 of 6 1/9/21, 10:19 PM TR: When you wear the sign, are you hoping that men will approach you, or is this an artistic expression? AE: It’s both. I go to a lot of places hoping to meet someone, but not with a lot of faith that it’s going to happen. This is me just putting it all out there about what I want, whereas before I would spend a lot of time and put a lot of effort into pretending like finding a life partner was not on my mind. I didn’t want anyone to see me as thirsty or desperate.

Now I rather just deal with it head on and let it all hang out. A D V E R T I S E M E N T If someone comes up to me that I think is cute, is a great candidate, and I’m like, “Wow, you’re intelligent, you make me laugh,†am I going to go for it? Yes! TR: What are the most common reactions when people spot you wearing the sign? AE: From women?

High-fives. Some guys will come up to me and say, “That’s not going to work! You can’t meet someone that way!†And there are others who are silly with it, like, “I’m here!†They’ll make a joke. A lot of people want to take pictures with the sign. A D V E R T I S E M E N T TR: Have you met anyone without relationship potential thus far?

AE: I haven’t met any new guys I’m interested in yet. But there is a residual effect. Sign of the Times: A Performance Artist’s Creative Approach to Fi... 4 of 6 1/9/21, 10:19 PM You don’t meet anyone new, but maybe someone who likes you hadn’t said anything before, now he has a reason to call and be like, “So I saw a picture. … Maybe we should have lunch?†A D V E R T I S E M E N T TR: I saw an Instagram post of you wearing the sign, and you responded to a friend, “I’m done worrying about this!†What is “thisâ€? Do you no longer worry about being in a relationship?

Has the sign changed your perspective on finding a husband? AE: I worry about meeting a husband and having a family. But when you put a sign on and you let it be known what you want, you don’t worry about it the same way. I realize that part of the worry is also trying to cover up the worry. A D V E R T I S E M E N T I can’t even describe how freeing it was to [wear the sign the first time] and go to a gala.

I was thinking, “I am not going to hold my stomach in and sit here and grin real hard and act like I am not scanning the room.†I felt free to look around and look every man in his face that I felt like looking at because I had a sign on my back. You know what I’m doing. I’m not pretending anymore. TR: Do you have any other events that you’re planning to wear the sign to? AE: I’ve been thinking about wearing it to church.

I don’t know that I have the nerve to do it, but I do think it would be an honest move. I can’t count the times that people have told me that you should meet someone at church. A D V E R T I S E M E N T Sign of the Times: A Performance Artist’s Creative Approach to Fi... 5 of 6 1/9/21, 10:19 PM Demetria Lucas D’Oyley is a contributing editor at The Root, a life coach and the author of Don’t Waste Your Pretty: The Go-to Guide for Making Smarter Decisions in Life & Love as well as A Belle in Brooklyn: The Go-to Girl for Advice on Living Your Best Single Life. Follow her on Twitter.

SHARE THIS STORY GET OUR NEWSLETTER DISCUSSION Subscribe Start the discussion Sign of the Times: A Performance Artist’s Creative Approach to Fi... 6 of 6 1/9/21, 10:19 PM 2 WHAT IS PERFORMANCE? What is "to perform"? In business, sports, and sex, "to perform" is to do something up to a standard - to succeed, to excel. In the arts, "to perform" is to put on a show, a play, a dance, a concert.

In everyday life, "to perform" is to show off, to go to extremes, to underline an action for those who are watching. In the twenty-first century, people as never before live by means of performance. "To perform" can also be understood in relation to: Being Doing Showing doing Explaining "showing doing." "Being" is existence itself. "Doing" is the activity of all that exists, from quarks to sentient beings to supergalactic strings. "Showing doing" is performing: pointing to, under- lining, and displaying doing.

"Explaining 'showing doing'" is performance studies. It is very important to distinguish these categories from each other. "Being" may be active or static, linear or circular, expanding or contracting, material or spiritual. Being is a philosophical category pointing to whatever people theorize is the "ultimate reality." "Doing" and "showing doing" are actions. Doing and showing doing are always in flux, always changing - reality as the pre-Socratic Greek philosopher Heraclitus experienced it.

Heraclitus aphorized this perpetual flux: "No one can step twice into the same river, nor touch mortal substance twice in the same condition" (fragment 41 ). The fourth term, "explaining' showing doing' ," is a reflexive effort to comprehend the world of perfor- mance and the world as performance. This comprehension is usually the work of critics and scholars. But sometimes, in Brechtian theatre where the actor steps outside the role to comment on what the character is doing, and in critically aware performance art such as Guillermo Gomez-Pena's and Coco Fusco's Two Undiscovered Amerindians Visit the West (1992), a performance is reflexive. I discuss this sort of performance in Chapters 5, 6, and 8.

Heraclitus of Ephesus (c. BCE): Greek philosopher credited with the creation of the doctrine of "flux j" the theory of impermanence and change, You can't step into the same river twice because the flowof the river iusuresthat .11ew water continually replaces the old. G6mez-Peiia(1955- ): Mexican-born bi-national performance artist and author, . leader of La Pocha N ostra. His works indudehothwritingsWarriorfor Gringosuoika.(1993), The New World Border (1996), Danaeroqs Border Crossers(2000), and Ethno:- Techno Writinas on Performance. ACtivism, and Pedd809J (200S •. with Elaine Pena) - and performances; &rderBrujo (1990),EINc!ftazeca (1994), Border StaSis (1998), Brownout:·.

Border Pulp Stories (;WO 1 ), and Mexterminator vsthe GlobalPredator (2005). Coco Fusco (1960-): .Cuban.;.born interdisciplinary artist based in New York City .. · Collabotated with Guillermo Gomez-Peiia on the performance . Two Undiscovered Alnerindians Visit the West (1992). Otherperformances include: Doloresfiom lOb to 22h (2002, with Ricardo Dominguez) and The Incredible Disappearina Woman. (2003, with Ric<irdo Dominguez). Fusco is the author of English is Broken Here PeiformanceArt1the Americas (2000), The Bodies That Were Not Oilrs (2001), and Only Skin Deep (2003, with Brian Wallis). reflexive: referring back to oneselfor itself.

Performances Performances mark identities, bend time, reshape and adorn the body, and tell stories. Performances - of art, rituals, or ordinary life - are "restored behaviors," "twice-behaved behaviors," performed actions that people train for and rehearse (see GofTman box). That making art involves training and rehearsing is clear. But everyday life also involves years of training and practice, of learning appro- priate culturally speCific bits of behavior, of adjusting and 28

Paper for above instructions

Exploring Performance Art as a Means of Social Commentary and Personal Expression: The Case of Ayana Evans

Performance art, particularly when it intersects with personal themes, serves as a powerful avenue for social commentary and introspection. In the article “Sign of the Times: A Performance Artist’s Creative Approach to Finding a Husband” by Demetria Lucas D’Oyley, performance artist Ayana Evans adopts a unique and daring strategy by wearing a sign stating her intention to find a husband at a public event (D’Oyley, 2021). This approach allows her to navigate the complexities of personal desire and societal expectations regarding relationships. Through examining Evans’ performance, we can glean insights into the dynamics between identity, societal norms, and personal aspirations.

Understanding Performance Art

Performance art is an expressive medium that embodies physicality and spontaneity, allowing artists to challenge the constraints of traditional art forms. In performance art, the artist not only presents a self-made piece but also embodies their narrative and communicates it through action (Klein, 2018). This type of art often straddles the line between spectacle and reality, demanding audience interaction while allowing the artist to explore deep personal themes (Bishop, 2012).
As defined by noted performance studies theorists, performance is a complex interplay of being, doing, and showing (Fischer-Lichte, 2008). Ayana Evans’ approach exemplifies this definition; she constructs performance that reveals her longing for intimacy while simultaneously critiquing societal pressures around marriage.

The Performance: Seeking Connection

Evans’ choice to publicly declare her desire for a husband reflects the tension surrounding dating expectations faced by women, particularly in the context of contemporary social norms (D'Oyley, 2021). The willingness to label herself as “thirsty” or “desperate” resonates deeply with societal stigmas surrounding female desire. Notably, her performance also draws attention to the internal conflict many women experience regarding traditional relationship goals.
In exploring Evans' motivations, she states: “When I have a block and can’t think of anything to make art about, it usually means I’m not being honest about something” (D’Oyley, 2021). This admission illustrates that her performance stemmed from a need to confront her fears and desires, rather than falling prey to societal pressures to conceal them. By engaging in this bold act, Evans overcomes her inhibitions and transforms her vulnerability into a form of empowerment.

Audience Reception and Interaction

The audience's response to Evans’ sign offers a spectrum of insights into societal norms surrounding dating. She recounts interactions ranging from supportive high-fives from women to skepticism from men (D’Oyley, 2021). This mixed reception is indicative of wider cultural attitudes: while some may appreciate the bold display of honesty, others may feel uncomfortable, reflecting traditional views that suggest marriage should not be actively pursued in public. This observation demonstrates the polarizing nature of desire and how it is perceived socially.
Moreover, Evans’ performance not only serves as a statement about her personal journey but also touches upon broader issues of gender dynamics and expectations in modern romance (Witzgall, 2020). Her willingness to bring her sign to events like church suggests a juxtaposition of sacred and secular spaces, challenging the viewers to reconsider where, when, and how relationships are formed.

The Healing Power of Performance

By articulating her desires publicly, Evans experiences a profound sense of liberation, noting, “I realize that part of the worry is also trying to cover up the worry” (D’Oyley, 2021). This catharsis highlights an essential aspect of performance art: it serves not just as a medium for critique, but also as a mechanism for healing and self-acceptance. The act of vocalizing her needs reduces the anxiety normally associated with dating in a world that often shames women for expressing their desires (Harris, 2021).

The Implications of “Putting It All Out There”

Evans’ performance raises pertinent questions about authenticity and the ways in which we present ourselves in social contexts. “Am I going to go for it?” she pondered, correlating her act of wearing the sign to openness in exploring meaningful connections (D’Oyley, 2021). This statement emphasizes the importance of living authentically, particularly for individuals who often find themselves navigating societal expectations that contradict their personal desires.
Moreover, her willingness to take such risks – flaunting her aspirations for love under the scrutiny of public gaze – can serve as an invitation for others to embrace their own vulnerabilities. The empowerment found in embracing one's needs could foster deeper connections not only in romantic contexts but also in friendships and communal relationships.

Conclusion

Ayana Evans' performance art encapsulates a rich narrative about women’s desires, societal expectations, and the journey toward self-acceptance. The fusion of personal confession and social critique invites audiences to engage in reflection and dialogue about societal norms around romance and partnership. D’Oyley’s article highlights the complexities of performance art as a dynamic avenue for exploring themes of identity, liberation, and authenticity. Ultimately, Evans’ sign becomes more than just a declaration of intent; it transforms into a powerful symbol of agency and a challenge to cultural ideals surrounding marriage.

References

1. Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso.
2. D’Oyley, D. L. (2021). Sign of the Times: A Performance Artist’s Creative Approach to Finding a Husband. The Root.
3. Fischer-Lichte, E. (2008). The Transformative Power of Performance: A New Aesthetics. Routledge.
4. Harris, A. (2021). Rethinking Feminist Activism: Transition from the Personal to the Political. Palgrave Macmillan.
5. Klein, D. (2018). Performance Art in the Post-Digital Age: New Challenges and Opportunities. Routledge.
6. Witzgall, L. (2020). “Romance in the Age of Social Media: Exploring the Intersection of Desire and Technology.” Journal of Social and Personal Relationships, 37(4), 1194-1209.
7. Boal, A. (1995). Theater of the Oppressed. Theatre Communications Group.
8. Phelan, P. (1993). Unmarked: The Politics of Performance. Routledge.
9. Taylor, D. (2003). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press.
10. Schneider, R. (2011). The Explicit Body in Performance. Routledge.