Giorgio Agamben’s concepts of ‘the sovereign’, ‘state of exception’ and ‘bare life’ have been used by political theorists, particularly since the declaration of the Global War on Terror and during the more recent age of wars of humanitarian intervention, to conceptualize the sovereignty exercised by security states. These state processes have been mirrored by absolutization within some branches of political theory, conflating Foucauldian concepts of biopolitical sovereignty and circulatory governmentality with notions of absolutist rule, and narrowing optics for interpreting popular (...) mobilizations around gendered ‘human security’ projects, emergency regimes and moralizing repression. Suggesting more productive directions for theory, this article generates a close reading of female activists working in an unexpected industry in Egypt who have struggled to invert and subvert absolutist and moralizing framings and have generated their own theory through practice. The ‘Natashas of Cairo’ – well organized and transnationally linked belly dancers – successfully promoted gendered popular sovereignty in remarkable campaigns between 2002 and 2006, utilizing personal-rights litigation to create frameworks to render the absolutist state more accountable; establish labor solidarities that crossed international boundaries as well as class boundaries; and articulate an alternative moral regime for dance work that rejected both ‘pornification’ and the ‘respectability politics’ of professionalization. (shrink)

Giorgio Agamben’s concepts of ‘the sovereign’, ‘state of exception’ and ‘bare life’ have been used by political theorists, particularly since the declaration of the Global War on Terror and during the more recent age of wars of humanitarian intervention, to conceptualize the sovereignty exercised by security states. These state processes have been mirrored by absolutization within some branches of political theory, conflating Foucauldian concepts of biopolitical sovereignty and circulatory governmentality with notions of absolutist rule, and narrowing optics for interpreting popular (...) mobilizations around gendered ‘human security’ projects, emergency regimes and moralizing repression. Suggesting more productive directions for theory, this article generates a close reading of female activists working in an unexpected industry in Egypt who have struggled to invert and subvert absolutist and moralizing framings and have generated their own theory through practice. The ‘Natashas of Cairo’ – well organized and transnationally linked belly dancers – successfully promoted gendered popular sovereignty in remarkable campaigns between 2002 and 2006, utilizing personal-rights litigation to create frameworks to render the absolutist state more accountable; establish labor solidarities that crossed international boundaries as well as class boundaries; and articulate an alternative moral regime for dance work that rejected both ‘pornification’ and the ‘respectability politics’ of professionalization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 47, no. 2. © 2021 by Feminist Studies, Inc. 419 Paul Amar Insurgent African Intimacies in Pandemic Times: Deimperial Queer Logics of China’s New Global Family inWolf Warrior 2 This essay offers a new paradigm of “deimperial queer analysis” that reveals the tension between the People’s Republic of China’s extractive expansionism in Africa and its claim to solidarity with Africans against white supremacy and Northern imperialism. China (...) has been labeled an “anti-imperial empire” that forcefully challenges previous Euro-American imperial legacies—all while it verges on reenacting them.1 A critical way it resolves this geopolitical tension is through the articulation of a mission for global China, and since 2017, the heroic filmic fictional figure of the “Wolf Warrior” anchors such an approach. The Wolf Warrior is a gorgeous, muscled, Chinese male rogue soldier in exile who adventures through the archipelago of the PRC’s shipping, mining, and medical projects across the Global South to battle white mercenaries, corrupt Asian businessmen, and local pirates—all while saving Africa from a ravaging pandemic. Extending a hugely popular film series, the release in 2017 of the blockbuster Wolf Warrior 2 (abbreviated below as Wolf 2) unleashed a worldwide social media frenzy as well as a revolution in diplomatic tone and protocol for China. In these ways, Wolf Warrior 2 came to mark the debut of the global PRC as a hegemonic structure 1. David Armitage, “The Anti-Imperial Empire?” Times Literary Supplement, no. 6018, August 3, 2018, https://www.the-tls.co.uk/articles/the-anti-imperialempire -american. 420 Paul Amar of feeling with an attendant popular cultural logic, launching a cast of military characters, humanitarian imaginaries, and gendered rebranding initiatives. These fused into a global cultural megaproject with the PRC presenting itself as a leader in responding to the COVID-19 pandemic in the Global South—a time the PRC has officially branded as its “Rejuvenation Era” of “Stepping Out into the World.” This essay shows how exactly this Wolf Warrior imagination has legitimized a new global regime, but I also reveal how, paradoxically, the Wolf Warrior regime has offered a distinct, more subversive worlding project. I argue here that the utopia immanent in this project can be revealed by interpretively turning this Wolf universe inside out through a deimperial queer analysis that honors and combines a Third World feminist lens and the “Asia as Method” approach with Danmei/BL and Slash queer-feminist fanfiction hacks. Danmei is a Chinese (originally mainly Tawainese) fanfiction genre that subverts mainstream heteronormative narratives by erotically aestheticizing and renarrating male-male intimacies within mainstream plotlines from feminist perspectives. BL (short for “boylove ”) is a similar Japanese fanfiction genre, and Slash is the term used in English for the queer/feminist hacking and excavation of sublimated and particularly utopian gender and sexuality plots from within seemingly conventional heteronormative or patriarchal popular-cultural texts. The everted or inside-out epistemology given expression here uses a set of non-phallogocentric lenses and decolonial feminist decoding practices. At stake is the urgency of not repeating the epistemic violence of conventional “anti-imperial” arguments, which tend to be heteronormative, statist, macho, and monolithic. Instead, the form of critique elaborated here brings questions of gender, race, and sexuality to the fore through a three-part approach. First, I identify the homoerotic register of the techno-infrastructural elements in the film. I generate close readings that detail the visual and genre codes of battle scenes, thug subjects, and piracy plots that forge a homoerotic model of rogue or “wolf” governmentality and that act as a metaphor for China’s techno -infrastructural rule. Second, this essay explores the gendered hauntings of supremacist humanism. I deploy a decolonial feminist lens to map the configuration of African women, female doctors, Maoist women insurgents, and feminized “flowerboys” as a rebel protectorate overseen by China’s phallic prerogative that is itself haunted by the specters of Euro-American humanist betrayal and white supremacy. Third, Paul Amar 421 I trace queer kinship utopias. I demonstrate that Wolf Warrior 2 rejuvenates a non-Western, queer, globalist kinship structure that triangulates Asian, white, and Black through adoption dramas and bromance bonds. Through these intimacies, an... (shrink)