No CrossRef data available.
Published online by Cambridge University Press: 23 January 2009
Tari Ito is so far the only ‘out’ lesbian performance artist in Japan. After performing as a pantomime artist in Tokyo and Holland for ten years, she began her series of solo performances in 1989. In 1996, she ‘came out’ as a lesbian, in a performance entitled Self-Portrait. In her performances Ito makes various uses of a latex ‘skin’ which she uses to create an interface between discursive practices and desire, revealing the constructedness of our desire and sexuality. Along with this skin, Ito's verbal assertion of her lesbian identity at the end of the otherwise non-verbal Self-Portrait unsettles a heterosexual reading of her performances that would assume the construction of desire and sexuality in terms of heterosexuality.
1. de Lauretis, Teresa, The Practice of Love: Lesbian Sexuality and Perverse Desire (Bloomington: Indiana University Press, 1994), pp. 5–7.Google Scholar
2. Ito, Tari, ‘Performance: Self-Portrait 1996’, Shiatã Ātsu, 7 (1997), pp. 128–9.Google Scholar
3. Personal interview, 16 April 1998.
4. Shalala, Nancy, ‘Artist's Work Gets Under the Skin.’, Japan Times, 28 08 1994, p. 10.Google Scholar
5. Grosz, Elizabeth, ‘Refiguring Lesbian Desire’, in Doan, Laura, ed., The Lesbian Postmodern (New York: Columbia University Press, 1994), p. 78.Google Scholar
6. Ibid., p. 71.
7. Chizuko Ueno, Editor's note, in Inoue, Teruko, Ueno, Chi-zuko & Ehara, Yumiko, eds., Sexuality, Vol. 6, Nihon no feminizumu [Feminism in Japan] (Tokyo: Iwanami, 1995), p. 40.Google Scholar
8. See Inoue, Teruko, ‘A Genealogy of Love and Marriage’Google Scholar, in Inoue, et al. , Sexuality, pp. 54–75.Google Scholar See also Ueno's note in same volume, p. 40.
9. Ibid., pp. 64–6.
10. Ibid., Editor's note, p. 40.
11. Personal interview.
12. Otori, Hidenaga, ‘Tari Ito and Lesbian Feminism’, Bijutsu techo, 12 1996, p. 14.Google Scholar
13. Ueno, , ‘Beyond the Modern, Beyond Sexuality’Google Scholar, in Inoue, et al. , Sexuality, p. 9.Google Scholar
14. Kakefuda, Hiroko, ‘Rezubian’ dearu, toiukoto [On Being a ‘Lesbian’] (Tokyo: Kawade shobo, 1992), pp. 174–7.Google Scholar
15. See Kakefuda, , p. 10.Google Scholar See also, Izumo, Marou, Hara, Minako, Tsuzura, Yoshiko & Ochiai, Kumiko, ‘Lesbian Movement in Japan’, Gendai shiso, 25–6 (1977), pp. 58–83 (77).Google Scholar
16. Shiki, Reiko, ‘Rezubian, baisekushuaru josei no “sekushuariti”’ [‘“Sexuality” of Lesbian and Bisexual Women’], in Kuia Sutadīzu [Queer Studies] 96 (1996), pp. 36–19 (41).Google Scholar
17. Self-Portrait, a videocassette, edited by Chieko Yama-gami, 1996.
18. Ito, Tari, ‘Performance: Self-Portrait 1996’, p. 129.Google Scholar
19. Telephone interview, 27 April 1998.
20. Kakefuda, , ‘Rezubian’ dearu, toiukoto [On Being a ‘Lesbian’], p. 116.Google Scholar
21. Izumo, et al. , ‘Lesbian Movement in Japan’, pp. 59–60.Google Scholar
22. Kazama, Takashi, ‘Politicization of Homosexuals under AIDS and Gay-bashing’, in Gendai shiso 25–6 (1997), pp. 415–421 (413).Google Scholar
23. Clare, Marie, ‘Shudan Kamingu auto’ [A Collective Coming Out], in Kuia Sutadīzu [Queer Studies] 97 (1997), pp. 224–33 (226).Google Scholar
24. Self-Portrait, videocassette.
25. Vincent, Keith, Takashi Kazama and Kazuya Kawaguchi, Gei Sutadīzu [Gay Studies] (Tokyo: Seidosha, 1997), pp. 2–3.Google Scholar
26. Ibid., pp. 186–205, 221.
27. Ito, Tari, ‘Performance: Self-Portrait 1996’, p. 129.Google Scholar