Pub Date : 2012-08-01DOI: 10.1525/GFC.2012.12.3.46
Bonnie J. Morris
As the title suggests, this essay is a humorous but appreciative look at the cuisine of lesbian/feminist music festivals, which since 1974 have ranged from one-day events to two-week campouts in almost all of the fifty American states. Fans of the women9s music movement—which long before Lilith Fair had introduced artists as diverse as Holly Near, Toshi Reagon, Melissa Etheridge, and the Indigo Girls—enjoy several days of concerts and receive meals with their festival packages. These usually vegetarian repasts are an entire subculture of humor and socializing around “lesbian food” of a certain era. How is food important, politically, to this feisty community? How do workers prepare meals for up to 8,000 shirtless women in the woods, in all kinds of weather? And in this very informed, radical community, is the traditional women9s work of cooking and cleaning truly respected—or, ironically, taken for granted?
{"title":"Tuesday Night Is Nut Loaf: Women's Music-Festival Foods","authors":"Bonnie J. Morris","doi":"10.1525/GFC.2012.12.3.46","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.3.46","url":null,"abstract":"As the title suggests, this essay is a humorous but appreciative look at the cuisine of lesbian/feminist music festivals, which since 1974 have ranged from one-day events to two-week campouts in almost all of the fifty American states. Fans of the women9s music movement—which long before Lilith Fair had introduced artists as diverse as Holly Near, Toshi Reagon, Melissa Etheridge, and the Indigo Girls—enjoy several days of concerts and receive meals with their festival packages. These usually vegetarian repasts are an entire subculture of humor and socializing around “lesbian food” of a certain era. How is food important, politically, to this feisty community? How do workers prepare meals for up to 8,000 shirtless women in the woods, in all kinds of weather? And in this very informed, radical community, is the traditional women9s work of cooking and cleaning truly respected—or, ironically, taken for granted?","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125743499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-08-01DOI: 10.1525/GFC.2012.12.3.40
S. Franklin
The manioc root (also commonly known as yuca and cassava) has been vital to Brazil9s inhabitants for millenia. Native to the Amazon River basin, manioc has long been used by Brazilian native peoples and became the lifeblood of the Portuguese colonists who settled there as well. Though manioc is commonly looked upon as a peasant or “vernacular” food, Rio de Janeiro-born-and-based chef and activist Teresa Corcao argues that the root is a crucial tenet of Brazilian cuisine and identity. Corcao, who has been in the restaurant business for more than thirty-five years, came slowly to the realization that Brazilian native ingredients were not being given their due by Brazilian chefs. For the past ten years, Corcao has taken up the cause of promoting overlooked Brazilian ingredients within Brazil and abroad—with manioc and its many derivatives as her top priority— through her work with chefs, small farmers, consumers, and markets.
{"title":"Manioc: A Brazilian Chef Claims Her Roots","authors":"S. Franklin","doi":"10.1525/GFC.2012.12.3.40","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.3.40","url":null,"abstract":"The manioc root (also commonly known as yuca and cassava) has been vital to Brazil9s inhabitants for millenia. Native to the Amazon River basin, manioc has long been used by Brazilian native peoples and became the lifeblood of the Portuguese colonists who settled there as well. Though manioc is commonly looked upon as a peasant or “vernacular” food, Rio de Janeiro-born-and-based chef and activist Teresa Corcao argues that the root is a crucial tenet of Brazilian cuisine and identity. Corcao, who has been in the restaurant business for more than thirty-five years, came slowly to the realization that Brazilian native ingredients were not being given their due by Brazilian chefs. For the past ten years, Corcao has taken up the cause of promoting overlooked Brazilian ingredients within Brazil and abroad—with manioc and its many derivatives as her top priority— through her work with chefs, small farmers, consumers, and markets.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"202 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121471537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-05-01DOI: 10.1525/GFC.2012.12.2.14
M. Cintio
The Tohono O9odham Indians of southern Arizona used to wrestle enough food from the Sonora Desert to sustain themselves. In the last fifty years, however, there has been a near total abandonment of indigenous farming on the O9odham nation. As a result, diabetes rates have skyrocketed on the reservation and contemporary O9odam have lost touch with their culinary traditions. However, a new initiative by a group called Tohono O9odham Community Action, or TOCA, is now working to revitalize the O9odham agricultural systems and reintroduce traditional food into the community. The article introduces Noland Johnson, an O9odham farmer who tends the bean fields of Papago Farms, and Ivalee Pablo, chef at Desert Rain Cafe, who serves O9odham ingredients to today9s diners. The article also describes a unique cookbook published by TOCA, titled From I9itoi9s Garden: Tohono O9odham Food Traditions that includes recipes, ancient farming techniques, traditional O9odham songs, and stories related to food.
{"title":"Farming the Monsoon: A Return to Traditional Tohono O'odham Foods","authors":"M. Cintio","doi":"10.1525/GFC.2012.12.2.14","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.2.14","url":null,"abstract":"The Tohono O9odham Indians of southern Arizona used to wrestle enough food from the Sonora Desert to sustain themselves. In the last fifty years, however, there has been a near total abandonment of indigenous farming on the O9odham nation. As a result, diabetes rates have skyrocketed on the reservation and contemporary O9odam have lost touch with their culinary traditions. However, a new initiative by a group called Tohono O9odham Community Action, or TOCA, is now working to revitalize the O9odham agricultural systems and reintroduce traditional food into the community. The article introduces Noland Johnson, an O9odham farmer who tends the bean fields of Papago Farms, and Ivalee Pablo, chef at Desert Rain Cafe, who serves O9odham ingredients to today9s diners. The article also describes a unique cookbook published by TOCA, titled From I9itoi9s Garden: Tohono O9odham Food Traditions that includes recipes, ancient farming techniques, traditional O9odham songs, and stories related to food.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129383684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-05-01DOI: 10.1525/GFC.2012.12.2.10
Cameron Shaw
This article looks at the work of Suzanne Lacy, an artist who emerged from the Feminist Art Program at the California Institute of the Arts in the early 1970s. It focuses on key examples of Lacy9s large-scale dinners, including the food-based performance network staged in conjunction with the opening of The Dinner Party by Judy Chicago at the San Francisco Museum of Modern Art in 1979. This article argues that these dinners served to transition Lacy from an early performance practice centered on rape and violence against women to the later coalition-building exercises that helped define “new genre public art.” Drawing on interviews with the artist, it traces the use of meat and foodstuffs in Lacy9s practice, beginning with beef kidneys in 1972. Much prior writing on Lacy investigates her performances of the 1970s. This article examines the way in which Lacy used elements of these performances, namely food, to further understand the roles of relationships and conversation in art.
这篇文章着眼于苏珊娜·莱西(Suzanne Lacy)的作品，她是20世纪70年代初从加州艺术学院女权主义艺术项目中脱颖而出的艺术家。它关注的是Lacy9s大型晚宴的关键例子，包括1979年朱迪·芝加哥(Judy Chicago)在旧金山现代艺术博物馆(San Francisco Museum of Modern Art)举办的《晚宴派对》(the Dinner Party)开幕式上以食物为基础的表演网络。这篇文章认为，这些晚餐有助于莱西从早期以强奸和对妇女的暴力为中心的表演实践转变为后来的联盟建设练习，帮助定义了“新类型的公共艺术”。通过对艺术家的采访，它追溯了lacy9在实践中对肉类和食品的使用，从1972年的牛肉腰子开始。之前很多关于莱西的文章都是研究她在20世纪70年代的表演。本文考察了莱西使用这些表演元素的方式，即食物，以进一步理解关系和对话在艺术中的作用。
{"title":"Suzanne Lacy: Chewing More Than the Fat","authors":"Cameron Shaw","doi":"10.1525/GFC.2012.12.2.10","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.2.10","url":null,"abstract":"This article looks at the work of Suzanne Lacy, an artist who emerged from the Feminist Art Program at the California Institute of the Arts in the early 1970s. It focuses on key examples of Lacy9s large-scale dinners, including the food-based performance network staged in conjunction with the opening of The Dinner Party by Judy Chicago at the San Francisco Museum of Modern Art in 1979. This article argues that these dinners served to transition Lacy from an early performance practice centered on rape and violence against women to the later coalition-building exercises that helped define “new genre public art.” Drawing on interviews with the artist, it traces the use of meat and foodstuffs in Lacy9s practice, beginning with beef kidneys in 1972. Much prior writing on Lacy investigates her performances of the 1970s. This article examines the way in which Lacy used elements of these performances, namely food, to further understand the roles of relationships and conversation in art.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126791915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-05-01DOI: 10.1525/GFC.2012.12.2.68
A. Leaf, photographs by joel seaman
{"title":"The Big Apple Exchange","authors":"A. Leaf, photographs by joel seaman","doi":"10.1525/GFC.2012.12.2.68","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.2.68","url":null,"abstract":"","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126210793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-05-01DOI: 10.1525/GFC.2012.12.2.18
lynn alleva lilley
{"title":"At Home in Kyrgyzstan","authors":"lynn alleva lilley","doi":"10.1525/GFC.2012.12.2.18","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.2.18","url":null,"abstract":"","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"230 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132488986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-05-01DOI: 10.1525/GFC.2012.12.2.24
M. Goulding
{"title":"Table for One","authors":"M. Goulding","doi":"10.1525/GFC.2012.12.2.24","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.2.24","url":null,"abstract":"","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117184148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-05-01DOI: 10.1525/GFC.2012.12.2.96
A. E. McBride
{"title":"An Interview with Daniel Humm: Eleven Madison Park","authors":"A. E. McBride","doi":"10.1525/GFC.2012.12.2.96","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.2.96","url":null,"abstract":"","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134639966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-05-01DOI: 10.1525/GFC.2012.12.2.59
S. H. Swetnam
At the Monastery of St. Gertrude in Cottonwood, Idaho, evolving foodways have enabled Benedictine nuns to adapt to their evolving role as religious women over the past century. Early spare, simple foods reflected strict monastic practices inherited from the nuns’ enclosed European order, but physical labor and bishops’ insistence on outside service soon necessitated a more rich and balanced diet. After Vatican II, new mealtime practices that allowed sisters to converse during meals and choose dining companions (versus sitting in rank order in silence) helped them adjust to a new ethos of cooperative community. As the convent added a retreat ministry and mature professional women joined, mealtime options proliferated and old foodways were challenged. A contemporary emphasis on social justice and land stewardship is reflected in commitment to organic gardening and to purchasing food local, seasonal, fair-trade food. Cultivating the convent9s extensive raspberry garden, in particular, invites these modern nuns to simultaneously affirm their continuing commitment to core Benedictine values and to the spirit of their patron, St. Gertrude of Helfta, and also to contemporary priorities.
{"title":"Of Raspberries and Religion","authors":"S. H. Swetnam","doi":"10.1525/GFC.2012.12.2.59","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.2.59","url":null,"abstract":"At the Monastery of St. Gertrude in Cottonwood, Idaho, evolving foodways have enabled Benedictine nuns to adapt to their evolving role as religious women over the past century. Early spare, simple foods reflected strict monastic practices inherited from the nuns’ enclosed European order, but physical labor and bishops’ insistence on outside service soon necessitated a more rich and balanced diet. After Vatican II, new mealtime practices that allowed sisters to converse during meals and choose dining companions (versus sitting in rank order in silence) helped them adjust to a new ethos of cooperative community. As the convent added a retreat ministry and mature professional women joined, mealtime options proliferated and old foodways were challenged. A contemporary emphasis on social justice and land stewardship is reflected in commitment to organic gardening and to purchasing food local, seasonal, fair-trade food. Cultivating the convent9s extensive raspberry garden, in particular, invites these modern nuns to simultaneously affirm their continuing commitment to core Benedictine values and to the spirit of their patron, St. Gertrude of Helfta, and also to contemporary priorities.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127096991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Art Historian Jed Perl9s challenge to reveal a topic in the work of Pablo Picasso that hadn9t been thoroughly covered results in “Cock-a-Doodle,” an analysis of the master9s lifelong penchant for making art about poultry. Less glorious and known than the master9s celebrated images of women and bullfights, birds intended for the dinner table are nonetheless a critical aspect of his oeuvre. For Picasso common birds were perfect tools for implying the elemental. He was not a gourmet. Food was less important for him as nourishment than as a mirror of the soul. Based on an eighty-five page analysis of all of his works on the topic, this essay focuses on his 1962 painting Coq Trousse (Trussed Cock) . In this picture Picasso reversed the ordinary process whereby birds are slaughtered before plucking, making this painting unique in the history of game bird portraiture. Horrified and horrifying, the unwilling star of Picasso9s timeless and global image demands that his viewers confront their fears of savagery and death. Picasso focused on the carnage lurking behind societal niceties; loved divulging the viscera of so-called civilization; and found in humble, ungainly chicken (and other edible birds) an enduring motif for his humanistic mission.
{"title":"Cock-A-Doodle","authors":"H. Spiller","doi":"10.1525/GFC.2012.12.1.9","DOIUrl":"https://doi.org/10.1525/GFC.2012.12.1.9","url":null,"abstract":"Art Historian Jed Perl9s challenge to reveal a topic in the work of Pablo Picasso that hadn9t been thoroughly covered results in “Cock-a-Doodle,” an analysis of the master9s lifelong penchant for making art about poultry. Less glorious and known than the master9s celebrated images of women and bullfights, birds intended for the dinner table are nonetheless a critical aspect of his oeuvre. For Picasso common birds were perfect tools for implying the elemental. He was not a gourmet. Food was less important for him as nourishment than as a mirror of the soul. Based on an eighty-five page analysis of all of his works on the topic, this essay focuses on his 1962 painting Coq Trousse (Trussed Cock) . In this picture Picasso reversed the ordinary process whereby birds are slaughtered before plucking, making this painting unique in the history of game bird portraiture. Horrified and horrifying, the unwilling star of Picasso9s timeless and global image demands that his viewers confront their fears of savagery and death. Picasso focused on the carnage lurking behind societal niceties; loved divulging the viscera of so-called civilization; and found in humble, ungainly chicken (and other edible birds) an enduring motif for his humanistic mission.","PeriodicalId":429420,"journal":{"name":"Gastronomica: The Journal of Critical Food Studies","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128926551","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：