By Mark Abraham

Swift accepts her Video of the Year award during the 2015 MVAs. TaylorSwift.com
Accepting her Video of the Year award at the 2015 VMAs, pop singer Taylor Swift, surrounded by the women who appear as weapon-toting warriors in her victorious video “Bad Blood,” said she was grateful that “we live in a world where boys can play princesses and girls can play soldiers.” That same night, writer Adam Fleischer posted a review of the awards titled, “Taylor Swift said F—k Gender Norms with Her Video of the Year Speech” to MTV.com.
But did she? Twenty-five years after Judith Butler’s Gender Trouble and the queer turn, and smack dab in the middle of a rapid cultural reassessment of gender as trans celebrities become more visible, Swift’s post-essentialist but not-quite-unessential lip service that girls can do “boy” things and vice versa seems fairly quaint. It’s what many constructionists would call “modified essentialism”: the “girl” and “boy” things we can play at are socially constructed, but the majority of bodies—even the potentially subversive ones Swift is valorizing—still belong to “girls” and “boys.”
Serendipitously, Swift’s speech was followed by a performance by pop singer Miley Cyrus, who was surrounded by thirty drag, burlesque, and trans performers. This was, in a way, a constructionist response to Swift’s soft constructionism: that the lines between “girl” and “boy” things are especially porous, and so girls and boys and everybody can play, period. Cyrus’s performance suggested that there are girls, boys, and individuals who reject that binary in part or in whole, but bodies don’t define an identity, and the things that we can play at are a wide range of activities that aren’t rooted in much beyond historically-changing ideas about how “girls” and “boys” should act. Intentionally or not, Cyrus took Swift’s identity politics and threw them down a constructionist rabbit hole. Continue reading →