Another March approaches to an end, still a laden with a plethora of feminist agendas to address. 31 days will never do enough justice to herstories, here their stories are always highlighted far beyond. Today, I will offer a refreshing angle and poke on a pop culture wound with Yoko Ono, exploring her impact and contributions within the realm of feminism.
Between the 1960s and 1970s, Yoko Ono's clothing choices and body served as extensions of her activism, politics, and artistic endeavours, showcasing the intertwined relationship between the artist and her art. She opened new doors of communication through her art and paved the way for other women with feminist principles in it.
This period coincided with the emergence of the second wave of feminism, marked by advocacy for gender equality, reproductive rights, and recognition of workplace discrimination. Notably, however, the movement was primarily led by white middle-class women, overlooking the contributions and perspectives of individuals from diverse racial and ethnic backgrounds, who often faced marginalization. It wasn't until the 1980s that the concept of intersectional feminism began to gain traction, recognizing and addressing the intersecting forms of oppression experienced by women from various marginalized groups and diversity started to gain a space. Therefore, Yoko Ono highlights from the crowd as a woman in front of her time with avant-garde ideals, challenging societal norms and thought-provoking work.
One of Yoko Ono's most renowned performances was "Cut Piece," initially presented in Kyoto in 1964 and later in New York in 1965. In this powerful piece, Ono assumed the "seiza" position, traditionally observed in formal Japanese settings, while audience members were invited to approach her and, one by one, cut away pieces of her dress using scissors. This evocative exhibition has sparked a multitude of interpretations, with many considering it a potent feminist commentary.
Their wedding in 1969 saw Yoko Ono defy tradition with her unconventional bride dress, which stood in stark contrast to the typical bridal attire. To celebrate their recent union, Yoko Ono designed a striking collection of clothing for John Lennon, featuring garments in three bold colours: black, white, and vibrant pink. These pieces were embellished with intricate mesh panels, daring cutouts, and strategically placed arrows, intended to accentuate Lennon's most alluring body parts according to Ono's artistic vision.
Yoko Ono embraced a unisex fashion trend characterized by aviator sunglasses, slogan tees, and revolutionary caps, all tailored for androgynous silhouettes. This distinctive style, predominantly in black, featured clean and minimalist pieces such as vests, pants, V-neck shirts, and masculine jackets. Despite evolving with fashion trends over time, Yoko Ono maintained her own signature styles. For instance, she was frequently seen wearing leather shorts in the 1970s and her iconic black maxi leather coat, which made sporadic but memorable appearances in certain photographs from that era.
Yoko Ono's impact on filmmaking is indeed significant, particularly through her experimental work "Fly" from the 1970s. This film captivates viewers with its footage of a fly crawling over a nude woman's body, prompting contemplation of themes surrounding the female form and the societal taboos that accompany it. Through this provocative imagery, Ono challenges conventional standards of beauty, sexuality, and the objectification of women, encouraging audiences to re-evaluate their perceptions and assumptions about femininity.
Yoko Ono's legacy spans across various artistic mediums, including music, art performances, and filmmaking, with collaborations stretching over six decades. She is much more tan John Lennon's widow and not the culprit of the end of The Beatles. The messages conveyed through her work continue to resonate in the contemporary age, demonstrating the enduring relevance and impact of her art. One example of this is evident in her philanthropy and activism against the Vietnam War, which was reflected in her 1966 exposition titled "White Chess Set." This exhibition featured a game comprising solely white chess pieces and a chessboard with white squares, with the instruction to play "as long as you can remember where all your pieces are." Presented recently at the Tate Modern exposition, this piece serves as both an allegory and commentary on issues such as Gaza and white privilege.
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