2 The quoted comments are no longer accessible on YouTube, but Jenkins collected, sorted and stored all the comments into thematically organized digital folders, which she shared with the author on 12 February 2016.
4 In the Festival of Live Art (FOLA) held at Arts House in Melbourne, Australia, in March 2016 Jenkins performed another durational work titled Programmed to Reproduce, in which she programmed a knitting and crocheting machine to weave some of the online responses to Vaginal Knitting into fabric. In the work, audience members were invited to share their experiences as victims of online bullying.
5 Similar global public reactions to menstrual blood viewed through online social media sites were evident in 2015 when a young Canadian woman, Rupi Kaur, photographed herself lying in bed with a small period stain on her tracksuit pants and bed sheets and posted it on Instagram. Instagram deleted the photograph twice with the justification that it ‘doesn't follow Community Guidelines’. Radhika Sanghani, ‘Instagram Deletes Woman's Period Photos – but Her Response Is Amazing’, The Telegraph, 30 March 2015, at www.telegraph.co.uk/women/life/instagram-deletes-womans-period-photos-but-her-response-is-amazing, accessed 3 December 2015. Kaur pre-empted the censorship and quickly responded with outrage in the media in a piece of writing that took the tone and structure of a manifesto. Her campaign was circulated and supported widely throughout global online communities via social and mainstream media sites: ‘I will not apologise for not feeding the ego and pride of misogynist society that will have my body in an [sic] underwear but not be okay with a small leak. When your pages are filled with countless photos/accounts where women (so many who are underage) are objectified, pornified [sic], and treated less than human.
. . .
Their patriarchy is leaking.
Their misogyny is leaking.
We will not be censored.
I bleed each month to help make humankind a possibility. My womb is home to the divine. A source of life for our species. Whether I choose to create or not.’ See Sanghani, ‘Instagram Deletes Woman's Period Photos’. Kaur exposes the hypocrisy of Instagram's reaction to her menstrual blood given the site's permissive attitude towards the frequent circulation of images that sexualize young girls and women. Her manifesto also points to the absurdity of censoring a biological function that sustains our species. The popular public support for Kaur's response led to Instagram eventually apologizing and reinstating the photograph.
6 Jenkins, ‘I'm the “Vaginal Knitting” Performance Artist’.
7 Author interview with Casey Jenkins, Melbourne, 7 September 2015.
8 SBS2, Vaginal Knitting (The Feed).
9 Eckersall, Peter and Paterson, Eddie, ‘Slow Dramaturgy: Renegotiating Politics and Staging the Everyday’, Australasian Drama Studies, 58 (April 2011), pp. 178–92.
10 Goulish, Matthew, 39 Microlectures: In Proximity of Performance (London and New York: Routledge, 2000), p. 81.
12 Wark, Jayne, Radical Gestures: Feminism and Performance Art in North America (Montreal and Kingston: McGill-Queen's University Press, 2006), p. 234.
13 Elwes, Catherine, ‘Floating Femininity: A Look at Performance Art by Women’, in Kent, Sarah and Morreau, Jacqueline, eds., Women's Images of Men (London: Writers and Readers Publishing, 1985), pp. 164–93.
15 Forte, Jeanie, ‘Women's Performance Art: Feminism and Postmodernism’, Theatre Journal, 40, 2 (May 1988), pp. 217–35, here p. 226.
16 Nor did it demand that its audiences engage in behaviour that they might find confronting, difficult or unusual in the vein of feminist Germaine Greer's provocation: ‘If you think you are emancipated, you might consider the idea of tasting your menstrual blood – if it makes you sick, you've a long way to go, baby’. Greer, Germaine, The Female Eunuch (St Albans: Paladin, 1971), p. 51.
17 Author interview with Casey Jenkins, Melbourne, 7 September 2015.
19 SBS2, Vaginal Knitting (The Feed).
21 Author interview with Casey Jenkins, Melbourne, 7 September 2015.
22 Eckersall and Paterson, ‘Slow Dramaturgy’, p. 179.
26 Black, Anthea and Burisch, Nicole, ‘Craft Hard Die Free: Radical Curatorial Strategies for Craftivism’, in Elena Buszek, Maria, ed., Extra/ordinary: Craft and Contemporary Art (Durham, NC: Duke University Press, 2011), pp. 204–21, here p. 206.
29 Kelly, Maura, ‘Knitting as a Feminist Project?’, Women's Studies International Forum, 44 (2014), pp. 133–44, here p. 134.
31 McDonald, Helen, ‘Fling Ups and Girly Bits: Feminist Art and the Labiaplasty “Epidemic”’, n.paradoxa, 34 (2014), pp. 28–36, here p. 29.
32 Author interview with Casey Jenkins, Melbourne, 7 September 2015.
33 Morini, Cristina in Power, Nina, One Dimensional Woman (Hants, UK: O Books, 2009), p. 21.
34 Eckersall and Paterson, ‘Slow Dramaturgy’, p. 180.