This paper shows that the cultural tools used to sustain hegemony can sometimes also be used to rebel against those ideologies. For instance, there are stereotyped depictions of Indo-Fijian women in most Vivah ke Geet (songs of wedding) performed by female folksingers of the Sanatani sect. However, not all the songs fall in this category with some portraying potentially socially subversive content. This paper focuses on some such songs and discusses how these illustrate sanctioning of non-normative language and action in public events. It is argued that the potential for gender subversion is evidenced through such performances as these become revelatory of active agency on the part of the performers. Using Butler’s theory of Performativity as a critical lens the paper argues how failure to repeat norms can potentially lead to its transformation. The paper also reveals how such subversive potential is dealt with by patriarchal authorities and consequently neutralized.

本文表明，用来维持霸权的文化工具有时也可以用来反抗这些意识形态。例如，在 Sanatani 教派的女民歌唱的大多数 Vivah ke Geet（婚礼歌曲）中，都有对印度-斐济妇女的刻板描绘。然而，并非所有歌曲都属于这一类别，其中一些歌曲描绘了可能具有社会颠覆性的内容。本文重点关注一些此类歌曲，并讨论这些歌曲如何说明在公共事件中对非规范性语言和行为的制裁。有人认为，性别颠覆的潜力通过这些表演来​​证明，因为这些表演揭示了表演者的积极能动性。该论文使用巴特勒的表演理论作为批判性镜头，论证了未能重复规范如何可能导致其转变。