Womyn-born womyn

Julia Serano, writing in 2007, sharply criticized WBW as transmisogyny. She points to a double standard: trans men were allowed in WBW spaces, but trans women were not. In effect, this meant that trans men were treated as if they were women. Serano criticizes the WBW idea as inherently sexist against women, which goes against the very idea of feminism. Preventing pre-op trans women, she says, is phallocentric and objectifies trans women, and countered that butches are well tolerated in the feminist community despite their mannishness. If women can transcend their socialization, she argues so too can women assigned male at birth, adding that the idea that trans women, having been socialized as men, have some unique "male energy" is in fact just making the case that men have abilities women do not, which is anti-feminist.[3]

Author Nadia Khayrallah finds the WBW idea at odds with itself. They wonder how one can choose to be labelled a "womyn", but then claim biological determinism by stating one is born a "womyn".[6]

Throughout the final quarter of the twentieth century, women's music festivals often enacted womyn-born womyn policies. After the Michigan Womyn's Music Festival (MichFest) was described as a gathering for "women born as women and living as women", these intentions garnered wider attention in response to the exclusion of trans women from such events.[11]

In 1977, MichFest's primary owner, Lisa Vogel, issued a letter (co-signed by 21 supporters) to the feminist music collective Olivia Records, objecting to the inclusion of production employees at the festival that were not born female, notably Sandy Stone:[12]

We are writing concerning your decision to employ Sandy Stone...as your recording engineer and sound technician. We feel that it was and is irresponsible of you to have presented this person as a woman to the women's community when in fact he is a post-operative transsexual. The decision to work with a transsexual is one issue in itself; but the omission of this information from the public of women who support you was an unwise choice....We do not believe that a man without a penis is a woman any more than we would accept a white woman with dyed skin as a Black woman. Sandy Stone grew up as a white male in this culture, with all the privileges and attitudes that that insures [sic]. It was his white male privilege that gave him access to the recording studio and the opportunity to gain engineering practice in the first place. He has never had to suffer the discrimination, self-hatred or fear that a woman must endure and survive in her life...How can we share feelings of sisterhood and solidarity with someone who has not had a woman's experience?[12]

After 40 years, the Michigan Womyn's Music Festival held its last event in 2015.[13] This final gathering followed the withdrawal of support by the National Center for Lesbian Rights, National LGBTQ Task Force, and The TransAdvocate nonprofit website, for a boycott against MichFest and its womyn-born womyn intention.[14]

The RadFem Collective, a UK-based radical feminist group, describes its membership as "restricted to 'women born women and living as women'" and promotes womyn-born womyn policies.[15] The statement for the 2015 conference was rephrased in explanatory form to read "RadFems Resist is a women only, feminist event. Our conference is a space for women to share our experiences as women, to politically self organise for women's liberation and to celebrate womanhood in a safe environment. We welcome all women who were raised and socialized as girls to join us...We are gender abolitionists who have been raised and socialized as girls and women *because of our female bodies* in the context of patriarchy."[16]

• Butler, Judith (January 1990). "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory". In Case, Sue-Ellen (ed.). Performing Feminisms: Feminist Critical Theory and Theatre. JHU Press. ISBN 978-0-8018-3969-6.
• Hayes, Eileen M. (2010). Songs in Black and Lavender: Race, Sexual Politics, and Women's Music. University of Illinois Press. ISBN 978-0-252-03514-2.