Sociological Images

I absolutely love this photograph of a collage on the wall of an activist in the rather new national movement to hold colleges and universities accountable for sexual assault.  Referencing Title IX and the “bigger picture,” it documents cross-college efforts to use the amendment to ensure that sex crimes on campuses don’t interfere with women’s rights to equal access to education.

What is exciting is that this is a national movement. The many college names pinned to the board are just some of the schools that have filed, are filing, or will file Title IX complaints with the Office for Civil Rights. “Oxy” is my school.

I’ve been somewhat involved with Oxy’s role in this movement — the credit goes to Drs. Caroline Heldman and Danielle Dirks and the dozens of survivors who, as part of the coalition, have publicly and confidentially shared their stories — but I’ve had the pleasure of talking to journalists about our case.  Regarding the national movement, they often ask me “Why now?”

Why Now?

This is a tough question to answer and, first and foremost, credit goes to the extraordinary people at the center of this fight, such as Annie Clark, Andrea Pino, Dana Bolger, and Alexandra Brodsky at Know Your IX.  As Margaret Mead famously said:

Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it’s the only thing that ever has.

Importantly, though, the efforts of this small group have been greatly enhanced by the internet and, specifically, social networking sites.  Students (and sometimes faculty, staff, and administrators) are no longer confronting these issues alone.  They are reaching out across campuses and talking with each other; they are teaching each other how to file federal complaints; they are building and sharing templates; they are sharing stories of institutional foot dragging and spin and developing effective resistance and protest strategies.

For example, Annie Clark, who filed federal complaints against the University of North Carolina, helped Profs. Dirks and Heldman at Occidental College file their complaints: “Over the past few months,” she writes:

I have spent countless hours with them on Skype and the phone in order to share information and help the[m] write their complaints. Yet, six months ago, I had never even heard of Occidental College — and many of the 37 women there who filed had not yet heard about Title IX protection against gender discrimination beyond athletics.

These coalitions are creating both activist networks and fast friends. This is a picture of students at Swarthmore (Swat) showing their love for students at Occidental (Oxy). Both campuses filed Title IX complaints on the same day:

As Prof. Dirks explains, this collaboration is a big deal:

[L]earning the stories of other survivors who are actively pushing their colleges and universities to create safe and equitable learning environments has opened the floodgates of what students now feel empowered to do.

This is all possible, of course, because the internet is still at least a somewhat democratized technology. You and I are equals on the internet, at least in principle.  So we all have the opportunity to produce content.  In contrast, other forms of media — TV, radio, movies, magazines, books — typically offer us only the opportunity to consume.

The activists in this movement have a platform and a megaphone, then, metaphorically speaking.  The technology — and our regulation of it in ways that preserve its democratic nature — is helping enable this movement.  Just as the TV made a huge difference in shifting popular opinion about the Civil Rights Movement.  Accordingly, we need to remember this when corporations fight to own and control the internet and its distribution.  For reasons like this one, we should be fighting back with the goal of making the internet a public utility.  Democracy depends on it.

I was so honored to be invited to give the AKD Induction Ceremony Address for the University of Akron this year.  It was an opportunity to give a speech about something in which I deeply believe: the awesomeness of sociology.  So, here it is!

My 13 minute ode to the discipline, featuring (an attempt at) self-deprecating sociology humor and a few personal confessions regarding my own rough start with sociology:

Cross-posted at BlogHer, VitaminW, and The Huffington Post.

At about 1:00 Monday, a quorum of the Occidental Faculty overwhelmingly voted No Confidence in the campus attorney, Carl Botterud, and the Dean of Students, Barbara Avery. I was among the faculty in attendance.

The votes are in response to a belief that these high-level Occidental employees have mishandled sexual assault education, reporting, and adjudication in ways that have harmed individual students and campus culture.

While the motions are symbolic, such measures are quite rare. It is a very powerful statement coming from a faculty united in defense of survivors of sexual assault and their allies. We now wait to see how the College President, Jonathan Veitch, moves forward. The two are currently still active employees at Occidental (that is, not on administrative leave) and Avery continues to chaperone students through the reporting and adjudication process. We are told there is or will be an internal investigation into their conduct.

The vote of no confidence comes on the heels of two federal complaints filed by a coalition of students and faculty and a set of lawsuits filed by Gloria Allred. It is the next step in our personal fight for a better campus, but part of a nationwide movement involving dozens of campuses across the country.

Here at SocImages, we typically use the phrase “cultural appropriation” to describe rather frivolous borrowing of cultural practices and objects for the purposes of fun and fashion.  We’ve posted on examples ranging from the appropriation of American Indian fashion,  the mocking of the Harlem Shake, and an Orthodox Jew-inspired fashion show.

A slideshow of members of the punk scene in Burma, however, offers another version of cultural appropriation.  Their fashion is clearly inspired by the punk scenes of Britain and the U.S., which started in the 1970s.

Accordingly to an interview with Ko Gyi at Vice and an article at Spiegel Online, some members of the sub-culture believe themselves to be rebelling against an oppressive state, others are interested in “non-political anarchism.”  While their music has to pass through state censors, they are talented in pushing their lyrics right up to the limit and deft in using metaphor to get their point across.

This is a fully different kind of appropriation, the kind that is about fighting the establishment, not spicing it up with “colorful” bits of marginalized groups.  It is more akin to feminists and gay liberation activists borrowing the tactics of the civil rights movement.  Alexander Dluzak writes:

In Burma, punk is far more than just a superficial copy of its Western counterpart. Here, what is probably the most rebellious of all subcultures in the Southeast Asian country is going up against one of the world’s most authoritarian regimes.

Cultures can borrow from one another, then, in ways that both empower and disempower.  It will be fascinating to see if this particular appropriation can shape the future of Burma.

Graphic artist Eddi Aguirre takes off Barbie’s make-up:

Why did no one think to do this before!?  I love how creative we humans can be!

At Behance, via Blame it on the Voices.

Cross-posted at Osocio.

We’ve been covering the saga of Russian protest punk group Pussy Riot for over a year now. The feminist collective performed guerrilla musical protests around Russia against Vladimir Putin. One in particular, in a church, ended with members Nadezhda Tolokonnikova and Maria Alyokhina sentenced to two years imprisonment for “hooliganism motivated by religious hatred”. The human rights implications of this sentence attracted much worldwide attention, with Amnesty International and celebrities like Sting, Yoko Ono and Madonna speaking out for the women.

But something else happened. The “Free Pussy Riot” movement, with its iconic knitted balaclavas and provocative language, became a popular meme. The cause célèbre was even appropriated by the fashion industry.

Which is what makes this video by Blush lingerie an intriguing conundrum. While it legitimately promotes the freepussyriot.org fundraising site to help the women, it is also promoting a product using a woman’s sexuality as the bait:

On the first anniversary of the Pussy Riot concert in the Cathedral of Christ the Savior, the Berlin based Lingerie label blush supports the free pussy riot movement with a sexy protest march through icy Moscow (-15° C). Support Freepussyriot.org!

This is no Femen action, in which women’s bodies become weapons of protest. It is a commercial for sexy underwear that pays for its appropriation of a radical feminist cause by directing people to that cause.

Is this irony?

Tom Megginson is a Creative Director at Acart Communications, a Canadian Social Issues Marketing agency. He is a specialist in social marketing, cause marketing, and corporate social responsibility. You can follow Tom at workthatmatters.blogspot.com.

Originally posted in 2009. Re-posted in honor of Women’s History Month; cross-posted at Mental Floss.

Several factors were in play in the 1920s for the emergence of what came to be known as flappers, teenagers and young women who flaunted convention and spent their time pursuing fun instead of settling down to raise children in the prime of their lives. Many entered college or the workforce and felt entitled to make their own decisions about how to live their lives.

A lot of young men did not return home from World War I, which left an entire cohort of women without enough husbands to go around. The horror of the war (and the Spanish flu pandemic of 1918) also impressed young people with the knowledge that life is short and could end at any moment. Instead of staying home preparing to marry a man who might never come, young women wanted to spend what time they had enjoying all that life had to offer.

Movies popularized the image of the fun-loving and free-thinking woman throughout the US and Europe. The 1920 movie The Flapper introduced the term in the United States. The title character, Ginger, was a wayward girl who flouted the rules of society. Played by Olive Thomas, a former Ziegfeld Girl (left), Ginger had so much fun that a generation of lonely young women wanted to be like her. Another role model was stage and screen actress Louise Brooks (right), who also modeled for artists and fashion designers. She was the inspiration for the flapper comic strip Dixie Dugan.

Clara Bow wasn’t the first flapper on screen, but she was certainly a role model for young women of the era. She didn’t play by the rules, and was tabloid fodder for years for her sexual escapades with the biggest movie stars of the time. Bow’s first film was in 1922 and her career peaked in 1927 with the film It. “It” was defined as the sexual allure some girls have and others don’t. Bow’s fans wanted “it”, so they copied her look and behavior.

The rise of the automobile was another factor in the rise of flapper culture. Cars meant a woman could come and go as she pleased, travel to speakeasys and other entertainment venues, and use the large vehicles of the day for heavy petting or even sex.

These young women had plenty of opportunities for fun. Although Prohibition drove alcohol underground, that only added to its allure. Postwar prosperity allowed for leisure time and the means to spend that time drinking, dancing, and hanging out with free thinkers.

Being a flapper wasn’t all about fashion. It was about rebellion. In this article from 1922, a would-be flapper (but still a “nice girl”) explains her lifestyle choices to her parents. Flappers did what society did not expect from young women. They danced to Jazz Age music, they smoked, they wore makeup, they spoke their own language, and they lived for the moment. Flapper fashion followed the lifestyle. Skirts became shorter to make dancing easier. Corsets were discarded in favor of brassieres that bound their breasts, again to make dancing easier. The straight shapeless dresses were easy to make and blurred the line between the rich and everyone else. The look became fashionable because of the lifestyle. The short hair? That was pure rebellion against the older generation’s veneration of long feminine locks.

The party stopped when the economy crashed and the Great Depression curtailed the night life. Although the flapper lifestyle died along with the Roaring Twenties, the freedoms women tasted in that era weren’t easily given up. They may have gone back to marriage and long hours of toil for little pay, but hemlines stayed above the ankle, and the corset never went back to everyday status. And we’ve been driving cars ever since.

Miss Cellania is a newlywed mother of four, full-time blogger, former radio announcer, and worst of all, a Baby Boomer. In addition to mental_floss, she posts at Neatorama, YesButNoButYes, Geeks Are Sexy, and Miss Cellania. Miss C considers herself an expert on no particular subject at all.