activism/social movements

Many of you may have seen a video featuring Reverend William Barber speaking out against North Carolina’s Amendment One, which banned same-sex marriages (and which was approved by voters on Tuesday). The video is heartfelt and passionate, and is also a great example of the importance of how we frame issues in social movements.

Reverend Barber argues that media coverage of the amendment has asked the wrong questions. Whether same-sex couples should be allowed to get married isn’t the core issue here, he says; what’s really at stake is whether the majority should get to vote on which rights will be guaranteed to those in the minority, a decision he sees as a dangerous standard in a nation that has used it previously to exclude racial/ethnic minorities, women, and the poor from the full benefits and protections of citizenship. This reframes the amendment from an issue about same-sex marriages to a broader question about rights, equal protection, and the dangers of codifying inequality into our governing documents:

Hennessy Youngman kicks around the question, should art be beautiful?

If you liked, more from Youngman:

• How to Make an Art
• How to Be a Successful Artist and How to Be a Successful Black Artist
• Performance Art in the Age of the Internet

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Jay Smooth — always insightful and earnest — praises the movement for justice in the Trayvon Martin case, and points us forward to what’s next:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Abortion is highly politicized in the U.S. (more so than in many other countries) and the fight between those who are in favor of and against available abortion occurs on two fronts.  One is familiar to just about everyone: the effort to overturn Roe v. Wade, the legislation Supreme Court decision that established the legality of abortion in 1973.

The second front, though, is less familiar.  It involves reducing the ease of access to legal abortion. Efforts to increase barriers to accessing legal abortion include passing laws that require minors to notify their parents of an abortion or get their consent, requiring mandatory counseling for abortion-seekers, instituting waiting periods, and discouraging medical schools from teaching abortion procedures.  Some of the issues of diminishing access are non-movement related; others are the direct result of pro-life activism.

I bring this up in order to focus on an additional barrier to access: a reduction in the number of clinics and hospitals that provide abortions.  The map below, based on data from the Guttmacher Institute and compiled by ANSIRH, shows how availability varies by state.  In the darkest states, up to 20% of women live in a county with no abortion provider; in the lightest states, between 81 and 100% percent do.

Living far from the nearest abortion provider is a problem especially for low-income women.  Such women are less likely to have an employer who will give her a day off to travel to the clinic, less likely to get a paid sick day, and less likely to be able to afford to lose even a single day’s wages.  She is also less likely to have a car, making it more difficult to get to a distant location, and less likely to have reliable day care for any existing children.  If the state requires in-person counseling and has a waiting period, it means that the woman must take two days off, travel to and from the clinic twice, and arrange for child care on multiple days.

Reduction in the availability of abortion does not necessarily reduce the number of abortions.  We recently posted global data showing that less liberal abortion laws actually correlate with higher rates of abortion.  The data below, also from Guttmacher, show that were abortion laws are less liberal (largely in developing countries), the rate of abortion is 34/1,000 women oer year, compared to 39/1,000 in developed countries (the difference may look significant here, but imagine how trivial it would look if the horizontal axis went all the way to it’s true maximum of 1,000):

Guttmacher explains that the relevant variable isn’t availability of abortion, but the unintended pregnancy rate (which is surprisingly high in the U.S.).

Barriers to accessing abortion, then, don’t lower the abortion rate.  They do, however, increase the likelihood that an abortion procedure will occur later in pregnancy and guarantee a greater logistic burden on the pregnant woman.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

April 15th was World Art Day.  A museum in Stockholm, the Moderna Museet, celebrated with what appears to be a chocolate and red velvet cake in the likeness of a caricature of member of a generic African tribe.  The cake was designed by an artist, Makode Aj Linde, who wanted to draw attention to the practice of female genital cutting, which occurs in parts of Africa (and elsewhere).  Accordingly, the cake was in the shape of a woman’s shoulders, breasts, belly, and genitals; it was covered in black fondant.  The head was the artist himself, painted black with cartoon-ish eyes and mouth reminiscent of American minstrelsy. Neck coils tied it all together.

The Swedish minister of culture, Adelsohn Liljeroth, was asked to cut the cake.  Playing along with the “art,” she began at the clitoris.  After slicing herself a piece, she fed it to the artist (it’s unclear if that was planned or improvised).  Each reveler carved out more and more of the genitals, revealing brown and then red cake inside.  With each cut, the artist let out a yell and cried.  People attending the exhibit reportedly gawked and generally went along having a good time.

Kitimbwa Sabuni, a spokesperson for the National Afro-Swedish Association, called the cake a “racist caricature of a black woman” and criticized the event, writing:

The “participation [of the minister of culture], as she laughs, drinks, and eats cake, merely adds to the insult against people who suffer from racist taunts and against women affected by circumcision.”

The minister shrugged rhetorically, saying  “Art needs to be provocative.”  On his Facebook page, the artist was nonchalant, writing about the above photo: “This is After getting my vagaga mutilated by the minister of culture…”

I will go on the record saying that this is obviously racist, trivializes genital cutting, is wildly insensitive to women who have experienced cutting, and fails to accord any respect to members of communities that practice genital cutting.  It’s a shameful mockery.

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UPDATE: It occurred to me that it’s possible that the artist intended to trap a mostly white audience into participating in this obviously racist game, all with the intention of revealing that they would.  Sort of like Spike Lee’s Bamboozled, where the fictional African American tv writer, asked by his White boss to write something “Black,” wrote the most racist thing he could think of… only to discover that audiences loved it.  So perhaps the artist meant to provoke the same sort of horror that Bamboozled provokes in its real audience.  And that is provocative indeed.  But I’m guessing that this message will be lost on the vast majority of people at the same time it provides a satisfying opportunity to object to something obviously racist (as I did); meanwhile, more subtle discrimination and institutionalized racism remains un-examined.

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One of my main areas of serious academic research involves trying to understand how Westerners think about female genital cutting, and what motivates them to understand it in the way they do.  I must say, though, that I am at a loss to explain this.  My research on American perceptions of the practice (not Swedish, notably) suggests that we take the practice extremely seriously, framing it as (one of) the worst human rights abuses imaginable.  From this perspective, this approach to raising awareness — from the party-atmosphere symbolized by the cake to the almost comical and obviously fake protestations from the artist/actor — takes the issue far too frivolously for comfort.

Caricaturing Africans, however, and seeing them as lesser humans is also part of what drives American condemnation of genital cutting.  U.S. discourses often frame Africans as either ignorant or cruel.  We routinely dehumanize both women and men in these discourses.  They are seen more as objects of intervention than human beings.  Accordingly, it doesn’t surprise me too much that the (mostly White, Swedish) people viewing the performance felt enough distance from the practice of genital cutting to enjoy their cake.  Nor does it surprise me to hear at least some of them dismiss the concerns of the spokesperson for the National Afro-Swedish Association.

The video, in all its glory:

Thanks to Sharla F., Samira A., and an anonymous reader for sending in the tip to this story!

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

This 48-second ad is a fantastic example of framing, as well as a super-ridiculous blast-from-the-past.  Paid for by the movie theater industry, the ad attacks the idea of cable.  Cable, of course, was going to deliver more content to television sets and potentially compete for the business movie theaters enjoyed. So they frame cable as “pay tv” and counterpose it to “free tv.”  They don’t, you might notice, frame cable as “pay tv” and the movie theaters as “pay movies” because that comparison is not as useful for them.  Instead, without drawing attention to the fact that they charge for entertainment, they try to delegitimate the idea of paying for on-screen entertainment at home.

They also try to argue that cable tv will bring scary monsters into your living room.  So cute.  In an era where millions of instances of pornifed violence are just a click away, it is almost incomprehensible to imagine wanting to make sure that scary movies stayed at the theater.

Via BoingBoing.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

In a collection of alcohol ads from the 1960s and ’70s, Retronaut included an ad that is a nice example of how marketers sometimes co-opt social movements.  In this case, the co-optation works against the movement, sending the opposite message that it intended.

“I never even thought of burning my bra until I discovered Smirnoff,” says a woman with bedroom eyes.   The message, of course, is not that a woman who drinks the vodka will become politicized; instead, it is that Smirnoff will “loosen her up” and facilitate seduction.

We’ve posted other examples of this phenomenon, including a series of Playboy illustrations that co-opted the feminist movement (“Male supremacy is all right — but I favor a different position”) as well as the Civil Rights and Anti-War movements.  We’ve also collected instances of feminist rhetoric being used to market a wide range of products and, of course, there’s always the remarkable “torches of freedom” pro-smoking campaigns.

The bra-burning story, incidentally, is a myth.  In 1968 feminists protested outside of the Miss America pageant; they threw many items deemed oppressive into a trash can: bras, yes, as well as cosmetics, high heels, etc.  They didn’t light the trash can on fire.  The idea that they burned bras was added later, in an effort to link the Women’s Movement to the Anti-War Movement (remember that draftees were burning their draft cards).  The Anti-War Movement was, at the time, being taken more seriously, so the link was meant to give feminism more credibility.  Instead, the idea of feminists burning bras became a humorous cultural trope, hence the ad above.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Hennessy Youngman is one of things-on-the-internetz that validates the entire enterprise. In the fast and fascinating 10 minute clip here, Youngman traces the history of performance art, linking it to Occupy and our contemporary engagement with the internet. Oh, and totally worth watching to the end.

(Hennessy, if you’re reading, I was the one that tweeted at you to do a video about The Levitated Mass.  Nobody could do it quite like you! PS – whisky is my drink too.)

Also from Hennessy Youngman:

• How to Make an Art
• How to Be a Successful Artist and How to Be a Successful Black Artist

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.