intersectionality

Larry Harnisch, of the Daily Mirror, who spends a lot of time at his job going through the L.A. Times‘ archives, found this story from 1969:

Of course, most airlines had strict requirements for flight attendants’ physical appearance, including weight limits and guidelines for hair and makeup. But Renwick argued that her hair was much shorter than many White flight attendants’ hair. Many in the African American community felt she was being punished not for the length of her hair, but for wearing it in a natural style instead of straightening it.  United eventually paid her $5,000, “endors[ed] the Afro hairstyle,” and offered her her job back, and offer she did not accept.

Also check out our recent post on Chris Rock’s documentary Good Hair.

In a completely unrelated post, I found this advertisement for the movie Staircase on Larry’s blog:

Text:

What makes a man live with another man? What makes them claw at each other…humiliate each other…yet never leave each other?

Under the title “Staircase” it says “the story of a marriage made in hell.” Larry says, “Rex Harrison and Richard Burton play two hairdressers who live together…”

Larry’s post also includes a review from September 26, 1969, that contains the following memorable phrases (the image is too small to read if I post it here, so click over to Larry’s post to see it):

…a pair of querulous old queans [sic]

They are bitchiness itself…

…two failed half-men…

…the boys’ ghastly mothers…

…what, with the deepest of ironies, is called the gay world.

That’s something else, eh?

Max shoes advertises its sturdy laces with sexualized and racialized violence in this Swiss ad:

NEW! Penny R. sent in these ads for Bisazza tiles.  They were banned in England, but she saw them in a waiting room in the U.S. in a magazine called Wallpaper:Both via Copyranter (here and here).

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

We posted earlier about the biology behind the controversy over Caster Semenya’s sex.  Germán I. R.-E. and Philip Cohen (who has his own post on the topic) asked that we comment on her recent makeover.

Some sociologists argue that gender (as opposed to sex) is really more about performance than it is about our bodies.  That is, we do gender and, when we do it in ways that other people recognize, everyone feels satisfied.  This is, perhaps, what Caster Semenya’s handlers were hoping for when she submitted to a makeover for South Africa’s YOU Magazine:

Notice that Semenya carries the same body into this photoshoot, but she is properly adorned with make up, feminine clothing, jewelry, a passive pose, and a pleasant and inviting facial expression (because to be feminine is to be accommodating).

Perhaps more importantly, the copy and the interview tells the reader that Semenya likes dressing up and looking pretty, another important indicator of both femininity and non-masculinity.  The cover says:

WE TURN SA’S POWER GIRL INTO A GLAMOUR GIRL – AND SHE LOVES IT!

(Notice, too, the implication that power and glamour are opposed.)

This insistence that Semenya feels (or wants to feel) feminine, as well as looks it, is mirrored in the text (as summarized by the Guardian):

It carries an interview with the 18-year-old student. “I’d like to dress up more often and wear dresses but I never get the chance,” she says. “I’d also like to learn to do my own makeup.”

The lifestyle magazine quotes Semenya’s university friends saying that she wants to buy stilettos and have a manicure and pedicure. Semenya adds: “I’ve never bought my own clothes – my mum buys them for me. But now that I know what I can look like, I’d like to dress like this more often.”

You magazine says that, after the photoshoot, Semenya told her manager that she would like to buy all the outfits she had modelled.

So, in the face of the leaked and unconfirmed finding that Semenya has undescended testicles and higher levels of testosterone than the “average” woman (see note at end*), there is an assertion here that what matters (i.e., the measure of sex that we should attend to) is her gender identity (feeling feminine) and her gender performance (doing femininity).

Anna N. at Jezebel points to how the public interest in Semenya’s sex may have pressured her, and those around her, to play this gender game. She writes:

…up until now, Semenya and her family have been unapologetic about the way she looks and dresses. Her father said that she had always preferred pants, but that she was still a woman — and the idea that she has to put on a dress and lipstick to prove her femaleness to people is pretty depressing.

It is also something that almost all women in Western countries do everyday.  We perform gender, in part out of habit and in part consciously, all the time.  Semenya hasn’t cared about this performance and that is at least in part why the controversy over her sex is taking the form that it is.

* Note:  The release of male-related hormones, androgens, isn’t the whole story here.  Cells must also have the relevant receptors for the presence of the hormones to matter.  Semenya likely is lacking some of those receptors, either in her whole body on in parts of her body, because her body obviously didn’t respond to the hormones (otherwise she would have a penis and scrotum).  My point here is dual: (1) the presence of testicles and testosterone doesn’t tell the whole story and (2) even if we knew the whole story, it doesn’t tell us if she is female or male.  What if her body doesn’t detect the presence of those androgens?  What if it reads the presence of some of them, but not others?  What if she is chimera or mosaic?  All these are interesting questions biologically, but the answers will not tell us whether she is male or female because sex, like gender, is a social construction.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

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.

We often present a single example of a cultural pattern.  If you’re a member of the relevant culture, that single example might ring true.  That is, you might recognize it as one manifestation of something you see “out there” all the time.

But it’s still just one example and it’s not very convincing to someone who is skeptical that the cultural pattern exists, especially if it’s subtle.

But one advantage of this blog is that it’s cumulative.  We can put up single manifestations of a cultural pattern and, even if it’s not very convincing at the time, the other evidence on the blog (and the evidence yet to come) may sway some skeptics.

In that spirit, I offer you this screen shot of the front page of the Gap website (borrowed from stuff white people do).

Notice that there is only one black woman included and she is wearing the “curvy” jean.  This could be random, but I am going to suggest that it’s not.  For more examples of black women’s butts and thighs being fetishized in U.S. culture (that may or may not convince you that this is a pattern) see here, here, here, and here.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

Miz Belle sent us a set of photos from the September issue (#106) of Numéro, a fashion magazine. The fashion spread, titled “Best Friends” (I found at least one post online saying the two models are, in fact, good friends) features a White woman in at least enough clothing to cover her lady bits posed next to a Black woman whose breasts are on display as she is either entirely or partially naked.

These aren’t even vaguely safe for work.

more...

On the heels of our Frito Bandito post, comes this (I think) 1975 ad for Tequila Gavilan.  Slogan: “One taste…and you’re not a Gringo anymore.”

If I’m reading this ad correctly, both the woman and the man in this ad are supposed to be Mexican. What’s interesting, then, is the different social construction of Mexican men and women. While the male is the familiar “Frito Bandito,” sombrero-wearing fool, the female is a hot, spicy Latina.  Today the Mexican fool is a risky stereotype to pull out, but the hot spicy Latina is still a very common trope.

From another angle, this reminds me a bit of the history of colonization and war. All too frequently, male ethnic others in war are considered enemies, while female ethnic others are considered the spoils of war. So the idea that the racially-othered men are disposable, while “their” women are desirable has a very long history in Western thought (see, for example, Joane Nagel’s great book, Race, Ethnicity, and Sexuality).

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

As you may know, Disney has a movie coming out later this year called “The Princess and the Frog,” a retelling of the story of the princess who kisses a frog that then helpfully turns into a handsome prince for her to marry. The noteworthy aspect of this film, aimed at a mainstream audience, is that the female protagonist is African American. We’ve seen Disney films with non-White protagonists before–“Mulan” and “Pocahontas,” for instance–but to my knowledge there haven’t been any with a Black main character, unless I guess you count the Uncle Remus stuff, and that’s just a whole lot of ick.

While many people have eagerly awaited “The Princess and the Frog,” Disney’s long history of negative or stereotypical portrayals of non-White characters (i.e., “Fantasia“) meant many were concerned about what the final product might be, expressing concerns based on the trailer and other promotional materials that have emerged so far. Margaret Lyons at EW.com says,

Disney’s track record with racism and racist caricature makes me a little nervous when I see stuff like that toothless firefly.

According to Jezebel, “…Tiana was originally a maid named Maddy (to0 close to mammy?)…” And Leontine says,

…based on this trailer, the other things that Black people get to do are voodoo shit, playing jazz and dancing, and making jokes about their butts.  Charming.

For the record, the protagonist is only African American for part of the movie; for a good chunk of it she’s a green frog. But then, doesn’t the princess turn into an ogre in at least some of the “Shrek” movies? I can’t quite recall.

The movie website has a video game. In the game (from io9),

…Tiana, is sent on a mission to retrieve the rich white girl’s tiara, so she can borrow it, but along the way she’s asked to fetch some hot sauce for the gumbo before she has permission to get to the rich girl’s bedroom.

A screenshot of the hot sauce part:

Rebekah R. pointed out a deck of promotional cards handed out at Comic-Con (also at io9). There are some interesting gender and racial elements. Here are Tiana’s parents; note that her mother is “nurturing” while her father is “inspirational”:

Dr. Facilier is a “witch doctor,” practices voodoo, and looks a bit like cartoonish images of pimps I’ve seen now and then:

I did notice that the valet (is that the same as a butler?) for the prince is White rather than Black:

The text for one of the cards says “It’s not in yo’ cards”:

Here’s Mama Odie, the godmother figure, is a “seer” with a snake:

These images and objections are interesting by themselves, but they also bring up some of the difficulties in portraying groups that have historically been stereotyped negatively and occupied a subordinate social status. For instance, the fact that Tiana was originally going to be a maid wouldn’t, on the surface, necessarily be that different from “Cinderella,” in which the (White) protagonist is basically a maid. And there’s nothing wrong with playing jazz or, for that matter, practicing voodoo (which could be seen as very similar to the magic that is so common in kids’ films).

But of course, an image of a Black woman as a maid carries different connotations than that of a White woman doing the same job. There have certainly been large numbers of White maids  in the U.S. as well as other countries; in the late 1800s many female Irish immigrants to the U.S. took jobs as domestic servants. But they fairly quickly transitioned, as a group, into other types of work. African American women were stuck with jobs as maids a lot longer because of job discrimination. The “Mammy” figure, a happy-go-lucky servant pleased to take care of the White family she worked for, was applied exclusively to Black women.

Depicting Cinderella as a maid doesn’t play into pre-existing stereotypes of White women; it’s just an individual portrayal. A Black character cast as a maid, to many people, reproduces an image of Black women that goes beyond the individual–whether the creators intend to or not, such images bring with them associations to the Mammy character and real oppression of African American women in a culture that saw them primarily as servants for more privileged groups.

Disney may have intentionally tapped into those cultural images when Tiana was originally imagined as a maid for a White character (as well as including other stereotypical elements). Or the creators may have unthinkingly reproduced stereotypes because, when thinking about characters to use in a movie set in New Orleans with a Black protagonist, they drew on existing cultural imagery. In the absence of a concerted, thoughtful effort to avoid reproducing them, it’s not surprising that problematic elements show up in TV shows, movies, and so on.

Anyway, this should be an interesting situation to watch unfold when the movie is finally released.

UPDATE: Commenter John Lewis says,

This movie’s worth analyzing, but Gwen’s commentary here is not among the most insightful I’ve read on this blog. From my viewing of the trailer, without knowing much else about the film, I think she’s really reaching.

I don’t know that I’m “reaching,” exactly–we know quite a bit of other stuff about the film, such as the fact that Disney originally had Tiana cast as a maid, and that many people who want this to be a good film are very frightened about how it might turn out, which I think is fascinating in and of itself–but he’s right about it not being the best commentary ever. Meh. It’s free content, people, and this is the first week of classes. My brain works better at putting together a coherent argument some days than others. Taking the post down b/c it’s not my best, or b/c people say I’m off-base, seems sort of intellectually dishonest, like I’m trying to hide anything that gets criticized, so I guess I’ll just leave it up and people can read the critical comments.

And in my defense, it also turns out Disney has recut the trailer and some of the scenes that were in it when I first started writing up some commentary aren’t in it any more. I didn’t realize when I found a link to the trailer after the original link disappeared that it had been changed to leave out some things I found odd in the first one.

See also this post that includes a discussion of concerns that the movie “Up” wouldn’t be popular because it had an Asian lead character as well as our post on gender in Pixar films, gender roles in “Bee Movie,”

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Reading Resist Racism, I found a link to an article in this Sunday’s Washington Post by a journalist by the name of Amit Paley who chronicled her exploration of “tribes” in Thailand.  The article is a study in class privilege, with a global twist.  It begins with the sentence: “You can see almost anything in the world if you pay enough.”

She wanted to see women of the Padaung (or Kayan), who are from Burma but now live in Thailand as refugees.  The Kayan women are famous for wearing brass rings around their necks, leading to the illusion of an elongated neck created by the depression of their collarbone. Paley writes:

Ever since I glimpsed the Padaung as a child in my grandfather’s National Geographics, I had wanted to see these curious women, who suffer painful disfigurement to emerge as graceful beauties.

Her description of human beings, indirectly, as curiosities, combined with the comment that you can see “anything… if you pay enough” (my emphasis) is an excellent example of the objectification of ethnic others.

Paley’s desire to see these women is almost thwarted by the majority of tourist companies in Thailand who describe her effort as exploitative and immoral.  They even suggest that the women are “prisoners held captive in the villages by businessmen” making money off of tourism.  This is confirmed by Wikipedia, for what it’s worth.

This doesn’t stop Paley, who keeps asking until she finds a company that will take her to one of the remote villages in which Kayan women live.

The women she meets confirm that they wear traditional garb, continue traditional practices (such as the brass rings), and are even forced to remain in the villages, in order to attract tourists.  Men, largely, appear to be exempted from earning their keep in this way.

Paley says that one powerful male village member said that the women “must wear the dress because of tradition” and “spoke excitedly about its appeal to tourists and noted that half of the village’s income of $30,000 a year comes from tourism.”

A woman in brass rings told her “We do it to put on a show for the foreigners and tourists!”

Paley finishes with this lackluster reflection:

So is it unethical to visit the long-necked women? It is clearly true that money spent to visit them supports an artificial village from which they essentially cannot leave. On the other hand, many of them appeared to prefer living in virtual confinement as long as they are paid and safe. According to what they told me, their situation beats the alternative of living in a repressive country plagued by abject poverty and hunger.

I don’t feel guilty about visiting the Padaung, but my feelings might be different if I had traveled solely as a tourist rather than as a journalist. And I certainly don’t like their lot in life:  Shouldn’t everyone have the freedom to live and travel wherever they want?

Well, Paley has shown that she certainly does have that freedom.  And she is apparently willing to use her “journalist” identity to justify just about any advantage that her privilege affords her.

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.