bodies: objectification

Caoileann A. sent in a great example of the way that women, but not men, are sexualized in our society.  In this case it’s a series of American Apparel ads.  I know, low hanging fruit. This example is extra great, though.

While normally it’s up to the critic to counterpose the portrayal of men and women in our society, in this case American Apparel does it for us. Here are the categories of attire for men and women exactly the way they appear on the website (i.e., side-by-side) as of Aug. 6th 5:46pm PST:

The categories are exactly the same, but the way men and women are posed is strikingly different.  Only “Sweatshirts for Women” shows any commensurability.

This is — all too much — how we look at men and women in our society today. Caitlin Welsh said it nicely:

Women are presented too often not as consumers of the product, but part of the product – a sexy body sexily getting ready to surf, or a sexy body sexily wearing American Apparel. We’re used to seeing women look sexy and undressed in ads, while men in ads tend to just wear the clothes properly while also looking handsome in the face area.

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.

Earlier on SocImages, Lisa Wade drew attention to the tourism industry’s commodification of Polynesian women and their dancing. She mentioned, briefly, how the hula was made more tourist-friendly (what most tourists see when they attend one of the many hotel-based luaus throughout the islands is not traditional hula).  In this post, I want to offer more details on the history and the differences between the tourist and the traditional hula.

First, Wade states that, while female dancers take center stage for tourists, the traditional hula was “mostly” a men’s dance.  While it has not been determined for certain if women were ever proscribed from performing the hula during the time of the Ali’i (chiefs), it seems unlikely that women would have been prevented from performing the hula when the deity associated with the hula is Pele, a goddess. Furthermore, there is evidence that women were performing the dance at the time of Captain James Cook’s arrival in Hawai’i.

Second, while the traditional dances were not necessarily sexualized, they were very sensual.  The movement of hips and legs that are seen as sexual by some visitors, and showcased as such by the tourism industry, certainly existed in early practices.

In fact, the supposedly lascivious and blasphemous nature of the hula prompted missionaries to censure the public practice of hula, and in 1830 Queen Ka’ahumanu enacted a law prohibiting the public performance of the hula. This law was highly ineffective, however, and when King Kalakaua ascended the throne he actively encouraged public hula performances and other expressions of Native Hawaiian culture, earning him the moniker “Merrie Monarch.”

Eventually, a modernized dance emerged that did not incorporate much religiosity and employed modern music rather than chants. This is closer to what you would find at a hotel luau, but differs drastically in costuming and lacks the uncomfortable cloud of objectification associated with hotel-style hula (that is, the focus is on the dance rather than the dancers).  Below are some examples of the evolution.

Hula (men’s dance, traditional):

Hula (contemporary):

These examples of hula, and other Polynesian dances, are vastly different from what one finds in a hotel’s “Polynesian Revue” luau.

Hula (hotel):

In conclusion, it is true that the hula dances, and other dances of Polynesia, have been usurped by the tourism industry and commodified.  The culturally authentic forms, however, still thrive. Native dances are impressive enough without the ridiculous costuming and disrespectful bending of the islands’ histories seen at hotel luaus; unfortunately, it is difficult to find any culturally sensitive displays of Polynesian culture due to the huge influence of tourism over these locations.

*The information in this post was gleaned from various courses I’ve taken at the University of Hawai’i at Manoa. For more information on hula and the commodification of the Hawaiian culture, see Haunani-Kay Trask’s From A Native Daughter.

Sarah Neal is currently working on obtaining her M.A. in English at North Carolina State University.

Originally posted in 2012; re-posted because tomorrow is the 145th Belmont Stakes, the 3rd and final leg of the Triple Crown in thoroughbred horse racing. This is the dark side of the sport.

In humans you never see someone snap their leg off running in the Olympics. But you see it in horse racing.

These words, spoken by the equine medical director for the California Racing Board, summarize the truly terrifying absurdity that is horse racing today.  A team of investigative reporters at the New York Times has found that over 1,200 horses die at race tracks every year in the U.S.  Many of them die immediately after a race, euthanized after their bodies literally crumble underneath them.  Their legs break, unable to withstand the forces that the horses exert upon their bodies.  People in the industry call it, euphemistically, a “break down.” It occurs 1 out of every 200 times a horse starts a race.

All of these horses are being ridden by a jockey who is pitched off when the horse falls.  Moving at upwards of 50 miles an hour, and in the midst of many other horses running at top speed, jockeys are often seriously injured and sometimes killed. Currently there are over 50 permanently disabled jockeys receiving financial assistance from their professional trade association. Jacky Johnson, for example, was paralyzed from the neck down after his horse, Phire Power, broke its leg during a race. He will need a respirator for the rest of his life; Phire Power was euthanized on the track.

Why is this happening? Because we are making it so.

First, race horses are bred in order to run as fast as possible.  Short legs and thick bones slow a horse down, while longer, more delicate legs give them longer strides.  Breeders, then, have an incentive to build horses who are both faster and more fragile.

Second, owners may be putting these horses on the track too young.  Horses typically start getting raced at 2 to 3 years old, very young for an animal with a lifespan of 30 years.  Some argue that the bodies of young horses are not ready to handle the physical demands of racing.  For instance, the 2-year-old horse Teller All Gone broke its leg during a race; it had to be euthanized.

The owners dumped his body at a junkyard.

Third, there is the drug problem.  Many trainers illegally give their horses performance-enhancing drugs.  Many of them are experimental and are not yet or cannot be tested for.  These include “chemicals that bulk up pigs and cattle before slaughter, cobra venom, Viagra, blood doping agents, stimulants and cancer drugs.”

Built for speed and not safety, on the track too young, and amped up on steroids and other performance-enhancers, these horses are pushed to their limits.  Just this week Doug O’Neill, the trainer of I’ll Have Another, the horse set to win this year’s Triple Crown, was fined after his horse tested positive for performance enhancing drugs.

Even more problematic than the doping is the legal practice of giving horses pain-relieving drugs, including cocaine.  These mask the pain signals that would otherwise tell a horse to slow down or be careful on the track and also increase that chances that the track veterinarian will miss an injury when clearing the horse to race. The NYT reports that “[a]s many as 90 percent of horses that break down had pre-existing injuries” and they argue pain-masking drugs “pose the greatest risk to horse and rider.” The Louisiana Racing Commission call it “a recipe for disaster.”

The drugs detailed below are what were given to Coronado Heights in the week before he collapsed and was euthanized on the track:

Horse racing is subject to regulation, but these vary by state and are typically very poorly enforced, bringing us to the fourth reason why we see so much tragedy on race tracks. The punishment for violations is insignificant, sometimes only a warning:

Trainers in New Mexico who overmedicate horses with Flunixin get a free pass on their first violation, a $200 fine on the second and a $400 fine on the third, records show… [the state also] wipes away Flunixin violations every 12 months… To varying degrees, the picture is similar nationwide. Trainers often face little punishment for drug violations, and on the rare occasions when they are suspended, they are allowed to turn their stables over to an assistant.

When it comes down to it, many owners and trainers are willing to risk a horse’s life for the chance at the prize money and the less likely a horse is to win, the less they’re worth to the owner, so the harder they’re willing to push it.

The economic incentive to run horses till they die may seem to apply to the highest stakes racing but, in fact, it’s at the lowest end that we see the most disregard for the safety of horses and their jockeys. In the backyards of those casinos where racetracks are now part of the attraction (often referred to as “racinos”), horses and jockeys are a dime a dozen, and the money gives people a reason to break the rules. Meanwhile, the casino tracks are low profile, so they receive even less regulatory attention.

The use of the phrase “break down” to describe a horse who has snapped its own bones in the process of entertaining and enriching human beings is an indication of how nonchalantly industry figures approach this problem.  It suggests that these animals, and perhaps their jockeys as well, have been thoroughly objectified: cars break down, air conditioners break down, we break down boxes.  The language entirely fails to capture what is happening to these horses.  It may very well, however, describe what has happened to the industry and to the basic humanity of its most culpable beneficiaries.

Death at the Track:

Visit the New York Times to watch “The Rise of the Racinos” and “A Jockey’s Story.”

Lisa Wade and Gwen Sharp are professors of sociology. You can follow Gwen on Twitter and Lisa on Twitter and Facebook.  They have also written about the abuse of Tennessee Walking Horses.

Originally posted in 2008. Re-posted in honor of Women’s History Month. Cross-posted at Racialicious.

The marketing for beach-related vacation destinations often capitalizes on the association of foreign beaches with (partly) naked bathing beauties. This intersection of race, gender, and sexuality that positions the “ethnic” woman as particularly sexually accessible have deep roots in our colonial past in which foreign lands “open” to conquest by the Western world were conflated with foreign women “open” to conquest by Western men.

The “Hula Girl” is a case in point.

Hawaii was colonized by the U.S. and, when the islands became a tourism destination, Polynesian women were transformed into Hawaiian babes ready and waiting to please tourists from the mainland.

One transformation was the hula. Widely understood to be an “authentic” Polynesian tradition, the hula was actually originally mostly a man’s dance. It was religious. It involved chanting and no music. There were no hip movements, just gestures. Basically, it was story-telling.

Today, the men take a back seat to women, who are scantily clad in grass skirts (not authentic, by the way), and perform exaggerated hip movements to music. So the hula is an invention, designed by colonizers and capitalists, to highlight the appeal of “foreign” women.

Despite the constructed nature of the hula girl, she’s been used to market Hawaii for over 100 years.  Here is an image of hula girls sent back to the mainland way back in 1890:

And from the 1940s (from IslandArtCards):

1965, via Jassy-50:

This picture was snapped by my friend Jason at a Trader Vic’s restaurant in 2008:

A Google Image search for “Hawaii postcard” in 2013 reveals that about half include the figure of a woman:

The phenomenon is a common one: women are treated as objects of beauty and aesthetic pleasure — exotified, in the case of “foreign” or darker-skinned women — and used to embellish a place or experience.  While lots of things have changed for women since the beginning of this particular example in the late 1800s, their role as decoration resists retirement.

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.

Originally posted in 2009. Re-posted in honor of Women’s History Month.

Larry Harnisch, of the Los Angeles Times blog The Daily Mirror, sent in this image, published in The Mirror in 1959, that illustrated how women’s bodies were judged in the Miss Universe contest:

Text:

ALL FIGURED OUT–This chart is used by judges as [a] guide in picking Miss Universe. First six show figure flaws, seventh is perfectly proportioned. (1) Shoulders too square. (2) Shoulders too sloping. (3) Hips too wide. (4) Shoulder bones too pronounced. (5) Shoulders and back hunched. (6) Legs irregular, with spaces at calves, knees, thighs. (7) The form divine, needs only a beautiful face.

(I had no idea that I have irregular legs until I saw figure 6. My self esteem is taking quite the hit. I can’t tell if there’s anything wrong with my shoulders, though–I’ll have to ask someone else for an opinion.)

Two points:

First, some people like to suggest that men are programmed by evolution to find a particular body shape attractive.  Clearly, if judging women’s bodies requires this much instruction, either (1) nature has left us incompetent or (2) cultural norms defining beauty overwhelm any biological predisposition to be attracted to specific body types.

Second, the chart reveals the level of scrutiny women faced in 1959 (and I’d argue it’s not so different today).   It made me think of my years in 4-H. I was a farm kid and I showed steers for several years and also took part in livestock and meat judging competitions. I was good at it, just so you know. Anyway, what the beauty pageant image brought to mind was the handouts we’d look at to learn how to judge livestock. Here are some examples, from Kansas State University’s 4-H judging guide (pdf here):

This poor pig has a low-set tail–how dreadful:

It’s almost as if, like superior livestock, beautiful women are a desired cultural product in which we should all invest and be invested. You might compare these to some of the images in our post about sexualizing food that come from Carol Adams’s website.

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

A reader named Caroline sent in a really nice email.  “I just wanted to tell you – again,” she wrote, “how much of an impression you’ve made on my 17yo daughter Eliza.”  She explains that they’d been reading SocImages together for “years (yes, years!).”  We can’t express how much that means to us!

Caroline was inspired to write because Eliza had brought to her attention this image accompanying a story about a high school’s trackable ID badges:

Eliza had noted that, while the male figure was walking more-or-less directly towards the viewer, the female figure was standing with her torso contorted and her hip cocked.

Likewise, @low_hana sent us this screenshot of DC Comics Underoos available for sale. Men are posed like, well, superheroes, but the women twist, fiddle, and turn their backs:

Now, this might seem like a small thing, and unimpressive in the singular.  But, in fact, we see this kind of thing all the time, even in ostensibly objective medical textbooks and anatomy illustrations.  We even see it when only faces are involved, as in this series of movie posters featuring men looking straight at the camera and women looking askance.  Here’s one example:

As these types of images add up in our subconscious, they tell us a story about masculinity and femininity.  It’s a complicated one, but might include lessons like this: men face things head on, while women are uncertain; women pose and men take action;  men are straightforward, women sly.

Thanks Caroline, for sending in another example of such an insidious and largely invisible cultural pattern.  And great job, Eliza, for spotting it!

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.

Over at Feministing, Maya Dusenbery made a great observation about the conservative response to Beyoncé’s Super Bowl halftime show.  Conservatives widely criticized her for sexually objectifying herself.  She made her “sex appeal the main attraction,” said one commentator, who said that Beyoncé “humping the stage and flashing her lady bits to the camera” made her “sad.” Another said that her performance was “tasteless and unedifying.”

Dusenbery notes that the definition of sexual objectification is the reduction of a person to their sex appeal only.  And, ironically, this is what the conservative commentators did to Beyoncé, not something she did to herself.  Sexual objectification is not found in a person’s clothing choices or dance moves; instead:

[Objectification is] watching Beyoncé’s show — where she demonstrated enormous professional skill by singing live, with an awesome all-women band I might add, while dancing her ass off in front of millions of people — and not being able to see anything besides her sexy outfit.

Indeed, these conservative commentators are arguing that Beyoncé’s talent can only be fully be appreciated in the absence of sex appeal (whatever that might look like).  And that is the problem. Dusenbery continues:

These commentators reflect a “culture in which too many people seem to find it difficult to understand that it is possible to simultaneously find a woman sexually attractive and treat her like a full human being deserving of basic respect.”

Right on.  To me, Beyoncé’s performance — along with those of her band mates and fellow dancers and singers — embodied strength and confidence; the pleasure of being comfortable in one’s own skin and the ability to use your body to tell a story; and the power that comes from being admired for the talents you’ve worked so hard to cultivate.  I don’t see how you could watch this and only see a sexual object:

Via Racialicious.

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 an earlier post, Caroline Heldman offered a typology of objectification. No. 6 was a conflation of a person with a commodity.  This photo of a display at the 1936 Los Angeles Electrical Exposition seems to qualify, but somehow that doesn’t make it any less charming!

Hat tip: Retronaut.

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.