sex

Many of you have probably by now seen this video of a group of young girls dancing to Beyonce’s Single Ladies on the World of Dance tour.  Huong L., Jeff S., and Dmitriy T.M. sent it in and asked us to comment on it.  First, the video… which is stunning:

I think I’ve watched this a half dozen times and I’m mesmerized.

But to the analysis…

After the Single Ladies video came out there was a rash of parents uploading videos of their kids dancing along to the video.  We featured a particularly impressive example of a preschool-aged girl dancing to the video and offered it as an example of how kids are active agents in their own socialization.  You might also apply this idea to this video, sent in by Heather B. (which I am not going to comment on because I can’t figure out the context).

Certainly children do make choices about what to mimick.  In a culture that highly sexualizes young girls, we shouldn’t be that surprised when they make choices that we find incongruent with (our beliefs about) childhood.  The World of Dance routine, however, is not simply an example of children being active in their own socialization and responding to the powerful messages of self-objectification aimed at girls of all ages.  In this case, many, many adults were instrumental in producing the product: their dance teacher(s), the choreographer, their parents, and the producers of the tour, to name the obvious.  These girls are performing a highly sexualized routine because many adults chose to sexualize them.

For more examples of the sexualization of young girls, see our posts on sexually suggestive teen brands, adultifying children of color, “trucker girl” baby booties, “future trophy wife” kids’ tee, House of Dereón’s girls’ collection, “is modesty making a comeback?“, more sexualized clothes and toys, sexist kids’ tees, a trifecta of sexualizing girls, a zebra-striped string bikini for infants, a nipple tassle t-shirt, even more icky kids’ t-shirts, “are you tighter than a 5th grader?” t-shirt, the totally gross “I’m tight like spandex” girls’ t-shirt, and a Halloween costume post.

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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.

One example of the pervasive sexualization of beer is the ubiquitous personification of “blond” ales as blond women.  Tom Megginson at Change Marketing made this observation and collected a number of examples of this particular example of the gendering and sexualizing of food:

See more at Megginson’s post.  See also our other posts on gender and beer 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.

This being the opening weekend for Sex and the City 2, it seems like a perfect time for this video of sociologist Tracy Scott, from Emory University, discussing the cultural impact and contradictions of the SATC franchise. Enjoy!

Thanks to Nicole J. for sending it in!

Penny R. and p.j. sent in a link to the American Able project. A description from the artist’s website:

‘American Able’ intends to, through spoof, reveal the ways in which women with disabilities are invisibilized in advertising and mass media. I chose American Apparel not just for their notable style, but also for their claims that many of their models are just ‘every day’ women… Women with disabilities go unrepresented…in most of popular culture. Rarely, if ever, are women with disabilities portrayed in anything other than an asexual manner, for ‘disabled’ bodies are largely perceived as ‘undesirable’…

Too often, the pervasive influence of imagery in mass media goes unexamined, consumed en masse by the public. However, this imagery has real, oppressive effects on people who are continuously ‘othered’ by society. The model, Jes Sachse, and I intend to reveal these stories by placing her in a position where women with disabilities are typically excluded.

The goal is admirable. Individuals with disabilities are routinely ignored in pop culture, and if depicted, they are often either mocked or are devoid of sexuality (notable examples being the documentary Murderball and the depiction of a character in a wheelchair on the TV show Friday Night Lights, though both focus solely on men with disabilities who generally have relationships with women who do not).

That said, it brings up the eternal question regarding artistic endeavors, particularly those aimed at undermining prejudices: does it work? The idea here is to show a woman with disabilities in sexualized contexts and use humor to counter popular conceptions of those with disabilities as asexual (and parody American Apparel in the process). As with any use of parody/irony/etc., it poses a dilemma. Will viewers get it? Will they grasp the intent and look at the images through that lens? Will it lead some people to question why they might find these photos shocking, why a woman with a disability shown in sexual situations would be surprising, or the reason for any discomfort they might feel when looking at them?

Or will people respond by ridiculing Jes, or even feeling disgusted? Will they look further into those feelings and why they might have them? Will it change anything?

And how do you decide if it’s worth it? If half of viewers engage in some introspection and examining of their own prejudices, and half don’t, is that a sufficient trade-off? If 90% of people ridiculed the images and it reinforced their belief that bodies of those with disabilities are undesirable, but 10% would think about how women with disabilities are de-sexualized, or that American Apparel presents a very narrow range of body types as “normal,” everyday women, would you feel that you had accomplished something significant? Is it the artist’s responsibility to care?

Similar questions have been posed about photos of individuals from Appalachia: do they humanize people often depicted as backward “hillbillies,” or do they actually reinforce perceptions that everyone living in the area is poor and rural?

How do you negotiate the use of art to make social statements (whether questioning prejudices, pointing out inequalities, or humanizing stigmatized groups), considering that once you put something out in the public domain, you have little control over how people interpret it and whether they take from it the opposite message you intended, perhaps even ridiculing your subjects as a result of your project?

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

Cosmopolitan Magazine has been around since 1886 so it has seen quite a great deal of change over that time. The evolution of The Cosmopolitan Magazine into what is known today as Cosmo shows just how dramatic that change has been. In its early days, The Cosmopolitan was billed as a woman’s fashion magazine that included articles on the home, family, and cooking, but also included articles like “Some Examples of Recent Art” and “The Progress of Science.”

Later it became more focused as a showcase for new fiction and published works by authors like Upton Sinclair, Sinclair Lewis, Kurt Vonnegut, Willa Cather, and H. G. Wells. Typically, each issue would have five to eight short-stories, a full novelette, a full short novel, and some article on fashion and health. During this time, the cover art was almost exclusively illustrated — even when the covers featured celebrities.

With the introduction of television, there was a drastic decline in the demand for fiction-based magazines. In response to the waning sales there was a radical shift in the direction of Cosmopolitan. In the mid sixties, Helen Gurley Brown stepped in as editor in chief. She brought with her the message of sexual freedom for single women, and started replacing the cover illustrations with photos of young models in minimal clothing.  Sales increased as a result.

Since then the magazine has become more sexually centered. It still features many articles on having pleasurable sex and maintain fulfilling relationships. There is a much greater emphasis on how women can make themselves more desirable to men. One look at the website reveals the tone of the magazine. These are the first three articles listed:

“4 Traits Men Find Irresistible”
“What Men Secretly Think of your Hair and Makeup”
“What You Should Do if He Cheats”

The late Kurt Vonnegut (who had multiple short stories featured in Cosmopolitan in the fifties) had this to say about the magazine: “One monthly that bought several of my stories, Cosmopolitan, now survives as a harrowingly explicit sex manual.”  Indeed, browsing through the cover art of the past few years gives one the impression that there are an infinite number of sex positions. It is hard to feel sexually liberated while reading a magazine that talks about the vagina (or Hoo-Ha) like it’s something you can buy at a pet store. They have also been criticized for perpetuating a nearly impossible standard of beauty and for retouching models to make them appear thinner.  Today Cosmopolitan retains almost no reminants of its origins. It is fascinating to see how it has shifted with the culture and how our culture has changed because of it.

Sources: here, here, here, here, here, here, and here.

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Lauren McGuire is a SocImages intern and an assistant to a disability activist.   She recently launched her own blog, The Fatal Foxtrot, that is focused on the awkward passage into adulthood.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Orion submitted this gorgeous music video for the song, Tightrope, by Janelle Monae, featuring Big Boi. It’s a great example of how dancing doesn’t have to be sexualized or gendered by movement or attire. It’s just creative and interesting and mesmerizing!

On a completely different note: Any dance historians out there? To me this looks to be inspired by the adaptations of Charleston in Black America (Trankey Doo, Shim Sham, etc), like in this clip featuring Al Minns and Leon James (it’s filmed in 1961, but these dances emerged in the ’30s and ’40s):

I’d love to hear more about the evolution of this kind of movement.

UPDATE!  Thank you so much to our Reader, Anna, who is also a dance scholar and was able to give us some history in the comments thread:

Dance scholar here! I really enjoyed the dancing in the Janelle video. It should be read as an homage to rhythm dancing of African-descent from the 1920s through new Jack Swing (kidding, not sure there is a cut off date). The historical footage is in fact cited in Janelle’s video and as one poster pointed out, the dancing in her video is stylized as if it were being done on a tight rope… In my opinion (cause other scholars might see different things based on their training) her dance has some Camel Walkin’ mixed in with some dancehall hip articulation and a big dose of James brown, to be sure.

As for the claim that you cannot get from Al Minns and Leon James to 2010, that is shortsighted, very short! We get James and poppin and lockin and jazz itself from a peculiar mix of Bambara ethnic dances (modern-day Senegal, The Gambia, & Mali) and dance cultures of the people of the Kongo region (Angola, DRC, Congo among others) that intersected in New Orleans during the slaving period. You can also add in there “shipping music,” hybridized forms of music that emerged on slave ships with their transnational crews drawn from Europe, Africa, and the Mediterranean.

The hips and 6/8 syncopated shenanigans come to us from Kongo culture (but the Irish had some there, too). The Charleston, jitterbug and other high kicking dances come from the Senegal region and still reflected patterns from mandjiani in particular. Origins are always tricky, I try to avoid staking big claims based on them, but this conversation string was peculiar in that discussions of ethnic origin were not possible because race and gender were eliding the historical work done in Jenelle’s video. Yes I know the question was about gendered movement. And like a lot of the other folks, I am wondering while a male normative is held as neutral.

That said, from a dance perspective, the moves in Janelle’s video are without gender assignment, but there is an expectation that one’s gendered identity will be, must be expressed through the execution of the moves. That is the evolution of these forms which still have strong gender-based repertoire in Senegal. The Congo, people tend to do the same moves. The men MOVE their hips. It is de rigeur in pop as well as “traditional” dance music.

The last bit of the two guys dancing together was a comedy routine, a send up of a very famous dance riff from a couple in Harlem. I think that original “duet” appears in “Stormy Weather,” but I am not sure.

Thank you for putting up the two videos!

Thank YOU for your insight Anna!

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.

It’s all over the web: Fox and ABC have resisted airing Lane Bryant’s new lingerie ad featuring plus-sized women (e.g., Adweek).  But I don’t think it’s, straightforwardly, because of a bias against fat women.  I think it’s a little more complicated than that.  I think it’s because the ads are scandalous… that they seem more overtly sexual than they would if they featured very thin models.

Think about it. In the media, the thin, young, beautiful, able-bodied white woman is the idealized woman. And the idealized woman is sexy, indeed, but not sexual. Sexy women attract attention; they inspire desire, but they don’t have desires of their own.  A sexy woman hopes that a man will like the look of her and take action.  But she’s not sexual.  She doesn’t take the action herself.  Doing so immediately marks her as suspiciously unfeminine.

Sexual women — women who have desires and express and act on them — are almost always presented as deviant in some other way. They’re working class, they’re Black or Latina, they’re mentally ill, or… they’re fat. Fat women are often characterized as sexual threats.  How many comedies have relied on the scary fat woman (of color) trying to get some?  It’s so funny, right?  Because she’s gross and aggressive!  She wants you and she doesn’t care what you want and so the fact that she’s fat doesn’t stop her.  Scary!

So, there is something innocent and asexual about very thin women.  As the feminine ideal, they are sexy, not sexual.  They incite desire, but they do not have it.

In contrast, fat marks a woman as overtly sexual.  She is a woman with appetites and, you better watch out, she might just eat you up.

This, I contend, is what is so scandalous about plus-sized women in lingerie. They are just too damn hot for TV.

Here’s the commercial:

What do you think?

UPDATE: Maura Kelly, a PhD Candidate in the Department of Sociology at the University of Connecticut, let us know that Fox did air the commercial on April 28th. Thanks for the update!

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.

Below a pro-birth control public service announcement, by a sex-ed-type organization called Sex Really, that makes the argument that all men are total assholes, therefore women should make sure they use birth control…

…but they should still have sex with them of course!  Duh!

Trigger warning for sexist language:

Source: Salon, via Jezebel.

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.