sports

This is not a major social issue, and I am not going to make it one. Rather, I think the way this story is being presented in the media effectively illustrates how race matters and is constructed in particular social contexts. Among track and field (“athletics”) aficionados, the 100 meters is frequently considered the premier event. At the elite level, the 100 meters is a power sprint, measuring fast twitch, explosive, kinetic energy manifested through meticulously honed technique.

For males, breaking the 10-second mark is still a colossal accomplishment. One might not think so since track and field doesn’t get much media attention in general (at least not in the United States), and when it does, we’re now more accustomed to watching Usain Bolt blast away his competitors, seemingly cruising to numerous sub-10-second performances (his world record currently stands at 9.58). A few weeks ago sprinter Christophe Lemaitre won France’s national competition with a time of 9.98 second, squeaking below that 10-second mark.  A typical headline of Lemaitre’s accomplishment (from Reuters.com, July 9, 2010):

Lemaitre first white man to run 100m in under 10 seconds

And from the article:

PARIS (Reuters) – France’s Christophe Lemaitre became the first white man to run the 100 meters in under 10 seconds when he clocked 9.98 on Friday, the French athletics federation said.

Lemaitre, 20, set his time during the French championships in Valence, southern France.

“He is the first white man to run the 100 meters in less than 10 seconds,” Jean-Philippe Manzelle, French athletics Federation press officer, told Reuters.

There have been other white sprinters who have excelled at the world level in recent years. Lolo Jones comes to mind in the 100m hurdles; Jeremy Wariner dominated the open 400m in recent years. And if we’re talking sprinters of “outlier” ethnicities in general, Liu Xiang of China recently held the world record in the 110m hurdles. But the early discourse around Lemaitre could be a bit more pointed in the way he is being constructed through the media as a great white hope.

When should race matter in sport, and when it does, how should it be discussed? In this case, at the very least, Lemaitre’s race is framed such that his being “white” is of greater importance than his win. As the track and field season moves on and should Lemaitre continue to run sub-10-second times, I expect to see increased media coverage about his whiteness. He is not going to beat Usain Bolt or America’s top sprinters at international competitions. But on the European circuit, I expect he will make waves. Mainstream media discussion of his success or failure should be interesting to follow.

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David Mayeda is adjunct faculty at Hawaii Pacific University in the Department of Sociology and Legal Studies, where he will also come on board as Assistant Professor this coming fall semester.  His recent book publications include Celluloid Dreams: How Film Shapes America and Fighting for Acceptance: Mixed Martial Artists and Violence in American Society.  He also blogs at The Grumpy Sociologist.

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

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.

The New York Times has a neat interactive graph based on data from the American Time Use Survey that lets you look at hour-by-hour time use broken down by sex, employment status, 3 racial/ethnic groups (White, Black, Hispanic), age, education, and number of children (though, unfortunately, you can’t search by more than one category at once). Here is the breakdown for the entire sample:

For people age 15-24:

Watching TV and movies takes up a lot of the time of those over age 65:

You can also click on a particular activity to get more information about it:

Those with advanced degrees spent the most time participating in sports or watching them in person; I suspect that the data might look a bit different if time spent watching sports on TV went in this category instead of the TV category:

Just a note, the averages for time spent at work seem pretty low, but that’s because they’re averaged over all days of the week, including any days off, rather than only days a person actually went to work.

Presumably the amount of time you’ll spend playing around with the site goes under computer use.

Mindy J. and Andrea F. sent in a really interesting project by artist Nathan Vincent.  Vincent recreates masculine items and ideas with feminine crafts in order to upset the gender binary.  He explains:

My work explores gender permissions and the challenges that arise from straying from the prescribed norms. It questions the qualities of gender by considering what constitutes masculine and feminine. It critiques stereotypical gender mediums by creating “masculine objects” using “feminine processes” such as crochet, sewing, and applique.

For example:

More examples of his work at his site.

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 “Sports, Jobs, and Taxes: Are New Stadiums Worth the Cost?”, Roger Noll and Andrew Zimbalist question whether athletic stadiums are a useful or effective means of economic development for communities.* When new stadiums are built, they are often heavily subsidized by taxpayers, particularly by issuing state or city bonds.

Cities do this in the hopes of improving the economy. They argue that new arenas directly create construction jobs and indirectly create more employment opportunities by bringing in fans who patronize local businesses. They also often hope that the prestige of having a new stadium will make the city more attractive to companies looking to relocate, as well as tourists.

Noll and Zimbalist looked at the effects of stadium construction in a number of cities, as have others. They conclude,

In every case, the conclusions are the same. A new sports facility has an extremely small (perhaps even  negative) effect on overall economic activity and employment. No recent facility appears to have earned anything approaching a reasonable return on investment. (p. 249)

However, cities continue to subsidize stadiums, despite the evidence that they aren’t economically practical, as well as frequent public opposition. Among other things, they often face a form of economic blackmail: teams threaten to move to another city that will build them an updated facility, with fancier concessions, luxury seats, club boxes, and the like, if their host city won’t. While the benefit to cities is doubtful, the additional revenue brought in by these luxuries definitely benefits the teams.

I thought of their findings when I saw a video over at Jay Smooth’s blog about the new stadiums built for the Yankees and the Mets. It’s 18 minutes long, but it’s pretty funny and also highlights some of the issues Noll and Zimbalist bring up (particularly why teams want updated stadiums, effects on the local economy, fans’ differing reactions to new facilities, and teams’ threats to move if they didn’t get what they wanted). You might want to skip the intro, which is about 40 seconds long.

Stadium Status from Internets Celebrities on Vimeo.

* Source: Sport in Contemporary Society, 6th edition, edited by D. Stanley Eitzen. 2001. P. 248-255.

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.

Crossposted at Jezebel.

The role of women as both fans of and participants in organized sports has varied greatly in the U.S., as Karlene Ferrante demonstrates in her article* about gender and baseball. In the Victorian Era, a number of women’s baseball teams existed, and some women even played on men’s teams. For instance, Jackie Mitchell joined the Chattanooga Lookouts, a men’s team, when she was 17. In an exhibition game against the Yankees, she struck out Babe Ruth and Lou Gehrig…which people then attributed to them being nice and striking out on purpose. Discomfort with women in baseball increased over time, and eventually softball was created to provide an alternative perceived as being less strenuous and fast-paced.

In baseball and other sports, a taboo against women emerged. Many sports were seen as too rough to be appropriate for women to watch, but players and fans also worried that women presented a threat to male players, who might be distracted by the presence of women and thus not focus exclusively on the game (for a more recent example, see our post about Jessica Simpson and Tony Romo). Many believed that sex sapped a player’s strength, and many players avoided sex for several days before a game. Ferrante writes,

…in the early days of baseball women were allowed to watch games only if they were escorted. Unescorted women, and sometimes even escorted women, were harassed by cursing, spitting [fans]. (p. 249-250)

I thought of this when I saw the article Larry Harnisch (of The Daily Mirror) sent me from the L.A. Times, published on April 17, 1910. The story is about Maud Effinger, a woman who dressed in her husband’s clothing so she could attend a prizefight, which women were barred from attending (she writes about having to slip past police at the entrance):

The story, written by Maud herself, who seems rather saucy (sorry the last image is so small):

I don’t know why, exactly, women weren’t allowed into boxing matches. I suspect it might have been a combination of a belief that it was too rough for women’s delicate sensibilities, that scantily-clad men were inappropriate for them to see, and the taboo against women and their distracting ways. But the fact that she had to go incognito, slip past police, and sit in an area where she wouldn’t attract much attention indicates that the ban on women was taken quite seriously.

* Karlene Ferrante. 1994. “Baseball and the Social Construction of Gender.” Women, Media and Sport: Challenging Gender Values.

When American figure skater Evan Lysacek won the gold medal at the 2010 Olympics, he was the only man on the podium who had not attempted a quadruple jump in either of his two skating programs. The silver medalist, 2006 Olympic Champion Evgeni Plushenko of Russia, was quick to point out that “a quad is a quad. If an Olympic champion doesn’t do a quad, well I don’t know… Now it’s not men’s figure skating, it’s dancing.” Plushenko’s website later proclaimed (though the claim was soon redacted) that his superior performance had earned him a “platinum” medal. Figure skaters and others who heard his comment understood this wasn’t just sour grapes; by questioning Lysacek’s jumping ability, Plushenko was also questioning his manhood.

As Daniel, a former singles and pairs skater, knows from personal experience, when you look below the surface of figure skating, a coded gendering of the sport emerges. Figure skating has both athletic and artistic components, and traditionally these have been apportioned to men and women, respectively. Men are expected to be able to land enormous jumps. Women, on the other hand, are more likely to grab one of their feet and pull it up behind their heads, sometimes while spinning fast enough to set off a nose-bleed, as Mirai Nagasu did in Vancouver. Women’s programs also emphasize a great deal of emotion when they skate, while men are expected to display their athletic strength and power.

This is not to say that women are not expected to jump or that men can be soulless automata, but there are lower expectations for each in the other gender’s territory. A male skater who doesn’t emote passionately can be forgiven if he has a fantastic triple axel, and a woman can even win the Olympics with jumps that aren’t fully rotated. Artistry and flexibility are where women are expected to excel, while boys strive to jump higher and rotate more. To this day, only one woman (Japan’s Miki Ando) has landed a clean quadruple jump in competition, while it has become a mainstay of men’s event. This video shows Ando’s jump, at a 2002 competition:

In the aftermath of his silver platinum silver medal finish in Vancouver, Plushenko questioned the qualifications of Evan Lysacek to win gold without a quad. Aside from being poor sportsmanship, his approach highlighted the deep association of jumps with male figure skating. Though, in the women’s event, Mao Asada completed the technically difficult triple axel on three separate occasions, no fuss was made over her second-place finish behind the ethereal Kim Yu-Na. Kim has strong jumps, to be sure, but what sets her apart from her competitors is that she skates in a way that is graceful, balletic and undeniably feminine.

Ironically, one of the most promising things about a young Evgeni Plushenko when he arrived on the international skating scene in 1997 was his blending of artistry and athleticism. His style was avant-garde and overwrought, and his jumps were magnificent; he had, in skating parlance,”the whole package.” It might seem excessive to map gender onto his performances, but he is famous for being one of the only men to perform the Biellmann spin, in which the skater grabs the blade of one skate and pulls it up behind the top of his or her head.

This was a clear and unabashed case of gender-bending, as the spin had previously been the province of women. The figure skating world, after being sufficiently impressed by the flexibility of his hips, shrugged and moved on. No one thought any less of him for doing a “girly” spin.

Compare this to the skating world’s reaction to two-time Olympic gold medalist Katarina Witt, who was often said to skate “like a man.” Witt had big jumps (and big thighs to go with them), and skated to the soundtracks of epic movies, a practice that was usually reserved for men, while other women tended to skate to classical ballet suites. Witt’s artistic style was also not typical of women skaters: while her competitors demonstrated flowing, balletic arm movements to match their floaty chiffon skating dresses, Witt opted for stronger, cleaner arm movements and famously skated in leggings and a tunic in a program set to music from Robin Hood. She also skated with a stoic bearing that was similar to that of Canadian Elvis Stojko, who won the silver medal in Lillehammer in 1994.

Despite the popular perception of figure skating as a uniformly “girly” sport, there exists within the figure skating world a unique and nuanced code for constructing and understanding gender. In the figure skating world, as in the rest of our culture, that code changes over time, with different representations of masculinity and femininity being rewarded, marked down, or phased out entirely as the sport evolves. And as Plushenko’s comments about Lysacek demonstrated, figure skating’s coding of gender can be invoked by skaters trash-talking their rivals in subtle, but complicated, ways. As yet, Plushenko has made no comment on Lysacek’s upcoming appearance on “Dancing with the Stars,” but it’s not hard to imagine what he might have to say.

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Chloe Angyal is a Contributor at Feministing.com, where she writes about gender in popular culture. She is also a failed figure skater. Daniel Eison is a former nationally-ranked pairs and singles skater who retired in 2005. He is not a failed feminist.

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Gender differences in figure skating are also institutionalized in the form of costume requirements. Women are required to wear dresses, while men are not allowed to wear leggings or sleeveless outfits.

UPDATE: Reader Jeff says,

This isn’t true anymore; “this rule was repealed in 2004, allowing women to wear tights, trousers, or unitards” [1] ([1] http://www.frogsonice.com/skateweb/faq/rules.shtml)

Thanks for the correction!

Related posts: Johnny Weir and Canadian skating gets tough.

A few days ago, a mini-controversy erupted when this vidcap from the sports network RDS started making the rounds. Here’s the Deadspin article. Two Montréal Canadiens fans {nicknamed Habitants or Habs} donned the jersey of a hot prospect, P. K. Subban, who happens to be Jamaican Canadian. They also painted their faces black and wore afro wigs.

Toronto Mike blogged about the incident and one of the Habs fans came on to comment. The words got pretty heated, but in the end, the fan apologized and Habs and Leafs fans once again could resume their hockey-based hatred of one another.

What struck me as interesting was how this drama played out. The French language cable network covering the 11 March game against the Edmonton Oilers chose to air 10 seconds of the two friends. Was the intent to be controversial? Was the intent to be a facepalm moment?  The back-and-forth on Toronto Mike’s blog was interesting, as the polarizing effect of race brought up assumptions about the Habs fan and his intent by commenters. In the end, I thought the Habs fan handled himself well, given how people were responding and what was being said. Toronto Mike did a good job of not divulging the fan’s name. This was one of those rare moments where Web 2.0 seemed to actually foster a dialogue and didn’t degenerate into a protracted flame war. That said, it wasn’t always pretty, but a lot prettier than what one typically sees on news article comments on issues of race, which are often tantamount to text equivalent strangers yelling at each other at the top of their lungs in an open hall.

Here on ThickCulture, we have examined race in the post-racial era. Racism isn’t dead, it’s just gotten to a late stage where there is a consciousness about what is offensive and debates of this now enter into the public discourse space. I get a sense that race gets so intertwined with speech and knowledge structures that it often becomes a confusing and convoluted morass for many. This impinging upon liberties of speech, in terms of what one can and cannot say or should and should not say, creates a tension, which may result in a backlash.

Where are the lines in the post-racial era? Here in Toronto, last fall there was a party where a group of guys dressed up as the Jamaican bobsled team, depicted in the film, Cool Runnings {1993}. This story caused a stir and points were argued through social media comments on whether or not this was racist.

Four guys darkened their skin and one guy lightened his. The Torontoist chronicles how the story unfolded and offers a tutorial on what blackface is and its cultural significance. The students offered their explanation for their choice of costume:

First and foremost we would like to apologize if anyone was offended…Throughout our childhood, Cool Runnings was something we reflected on with fond memories and therefore in the process [of] choosing Halloween costumes, seemed to be a promising candidate. With this idea in mind, we took notice of how the primary cast, consisting of four black characters and one white character, coincided with our group ratio of four white and one black member. This sparked the idea to add another comedic element to the costume, and have the black student go as John Candy and the white students going as the four bobsledders. At this point, several of us was already of aware of what blackfacing was and therefore took out various means of investigation to further our knowledge of the topic and ensure that what we were doing be doing may not be considered similar in anyway. The conclusion that we came to that simply painting our faces dark brown would not be a portrayal of blackface….understand that we did not act in a negative or stereotypical manner [at the party]. We acted ourselves the whole night, and did not internalize the characters.

Here’s the theatrical trailer for Cool Runnings:

University of Toronto Sociology professor Rinaldo Walcott offered a different take:

I think that in particular [Cool Runnings] became a part of the popular culture imagination of [white] Canadians in a way that [they] took responsibility for that film as though it was somehow an extension of them. And one of the reasons that I think Canadians identified with that film so deeply is because that film weathered something that many white Canadians come to believe strongly—that black people don’t actually belong here. That we are an insertion into a landscape that is not actually an landscape where we naturally fit.

For black people who understand this history [of blackface], Cool Runnings was never a funny film; it in fact replicated all of the techniques of blackface. It is in fact one of the ways that we have come to see that blackface does not require painting of blackface anymore. Just look at the work of Marlon Riggs. We know that in North America there is a deep resonance around producing images of black people that make black people look disgusting. Cool Runnings is a milder version of that. So we should ask… why do they remember Cool Runnings so fondly?

Post-racial means navigating these choppy waters where intent collides head-on with history and its interpretations. Not to get all postmodern here, but while the metanarrative is dead, social media is a site where clashing mini-narratives that structure perceptions of the world, culture, society, etc. battle it out. I think the fellow Contexts blog Sociological Images is a social media site where clashing mini-narratives are de rigueur. I’m wondering if we will ever “get over” issues of race. I’m beginning to think we won’t, given globalization, etc., but perhaps it’s due to the fact that what this is really all about is identity.

What troubles me more than this is when the “right” language is used by individuals doing so strategically. The talk is talked, but the walk isn’t walked. That’s a topic for another blog.

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Kenneth M. Kambara interests and expertise include social media, innovation strategy, environmental sustainability, business and marketing, sociology, urbanism, critical theory and economic sociology.  His insights (and unexpected pop culture segues) can be found on the fellow Contexts blog, ThickCulture, and on his own blog at rhizomicon. Like every good social media guru, he also tweets.

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

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.