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The stuff you can find on tumblr these days.  I applaud the trenchant analysis of gender and what being a woman (performing femininity) is like in much of western society.

“Why do you want to look like a man?”

I wear clothing from the men’s section of the clothing store. My leg hairs are longer than most of the hair in my head. I never wear any makeup, no matter if I’m going out to buy bread in the morning or if I’m going to a party. People often call me “sir”. Others hurl slurs at me, sometimes calling me a “dyke”, sometimes calling me a “faggot”, both showing their disapproval of my physical presentation. I see little kids asking their mothers, in whispers, if I am a boy or a girl. And people ask me all the time, why do I want to look like a man?

The answer is simple. I don’t.

And I do not look like a man.

I look like a woman who refuses to perform femininity.

My unshaven legs do not make me like a man, they’re MY legs, and MY hair, and I am a woman. My “boy’s” clothes are worn on my body, the body of a woman. My naked, unpainted face is the face of a woman. I am a woman, and this is not defined by a haircut or a choice of attire, or by lipstick or high heels, or boxer briefs and men’s deodorant worn over fuzzy unshaven armpits. There’s nothing manly about me.

I am a woman, not by choice, but by fact. Because “woman” is a reality imposed to me, from the day I was born and given a woman’s name, to the day I was six and I was told I couldn’t take off my shirt in a blazing hot summer day because one day I would have breasts, to last night when I walked home in a state of hyper-awareness, my house keys tightly clutched between my fingers, tracking the movements of every man in the dark streets.

I am a woman because, since before my own birth, when an ultrasonography picture informed my parents that I would be born with a vulva, I have been groomed to be a member of the woman class, the breeding stock class, the sex class, the lower class. I was taught to be accomodating and speak softly, to not bring attention to myself and to spare men’s feelings. I was taught that the boy who pulled my hair and threw his toy train at me, aiming for my head, probably did it because he liked me, and boys will be boys anyway. I learned that, if I did the same to him, I was a troublemaker. That my assertiveness is unladylike. That one day I would bear some man’s children, and this was pretty much destiny. That my worth was in my looks, more than in my brain. I am a woman because I was taught all these things, and I am a woman because people expect me to know these lessons by heart, and follow every one of them.

When people ask me why do I want to look like a man, what they’re actually asking is why am I not marking myself as a woman. They’re asking why do I fail to perform the role of femininity, to make myself pleasing and unthreatening to the eyes of the upper class, the man class. My mother once voiced her concerns to me, that my looks would make me a target for male violence, and she is right to be concerned. I am perceived as a member of the lower class who refuses to bear the marks and play the role imposed to me. I refuse to shave my legs to look like a pre-pubescent girl, innocent and vulnerable, or to wear shoes that force me to walk on the tips of my toes, slow and precariously balanced, and this makes men angry, because this is a counscious act of rebellion. This is me saying I am not theirs. I will not please them. I do not desire their approval or their attention. And men often get violent when we refuse to cater to them.

My choices of visual presentation make me a cautionary tale. I am the hairy, ugly, lesbian feminist, the one they warn other women about. “Don’t be like her”, they say, “or no man will ever want you”. But I don’t want them either, and I do not want to look like them, or be like them, or have anything to do with them. I want to be free from men and their bullshit standards. I want to strut around proudly, shamelessly unladylike, looking like a woman looks when she’s not covered in face paint and restrictive clothing, when she doesn’t care about pleasing men.

I do not look like a man, and nothing will ever make me look like one. I am pure, unadulterated woman. I choose myself over them, I choose women over them. If that makes them hate me, so be it. Because I am a woman, they would hate me no matter what I did.

[Source:Shamelessly Unladylike]

   Ah..patriarchy the gift that keeps on giving – like metastasizing cancer.. ;/

 

“Madness and witchery… are conditions commonly associated with the use of the female voice in public, in ancient as well as modern contexts. Consider how many female celebrities of classical mythology, literature and cult make themselves objectionable by the way they use their voice. For example there is the heartchilling groan of the Gorgon, whose name is derived from a Sanskrit word garg meaning “a guttural animal howl that issues as a great wind from the back of the throat through a hugely distended mouth.” There are the Furies whose highpitched and horrendous voices are compared by Aiskhylos to howling dogs or sounds of people being tortured in hell. There is the deadly voice of the Sirens and the dangerous ventriloquism of Helen and the incredible babbling of Kassandra and the fearsome hullabaloo of Artemis as she charges through the woods. There is the seductive discourse of Aphrodite which is so concrete an aspect of her power that she can wear it on her belt as a physical object or lend it to other women. There is the old woman of Eleusinian legend Iambe who shrieks and throws her skirt up over her head to expose her genitalia. There is the haunting garrulity of the nymph Echo (daughter of Iambe in Athenian legend) who is described by Sophokles as “the girl with no door on her mouth.”

Putting a door on the female mouth as been an important project of patriarchal culture from antiquity to present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death.

                                                                                                                                      -The Gender of Sound, Anne Carson
SIREN-SONG

social-norms-300x225“The effect of chivalry then is to reinforce sex roles, a system geared to the creation of dominant males and submissive females. Students in our “Psychology of Women” classes have routinely argued that the act of a man opening a door for a woman has nothing to do with sexism it’s simply one person being polite to another. If they are right, then men should feel complimented when women (and men) open doors for them. To test this presumption, we ask the women in the class to open doors for men and the men to wait at doors until a woman opens the door for them. We also ask them to record the responses they receive. (we also ask that you the reader do the same). The women learn that there is a sizable minority of men that refuses to go through a door held open for them by a woman, becoming irate if the woman insist on “just being polite.” Even more insulting to men is when a man opens a door for another man. We have to ask ourselves then, why are men insulted when women and/or men open doors for him? The conclusion can only be that the man that is allowing the door to be opened for him is then forced into the role of being passive and thereby forcing him in the role as “female” and this is perceived by the man as demeaning.

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Accept this innocuous challenge ladies?  Report back in the comments section, if you dare…  :)

 

patriarchy

 

An interesting lesson in patriarchy.

Men can be gay and want to get married.

Men can’t get pregnant.

[Source:Radicalfeministuprising]

image

Snapped at a red light on the way home last week

This ad only makes sense in the presence of the following cultural subtext:

Women’s anger is not valid in the same way that full adult humans’ (i.e. men’s) anger is valid.  You don’t need to get to the root of the problem and address it; just spend the right amount of money to show you love her.  She couldn’t possibly be having a reasonable reaction to being treated badly, she’s just feeling insecure or jealous or maybe on her period.

Dancing season is rapidly coming to close.  Not a moment too soon, I must heartily add,  as I will miss nothing about the hot chaotic mess that is hosting a Dance Festival.  Children running, crying, scurrying about, being chased by frazzled Moms – all to the backdrop of shitty canned music and the omnipresent sickly smell of too much hairspray.  One can feel the anxiety in the air as troops of children are herded about for their stiltedly choreographed time on stage.  So many shades of awesome; but not the reason for this post today.  Today we look at the larger issue of the replication of the patriarchal beauty standard via the innocuous vehicle known as the teen Dance Festival.

Daughter Crying while being attended to by Mom.

Daughter Crying while being attended to by Mom.

I see this happening multiple times during the festivals I work.  A distraught daughter being made up by her Mom in preparation for some sort of dance routine that will be judged and graded during said competition.  Young girls being preened and made up to look like something they are not.  Not all, as in the above picture, are really that into the entire process.  Yet, the show and the make-up must go on.  They are groomed into dancer approved appearances like this:

childdancers

Step 1

 

Or this:

 

 

 

 

teendancersmadeup

Step 2

The question I have is this – how important a quality is ‘sexy’ for female dancers?  The pictures provided certainly seem to prioritize a certain look: Lithe, heavily made up, and much skin showing.   Does this standard apply to all dance?  Of course not, but in dance festival land as I’ve seen,  step 2 could be considered the norm.

Against the backdrop of our societies standards, “step 2” can send a ruinous message to girls/women about how they should look to be successful in their personal pursuits and society in general.

How did dancing get to be like this?  We need only to look at the standards set by society in general for women.

Errr...yah.

Errr…yah.

childmakeup1The cultural transmission of these toxic norms is carried across generations – the norms ingrained on the mother are inscribed onto the daughter as she grows up and looks to her mother to help cope with being female in our society.  So, the in the dance festivals I observe, I can see this transmission of patriarchal norms in action.  Small children are plucked and primped, made to wear revealing clothing and generally forced to embody what is considered to be ‘sexy’ as per the male-gaze.  This process is only made possible with the cooperation and willingness of older women to groom their children into what has been deemed as an acceptable female pursuit by society.  It is a vicious cycle that needs to be examine more and unpacked to find ways in which dancing can be made less of a grooming tool of the patriarchy and more of an actively fun pursuit for children who want to express themselves in a venerated art-form.

Let it be said that I am not against the art of dancing, but rather, the poisonous patriarchal outer shell, that has encased much of the art-form within its clutches.

 

 

 

 

 

 

 

Another great strip from Tatsusya Ishida.

sinfest2015-05-17

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