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The Right to Breathe: A Guest Post by Carly Anger

Gender inequality in advertising is certainly not a new topic. As an instructor, part of my job is to make sure that my students leave my classroom as better analytical thinkers; one way we do this is through studying the advertisements that they see everyday. My students seem receptive to discussing the damaging way in which media represents a “norm” of how men and women should act and look.

As I was looking for interesting ads to share with my students, I found this ad from Axe, a product from Unilever. The Axe commercials, which usually feature a man with an admiring group of scantily clad women fawning over him because he has just used the product, are at best mildly amusing (I begrudgingly admit) and are at worst dangerous for women everywhere in that they suggest woman are just objects to obtain. However, this ad is different from the other Axe ads and even different from ads that can be considered more offensive than the previously mentioned commercials.

This specific ad, which shows a woman face down in a bathtub full of water, apparently providing sexual pleasure for a man, does not have the right to a face, the right to an identity, or even the right to breathe. The ad is certainly harmful to women, but it also speaks out against sexuality. The man, with what can be interpreted as an entitled look on his face, is not even touching the drowning woman.

I have brought this ad to the attention of several students, friends, family members, and colleagues, many of whom did not share my same concerns. Some found my reference to “drowning” a stretch, pointed out that the woman is “voluntarily engaged” and suggested that I look at the ad with a less literal lens. Perhaps. However, if she is not physically drowning (though it is difficult to imagine that she is not, since after all, she has no access to air), she is certainly metaphorically drowning; she is submerged into an abyss where here identity is meaningless. When not taken “literally” and instead taken “metaphorically,”the results are no better.

The only thing that is missing in order to make the ad the absolute epitome of problematic advertising is a sponge in one of her hands so that she can simultaneously please the man and wash the tub. The advertisement, and many others, is scary in its cavalier attitude about the rights of women. It becomes “normal” for women to be perpetually cleaning and perpetually taking care of others, even at her own expense, or in this case life.

The intelligence of the ad makers and their decision to represent women in this manner is reflected in the bathtub itself. A critical thinker is not only left questioning how a woman could be treated in this brutal manner, but also how the bathtub became full without a faucet.

If this ad has upset you please let them know:
http://www.theaxeeffect.com/contact.html

Carly Anger is an instructor and PhD candidate at Marquette University in Milwaukee, Wisconsin. The subject of her dissertation is American coming-of-age novels with female protagonists published in the 1940’s. Any comments/concerns are welcome.

Feminist Documentaries at MOMA

Last year, Paradigm Shift proudly hosted a screening of Jesse Epstein’s “Body Typed” a series of short films on perfection, including 34x25x36.  If you missed it, 34x25x36 will be screening with pioneering feminist films of the 1970’s at The Museum of Modern Art.

Documentary Fortnight 2011: MoMA’s International Festival of Nonfiction Film and Media
Saturday, February 26, 2011, 1:30 p.m.

The line-up includes the founding documentaries of New Day Films, listed below. New Day was formed by independent filmmakers in 1971, and 40 years later, New Day’s filmmaker owned & operated distribution model is still going strong.

34x25x36 is Executive Produced by Chicken & Egg Pictures in Association with The Fledgling Fund, and received a national PBS Broadcast on POV. Includes music by T. Griffin of the Quavers. Distributed through New Day Films.

Program 97 min. Introduction and discussion with Reichert, Klein, Brandon, Rothschild, Epstein

The Films:
* 34x25x36
2009. USA. Directed by Jesse Epstein. Inside the Patina-V mannequin factory in the City of Industry, CA, the “ideal woman” is crafted out of plastic into a 34 x 25 x 36″ figure. The chief designer notes that the roots of his craft lie in French 19th-century wax figures and in the medieval religious icons. New York festival premiere.  8 min.  JesseDocs.com

*  Anything You Want to Be
1971. USA. Directed by Liane Brandon. In a series of vignettes, a teenage girl discovers that despite her parents’ assurance that she can “be anything she wants to be,” reality sometimes throws a curveball. 8 min.

* Growing Up Female
1971. USA. Directed by Julia Reichert, James Klein. This early film of the modern Women’s Movement was widely used by consciousness-raising groups to generate interest and explain feminism to a skeptical society. The film looks at female socialization through the lives of six women, ages 4 to 35, and the forces that shape them, including teachers, counselors, advertising, music, and the institution of marriage. 50 min.

* It Happens to Us
1972. USA. Directed by Amalie R. Rothschild. This film presents the personal stories of a wide range of women, rich and poor, young and older, black and white, married and unmarried, on the topic of abortion. Some of their stories evoke experiences from before the 1973 Roe vs. Wade Supreme Court decision. 30 min.

Women’s Sexuality Workshop: FREE INTRO NIGHT!

Are you ready to own your sexuality, to reclaim it, heal it and celebrate it? Come explore the current state of your sexuality and possibilities for growth with other women in a safe environment.

Wednesday, March 09, 2011 from 7:00-9:00 PM
Moonheart Healing Arts Center: 59 West 19th Street Suite 3A2A, New York, NY 10011

Amy Jo Goddard is beginning a new session of the Women’s Sexuality Empowerment Apprenticeship on March 22, 2011 in New York City. This program is a serious commitment to your sexual self. It’s a program that fills a gap for women who are seeking a unique environment where they can study themselves intimately. There is no way it won’t transform the women who choose it. In this free introductory night, Amy Jo will help women to assess where they are in their own sexuality and lead them in a guided meditation and interactive discussion. As an attendee, you will be able to ask questions of her and former participants of the women’s sexuality program to see whether the program feels right for you. There is no obligation to take the program, and you will definitely walk away with some clarity about your own sexuality.

Click here for more information and to sign up!

Master Class Writers' Retreat for Women!

Woodhull Institute for Ethical Leadership
February 25-27, 2011
Get inspiration. Get guidance. Get published!
Mention you saw this on Paradigm Shift NYC and save $100!

Join us for a weekend long training program located in our beautiful facility in upstate New York! In this long weekend of writing instruction and one-on-one critique, participants gain fundamental knowledge of developing, marketing and pitching works of fiction and nonfiction.

This is a fantastic opportunity for women of all ages who are interested in writing and publishing! Surprisingly, many otherwise talented fiction/non-fiction writers have never been taught the basic skill of organizing their material – their narrative or their argument – along the lines of a coherent and clear outline. This workshop will provide participants with skills such as jumpstarting your creativity, connecting with an agent, and identifying a winning idea.

We are privileged to have this retreat led by awarding-winning and best-selling authors Barbara Victor and Christina Baker Kline.

Barbara Victor is a journalist who has covered the Middle East for most of her career. She worked for CBS television for fifteen years, has worked at U.S. News and World Report, Elle, Femme and Madame Figaro. She was the first person to interview Moammar Ghadaffi after the American bombing of Libya in 1986, and has interviewed many major political figures in the U.S. and the Middle East. Barbara is the author of five novels and seven non-fiction books.

Christina Baker Kline is the author of four novels, including, most recently, Bird in Hand and The Way Life Should Be. She has taught creative writing and literature at Yale, NYU, Drew, and UVA, and is currently Writer-in-Residence at Fordham University. She is an editor on staff at the social networking site SheWrites and her blog is “A Writing Life: Notes on Craft & the Creative Process.”

*The Woodhull Institute is committed to making it possible for all women to participate in our powerful leadership trainings and writers’ workshops. We offer flexible payment plans, limited scholarships, and need-based financial aid.

Please feel free to contact our Program Coordinator, Rebecca at RMarcus@woodhull.org with any questions regarding this retreat, applying, or about Woodhull as an organization.

"The How and the Why" – A Play About Gender, Power, and Evolutionary Biology

You won’t want to miss The How and the Why, an amazing play featuring Mercedes Ruehl and Bess Rous, presented by the McCarter Theatre in Princeton, New Jersey!

Although the plot focuses on the relationship between two evolutionary biologists, one new to the field, the other “very established,” the play is about much more than what meets the eye.  According to Emily Mann, the show’s director, “The How and the Why is a play about sex and gender, power and age, nature and nurture, loss and love… that compels us to examine some of the unexplored questions of what it is to be a woman… It is also a great relationship play—about two women of different generations desperately trying to find a common ground.

Sarah’s dialogue is sharp and her characters complex; but most of all, her ideas are challenging—both intellectually and emotionally.”

After tomorrow night’s matinee performance, Erica Nagel will be curating “The How and the Why in Conversation: Blazing Trails and Taking Names.” According to Nagel, it will be an “interdisciplinary conversation featuring some pretty amazing folks,” including Jill Dolan, Emily Mann, Franziska Michor, Daniel Rubenstain, Shirley Tilghman, and Gina Kolata.  These individuals are experts in their fields, ranging from molecular biology to gender studies.

For more information about performance schedules and reserving tickets, visit this website!

“Madame Name” – A Poem by Cristina Dominguez

He handed her over
to the knife
and she knew
what it wanted–
to rub against her
to cut raw
what wasn’t
even ripe

He laid her
down
on the board
on the bed
They must be fed
They are starving
and growing
boys

Tolerating the noise
his senseless sex
she shrinks
in my mind
flinching from
the pinch
the pressure
of his pleasure

Pulling the scabs
from her skin
she’d rather bleed out
than heal without a scar
she won’t be
the maiden martyr
the fruit on the
limbs of his whim

She won’t fast,
She hungers
for the flesh
from under his wing
She wants to make poultry
the muscles he used
the patriarchy
he shrouded her in

Unearthing the seeds they spilled
female fingers
plunge into
fertile ground
they check the bulb
they tender it now
and it smells of sweet meat
a sugary sustenance

pouring out from their cunts
onto tangled sheets
ink from inside
where he could not reach
Her signature is far from plain
for pleasure and pain
did not take his name

Tony Simmons Sentenced to Four Years in Prison; Women’s Rights Advocates Celebrate Justice for Young Victims

New York, NY. Tony Simmons – a juvenile court guard convicted of molesting two girls in juvenile detention— was sentenced by Judge Carol Berkman to four years in prison and ten years probation on multiple counts of committing a Criminal Sexual Act and Sexual Abuse.  The judge noted that both the girls’ young ages and the position of Tony Simmons as an employee of the Department of Juvenile Justice entrusted with their care warranted a sentence in the maximum range.

NOW-NYC Executive Director, Sonia Ossorio called the news a victory for all survivors of sexual assault, saying:  “An attacker who was set to get a slap on the wrist will now be serving four years in prison, largely because our community of  women’s rights organizations and anti-violence advocates demanded that rape be taken seriously.”

Just this past November, Simmons had been days away from finalizing a plea deal of probation with no jail time for sexually assaulting three girls in his custody in the Manhattan Family Court Building.  After an overwhelming community outcry against the lenient sentence led by the New York City chapter of the National Organization for Women, Judge Cassandra Mullen changed her offer to 3 years in state prison. Simmons chose to face trial, and on January 21st, Simmons was found guilty by a jury of his peers on 12 of the 14 counts against him:  Criminal Sexual Act in the Third Degree (a class E felony, two counts), Sexual Abuse in the Second Degree (a class A misdemeanor, five counts), and Sexual Abuse in the Third Degree (a class B misdemeanor, five counts).

Ossorio points out, “He almost got away with it. Simmons targeted these girls precisely because he thought they were not in a position to stand up for themselves and that no one would believe them.  Today, he was proven wrong.”

In response to this egregious case and the initial offer of probation for a confessed rapist, NOW-NYC launched a “Take Rape Seriously” campaign to turn up the pressure on the criminal justice system in New York. Nearly 18% of women in the U.S. have survived a completed or attempted rape.  It’s estimated that only 39% of rapes are reported nationwide and only 6% of rapists will spend any time in prison.

“There is an epidemic of abuse happening to our most vulnerable kids, those in the juvenile justice system.  One in eight detained youth has been sexually abused according to a report by the Department of Justice.  Predators like Tony Simmons think these kids don’t matter to society,” said Ossorio.

The National Organization for Women is the nation’s largest organization working to advance women’s rights and improve women’s lives. The New York City Chapter of NOW, founded in 1966, is the largest chapter in the country with 5,000 members locally and 35,000 statewide.  NOW-NYC works to promote women’s reproductive rights, secure women’s economic empowerment, and end violence and discrimination against women.

Must-Read Articles: January Edition

“Ugandan Activist Named on Anti-Gay Hit List Found Murdered” – David Kato, a gay rights activist in Uganda, was found murdered in his home earlier this week.  Last year, his name, address, and photograph, appeared on a list of 100 gay men and lesbians living in Uganda.  This list was intended to incite violence, as evidenced by newspaper captions such as “hang them.”  This article offers great background information, up-to-date news on the current investigation, and more.

Stand with Brenda – As I just mentioned, life in Uganda is simply not safe for gay men and lesbians.  However, Brenda Namigadde, a lesbian from Ugandan, is likely to be deported from the United Kingdom tonight!  Eight years ago, she fled to avoid being “persecution for her sexuality;” if she is forced to return to Uganda, she will likely be harassed, tortured, or even killed.  Sign this petition as soon as possible to ensure that Brenda will be allowed to stay in the UK!

“How Abortion Bans Threaten Womens Lives”Roe v. Wade overturned the abortion ban in the United States in 1973, yet 38 years later, women are still seeking abortions in unsafe environments.  In this article, Patty Skuster and Susan Schewel highlight the reality of this situation by discussing the illegal abortions that were being performed in a certified clinic in Philadelphia.  Even when abortion is legal, there are still many barriers to access that lead women into dangerous, even deadly, situations.

“No Jail Time for Lawrence Taylor” – Lawrence Taylor, a former American football player, was found guilty of having sex with a sixteen year-old girl that was trafficked into the sex trade last year.  Read this article to learn more about Taylor’s sentencing and domestic sex trafficking.

“When the politically fueled murder of a 9-year-old girl in Arizona is NOT national news”

“Stop Murder and Violence Against Sex Workers” – A great article from On the Issues about the treatment of sex workers by the criminal justice system and society at large.

“My First Day as an Abortion Doula” – In sharing her personal experiences, Miriam Perez shows how important doulas are for women seeking reproductive health services.  This article is truly an inspiration!

“The House GOP’s Plan to Redefine Rape”

An Interview with Jessie Fahay: Feminist Activist and Theater Director

Jessie Fahay, the founder of Ripple Effect Artists, recently spoke to us about her production of The Taming of the Shrew.  By adding a feminist twist to the traditional plot, Fahay hopes to encourage audience members to ask questions, get involved, and raise awareness about important issues affecting women.  In this interview, Fahay speaks about the relationship between theater and activism, gender roles, and her upcoming performances.

What inspired you to launch your performing arts company, Ripple Effect Artists?

I knew that I wanted to start a theatre company that would not only allow me to work with the theatre professionals I chose to work with, but also a theatre company that would make a difference in the community and the world.

What is the significance of your organization’s name?

When a stone is thrown into a body of water, it creates a “ripple effect.”  Our company is that stone that dares to ask our audiences bold questions and make a difference, which will inspire others in their circle to take action.  We are out to create a “ripple effect,” of a more connected, loving, communicative, and compassionate world.

What can the audience expect when coming to see your modern-day, feminist production of The Taming of the Shrew?

A lot of laughter, fun, and phenomenal 80’s costumes!  Really, audiences can expect to feel every range of emotion from extreme joy to extreme terror to extreme sadness.

On your website, you say that the roles of women have changed since Shakespeare’s time, but have also remained the same in some ways.  What differences and similarities do you see between these time periods?

This is a pivotal question.  Differences of course include that women are working, women are the bosses of men, and in many places of the world it is no longer acceptable to inflict physical harm on a woman simply because she is a woman.  Also, there are many organizations (such as Paradigm Shift) that stand for the rights and empowerment of women.  Yet, there are still similarities.  One underlying truth is that as powerful as women can be, women often live in fear—even in the United States as well as many other parts of the world.  There are places of power women still have not obtained (i,e, the President of the United States, most CEO positions, etc, etc.).   In addition, in many places of the world, women are still denied education.

Why did you decide to set your version of The Taming of the Shrew in the 1980’s, rather than the present-day?

This was actually the choice of the brilliant director, Jeff Love.  This came from the thinking that the 80’s was the time in which women were first given powerful roles in the workplace.  Yet, it was still acceptable to make comments about a woman’s attire and to make sexual advances on a woman in the office.  This was a decade of a lot of murkiness when it came to women’s roles in the workplace and at home, which is why it works for this production.

Following some of the performances, there will be a panel discussion with women’s rights activists.  Who will be speaking on this panel and what can the audience hope to gain from this discussion?

There are four different panel discussions—one with employees of Paradigm Shift, one with a leader of a new female-empowerment group, one with a life-coach, and one with a female playwright.  The audience will gain information about these organizations and individuals and what exactly they do as well as gain insights into what differences can be made day-by-day.

When people come watch your performances, they are encouraged to recognize different types of inequality and ask questions.  I think this is great because it puts the audience in an active position to make a difference, in themselves and in society.  How do your performances act as a platform for activism?

Thank you for the recognition.  The answer is in the question.  We challenge our audiences by putting on performances that ask questions (not performances that make statements).  We then further challenge them by asking what differences can be made.

What do you hope the future will bring for Ripple Effect Artists?

For the next five years, Ripple effect will produce one or two shows per year following this format with different issues such as gay-rights, abuse, unrequited love, warfare, etc.  The goal of Ripple Effect is to become an Equity Company in five years with an ensemble of actors, directors, writers, and a staff, with the founder acting as the artistic director.

Finding Feminist History in Finding Oz: A Guest Post by Lincoln Alpern

Where’s the last place you’d expect to unearth a heretofore-unguessed chapter in feminist history? How about a biography of L. Frank Baum, author of the classic fairytale, The Wizard of Oz?

The biography in question is Finding Oz, by Evan I. Schwartz, which my mother and I began reading over the holidays. While the focus is, of course, mainly on Baum himself, Schwartz also describes a lot of the political and social environment of the day, as well as Baum’s own social environment. As part of this, Schwartz devotes a fair amount of time to Baum’s wife, Maud Gage, and her mother, Matilda Joslyn Gage.

I’ve never made a study of American feminist history, and neither I nor my mother had ever heard of Matilda Gage before. We had definitely, however, heard of two of her colleagues, with whom she worked closely on many feminist projects over the years: Elizabeth Cady Stanton and Susan B. Anthony.

Here are some of the highlights of their collaboration, related in Finding Oz:

After the Civil War, when prominent feminists formed the National Woman Suffrage Association—with Stanton as president and Anthony “the corresponding secretary”—Mrs. Gage took the post of chairman [sic] of the executive committee.

Gage defended Anthony in the latter’s trial for attempting to vote in the 1872 presidential election. Four years later, in 1876, she collaborated with Anthony on a major PR stunt at the Centennial Exhibition in Philadelphia, celebrating the hundredth anniversary of the Declaration of Independence.

President Ulysses S. Grant had already rebuffed a formal request by suffragist leaders to read a statement at the celebration. But, like all good citizen-activists before and since, Gage, Anthony, and their three companions (who go unnamed in the book) refused to give up when faced with obstruction by an unenlightened authority.

Instead, they infiltrated the ceremony and, at a suitably dramatic moment during a reading from that selfsame Declaration of Independence, Gage and Anthony stormed the podium. Gage carried a scroll listing the suffragist’s demands, which she passed to Anthony, and which Anthony in turn presented to Vice-President Thomas Ferry, saying, “We present to you this Declaration of Rights of the Women Citizens of the United States.”

The suffragists then made good their escape, though not before scattering leaflets amongst the crowd. These read:

“The Women of the United States, denied for one hundred years the only means of self-government—the ballot—are political slaves, with greater cause for discontent, rebellion and revolution, than the men of 1776 … We ask justice, we ask equality, we ask that all the civil and political rights that belong to citizens of the United States be guaranteed to us and our daughters forever.”

Schwartz describes the event as “an indelible scene in American history,” but neither I nor my mother had an inkling of such an incredible scene ever having taken place.

Following this remarkable feat, Anthony, Gage, and Stanton—mostly the latter two—went on to write the first three volumes of History of Woman Suffrage. Ida Husted Harper later expanded the series by another three volumes. Wikipedia assures me History of Woman Suffrage was “the standard scholarly resource [on the women’s movement] for much of the 20th century,” but again, neither I nor my mother had ever heard of it.

On the specific topic of Matilda Gage, Wikipedia explains she “was considered to be more radical than” her two collaborators, Stanton and Anthony. Schwartz adds that she “fought a more principled fight than either of them.”

It sounds like Gage was one hell of a woman. Apart from being a dedicated feminist activist, she campaigned for the abolition of slavery in the midst of the Civil War (back when Lincoln and the Congress were still trying to make the war about preserving the union, rather than ending slavery). She named her son Thomas Clarkson after an abolitionist, and always took pride that her father’s house was a station on the Underground Railroad.

She also stood for the rights of American Indians, though I’m not familiar enough with the New York Indian tribes she wrote of to judge whether her description of their culture is accurate, or Noble Savage romanticism.

Apart from her work on the first three volumes of History of Woman Suffrage, Gage wrote many articles and books of her own, Woman, Church and State prominently among the latter.

Schwartz paints a picture of a woman whose rhetoric was powerful and robust in writing and in oratory, using juicy descriptive phrases such as “her venomous logic.”

Finding Oz also includes a nice selection of quotes from Matilda Gage, such as this one from the suffrage movement’s third convention in Syracuse, 1852: “There will be a long moral warfare before the citadel yields. In the meantime, let us take possession of the outposts. Fear not any attempt to frown down the revolution.”

She also criticized both Christianity as practiced in this country and the US government, referring at one point to “the tyranny of Church and State” and declaring: “The progress of our movement will overthrow every existing form of these institutions; its end will be a regenerated world.” (In later years, her strident criticism of the Church in the US often put her at odds with other leaders of the movement.)

Matilda Joslyn Gage died on March 18th, 1898. Despite such a dynamic personality and her decades of tireless activism, she has apparently faded from our collective memory. Schwartz points out that she “is rarely mentioned in histories of the [women’s] movement. She remains obscure outside her old hometown, where her house has been designated a landmark by the state of New York.”

This is a shame, as it means students of feminism and the population in general are denied knowledge of a fascinating and inspiring figure of US history.

Lincoln Alpern is an off-and-on college student whose passions include social justice and sci-fi-fantasy literature. He spreads his time about equally between Peekskill, New York, and Yellow Springs, Ohio.

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