Menstuff® has compiled information and books on the issue
Nadia Kamil Does Burlesque: Why can't burlesque express whatever you want it to express?
Itty Bitty Titty Committee Full Movie (Comedy, Drama, Romance)
The New Look of Feminism
Feminist 'All About That Bass' Parody 'Bitch In Business' Might Be Better Than The Original (Includes 3:48 video)
A Directory of Feminism
51 Pretty Shocking Facts That Make Things Harder For Every Woman You Have Ever Met
Pain and the misprescribed cure
Homosociality, pro-feminism, and the support of other men
Andrea Dworkin Dies
The Feminine Mistake
'Women Against Feminism' Parody Twitter Account Says 'LOL No Thanks' To Gender Equality
After 50 years, a controversial calendar surprised the world in a wonderful way.
The New Look of Feminism
"Much of women's art worldwide is often interpreted as a criticism of patriarchal practices in "developing countries" - a term now considered politically incorrect - when, in fact, 'many of these countries experienced women's movements long before the United States, along with their independence movements.'
"For many women artists, it has been a struggle to find the right balance between the traditions and cultures of their birthplaces and the esthetics and politics of the mainstream contemporary art world. Many are addressing personal experiences or making work directly reflecting the conditions of women in their homelands. Yet, wary of falling into didactic categories, few want to be labeled "feminist," although they often show the influence of such wide-ranging feminist artists as Carolee Schneemann, Miriam Schapiro, Barbara Kruger and Cindy Sherman.
"I am working with these contradictions," says Egyptian-born artists Ghada Amer. She emerged in the mid-1990s with subtle and lyrical works portraying homemakers or porn stars (appropriated from popular magazines) stitched across the surfaces of raw canvases. Her Private Rooms (1998), displayed excerpts from the Qur'an, detailing prohibitions for women. In the canvas Red Diagonals (2000), images of women in various sexual positions are loosely embroidered across bright splashes of color. Despite the obvious parallels to works by other American women artists, such as Sue Williams and Elaine Reicheck, Amer distances herself from didactic examples of feminist art.
"I started with the proposition that feminism had failed, but it was a positive failure, meaning there were still things to work on," says Amer. She moved to New York in 1994. Ironically, she found the French theoretical approach to feminism to be as stifling as the growing Islamic fanaticism back home in Egypt, and she struggled for a way of expressing this contradiction in her art. She discovered the solution when in 1988 she stumbled upon a sewing magazine. "It was a special issue for Muslim women, sort of Vogue for the veiled woman," she recalls. "I didn't want to address the issue of the veil like, 'Oh, those poor women, they need help,' as if in the West, we had all this freedom. I had to find a way to address extremism - both feminism and religious fanaticism and their parallel problems with the body and its relationship with seduction."
Another artist who juxtaposes fabric and sewing with issues of the body is Kim Sooja, 44, now based in New York after living most of her life in Seoul. Her early work resembles 1970s feminist performance art. A Needle Woman consists of eight video monitors, each showing Kim standing on a street corner in a different locale - Cairo, Mexico City, Lagos, London, Bali, Shanghai, Tokyo and New York - her back to the camera, remaining absolutely still and unfazed as people variously shove, rob or simply ignore her. Her work, once regarded as explicitly feminist, now appears to bear on a broad range of issues, not least, the distinctions between foreign and familiar - how to retain a distinct ethnic identity in the midst of international travel and modernization.
"Feminism is part of my nature as a woman artist, but I never wanted this to be my only intention," says Kim. "My work is more about globalism, which is really all about locality, because keeping a specific identity, a local identity, is becoming a big issues as the world increasingly becomes bland, having no character at all, no mystery."
"There are some very important women artists addressing the issues of being female within their culture," observes Dana Friis-Hansen, chief curator at the Austin Museum of Art. "I challenge the idea of 'global feminism' and would say that there are 'feminisms' which artists are tapping into depending on personal and local situations." To underscore his point, he draws attention to the feminist art movements in Japan and to the artists who eventually became major international stars, such as Yoko Ono and Yayoi Kusama. More recently, Miwa Yanagi and Almine Rech, who has been making an impact with her digital "elevator girls" surrealistic views of the young, omnipresent hostesses in Tokyo's shopping malls. But, notes Friis-Hansen, the artists he met while working in Japan in the early 1990s would have been shocked to be called feminist - that is, except for Yoko Shimada, who, he says, "has made work addressing the role of women in Japan during World War II, akin to Rosie the Riveter in the U.S., and more recent work about the prostitutes who served U.S. servicemen after the war."
By contrast, Berni Searle from South Africa finds her identity as a black woman inescapable. "I see my own body, so it is inextricably tied to issues of gender, but it is also connected to race and class," says Searle, who acknowledges the influence of her work of American artists such as Lorna Simpson and Pat Ward Williams. For her "Colour Me" series, Searle created large-scale photographs and video installations of her body stained with spices and ink. In the video Snow White, the artist sits under a drizzle of flour until she is entirely covered, then scoops up the white powder and kneads it into a loaf of bread, a performance that can be read either as a meditation on the subjugation of women or as an ironic comment on the current politics of reconciliation in South Africa, which asks its citizens to blithely build a future out of the ashes of apartheid. Searle, who continues to live and work in Cape Town, is acutely aware that audiences in Europe and the United States may find her image exotic. "Using my body is a tricky thing to do because it can reinforce stereotypes," she says, explaining that to ward off simple voyeurism she intentionally inserts an element of confrontation into her self-portrait.
"Searle is dealing with issues relating to women, race, color, language, and specific questions about South Africa's recent history," says Oguibe, a Nigerian-born curator and artist living in New York. He points out that while Searle's work is esthetically beautiful, it is also an entry into the complex history of Africa and other regions. For example, he explains, being "whited-out," as enacted in Snow White, refers to the official policy of "erasing" indigenous populations in countries such as Australia and Tasmania. The use of nudity, which Western viewers tend to associate with pornography, actually goes back to the anti colonialist demonstrations in Eastern Nigeria in 1929, in which crowds of naked women took to the streets in protest, thereby bringing down the British poll tax.
Nudity is a formidable issue for Indonesian performance artist Arahmaiani, 40, whose works have generated hostility on the part of both Islamic community leaders and political authorities. Her performances and installations examine the violence against women in her own culture as well as in much of the rest of the world, but she has encountered the most resistance in her home country. In 1983, she was sent to jail for a month for drawing pictures of tanks on the street, a creative gesture not appreciated by the Suharto dictatorship. "After I had this trouble, I was kicked out of school and I went to live on the street," she recalls. "It gave me a really clear picture about the society in which I live, especially for women and the weak." But she never backed off from making controversial art projects. In her 1994 color exhibition, "Sex, Religion and Coca-Cola," Muslim viewers in Jakarta objected to her work Etalase, a vitrine in which the Qur'an was displayed beside other international icons ranging from a Coca-Cola bottle to a plastic Buddha. In her performance Dayang Sumbi Refuses Status Quo (1999), the artist slowly undressed and then asked the audience to write words and draw on her body. Instead, some viewers charged the stage and tried to get her to put her clothes back on.
Despite their diversity, these artists have all succeeded in overcoming some formidable obstacles - religious constraints, patriarchal educational systems, isolation from contemporary-art centers, and the disapproval of family members. Nevertheless, "the issues that feminism is concerned with - the representation of women and recognition of women's contribution to culture - are very important to keep on the agenda," says Oguibe, who is concerned that the sudden chicness of "globalism" will sweep other important issues from view. "It is the proverbial Sisyphean task," he says, "but you have to keep at it, because if you let go, it rolls back to the bottom of the hill."
Source: ARTnews, 9/01 www.artnewsonlinne.com
Feminist 'All About That Bass' Parody 'Bitch
In Business' Might Be Better Than The Original (Includes 3:48
Created by three Columbia Business School students, "Bitch In Business" puts a feminist manifesto to the tune of Trainor's "All About That Bass." The students, who are part of a group called the CBS Follies, describe the video as "a love letter to all the badass bitches who arent afraid to be themselves in the business world."
The video itself is a bit sharper than Trainor's pastel-filled, hip-shaking video, and even includes a few slightly NSFW lines, such as: "You say 'Babies are for girls! Business is for boys!'/Try telling THAT to my stay-at-home fuck toy." Other amazing one-liners include, "Making these suits look good while I close the wage gap," and "Gettin called bitch means I'm doing something right." Preach.
It's no secret that sexism is alive and well in the business world (along with many, many other industries). If a woman is viewed as too "abrasive" or too "pushy" she runs the risk of being labelled a bitch, but those same qualities in a man might brand him as a strong leader. Everyday sexism at its finest
We still suggest you play this before any and every upcoming
A Directory of Feminism
Feminist is self-defined. You do not have to have been with a group or organization. Write as much as needed. Some informal, personal story of a feminist event important in your life is welcomed. If you cant remember specific dates, dont let that stop you from filling this out. The Most Important Section is Your Contributions - Questoin 19! Please respond promptly to ensure your inclusion. Just fill out this form and e-mail it to the address below. It's easy!
Maiden Name (If pertinant)
Your name from 1963 - 1975:
Date of Birth: Month/Day/Year
Place of Birth City, State:
Spouse or Partner (optional): Name
The following 5 information questions are for contact purposes only: not for publication in the directory.
Current address: (Street, City, State: ZIP) List all current
Home phone number: (1-XXX-) XXX-XXXX
Office phone number: (1-XXX-) XXX-XXXX
Fax number: (1-XXX-) XXX-XXXX
What year did you enter the Womens Movement? (Entry date must be 1975 or earlier to qualify for inclusion in this Directory. If you meet this requirement, please include your contributions up to the present.)
The primary geographical location(s) where most of your participation took place:
Please check only the boxes below that reflect your primary contributions for which you are providing supporting details in question the next question
Please share your mosst significant contributions to the women's movement below. Type or print your summary in chronological order. Include feminist groups/organizations you founded or worked with, offices held, committees served on, key actions and other important events. Give locations, dates, purpose and results of specific actions whenever possible. State your role in these actions.
Please list your feminist writings, if any. Include book titles, anthologies, magazines, journals and newspapers with names, dates and your role in these publications (writer, editor, author, coauthor, contributor, publisher, production, etc.
If you were ever active in another political movement, which one(s)? (civil rights, peace, environmental, labor, etc.) Please share specifics.
If you have donated or are planning to donate your papers to an archive, please name the archive: (Archive: Street, City, Zip)
Please help us make this directory as complete as possible. List names, addresses and phone numbers of others who should be included in this Directory. (Name, Address, City, State, Telephone)
Please provide information on any dead feminist leaders who should be in the directory to ensure their place in history. Include dates of birth and death, major contributions and other information called for in this questionnaire that you can provide. I hereby give non-exclusive rights for use of the above information in the The Womens Movement: Pioneers of the Second Wave 1963-1975 directory and other Veteran Feminists of America projects.
Signature: (If emailing, just key in your name):
We reserve the right to edit your submission. Please make copies of this questionnaire and distribute it to others, or refer them to VFA www.vfa.us
Mail to: Barbara Love, Editor, 82 Deer Hill Ave., Danbury, CT
06810 or 203.744.6662 or E-Mail
The Feminine Mistake
The Juggle: What prompted you to write this book?
Ms. Bennetts: The media was covering this [opt-out] phenomenon like it was a lifestyle choice. No one was talking about the economic consequences, how hard it was if they try to get back in. Theres gender bias, age bias, bias against mothers, bias against returning workers. I felt as if women were being sold a bill of goods.
The Juggle: In our prior posts, some readers said that financial planning and life insurance could protect wives in the case of a spouses death, illness or a divorce. Do you agree?
Ms. Bennetts: Women can plan for that, so why dont they? Often, it will turn out that they have like four years of life insurance to live on. They are shocked when I say in my speeches that the average age of widowhood in the U.S. is 55. [With divorce], people say, oh just hire a good divorce lawyer . . . if you have been out of the workforce and your husband cuts off your credit cards and you cant pay for groceries, you cant hire a good divorce lawyer.
The Juggle: Do you think your book is actually reaching stay-at-home moms, or is the title a turn-off?
Ms. Bennetts: I have had people call me at home every day for the last five months, including stay-at-home moms, saying theyve read the book . . . If people are not willing to look at information assembled to help them, that kind of denial, to me, indicates a high level of fear.
The Juggle: Why are people angry about this book?
Ms. Bennetts: There is a small, but highly vocal group of affluent stay-at-home moms who are very angry if you question their choice. Im not criticizing or saying their choices are unworthy, Im just saying it has worked out badly for many women who do this.
The Juggle: You just got back from a womens conference in Malaysia. What are women concerned about there?
Ms. Bennetts: The thing that really struck me, contrary to my expectations, was that the parallels between women in Malaysia and women in America were overwhelming . . .Their stories were often almost in the same words I heard from women in Connecticut or Chicago or Indiana, because [that area] has become quite prosperous and the elites are affluent, a lot of women have the same options, so women who have promising careers are quitting to stay home with their kids. And they say, I have four kids under age of 10, my husband left me, I have no way to support myself.
The Juggle: Managing both kids and a career can be tough. Any advice for the long haul?
Ms. Bennetts: Working mothers, by the time they are in
their 40s or 50s, they are happy campers. They realize their kids are
growing up fine, their careers are thriving. They have economic
independence, whether or not they are married and whether or not
their husbands are employed or healthy.
51 Pretty Shocking Facts That Make Things Harder
For Every Woman You Have Ever Met
We had our fact-checkers fact check the hell out of this, and yes, the math at 2:20 is real. And horrifying. If you can watch this and disagree with more than 10% of it, I'll be shocked.
If you are now a feminist after watching this, or just want to see more from Laci, you could Like her Facebook page. And if you'd like to help people understand that feminism isn't coming to kill you but is actually kind of helpful, you could share this. Totally your call.
Apparently, I'm a dude feminist now, so I'm gonna go ahead and do it. But I'm biased what with having a wife of 13 years, a mom, and a very rude but empowered 2-year-old daughter.
Laci Green: The rumors are true. What they've been saying about me. I have to come clean. I, Lacey Green, am a feminist. What? You're a lesbian now? Man hater! Hairy armpits. Say it ain't so. Shhh! It's gonna be okay, those are just stereotypes. I think feminism is both kick ass and super important, and here are a few of my reasons why. I'm a feminist because girls are taught in public school that once she has sex, she'll "loose" a part of herself. Because women who have a lot of sex are sluts while guys are studs. Amanda Todd, Felicia Garcia, Sherice Morales because of the sexism it drove them to end their lives.
I'm a feminist because I was told the first time I had sex it would be painful and bloody. I was terrified! Because one in four young women is assaulted, and society still asks, "what was she wearing?" Because male victims of rape are believed, since guys want sex all the time anyway, right? Cause of cat-calling and street harassment. Because, no, it is not a compliment. I'm feminist, because my first boyfriend sexually assaulted me, and when I went to my friends for help, they called me a slut. Because when I speak at universities about the absolute necessity of consent, there are people in the audience who laugh. Cause boobs are used to sell everything from burgers to soap, but don't you dare breastfeed out in the open. Because this, shocks and terrifies people. I'm not even kidding, you should see some of the looks I get. I'm a feminist because of how much pressure we put on girls to value their appearance above everything else. Because of labiaplasties, boob jobs, hymenaplasties. Because our culture considers it normal to cut off part of an infants' penis.
I'm a feminist because male orgasm in the movies is rated PG-13, while female orgasm is rated R. I'm a feminist because in 2013, there were over 700 bills to regulate a woman's body, and for men, the rightful number, zero. I'm a feminist because the political body making the decisions about my body is over eighty percent male. Wow. Because men occupy the top ranks of not just politics, but every industry in the world. I'm a feminist because jobs. Jobs. Women only hold one in four stem jobs, we hold six percent of t.v. stations, five percent of executive positions in the media. Because when I was younger and I took on a leadership role, all the adults in my life said, 'you're being bossy.' And let's not forget, that sneaky little pay gap.
By the time the average woman reaches sixty years old, she will have made four hundred and fifty thousand dollars less than a man in the same exact position. That's like a fancy ass house. Truck load of chocolate bars, or ten. And hell, I'm not even surprised by it. At my first job, I learned that my less qualified male co-worker was making almost twice as much as me. I'm a feminist because the media told me that women are my competition, destroying my friendships with them for almost twenty years. Because of gender roles. Because that one size fits all binary that shoves us into boxes and erases who we are. I'm a feminist because in tenth grade someone called my best friend a pussy and it tore him up for weeks, and I realized the worst insult was to be compared to a woman. Because boys are shamed for being emotionally open, because that's a "girl thing" and womanhood is weak. Weak! [Laughter]
Nevermind the fact that it was most likely a woman who pushed your body out of her vagina. I'm a feminist because my father never once did the laundry, made dinner or cleaned the house. When I suggested he help, my grandpa told me I was "out of my damn mind." Wow! Out of my mind. Am I taking crazy pills? I'm a feminist because people still say the asexual, bisexual and trans folk don't exist. I'm a feminist because same sex marriage is a no-brainer. Because in thirty-four states it's legal to discriminate against someone who's transgender. Really? Really?
I'm a feminist because representation, it matters! In LGBT folks, women, and particularly women of color, hardly ever have their stories told on screen. I'm a feminist because I believe that the world should be safe for girls, everywhere. Because half the girls in Yemen will become child brides. Because 65% of Brazilians believe that a woman who dresses in revealing clothes deserves to be raped. Because in Saudi Arabia women still can't vote or drive.
I'm a feminist because in every corner of the world, every day, women's bodies are used as a battleground in wars started by men. Raped, beaten, sold into slavery, mutilated, burned with acid. I'm a feminist because when I dare to get pissed off at a justice, I'm just another angry feminist who's on her period. I'm a feminist because there are people who would take these words more seriously...
Male Voice: ...if they were coming out of my mouth.
Laci Green: Most of all, I'm a feminist because I believe in gender equality. My eyes are open. My mind is active. I know we're not there yet. Thanks for supporting me here on Sex plus Babes
After 50 years, a controversial calendar
surprised the world in a wonderful way.
For more than 50 years, Italian tire manufacturer Pirelli has released an annual calendar. Typically filled with pictures of models posing provocatively in various states of undress, the almost always NSFW calendar was the very epitome of the adage "sex sells."
This year, they decided to try something a little different.
The 2016 Pirelli calendar features women ranging in age from 19 to 82, and only one of them is a professional model.
This is a marked difference from calendars in past years that featured the likes of Adriana Lima, Kate Moss, Karlie Kloss, Miranda Kerr, and Rosie Huntington-Whiteley.
But the 2016 calendar lineup shot by Annie Leibovitz features writer and editor Tavi Gevinson, tennis champion Serena Williams, artist Yoko Ono, author Fran Lebowitz, rock legend Patti Smith, famed producer Kathleen Kennedy, businesswoman Mellody Hobson, director Ava DuVernay, philanthropist Agnes Gund, visual artist Shirin Neshat, model (and Pirelli calendar alum) Natalia Vodianova, and comedian Amy Schumer.
The calendar embraces the fact that women come in all shapes, sizes, and colors. It's a feminist statement.
And that seems to be a sentiment shared by many of the calendar's stars. For example, here's DuVernay, the history-making director of "Selma," on what the calendar's shift means to her.
Neshat echoes those feelings with her own statement. What's interesting, however and what might actually be the biggest sign that yes, this is a step in the right direction despite there being so much more progress to be made is how simple these goals seem.
Honoring women based on accomplishment and not solely on youth or appearance shouldn't have to be a statement in and of itself but it is.
There's no real "shock value" in overt, hyper-sexualized pictorials anymore.
"A white, able-bodied cisgendered woman being naked is just not revolutionary anymore," Rookie Magazine founder and editor-in-chief Tavi Gevinson tells the New York Times. "I don't think anyone is going to be like, 'Damn, I wanted those naked chicks.'"
There is no shortage of "naked chicks" in magazines or online. But places that used to use sexualized nudity to draw attention such as Playboy, which has announced a sunset of the magazine's famous nude photo spreads, and the rebranding efforts of magazines like Maxim are finding there can be more success in simply taking things from a more real (and less airbrushed) angle.
The 2016 Pirelli calendar promotes self-love and finding your own definition of beauty.
No, it's not "Real women have curves" or Meghan Trainor lyrics about how awful "skinny bitches" are. Those cases simply trade in one pain point for another. We can do better.
Amy Schumer tweeted her picture from the calendar in which she's wearing nearly nothing along with a perfect rundown of the contradictions women (and all people, really) are forced to navigate on a daily basis.
But during a behind-the-scenes interview, she really summed up what makes Pirelli's 2016 calendar so great: She can see herself in it. Literally.
And while unlike Schumer, you and I may not actually see ourselves in the pages, maybe we can catch glimpses of ourselves a little bit here or a little bit there in the calendar's pages the good, the bad, the beautiful, and the ugly more so than ever before.
2015 saw some great progress for women around the world, and this
is a great way to keep up that momentum in the new year. What better
way to start 2016 than with some love and acceptance?
One of the things about equality is not just that you be treated equally to a man, but that you treat yourself equally to the way you treat a man. - Marlo Thomas