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Edu 280 final


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Edu 280 final

  1. 1. Karoline KhamisEDU 280 FinalBody Image, Consumerism & Grrrl Rock:Putting the ‘Y’ in DIY"Except for Joan of Arc and Anne Frank,the thoughts of teenage girls have rarely beentaken seriously."Description: Activities, Videos and Oral Histories that define media, sexism and bodyimage, and encourage critical thought about consumerist images in juxtaposition withbodily self-esteem. (60-90 min)(Slide #1 ^)(Slide #2 v)Materials:Magazines that can be used for an art project; various titles depending on age groupsMiddle school – teen poster mags, cosmo teen, People, Us, 3-4 Local Weeklies, artmags, photo magsHigh school - Glamour, Bust, Maxim, Self, People, Us, Cosmo, Marie Claire, Bitch,Tattoo mags, car mags, 3-4 Local weeklies, Soma/art mags, photo magsScissors – 4-6 pairGlueWrapping paper, Construction Paper, tissue paper (zines)White PaperMarkers and Colored Pencils
  2. 2. (Slide #3)Activities:I. Draw Ourselves - 5 MINUTESTalk about Who I Am: Musician, Activist, WomanHow I became a musician, who I am and What kind of music I play, how playing musicwas a privilege.I wanted to have fun doing it, sometimes feel like im always playing in someone elsesproject, but i have some original material… it is superfun to get paid to do what i love, but ikeep doing it even when i dont get paid… not just a hobby, but a musical, artistic life, muchlike all you young ladies are creating here… I didn’t really discover the underground until istarted to look for women musicians - in 60s rock i found them, then once i looked past 80srock, i couldnt early find the same style of rocker… i wondered why i had to look so hard.thats all i was being offered - on the radio, in concerts, so I had to look elsewhere – locally –but also through vehicles that weren’t readily advertised to me. (Benway Bop - LaterBAlcony)Activism – had some experiences to deal with in high school that led me to ask WHY?About many social injustices.(Slide #4)II. 5 MIN – Break into Groups – by age if restricted..LOOK AT OUR PICS, FIND 3 THINGS WE LIKE, PUT A HEART ON THEM, OR WRITE THEMDOWN, talk about what our favorite body part is and why…(Slide #5)III. 15 MINUTES - Can stay in groups during videosMAKE A LIST WHILE GROUP LOOKS AT MAGS –WHAT DO THE WOMEN LOOK LIKE? Do they look like us? Why or why not?WHAT ARE THE WOMEN DOING? – are they doing anything we do?Video #1 3:09 Mirror In My Mind - pt 1 I FELT ABOUT MY SKIN - AND STILL DO
  3. 3. WHAT MAKEUP REALLY LOOKS LIKE, What airbrush is made ofWHAT WAS PRETTY WAS BAD FOR ME, AND MADE ME UGLIERVideo #2 5:39 - ACTUALLY USE DUCT TAPE AND PHOTOSHOP!Photoshop Effect - this is a health fitness video maker! she already works out and is inher target weight range… she goes on a potshot to show the difference between her realphoto and her photoshopped photo**Go over group answers to above questions –do the magazine images represent us accurately?***What is ‘media? – magazines, internet, TV, movies –media effects on body image –how we confuse consumerism with real bodies…(Slide #6)IV. Riot Grrl Herstory, Zines, DIY & Y!! – 15 Minutes- during the videos feel free to cut up the magazines and find things you might want tomake into collages..Video #3 8 MINUTES.. 2:48(Have it on for video in the background, sound optional after intro "Girl Style Now")"let’s get all these girls to play instruments, take over, change everything!"“All you have to do is sound like yourselves.”Bratmobile member Jen Smith reacted to the violence of the 1990 & 1991 by writingin a letter to Allison Wolfe: "This summers going to be a girl riot." Other reports say shewrote, "We need to start a girl riot." Soon afterwards, Wolfe and Molly Neumancollaborated with Kathleen Hanna and Tobi Vail to create a new zine and called it RiotGrrrl, combining the "riot" with an oft-used phrase that first appeared in Vails fanzineJigsaw "Revolution Grrrl Style Now".[6] Riot grrrls took a growling double or triple r,placing it in the word girl, as a way to take back the derogatory use of the term.[7]“‘Grrrl’ signifies a feisty, assertive girl or woman, who relishes a politicalengagement with feminist issues” (Leonard 117). It’s the youth’s form of feminism that is
  4. 4. both popular and sub cultural. What started in 1991 as a group of women and girls, whowanted to be more involved in the male punk scene instead of just girlfriends of the meninvolved, became women reclaiming their voices (Garrison 156). In other words, it was thefemale punk answer to being ignored. And so, stemming from a much angrier, more honestand straightforward identification of girl the Riot Grrrl Movement was born. Just when “at atime in their lives when girls are taught to be silent, Riot Grrrl demands that they scream”(Rosenberg and Garfalo 810).Two bands, relatively un-known within popular culture, but inextricablyintertwined with the beginnings of the Riot Grrrl Movement are Bikini Kill and Bratmobile.Both bands had their beginnings in the early 90s. During the summer of 1991, Hanna alongwith the members of Bratmobile, created and set in motion, the zine, Riot Grrrl which“quickly became a call to action for increased feminist activity and female involvement inthe punk rock scene” (Wikipedia).But the movement didn’t fully take off until The International Pop UndergroundConvention, otherwise known as IPU, took place in August, 1991 in Olympia, Washington.The first night was designated ‘Girl Night’ which was when female musicians were able toperform, grrrl zines such as Bikini Kill, Girl Germs, Jigsaw and Chainsaw were distributed,and together, the female audience members responded to instances of sexism. Bands suchas Bikini Kill and Bratmobile took the stage along with other performers including Heavensto Betsy, Lois Maffeo, Nikki McClure and 7 Year Bitch. As information about riot grrrlexpanded, networks of women and girls became heavily involved (Leonard 118). FromAugust 20-August 25, 1991, K Records held an indie music festival called the InternationalPop Underground (IPU) Convention. An all-female bill on the first night called "Love RockRevolution Girl Style Now" signaled a major step in the movement. Many people whod onlyknown each other from networking, mail, or talking on the phone, finally met and werebrought together by an entire night of music dedicated to, for, and by women. "play justcause you wanna, no matter what" attitude was one of the most appealing and liberatingaspects of both the 77 punk (male dominated) AND riot grrl movement.Visible signs of the growing movement were evident in the number of new zinesproduced and the increasing number of female bands that began to identify with Riot Grrrls.For instance, in 1991, 162 publications were collected, and, in 1993, 47 new girl bandsstarted up all linking themselves to the term ‘Riot Grrrl’ (118).
  5. 5. After a while, the Riot Grrrl Movement opened up the gig environment as a place formore than just performances. Debates were encouraged, making the space not just an areafor passive viewing, but a comfortable and safe atmosphere for different thoughts and ideasto be voiced. Feminism dress codes were adopted by many, challenging images of typicaland generally acceptable female display. Several ‘Riot Grrrl bands’ even took to personallylabeling their bodies, writing words on their arms and stomachs such as ‘slut’ and ‘whore’.The whole idea of this was to offer a different critique of feminine etiquette, intending toshock and confront gender conformity (121).PEOPLE LOVED IT OR HATED IT - more asking the questions than making a statement, itwas seen as a reaction to more conservative feminist statements of the late 80’s..In addition to the performance space transforming into more of an open forum forwomen to express their dissatisfaction with the male dominated punk rock culture, womenhad other ways of reinventing this new subculture. Moving beyond punk rock feminism,zines popularized. Through them, girls were able to share thoughts and ideas on differentsubjects. Rape, domestic abuse, sexuality and female empowerment were just some of theissues addressed. Riot Grrrl uses zine writing and publishing as a basic method ofempowerment. Most producers are explicit that they do not want to make a profit fromtheir zine. Instead, they simply want to embrace and showcase a rough, self-motivatedpresentation of ideas and images that girls struggle with every day of their lives. Zinesproducers rely on representational strategies developed through the Do-It-Yourself secondwave principals, experimenting with subject matter and format which rejects mainstreampublications and challenges political orthodoxies of all types (Collins 67-8).(Slide #7)V. what is a zine? – pass ‘em out…Riot grrrls momentum was also hugely supported by an explosion of creativity indefiantly homemade cut-and-paste, xeroxed, collagey zines that covered a variety offeminist topics, frequently attempting to draw out the political implications of intenselypersonal experiences with sexism, mental illness, body image and eating disorders, sexualabuse, racism, rape, discrimination, stalking, domestic violence, incest, homophobia, andsometimes vegetarianism.(Slide #8)
  6. 6. A declaration by the band Bikini Kill outlines Riot Grrrl philosophy:BECAUSE us girls crave record and books and fanzines that speak to US that WE feelincluded in and can understand in our own ways.BECAUSE we wanna make it easier for girls to see/hear each other’s work so thatwe can share strategies and criticize-applaud each other.BECAUSE we want and need to encourage and be encouraged in the face of all ourown insecurities, in the face of beergutboyrock that tells us we can’t play ourinstruments, in the face of “authorities” who say our bands/zines/etc. are the worstin the U.S.BECAUSE we are angry at a society that tells us Girl=Dumb, Girl=Bad, Girl=Weak.BECAUSE we are unwilling to let our real and valid anger be diffused and/or turnedagainst us via the internalization of sexism as witnessed in girl/girl jealousism andself-defeating girl type behaviors.BECAUSE I believe with my wholeheartmindbody that girls constitute arevolutionary soul force that can, and will, change the world for real**What is DIY?Another distinguishing characteristic of the Riot Grrrl Movement, and a significantreason as to why most girls take part, as previously mentioned with the zines, is Do-It-Yourself (D.I.Y.). For many, Riot Grrrl is a D.I.Y. community. Within this community grrrl’scan break the rules and challenge something they don’t believe in and still feel comfortablevoicing their opinion, whether it be through a blog, zine, punk music, workshops or anyother avenues of venting. When grrrls feel alone resulting from a disagreement with thecultural majority, there’s a network of people they can turn to and rely on.This ethic of “Do-It-Yourself! (Or you may be misrepresented!)” implies action onthe part of zine producers who seek to express their beliefs and experiences in their ownforums. In other words, the D.I.Y. ethic encourages active participation in the production ofcritical beliefs and practices in a place of passive acceptance or consumption of establishedpolitical norms or representational media (68).But the D.I.Y. doesn’t stop at zines. Conventions were held allowing Riot Grrrls tomeet, exchange zines they produces, and bands performed. Grrrls everywhere began tohold workshops for other grrrls, focusing on topics much like the zines. Grrrls would
  7. 7. gather and discuss and debate, and sometimes just listen, to the stories of other grrrls insimilar situations or facing comparable circumstances. Just like in the zines they sharedwith one another, topics such as eating disorders, self-mutilation, racism and self-defense,among other concerns were thoroughly talked about.Through these conventions and incorporating the D.I.Y. agenda, Riot Grrrls againtook off. More often, technology began to creep its way into the scene, allowing foralternate forms of media and more widespread coverage, reaching grrrls everywhere.Various zines, such as Grrowl! and Bitch made corresponding web pages known as onlinezines, or e-zines. Through these e-zines readers are able to react and interact with theauthor/publisher. Through the e-zines, publishers are also able to link other feministrelated/feminist-oriented web pages. And with it, the internet e-zine phenomenon broughtthe whole new idea of cyberspace as a third wave and Riot Grrrl expression (Orr 39).Race became another issue within the movement. Riot Grrrls were predominatelywhite, middle to upper class. It was an angry, white, female, punk reaction to the maledominated punk scene. Outsiders involved in the movement attempted to deride it andmany disassociated themselves with it completely. Much of the movement was based onword of mouth which tended to be passed along, remaining within the stereotypicalboundaries because of racial segregation (Rosenberg and Garofalo 811).Riot Grrrls allowed girls to have all their rights and opinions. With it, they had theability, and used it accordingly, to vent and share with others their own enjoyments andfrustrations and needs. Though not necessarily victorious on all fronts, Riot Grrrl has beensuccessful in causing girls to have revolutions within and of their lives (841). Riot Grrrl haschanged and will continue to change those involved within the movement, some throughmainstream, while others still through word of mouth and the underground.VI. Active ActivismGrrrls had shows and meetings – discussed political climate and their personalexperiences with sexism, sexual violence, and art.*The political climate of the time included Anita Hill and Clarence Thomas, Reproductivefreedom, Sexual Assault, reproduction* also stories about who they want to be, and what good they want to see in the world,stories about bad things that had happened to them, like sexism or even abuse, music, art,
  8. 8. jobs, family, about any experiences we may have had in music or otherwise**SEXISM - what is it? The belief that one sex or gender is better than another."The Radical Notion that women are people" AND "The Personal is Political"They were attacked onstage at times, couldnt get sound that was good, or wouldnt beplugged in until they said they were single, or were otherwise harassed. "every show weplayed was a war. no crowd control, no manager - bowling alleys"***RADICAL - means system changing, means SEXISM changing"any time a woman picks up a guitar and says, sings what she feels, its a radical act""really important that were girls, that were doing new things."These grrls werent trying to say - do one thing or another, but telling stories is important!Now YOU are creating Herstory on stage and in print..**RECLAIMING MEDIA - doing things as women is important, historically womenwerent allowed to speak in public, hold political office, vote, be lawyers, doctors,musicians, or go to college - they learned from male siblings or went to girls schools whichwere often about etiquette.VII. 10-30 minutes – play some of the Riot Grrl music**Girls can cut up mags if they want and start the zine project- decide how they want to do the project – art, poetry, lyrics- start a discussion topic list, maybe plan a meeting for after their practice**Share last year’s Girls Rock Camp Videospopcorn! music!*This video along with the band Care Bears on Fire were the inspiration behindcreating a presentation for the womyn of Girls Rock Las Vegas. Thank you to the teachersand volunteers of this program for showing me that in order to create an educated, artistic,sustainable course of human action – we must teach girls.
  9. 9. RESOURCESCollins, Dana. “No Experts: Guaranteed!: Do-It-Yourself Sex Radicalism and the Productionof the Lesbian Sex Zine ‘Brat Attack’.” Signs 25.1 (1999) 65-89.Garrison, Ednie Kaeh. “U.S. Feminism-Grrrl Style! Youth (Sub)Cultures and theTechnologies of the Third Wave.” Feminist Studies 26.1 (2000) 141-170.Harris, Anita. “gURL scenes and grrrl zines: the regulation and resistance of girls in latemodernity.” Feminist Review 75 (2003) 38-42.Leonard, Marion. Gender in the Music Industry: Rock, Discourse and Girl Power. Burlington,VT: Ashgate, 2007Orr, Catherine M. “Charting the Currents of the Third Wave.” Hypatia 12.3 (1997) 29-45."Riot Grrrl." Wikipedia, The Free Encyclopedia. 6 Dec 2008, 02:59 UTC. 8 Dec 2008Rosenberg, Jessica and Gitana Garofalo. “Riot Grrrl: Revolutions from Within.” Signs23.3(1998) 809-841.Gillian Garr, Shes a Rebel: The History of Women in Rock and Roll. New York: Seal Press,1992.Chérie Turner, The Riot Grrrl Movement: The Feminism of a New Generation , New York:The Rosen Publishing Group, 2001 (Everything You Need to Know About young peoplesseries)Nadine Monem (ed), Riot Grrrl: Revolution Girl Style Now!, London: Black Dog Publishing,2007.Marion Leonard, Gender in the Music Industry: Rock, Discourse and Girl Power, Aldershot:Ashgate, 2007.