Jonathan A. Allan, Chris Haywood, and Frank G. Karioris
Analysis of British Expatriate Masculinity in Yusuf Dawood's One Life Too Many
Antony Mukasa Mate
This article examines British masculinity in Kenya. It focuses on British expatriate Sydney Walker, the protagonist of Yusuf Dawood's One Life Too Many, who moves to Kenya at the height of British colonial rule and stays on in the new postcolonial state under black rule. It looks at how he constructs his masculinity among fellow men and in relation to the female other. Walker struggles to retain the colonial masculinity of his predecessors amid shifting terrain. Using the key concepts of hegemonic and subordinate masculinities as presented in Raewyn Connell's masculinity theory, which argues that gendered relationships in institutions are controlled by power, this article examines the diverse masculinities in One Life Too Many and argues that sex plays a major role as an instrument of power that heterosexual men use to dominate other men and subordinate women. It contends that the power dynamics in the sexual arena symbolically represent the shifting power relations in the postcolonial Kenyan state, in which the status of British working-class men had changed due to their loss of political power.
On Aging Bodies, Migration and Youthful Masculinities
In this article, I describe the roles played by society and individual life-history on the aging process of a South Asian artist in Europe. Using participant observation and the life-history method, I look at my informant's emotional practices of aging. The resultant case study delineates his emotional pursuits and his views on what it means to be a man in his early sixties. I start by reviewing anthropological critiques of many of the current taken-for-granted gendered and biomedical conceptions of the aging body. Thereafter, I try to add to the debate surrounding these conceptions by looking into the affective economy of aging that my informant is embedded in. The article is as such an effort to understand the role that affect and emotional practices play in youthful ideals and self-conceptualizations of aging and masculinity.
Bodies, Sexualities, and Masculinities in the Time of Coronavirus
Jonathan A. Allan, Chris Haywood, and Frank G. Karioris
Black Girls as Creators, Subjects, and Witnesses
Erin M. Stephens and Jamaica Gilmer
The bus was full of excited chatter as it pulled up in front of the Metropolitan Museum of Art (known universally as The Met) on Fifth Avenue on a cold morning in January. Thirteen girls, along with invited loved ones, had traveled for nine-and-a-half hours from Durham, NC, to view their art displayed in the exhibit, “Pens, Lens, and Soul: The Story of The Beautiful Project” (hereafter, “Pens, Lens, and Soul”). First, the girls filed off the bus to take a photograph on the steps of The Met. As their family and friends waited to disembark, they laughed and shivered while posing for numerous photographs and videos on the cold steps. As they stood at the bottom of the steps of the grand prestigious museum, the impressiveness of their accomplishment was just beginning to dawn on many of them. As she walked around the exhibit one of the artists would comment, “I feel surprised because I didn’t realize it was this big of a thing and I was here and it’s a thing, it’s a big thing … we are capable of doing anything.”
An Autoethnographic Exploration of Non-binary Queerness, Vulnerability, and Recognition in Step Out
Lara Bochmann and Erin Hampson
This article is a theoretical, audiovisual, and personal exploration of being a trans and non-binary person and the challenges this position produces at the moment of entering the outside world. Getting ready to enter public space is a seemingly mundane everyday task. However, in the context of a world that continuously fails or refuses to recognize trans and non-binary people, the literal act of stepping outside can mean to move from a figurative state of self-determination to one of imposition. We produced a short film project called Step Out to delve into issues of vulnerability and recognition that surface throughout experiences of crossing the threshold into public space. It explores the acts performed as preparation to face the world, and invokes the emotions this can conquer in trans and non-binary people. Breathing is the leading metaphor in the film, indicating existence and resistance simultaneously. The article concludes with a discussion of affective states and considers them, along with failed recognition, through the lens of Lauren Berlant's concept of “cruel optimism.”
Learning from the Testimonios of Young Undocumented Women Advocates
In this article, I discuss the experiences of young undocumented Latinas, aged between 19 and 22, in a university support and advocacy group for undocumented students. While recent research has investigated the advocacy of undocumented youth, there is a lack of attention on the experiences of undocumented women who advocate. To address this gap, I center the testimonios (testimonies) of five young undocumented women to examine their advocacy experiences. As a result of advocacy, the young women gained visibility as immigrant youth leaders, created a pipeline of support for other young undocumented women leaders, and faced disapproval from educators. I conclude by suggesting that schools and educators can foster the leadership of young undocumented women and acknowledge advocacy as a legitimate tool for social justice in education settings.
Roberts, Steven. 2018. Young Working-Class Men in Transition. London: Routledge. 240 pp. e-ISBN: 9781315441283. https://doi.org/10.4324/9781315441283.
The Girl and Youth-Led Street Art Movement to #StopStreetHarassment
Natasha Harris-Harb and Sophie Sandberg
The Chalk Back movement that started in March 2016 is a rapidly growing collective of over 150 young activists from around the world. As part of a university class project, Sophie decided to collect experiences of street harassment, write them out verbatim with chalk on the streets where they occurred alongside the hashtag #stopstreetharassment, and post them on the Instagram account @catcallsofnyc. Two years later, the account gained popularity. Other catcallsof accounts opened in London, Amsterdam, Ottawa, Dhaka, Nairobi, Cairo, and Sydney. These accounts, discussed below, are just a few of those spanning 150 cities in 49 countries in 6 continents. We are two Chalk Back members—Natasha from Ottawa and Sophie from New York City—highlighting the risk, empowerment, and power dynamics of what we call chalking back by amplifying the voices of those doing this work around the world.
Karen Carpenter and the Body-Martyr in Queer Memory
There has been much thought given to role of the body as a site of political, physiological, and cultural negotiation. What place then does the beloved and astonishingly affective singer of 1970s soft-rock, Karen Carpenter, occupy in this weighty discourse? Karen's death from complications related to her eating disorder in 1983 shocked the public, eliciting a new wave of cultural consciousness about the embodied nature of mental illness. But beyond the stereotypical white suburban Carpenters fan, Karen and her story had already become a cult favorite amongst the queer avant-garde as soon as four years after death, a mysterious phenomenon that I argue is decidedly queer in its emotional trafficking of Karen's subjectivity, among other areas. This essay explores the ways in which our bodies double as cultural repositories, as hallowed sites of memory, and as icons of martyrdom with the capacity to emit a healing resonance analogous to their fabricated religious counterparts. I must admit, this paper might also be guilty of occasionally engaging in the typical essentializing tendency toward Karen's personhood. For her sake then, reader, I ask you to ponder the following question with the same aversion to neat finality that you apply to your own story as you flip the page: who really was Karen Carpenter?