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Beholding Ourselves

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.”

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The Rite Journey

Rediscovering Rites of Passage for Boys

Andrew Lines and Graham Gallasch

The Rite Journey is a program to allow Australian Year-9 male students age 14-15 years to share a year-long partnership with a teacher-guide as the boy explores what it means to become a respectful and responsible man. Given the current view that rites of passage need to be rediscovered for young people in Western culture, a feature of the program is specially created ceremonies held throughout the year. These celebration points follow the seven steps of a hero’s journey. Curricular content is based on four topics: relationships with self, others, the divine and the world. This paper recounts the program’s background and form and includes feedback of boys who have participated in the program.

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Andrew J. Webber


This article is concerned with the 2012 feature Lore, which was made in Germany by Australian director Cate Shortland and is based on the story of the same name by Rachel Seiffert. Focusing on a group of siblings and their odyssey across Germany at the end of World War II, the film explores questions of identity constitution and subversion in the transitional ground between childhood and adulthood, in particular as this is registered in bodily experience. The three main sections of this article focus on the family archive (not least through the medium of photography), structures of double identity (in particular around the figure of the German Jew), and aesthetic strategies of representation (especially framing and mirroring). Through these steps, the article probes the ethical, aesthetic, and political stakes involved in representing the passing of children through the violence of history in what the director calls “grey zones.”

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Renée Monchalin and Lisa Monchalin

steps and look to our ancestral teachings. During a conversation over the phone one evening, a particular teaching made our experiences in academia make sense. The teaching is the Anishnaabe Seven Fires Prophecy, which is composed of seven predictions

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Sexy Health Carnival

One Small Part of Indigenous Herstory

Alexa Lesperance

actions and steps we take to survive, but rather to provide support and love, as our ancestors and spirits have taught us well to do. The carnival, since its birth in 2012, has become so much bigger than me as many other Indigenous youth and communities

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Girls with Disabilities in the Global South

Rethinking the Politics of Engagement

Xuan Thuy Nguyen

workshops, for instance, participants were shown a number of steps that demonstrated how they could use cameras to take pictures of, for example, gender-based violence. We used the images taken from other photovoice projects to illustrate these steps to the

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Reframing Disability through Graphic Novels for Girls

Alternative Bodies in Cece Bell’s El Deafo

Wendy Smith-D’Arezzo and Janine Holc

second frame, he steps on another group that includes Cece with his giant sneaker. In this situation, Cece is not part of the striving story as is Augie. She does not overcome her aversion to PE, but suffers through it. Even her alter ego, El Deafo

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Wooden Man

Coetzee or the Possibility of Differend as Ethics

Teresa Joaquim

sports and homosocial gatherings, and eschewing pain in favor of poetry. In sum, this young protagonist does not follow in the steps of hegemonic masculinity’s favored image, the young man as trailing the path to eventually become a hero. Indeed, and as

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Embodiment, Curation, Exhibition

Douglas Gordon’s “Pretty much every film and video work from about 1992 until now”

Jiaying Sim

experience of the exhibition is crucial in constructing the way his work is received. The visitor is invited from the outset to take the active steps in the participation of this encounter because the work is initially presented to one as an explosion of

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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

performed a series of steps that would later be applied to animated figures ( Kaiser 1999 ). A choreographer who usually “generated new movements by dancing them himself and then set them onto the members of his company,” Jones was “spinning off his