Tuesday, 30 October 2018

Using Feminist Perspectives in Art Education Author(s): Elizabeth A. Ament

National Art Education Association
 Using Feminist Perspectives in Art Education
Author(s): Elizabeth A. Ament
Source: Art Education, Vol. 51, No. 5, Critical Lenses (Sep., 1998), pp. 56-61 Published by: National Art Education Association
Stable URL: https://www.jstor.org/stable/3193720
Accessed: 29-10-2018 14:14 UTC

Page 59 - "Discrimination against women in the arts has been widespread and consistent (Chadwick, 1990; Hein, 1990; Korsmeyer, 1993; Lauter, 1990; Nochlin, 1971). Until the middle of this century in Western culture, most women have been considered unable to create serious art and have been excluded from art studios except as subjects. Only women related to famous male artists have been able to have any degree of success as serious artists. Serious work by women has often been attributed to their male relatives. Traditional women's arts, such as quilting and weaving, have been considered less important forms of art. Some contemporary feminist theorists have repeatedly challenged prevailing beliefs and practises in the arts that exclude most women, a challenge that can also be used to question the exclusion of other groups of artists.

Monday, 29 October 2018

Guerrilla Girls Projects


The Guerrilla Girls are feminist activist artists. Over 55 people have been members over the years, some for weeks, some for decades. Our anonymity keeps the focus on the issues, and away from who we might be. We wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. We have done over 100 street projects, posters and stickers all over the world, including New York, Los Angeles, Minneapolis, Mexico City, Istanbul, London, Bilbao, Rotterdam, and Shanghai, to name just a few. We also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls, including our 2015 stealth projection about income inequality and the super rich hijacking art on the façade of the Whitney Museum in New York. Our retrospectives in Bilbao and Madrid, Guerrilla Girls 1985-2015, and our US traveling exhibition, Guerrilla Girls: Not Ready To Make Nice, have attracted thousands. We could be anyone. We are everywhere. What’s next? More creative complaining!! New projects in London, Paris, Cologne, and more!




Chuck Close, an artist known for his photorealist portraits, has recently found himself at the centre of sexual misconduct and harassment allegations. Since December, several women have come forward with misconduct allegations, and as a result, his artwork was removed from a university library while a national museum has indefinitely postponed his forthcoming exhibition. Other places, like the Pennsylvania Academy of the Fine Arts, is leaving up its exhibition Chuck Close Photographs.


TRUMP ANNOUNCES NEW COMMEMORATIVE MONTHS


NYC Recount


DO WOMEN HAVE TO BE NAKED TO GET INTO MUSIC VIDEOS?
In 2014 Pharrell invited us to be in his exhibition “G I R L” at Galerie Perrotin Paris. We said ok, but ONLY if we could show two new posters: one about women in music and another about women artists at Perrotin.

After watching lots of videos we had a question for Pharrell: why DO WOMEN HAVE TO BE NAKED TO GET INTO MUSIC VIDEOS WHILE 99% OF THE GUYS ARE DRESSED? We did a remix one of our classic posters with a still from Robin Thicke's Blurred Lines



SORRY SWEETIE. WAY TO GO, DUDE!
At the 1994 conference of the College Art Association, where would-be art professors interview for jobs, we had Gorillas passing out these fliers. For at least fifteen years, the majority of art students in the U.S. have been female, while full-time faculty has remained overwhelmingly male. One of the schools listed is a virtual harem, with 90 percent women students and an all-male faculty.


LET'S TOAST IRISH ART, LADS!
PROJECT IRELAND


DEAREST ART COLLECTOR
Boys will buy boys...

1989

2005
2012

Feminism: A Graphic Guide - Cathia Jenainati & Judy Groves

Patriarchy - refers to power relations in which women's interests are subordinated to the interests of men

Essentialism
  • masculine traits are aggressive, rational and assertive. 
  • feminine traits are gentle, intuitive and sensitive.
  • 'it is important to maintain distinctions between the sexes in order to preserve the natural order
  • 'woman is fickle and always changing' - virgil
  • 'woman is an imperfect man' - thomas aquinas
Early modern feminist activity
  • 1550-1700, english society was founded on the the rule of the father
  • women had no formal rights and were not represented in the law
  • early activity aimed at challenging the prevalent social view that women are weak and irrational creatures who should be controlled by men. 
  • there are a number of political events which supported in such efforts, in particular queen Elizabeth 1s accession to the throne in 1558 and her long and successful reign as a single female.
  • english civil war and the interregnum period 1642-60 and the glorious revolution of 1688 questioned the supreme power of the king and demonstrated that it was possible to challenge the patriarchal rule.
First actions
  • In 1642 impoverished women working in a variety of trades collectively rebelled and marched into London to petition the Houses of Lords and Commons - they wanted the law to take into account their status of working individuals and to improve the conditions of the working class. 
  • During the 18th and 19th centuries, many notable female figures were outspoken about the need to challenge women's subordinate social situation.
First wave feminism
  • The opening of higher education to women and the reform of secondary education for girls.
  • The Enactment of the Married Women’s Property Act, 1870 (Before 1870, any money made by a woman either through a wage, from investment, by gift, or through inheritance automatically became the property of her husband once she was married.)
  • They failed to get the right to vote.
Suffrage
  • New Zealand is the first to grant in 1902
  • British women over the age of 30 are allowed to vote in 1918
  • By the 1980s women could vote in almost all the countries in the world except a few Muslim countries. 
  • Following this, few feminists remained active, those who did fought for contraceptive rights, abortion law reform and the chance to be admitted into certain professions. 
Backlash
  • At the beginning of the 20th Century, a number of publications attacked feminists for being ‘immoral, bad mothers and lesbians’.
  • 1901 an American psychiatrist wrote a novel which equated feminism with lesbianism and degenerate morality.  
  • In 1927 DR E.F.W Eberhard argued that feminism which promoted lesbianism could potentially destroy Western civilisation. The correlation was meant to scare women away from education that emphasised athletics as they would ‘ensure lifelong homosexuality. 
Second wave feminism
  • 1960 - first oral contraceptive developed by American scientists is approved for use
  • 1966 - National Organisation for Women
  • 1994 - Violence against Women Act (US)
  • Late 1960s - The Women’s Liberation Movement
WLM demands
  • Equal pay for men and women
  • Equal education and job opportunities
  • Free 24 hr nurseries
  • Free contraception and abortion on demand
  • Financial and legal independence
  • An end to discrimination against lesbians and a woman's right to define her sexuality
  • Freedom from intimidation by threat or use of violence and an end to male aggression and dominance

Bitches, Bimbos, and Ballbreakers: The Guerrilla Girls' Illustrated Guide to Female Stereotypes

Whatever life a woman leads, from biker chick to society girl, there's a stereotype she'll have to live down. The Guerrilla Girls, notorious for their outrageous take on women's issues, now tackle the maze of stereotypes that follow women from cradle to grave. With subversive use of information and great visuals they explore the history and significance of stereotypes like Old Maid, Trophy Wife, and Prostitute with a Heart of Gold. They tag the Top Types, examine sexual slurs, explain the evolution of butches and femmes, and delve into the lives of real and fictional women who have become stereotypes, from Aunt Jemima to Tokyo Rose to June Cleaver. The Guerrilla Girls' latest assault on injustice towards women will make people laugh, make them mad, and maybe even make them change their minds."


This really opened my eyes to the fact that most of us have watched Disney movies from when we were young and this is the message we are learning. So many children want to be prince or princesses, characters from films or TV shows they watch, and are feeling the pressure to live up to these made up ideas, they will also treat the other sex the way they see it on the screen. The issue doesn't stop as grow up and don't watch these sort of films anymore, as everywhere we look in advertising and print theres more and more ideas of what we are supposed to look like and act like. 



As I read these pages I thought about the pieces artist Alex Bertulis-Fernandes produced in response to the Nike brief 'gay boot'. There is a great injustice with how athletes would be perceived by the media when the world knows their sexual preference. The unfairness in athletes who are the ideal stereotypes receiving the best sponsorship deals and endorsements needs to stop. Also thinking about how differently men and women dress in the sports, women tend to be sexualised and why is this? Take gymnastics, the women bare legged whilst males wear pants.


For me, this whole stereotype just screams fragile masculinity, men who can't stand women who know what they want, and how they're going to get it without letting anything get in their way, be it other women or men. The current president of America has a tendency for being sexist and not being able to deal with powerful women who do not submit to him.




'Dial Down The Feminism' - Alex Bertulis-Fernandes

Article from It's Nice That

First off could you explain what happened?
I was in my final term of my foundation diploma in art and design, where you work on a personal project. I was interested in looking at the intersection between art and advertising, and how that can be used to advocate for social change. My tutor and I were talking about my idea to do something around the recent revelations around Harvey Weinstein and sexual misconduct in Hollywood, and he suggested I maybe dial down the feminism a bit. 

What was it about the work that he reacted to?
One of my pieces was a tribute to the Guerrilla Girls, The Advantages of Being a Woman Artist (1988). I did a version that was The Advantages of Being a Hollywood Actress. My art class is predominantly female, and a lot of the work can feature feminist themes, in sheer virtue of the way we experience the world. It’s an issue for us. For a lot of men, feminism is something they can choose to engage with, whereas for most women I know, whether they call it feminism or not, it’s something that directly affects them if they feel they’re not being treated equally.

What was your reaction to your tutor’s comment?
I went home and thought about it for a while. I wasn’t horrified – I know that teacher and he’s always been slightly provocative, but I was exasperated by the comment. So I decided to create something in response to it.

I’d been to the Mother London Not for Sale exhibition of their non-commercial work a few weeks earlier. I loved pieces like the Free the Feed campaign, where they used a giant nipple to try and normalise breastfeeding in public. I’d already started thinking about how I might use physical objects in my work. When I was thinking about the phrase my teacher used, I found myself fixating on the word “dial”, and wondering whether I could actually make a dial. I began to think, if there were a feminist dial, what would it look like? I decided to mock one up. I remembered a phrase “complicit in my own dehumanisation”, used by musician Kathleen Hanna, and placed it on one side of the dial. On the other side of the dial I put the phrase “raging feminist”, because that seems to be the general perception of feminism – one of anger. Although I don’t like the assumption that every feminist is perpetually angry, why wouldn’t we be, when we don’t have equality? I wanted my piece to reclaim the term “raging feminist”.

Tell us what happened next, and why you think the piece resonated online.
I put it on Twitter, because we’re encouraged to share our work, and it went viral. I think there were a few things at play. Firstly, I think the message of the piece resonated with women. Many women know what it’s like to be in a situation in which you’re encouraged to be “less feminist” or “dial it down” in some way – “it” being whatever isn’t considered palatable to those around you. I also shared this piece at a time in which feminism is becoming more mainstream, and we’re learning more and more about how pervasive gender inequality is, even in the western world. So it was quite timely in that respect.

I do think posting the story behind it helped. People love it, especially on Twitter, if anyone’s perceived as being vaguely disrespectful of authority. People love a clapback. It’s simple, and quick and easy to “get” and maybe that’s stemmed from my interest in advertising. My older work would’ve been more text-heavy and complicated. This is stripped back, which helps on social media, where everything is so immediate.

What’s been the good and bad of the reaction online?
The good has been having so many people engage with my work. I’ve been sharing stuff online sporadically over the past few years and got maybe 50 likes, max. It’s difficult to put yourself out there online, you question yourself all the time. So this response has been amazing. People have written to me, and publications like Newsweek interviewed me, and that blew my mind. Plus Mark Ruffalo retweeted it which was surreal. I’m happy it happened, and I’ve been offered opportunities off the back of it. It was featured in Airbnb’s International Women’s Day showcase, and was commissioned by The Sunday Times Style for IWD too. 


Alex's other work


This piece is inspired by Guerrilla Girls, a group of activists and artists I am going to be focusing on in my further research. This particular piece is in the style of work they have produced in the past. 


This is in response to a thread Alex found on mumsnet, the comment is a woman exclaiming her frustration in trying to find simple, basic clothes that do the job without them being over the top. Over the top in the way of too many frills, holes in unnecessary places, buttons and glitter, all because she is a woman and society says that is what we should want to wear.


The piece below is a collab with Lewis and the brief was:  Create a Nike-led campaign that will help create the environment needed for professional footballers to feel confident enough to be openly gay, and reach 100% of their potential. 


There is a lot of issues in the sport industry in terms of LGBT+ issues, as well as plain sexism and gender inequality. 

Wednesday, 24 October 2018

Making Feminist Media: Feminist Media Activists Share their Views

Jessica Hoffmann, Daria Yudacufski, Sonja Eismann, Jeanna Krömer and Jenni
pp. 110-120 (11 pages)
https://www.jstor.org/stable/j.ctv1wxr2f.10

FROM THE BOOK
Feminist Media: Participatory Spaces, Networks and Cultural Citizenship

Elke Zobl
Ricarda Drüeke
Copyright:
2012
Publisher:
Transcript Verlag

How can feminist media production  challenge and intervene into the status-quo and initiate and effect social  change? Which  strategies have you developed in your own project(s) to do so?

make/shift : One thing we are doing is documenting the challenges and interventions people are making in many places and in many ways. Also, radical, feminist media production in and of itself is an intervention, as we share and amplify voices and stories not found in dominant media – and the fact that we do it collaboratively, with a lot of skill-sharing and an emphasis on collective process and relationships, as well as a multiplicity of voices and perspectives.

Missy: By presenting alternative images of women/queers and empowering readers to look at their surroundings critically and to take action themselves. But we have to be realistic – we’re publishers of a feminist magazine first, not activists or politicians, so the scope of our impact is somewhat limited by our job description.

AMPHI: We try to provide our readers with information and material that they otherwise couldn’t get, either because it is ignored in other media (because it is too subversive, feminist, etc.) or because it had been published in foreign languages. In fact, 80% of the content of AMPHI are translations and 20% are self-produced texts. One example which may illustrate to you why this is important: when we worked on our issue about contraception we realised that all the information we found on Russian websites dealing with this topic was at least 3 or 4 years older than on English or German websites. We also try 1) to write as clearly and simply as possible in order that people who don’t have any former knowledge about these issues still can understand what we are talking about; 2) to inform our readers, and not to judge certain developments; 3) if it’s possible, to present more than one view on a specific topic; and 4) also to keep the magazine “attractive” in terms of layout and aesthetics. Our influence is rather limited, as for the moment the magazine is only subscribed to by a rather small community on a regular basis (a little bit more than 1,000 readers). But our aim and also our dream is to publish AMPHI as a printed and free magazine that gets distributed in waiting rooms of gynaecologists, at universities, in public spaces, etc. Unfortunately this is not possible at the moment, not only because it is too expensive, but also because in Belarus every independent activity is prohibited and threatened (with penalties, prison, and in some cases even with death). Not only political activists get persecuted, but also independent journalists.

make/shift

MISSION

Make/shift magazine creates and documents contemporary feminist culture and action by publishing journalism, critical analysis, and visual and text art. Made by an editorial collective committed to antiracist, transnational, and queer perspectives, make/shift embraces the multiple and shifting identities of feminist communities. We know there’s exciting work being done in various spaces and forms by people seriously and playfully resisting and creating alternatives to systematic oppression. Make/shift exists to represent, participate in, critique, provoke, and inspire more of that good work. - Last magazine published in 2017.

Missy

about us

Missy is the magazine for pop, politics and feminism. We write about trans families, sex work, Kathleen Hanna, Mösendampfbäder, Bike Polo, Fat Acceptance, computer games, compatibility, Sofia Coppola, asylum and everyday life, The Knife, Anal Plugs, cats and men, menstruation in horror films, armpit hair and Lena Dunham. Crafting and cooking are topics for us as well as queer pornography or organisations committed to safe abortion. All this happens with an attitude that constantly challenges the status quo with a grin. Because we do not (yet) live in an equal society. Because there is still much to discuss and improve. Feminism is passé? We do not think so. FEMINISM IN GEIL. That's why Missy.

Tuesday, 23 October 2018

Womanhouse 1972

Womanhouse (January 30 – February 28, 1972) was a feminist art installation and performance space organized by Judy Chicago and Miriam Schapiro, co-founders of the California Institute of the Arts (CalArts) Feminist Art Program. Chicago, Schapiro, their students and women artists from the local community, including Faith Wilding, participated. Chicago and Schapiro encouraged their students to use consciousness-raising techniques to generate the content of the exhibition.

Only women were allowed to view the exhibition on its first day, after which the exhibition was open to all viewers. During the exhibition's duration, it received approximately 10,000 visitors.

The following texts appeared next to images of same artworks in the original exhibition catalog from 1972.

Linen Closet

As one woman visitor to my room commented, “This is exactly where women have always been—in between the sheets and on the shelf.”  It is time now to come out of the closet.

- Sandy Orgel

Eggs to Breasts

We had a consciousness-raising session on kitchens.  Some people saw kitchens as fulsome, warm, nurturing.  Others saw kitchens as dangerous with hot stoves and sharp knives (“Viciousness in the kitchen—the potatoes hiss”).  I had a fleeting image of fried eggs stenciled over everything—walls, ceiling, floor—and some people saw breasts.  Breasts were nurturing—kitchens were the extension of mothers’ milk.  I felt a little railroaded.  I still wanted eggs.  And then Robin said, “Why not have a transformation from eggs to breasts,” and we were all delighted.  And that’s very important, because although I was the one who finally carried through that aspect of the kitchen (in the main) the idea was really a collective one.  It simply would never have existed if women had not tried to work together.

- Vicki Hodgetts

Aprons in the Kitchen

Aprons in the Kitchen

Come in, east…please put on the apron strings and experience the heart of the home with me.

The outside is no longer with you, you are now embraced by my nurturing pink womb, giving life—sustaining milk from my breasts.  The umbilical cord has been cut through, and you must hold on to the apron strings real tight or you might (gasp)…have to rely on yourself…tisk, tisk!

I must work harder to sustain life for you, to meet your biological needs, feed your habits with habits…I am a habit to you!  I am not a habit!  Release me, let me go, you don’t know me, you don’t own me.  I am a human being, not just a source of cheap labor for lazy people.

I want to undo these apron strings, to see what the rest of the world is doing, to see if I can help…to see myself once again.  I want to travel, to see wonders I only dream of daily…to see wonders I only dream of daily, right here in the heart of the home façade.

-Susan Frazier

Menstruation Bathroom

Menstruation is something women either hide, are very matter-of-fact about, or are ashamed of.  Until I was 32 years old, I never had a serious discussion with my female friends about menstruation.  The bathroom is an image of women’s hidden secret, covered over with a veil of gauze, very, very white and clean and deodorized—deodorized, except for the blood, the only thing that cannot be covered up.  However we feel about our own menstruation is how we feel about seeing its image in front of us.

- Judy Chicago

Bridal Staircase

When I was young I had a belief that the White Knight would come and carry me off to eternal protected bliss.  I lived with this fantasy and did not think too far beyond a dreamy white wedding day.  My piece deals with the not so dreamy reality that, for most women, lies beyond that wedding day.  The bride is portrayed as an offering—encased in gaiety, in lace, in flowers, in dreamy sky blue.  As the bride descends the stairs the blue slowly changes to gray and the bride’s failure to look clearly at where she is going leaves her up against the wall.

- Kathy Huberland

The Nursery

The nursery is the place where we spend much of our very early life, the environment in which most of our early learning and experiencing takes place.  It is the room which occupies much of the mother’s time both in planning before her child is born and in caring for the child after it is born.  I created a room with giant furniture and toys in order to recapture the childhood feeling of being so small in such a big room.  I also looked at the room from the viewpoint of a woman considering what the ideal living space might be for a child.  I have made the room as androgynous as possible because my early memories are of having no sex and being able to do all the things that boys and girls do.
- Shawnee Wollenman

Nightmare Bathroom

Even though the bathroom can be a refuge and a private place, I have always been afraid there.  It is not a rational fear.

It may stem from the fear I had in childhood of being sucked down the drain with the water, the ritual of confronting my nakedness, staring at my face in the mirror, the fear of being intruded upon.  I wanted to convey the idea of vulnerability.  The woman in the tub is made completely of loose sand.  Sand is able to take a shape and retain its vulnerability at the same time.  By the end of the show she was eroded by fingerprints.

-Robin Schiff

Performances


"Waiting” was a quieter, more contemplative piece which was concerned with the passivity of women’s lives.  Faith Wilding, who wrote and performed this piece, sat in a chair, slowly rocking, while she reviewd her life from beginning to end in terms of her “waiting” for external events to determine the shape of her days. “... Waiting for him to give me pleasure... Waiting for the children to grow up and leave home ... Waiting to have some time to myself... Waiting for life to begin ... Waiting ... Waiting... Waiting...” - Faith Wilding

The cock cunt play


It had been written before we became involved in Womanhouse, but since it dealt with experiences common to so many people, we decided to include it.  The play is performed by two women, each wearing a plastic “part” designating their respective sex.  The women “play” man and woman, engaged in the age-old battle about domestic and sexual duties and demands.  “She wants ”him” to help her with the dishes and provide her with sexual gratification.  “he” is outraged by these demands and takes his rage out on her by killing her with his plastic phallus.  The pieces is performed in puppet-like rhythm.  

Proposal Presentation

Below are the slides from the presentation I prepared for the initial cop feedback. I am quite nervous and anxious when it comes to presenting, therefore felt I didn't get my ideas across as well as I could have done. 


I recieved feedback from some of my peers as well as tutors, it is as follows:
  • consider changing the title of the question from how successful as this makes it seem like it is over, however it is far from. consider instead saying 'the role of design'.
  • look at the difference between feminist art designed by men and women
  • look at parody and subversion for visual response
  • embed the ideas i have learnt about into a visual response rather than producing a zine including the information and history
  • look at getting more people involved in the feminist movement, a lot of people in 2018 feel that gender equality is a lot more successful than what it currently is, it needs to be reinstalled to young men and women

Sunday, 14 October 2018

Chimamanda Ngozi Adichie | TEDxEuston We should all be feminists

Men have testosterone and are in general physically stronger than women. There's slightly more women than men in the world, about 52 percent of the world's population is female. But most of the positions of power and prestige are occupied by men. The late Kenyan Nobel Peace laureate, Wangari Maathai, put it simply and well when she said: "The higher you go, the fewer women there are." In the recent US elections we kept hearing of the Lilly Ledbetter law, and if we go beyond the nicely alliterative name of that law, it was really about a man and a woman doing the same job, being equally qualified, and the man being paid more because he's a man.

So in the literal way, men rule the world, and this made sense a thousand years ago because human beings lived then in a world in which physical strength was the most important attribute for survival. The physically stronger person was more likely to lead, and men, in general, are physically stronger. Of course there are many exceptions.

But today we live in a vastly different world. The person more likely to lead is not the physically stronger person; it is the more creative person, the more intelligent person, the more innovative person, and there are no hormones for those attributes. A man is as likely as a woman to be intelligent, to be creative, to be innovative. We have evolved; but it seems to me that our ideas of gender had not evolved.

Gender matters everywhere in the world, but I want to focus on Nigeria and on Africa in general, because it is where I know, and because it is where my heart is. And I would like today to ask that we begin to dream about and plan for a different world, a fairer world, a world of happier men and happier women who are truer to themselves. And this is how to start: we must raise our daughters differently. We must also raise our sons differently. We do a great disservice to boys on how we raise them; we stifle the humanity of boys. We define masculinity in a very narrow way, masculinity becomes this hard, small cage and we put boys inside the cage. We teach boys to be afraid of fear. We teach boys to be afraid of weakness, of vulnerability. We teach them to mask their true selves, because they have to be, in Nigerian speak, "hard man!" In secondary school, a boy and a girl, both of them teenagers, both of them with the same amount of pocket money, would go out and then the boy would be expected always to pay, to prove his masculinity. And yet we wonder why boys are more likely to steal money from their parents.

What if both boys and girls were raised not to link masculinity with money? What if the attitude was not "the boy has to pay" but rather "whoever has more should pay?" Now, of course because of that historical advantage, it is mostly men who will have more today, but if we start raising children differently, then in fifty years, in a hundred years, boys will no longer have the pressure of having to prove this masculinity. But by far the worst thing we do to males, by making them feel that they have to be hard, is that we leave them with very fragile egos. The more "hard man" the man feels compelled to be, the weaker his ego is. And then we do a much greater disservice to girls because we raise them to cater to the fragile egos of men. We teach girls to shrink themselves, to make themselves smaller, we say to girls, "You can have ambition, but not too much."

"You should aim to be successful, but not too successful, otherwise you would threaten the man." If you are the breadwinner in your relationship with a man, you have to pretend that you're not, especially in public, otherwise you will emasculate him.

Recently a young woman was gang raped in a university in Nigeria, I think some of us know about that. And the response of many young Nigerians, both male and female, was something along the lines of this: "Yes, rape is wrong. But what is a girl doing in a room with four boys?" Now, if we can forget the horrible inhumanity of that response, these Nigerians have been raised to think of women as inherently guilty, and they have been raised to expect so little of men that the idea of men as savage beings without any control is somehow acceptable. We teach girls shame. "Close your legs." "Cover yourself." We make them feel as though by being born female they're already guilty of something. And so, girls grow up to be women who cannot see they have desire. They grow up to be women who silence themselves. They grow up to be women who cannot say what they truly think, and they grow up -- and this is the worst thing we did to girls -- they grow up to be women who have turned pretense into an art form.

Culture does not make people, people make culture. So if it is in fact true --
So if it is in fact true that the full humanity of women is not our culture, then we must make it our culture.

I am a feminist. And when I looked up the word in the dictionary that day, this is what it said: "Feminist: a person who believes in the social, political and economic equality of the sexes." My great grandmother, from the stories I've heard, was a feminist. She ran away from the house of the man she did not want to marry and ended up marrying the man of her choice. She refused, she protested, she spoke up whenever she felt she was being deprived of access, of land, that sort of thing.

My great grandmother did not know that word "feminist," but it doesn't mean that she wasn't one. More of us should reclaim that word. My own definition of feminist is: "A feminist is a man or a woman who says --

A feminist is a man or a woman who says, "Yes, there's a problem with gender as it is today, and we must fix it. We must do better." The best feminist I know is my brother Kene. He's also a kind, good-looking, lovely man, and he's very masculine.

Tuesday, 9 October 2018

OUGD601

This module will be used to inculcate a synthesised academic understanding of both the context of
practice and the nature of practice itself. It will also provide a theoretical platform from which
student’s Extended Practice module may develop.

AIMS:
To define an individual analytical and evaluative research interest within the study of art and design
contexts.
To develop skills in appropriate written and practical research and evaluative formats that reflect an
understanding commensurate with BA (Hons) Level 6 academic practices.
To employ a synthesised understanding of theoretical and practical contexts of individual creative
practices and concerns.

Students will develop a cohesive research project, with practical and textual outcomes, in response
to a proposal developed during the later stages of the Level 5 course.
This module will require the students to organise and undertake a personal course of in-depth critical
research, to collate and present a coherent written argument and related practical investigation
based on analysis and evaluation, presented in the form of an extended formal written study and
related practice-based research. The chosen subject will be relevant to a student’s main course of
study and will be used to support and inform their specialist practice. The extended study involves
self motivated research but will be supported by individual tutorials aimed at helping the student to
develop the appropriate scope and depth of subject matter required within such a project.
The work undertaken will reveal the student’s appreciation and application of research approaches
and methodologies.