Author: Former Student

Theory to Praxis: Inclusivity at Davidson

Posted on by Former Student

Because of the intersectionality and applicability of GSS, there are many ways to apply these theories and ideas to different aspects of daily life. For example, one way is just in general interaction with others. By understanding the basic ideas about respecting pronouns or body size or race, it is easy to treat everyone with respect. Additionally, understanding these ideas in a position of influence is very helpful because not only are you able to spread the awareness of different ideas more effectively, but you can also apply the theories to your cause. For instance, at Davidson, we have many different clubs and organizations that could take advantage of their status and promote the intersectional ideas of inclusivity. Turner Eating House has done a good job of this by being the first Eating House to allow gender non-conforming members to join, adapting their service mission statement to highlight the importance of combatting white supremacy and police violence around Davidson, and making the house a safe space for all genders, races, body sizes, and sexualities. 

If other organizations around campus took action as Turner has, I believe that the campus would be a much more receptive place to change and a community working towards bettering itself as a whole. This could take place in multiple different ways, but even small steps would be helpful. To start, I think it would be a good idea to introduce the Disorienting Davidson tour to the orientation schedule as a way to highlight Davidson’s racist history and provide a forum for students to give their opinion on how to help the campus learn from its past. Disorienting Davidson is a tour of campus that highlights the impact of white supremacy and racism at different spots around campus, from race-based crimes on Chambers lawn to the blatant ties to slavery with cotton having been planted outside Commons. 

Even though the addition of different events to orientation or alumni engagement may be steps towards a more inclusive future, there are still many different perspectives that haven’t even begun to be seen, from disabled voices just starting to get a foothold to the problematic aspects of sorority/fraternity culture and therefore the allegations of rape and sexual assault becoming bigger topics of conversation. While students are making a huge effort to be heard, the administration is stuck in traditional ways and is hesitant to change, but with the help of GSS principles and theory of awareness, I believe that the campus community can change for the better and the future of Davidson can be much more open to inclusivity in all senses.

“Little Miss S.” by Edie Brickell & New Bohemians

Posted on by Former Student
This image may contain Cushion Pillow Furniture Human Person Couch Bed Room Living Room Indoors and Bedroom
Edie Sedgwick posing in Vogue.

Edie Brickell & New Bohemians is an alternative rock band that originated in the mid-1980s, broke up for a few years, and got back together in 1997. Since releasing their debut album, Shooting Rubberbands at the Stars, the band has released four other albums, all highlighting the band’s eclectic personality and style that was not made as present in their first album and more popular songs.

One song on the album, “Little Miss S.,” chronicles the life of Edie Sedgwick, an actress/model who rose quickly to fame, but died young at 28 after overdosing on a mixture of barbiturates and alcohol. “In a blink of the public eye,” Sedgwick was seen as a feminine icon, dubbed as an “It Girl” at the time. She became known for multiple reasons, one of which being her popularization of the miniskirt, noted by the lyrics: “Little Miss S. in a mini dress” (Songfacts.com). She also became a muse for the artist Andy Warhol, who included her in many of his films but mainly helped her create a media presence for herself, specifically focusing on her avant-garde style. This outside judgment reflected on her private lifestyle, creating a misunderstanding between her public and private image. Her private life of “shooting up junk in the bathroom” and “swinging on the branch of a broken family tree” was drastically different from the role model facade she outwardly displayed. 

In Luisa Capetillo’s A Nation of Women, she describes how women dedicate themselves entirely to their appearance, “squandering their intelligence in trying to become more beautiful” (Capetillo 8). She argues that in doing so, women are no longer themselves and are wasting time, money, and health by trying to live up to society’s expectations. She says that women should be “beautiful because of [their] strong constitution,” which is exactly what Sedgwick embraced (Capetillo 9). By living to create her own style in a way that was comfortable to her, she was admired by others, “living it up to die” rather than wasting away following the strict confines of daily life at the time. 

The representation of Sedgwick in “Little Miss S., however, is a limited portrayal of femininity. While she is portrayed as a role model, changing the name of femininity in the 1960s, her story is ultimately influenced by pressures from society; forming relationships with famous men like Andy Warhol and Bob Dylan and coping by using copious amounts of drugs and alcohol, leading to her early death. Her social status as a celebrity allowed for her to be free in expressing herself in more controversial forms since that was the way she gained popularity. While she stood as a role model, her story is not representative of an entire generation of women, simply due to diversity in social classes, races, and sexualities.

Works Cited

Book Review: *Ableist Rhetoric: How We Know, Value, and See Disability*

Posted on by Former Student

As a society, our interpretation of disability should be no different than our interpretation of race, gender, class, or any other aspects of our identities. But, as a society, our interpretations of our different identities face constant backlash and oppression that plagues the idea of what is considered to be “normal.” In the monograph, Ableist Rhetoric by James L. Cherney, it is emphasized that ableism studies are different from disability studies, but in studying ableism, contributions are made to the field of studying disabilities. To put it simply, studying oppressive factors enhances knowledge on the situation of oppression. The same can be said for racism and ethnic studies and sexism for women’s studies (Cherney 11). Additionally, Cherney argues that viewing ableism in a rhetorical light allows for us to see the role it plays in everyday life and our commonly perceived norms.

James L. Cherney, Ph.D. is currently an associate professor in the Department of Communication Studies at the University of Nevada, Reno. In addition to Ableist Rhetoric, Cherney has published multiple journal articles, book chapters, media reviews, and more, most of which with a focus on disability studies and ableist culture.

In Ableist Rhetoric, Cherney argues that the main relationships that support the genre of ableist rhetoric are that (1) deviance is evil, (2) normal is natural, and (3) the body is able (Cherney 24). He discusses that while some media may not fall neatly into one of these three categories of analysis, ableist themes can nonetheless be present. The argument for deviance is evil is that in the media, people and concepts that are “unnatural” or deviate from the accepted norms exhibit sin and are reason for punishment. This relationship is exhibited when Cherney discusses The Exorcist and how the little girl’s deviant behavior is demonic and needs to be expelled. Before it’s accepted as demonic possession, doctors pass it off as a mental disorder or some form of neurodivergence that is not inherently bad. However, once they find that the root of the problem is demonic possession, it is unanimously decided that the girl must be cured. While one may question how this example is an idea that enables an ableist rhetoric (since it rules out a neurodivergence), it still assumes that deviation from normal behavior is evil and needs to be dealt with in a proper, holy way.

The argument for normal is natural is that natural law and biological reason are used to define what we consider as “normal” (25). The relationship is demonstrated by explaining the Cochlear Implant Debate (CID) and the conflict it creates within ableist culture, but more specifically, Deaf culture. According to Cherney, “the CID pits Deaf activists who see the implant as a threat to their cultural identity against medical specialists and implant designers who typically view deafness as an illness that can and should be cured” (64). Activists take the stance that this view assumes that Hearing culture and spoken language is the only valid approach to communication, while there is an entire culture of Deaf people who communicate through gesture and sign language. The issue is that while they are alienated from the general majority in a space that is not originally theirs, who is to say what can be considered normal in a place where that minority is the majority. A hearing person who is learning sign language can be considered a minority in the Deaf community in a similar way in which cultural immigrants are technically the minority in a foreign country or setting. 

The argument for body is able equivocates the capacity of one’s body with ability, enforcing the idea that the confines of body measures determine one’s ability. In the chapter where Cherney builds on the idea, he uses the example that the rhetoric of body is able supports that with the accessibility of stairways, “people who cannot use stairs are disabled by their bodies instead of by a set of ableist ideas and the structures that entrench these in contemporary culture” (85). This relationship is examined further in the context of disability and sport. Cherney discusses the idea that sports rely on “privileging those whose bodies are different enough to give them an advantage in the specified activity,” essentially saying that sport is ableist in its nature to encourage only those who have the specific abilities to participate (94). This not only excludes disabled people, but further excludes “normal” able-bodied people who just don’t have the general skill set to excel at sports. However, the prevalence of disability sports like the Paralympics, wheelchair basketball, quadriplegic rugby, and many more suggest that everyone can benefit from the perks of participating in sports and physical activity. In carrying out the notion that sports are available to all and that to be athletic is to be able-bodied and extremely physical implies the blatant ableism present within the realm of physical activity and the exclusion principle based on biological strength and fitness.

Cherney’s research for the book tends to focus mainly on social and media analyses, drawing information and examples from popular media (like The Exorcist) and current social commentaries (like the CID and the debate about disability and sport). Additionally, Cherney draws information from historical points of view and various ethnographic accounts of ableist culture. By combining the various sources of information, his research contributes an objective as well as a subjective telling of each example.

A main strength of Ableist Rhetoric is that the book highlights the differences between disability studies and ableist studies, giving more clarification in the argument of how we interpret media, society, and otherwise harmless constructs. In the past, we have not questioned the concept of normal and how we define normal in the added context of abnormal. However, with Cherney’s defined relationships that make up ableism, it is easier to understand how we continue to exacerbate the conditions of disability. Additionally, the book manages to tell a subjective view of disability studies and how its rhetoric impacts our daily lives in a much broader context than just simple activism for disability.

A weakness of Ableist Rhetoric is that it fails to provide an explanation for exactly what rhetoric is. While it goes very in-depth on the rhetoric of ableism and other rhetorical structures and models, the text does not give a straight definition of rhetoric. It would be beneficial to include this definition in order to give a basic understanding to the backbone of his argument. Additionally, including a more thought-out definition of rhetoric could help to expand the audience that the book targets, since many people may not know what it is off the top of their heads.

I thoroughly enjoyed reading Ableist Rhetoric because not only did it help me gain a better understanding of a more rhetorical view of disability studies, but it helped me to realize that my lens on the world is more clouded than I originally thought. I found it really interesting to learn more about the debate of how we define normalcy, mainly because I have been learning more information on what “normal” is, but in many different contexts (my classes, other books, etc.). I believe that everyone should be able to read this book in some shape or form, even if they just hear Cherney’s view on the main three flaws in our understanding of ableism. A major audience for the book should be healthcare providers, people who have a voice in media and society, and even just people who interact with disabled people on a day-to-day basis. Ableism is a real problem in our society, but due to our view on what “normal” is, we overlook its simplest manifestations, whether that be sports, popular culture, or even just daily functioning.

Works Cited:

Cherney, J. L. (2019). Ableist rhetoric: How we know, value, and see disability. The Pennsylvania State University Press.

James Cherney: University of Nevada, Reno. Academia.edu. (n.d.). Retrieved October 31, 2021, from https://nevada-reno.academia.edu/JamesCherney/CurriculumVitae.

University of Nevada, Reno. (n.d.). James Cherney: Communication studies. Department of Communication Studies. Retrieved October 31, 2021, from https://www.unr.edu/communication-studies/faculty-and-staff/james-cherney.

“We Raise Our Cups” to Anaïs Mitchell’s Hadestown

Posted on by Former Student

Written by Zoe Smithwick, for Autostraddle.com

When I think about a musical geared towards social justice and societal change, my first thought would not be about a depression-era retelling of a Greek myth. BUT, if I tell you that this same musical is entirely women-directed, inspired by cultural and political tones in modern society, and focused on shedding light on the application of age-old themes to current topics of discussion, I bet you would change your mind. After watching Hadestown, I was blown away by the ability to not only tell the classic story of Orpheus and his journey to retrieve Eurydice from “Hadestown,” but also the ability to resonate with many of the songs and emotions portrayed in the show.

Hadestown Broadway Trailer

To start, there is the attention to feminism in every aspect of the show. Anaïs Mitchell, a singer/songwriter, came up with the vision for Hadestown and wrote the music, lyrics, and book associated with it. The musical started off as a story told through an album that Mitchell was writing, which, with help from director Rachel Chavkin, became an off-broadway and finally a broadway and touring musical. The musical made headlines with Mitchell as the first woman in years to have sole credit on a Broadway show. 

Looking back to high school, who dominated the theater-kid scene? Overly-dramatic girls who always outnumbered the less-enthusiastic guys. Yet looking at the professional scene, it seems as though a majority of the main roles on Broadway and the majority of directors/playwrights happen to be male-dominated. It’s interesting to see such a shift in a field that is primarily more “feminine” to where the majority (as per-usual) is cishet white men. This shift impacts women so heavily because in creating an atmosphere where women are not even able to succeed in their stereotypical niche, how would they be able to break out of the shell of modern gender roles? Mitchell’s work allows for younger girls and women to be empowered by her bold leadership in such a male-dominated field, not unlike the movement for women in STEM. Some other shows with similar experiences of women leading the way have been covered in this New York Times article by Michael Paulson and this Bustle article by Leah Marilla Thomas.

Additionally, Mitchell’s creative choices in music allowed for the show to highlight the female vocal range (specifically catering to Eurydice and Persephone’s songs), while she made the male range the separate ends of the range (Hermes in the middle, Orpheus at the top, and Hades at the bottom). In doing so, she allows the female characters to have a strength and versatility that is not provided to the male characters, which reflects in their individual portrayals; Eurydice and Persephone are both strong figures in their relationships and hold a lot of power over their male counterparts, whereas Orpheus’ high range mimics his innocence while Hades’ low range presents his power-driven personality. 

In the video trailer above, at the 0:32 mark, you can hear an example of Patrick Page as Hades singing in his gravelly, seemingly unnaturally low voice, marking his love for Persephone and somewhat “claiming” her as his territory. At 0:24, you can hear Persephone’s objections to the intolerable conditions that Hadestown creates for everyone there, adding to her constant efforts to ameliorate Hades’ world. On the contrary, you can hear Orpheus’ song of desire at 1:25, calling out to Eurydice and saying that he will do essentially anything in his power to bring her back to be with him, even traverse the treacherous conditions of the underworld. Meanwhile, Eurydice sings her version of his song at 0:50, singing of her experiences in Hadestown and of her love for Orpheus. In singing her song, Eurydice asserts that she chooses her path, so after stepping away from Orpheus and voluntarily joining Hades in Hadestown, she is ready to return to her husband.

Even in the setting of the show (depression-era, coal-mining, steampunk-esque), the woman’s place is considered. The silencing of women by men and society as a whole is reflected in Eurydice’s and Persephone’s main conflicts being with men and with their powerless position in the ways of the world. By recreating the myth in such a setting, Mitchell was able to communicate the timelessness of the issues faced by each character. Hades’ character was based heavily on a capitalist, upper-class leader who, while his morals were “broken” in a sense, was constantly trying to get back on a path to win back his wife. Orpheus, an artist stuck in his own head, dealing with the dilemma of how to win back his wife and conquering any obstacle in his path to love. Eurydice, a poor girl, trying to find a balance between surviving and listening to the Fates who govern her every decision. Persephone, a woman who has seen how bad the world can be, struggling to maintain an acceptable life for everyone. The intersection between doing what it takes to survive in desperate times and living a life full of wonder and love, as seen in Orpheus’ and Eurydice’s drastically different characters. We can see this in our world today, looking at how the power-hungry upper-class rules the world, how the climate is changing and those who have the power to change it aren’t doing so, and looking at poverty and finding the balance between a life of struggle and a carefree philosophy. 

Works Cited

Browne, David. “The Hell With Broadway: The Story of Anais Mitchell’s ‘Hadestown’.” Rolling Stone, Rolling Stone, 22 Oct. 2019, www.rollingstone.com/music/music-features/broadway-hadestown-best-musical-tony-anais-mitchell-842447/.

Brunner, Jeryl. “Hadestown Is A Broadway Musical Like No Other.” Forbes, Forbes Magazine, 29 July 2019, www.forbes.com/sites/jerylbrunner/2019/04/18/hadestown-is-a-broadway-musical-like-no-other/?sh=45e1beef4905.

Kallstrom, Megan. “Hadestown’s Tonys Triumph Was a Win for Women.” Slate Magazine, Slate, 11 June 2019, slate.com/culture/2019/06/hadestown-tony-awards-women-rachel-chavkin.html.

Sernaker, Emily, et al. “The Ms. Q&A: What Led Anaïs Mitchell to Hadestown.” Ms. Magazine, 15 Sept. 2020, msmagazine.com/2019/09/02/the-ms-qa-what-led-anais-mitchell-to-hadestown/.

Thomas, Leah Marilla. “Anaïs Mitchell’s ‘Hadestown’ Is Making Broadway History For Women – But She Wants It To Be Normal For The Next Generation.” Bustle, Bustle, 6 May 2019, www.bustle.com/p/anais-mitchells-hadestown-is-making-broadway-history-for-women-but-she-wants-it-to-be-normal-for-the-next-generation-17130069.», Dominique Rossi