HERCULTURE OCTOBER/NOVEMBER 2017
BRITISH BREW How the English ‘cuppa has impacted the globe
#AINTNOCINDERELLA how curfews in India impose on women’s freedom
KUNG FU NUNS buddhist women are changing traditional
gender roles in their sect & the world
HER CULTURE MAGAZINE
FOUNDED 2013 www.herculture.org | @herculture cover image courtesy of Ahmer Kahn
HER CULTURE MAGAZINE
FOUNDED 2013 www.herculture.org
| @herculture
letter from
THE FOUNDER DEAR CULTURE GIRL, Welcome to the 21st issue of Her Culture Magazine. I’m so excited that we’ve made it this far - and I hope you'll continue reading the wonderful articles from our very talented articles in months to come! As we near the end of 2017, I invite you to analyze, write down, ponder, and contemplate the things in your life that make it great. In a world with so much turmoil, danger, destruction, and violence, it sometimes helps to take a step back and look at what is bright and good. Thank you for sharing your stories and cultures with me. I love all of you dearly and I’m excited to make the world just a bit smaller with all of you. All my love, Kate
MY TRAVEL LOG OCTOBER/NOVEMBER 2017
This month, I will travel to: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ Next month, I plan on going to: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ I’ve always wanted to travel to: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________
The countries I’ve been to are: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ My favorite article from Her Culture this month is: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ 5 things I’ll remember for my next trip: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________ I can start a #CultureRevolution by: _________________________________________________ _________________________________________________ _________________________________________________ _________________________________________________
xoxo
ISSUE NO. 21
OCTOBER
/NOVEMBER
TABLE OF CONTENTS
FASHION INDUSTRY
CHARLOTTESVILLE
GENDER IN BUSINESS
LIVING ON THE MARGINS
ASIANS IN POLITICS
KUNG FU NUNS
BRIDGE TO CHINATOWN
WOMEN ON THE DOLLAR
PULLED NOODLES
12
24
40
16
30
46
21
35
51
BRITISH BREW
APHRODISIACS
AN INTRO TO JUICING
BRINGING BACK KNITTING
BEING A FEMALE WRITER
SKINNY IN THE OPERA?
AGAINST NETFLIX SHOWS
THE INTREPID MUSEUM
PARKS AND RECREATION
54
66
80
60
70
84
62
76
88
#AINTNOCINDERELLA…96 4 AMAZING FESTIVALS TO EXPERIENCE…100
MORE TO LOVE…
THE SURNAME GAME…106 ASIAN PERFORMERS IN THEATER…108 FEMALE MILITARY SERVICE: ISRAEL…114 FEARLESS INDIAN JOURNALISTS…122 FASHION AND MENSTRUAL HEALTH…124 FIVE HEALTHY HABITS TO HAVE…128 WHITEWASHING IN HOLLYWOOD…133 A HISTORY OF U.S. WOMEN’S PROTESTS…140 STUDYING ANCIENT HISTORY…146 THE CULTURE OF PHYSICIAN-ASSISTED SUICIDE…149 FEMINISM FOR THE MASSES…152 ERADICATING HUMAN TRAFFICKING…160
MAGAZINE STAFF EXECUTIVES Kate Avino - Chief Executive Officer Alexis Neuville - Chief of Staff Matt Maggio - Chief Financial Officer Katie Collins - Chief Marketing Officer Sareana Kimia - Director of International Development Emily Harris - Chief Digital Officer Cameron Oakes - Director of Partnerships
EDITORS Alana King Alicia Lalicon Mabel Harriman-Smith
Ambika Sood
Aoife Ni Mhurchu
April Federico
Elizabeth Meisenzahl
WRITERS Agatha Park Annie Zhang Ashni Walia Betsy Hillstead Brittany Miller Caroline Warman Claire Tao Claudia Wasielewska Elie Docter Elise Hrawll Elizabeth Meisenzahl Emma Murray Farah Idrees Gabriella Ballesteros Grace Lee Inika Prasad Isabelle Jordan Lavandero Je-ok Presser Jessica Zhang Lily Zhou Manaved Nambiar Monishee Matin Nina Scher Richa Gupta Rida Pasha Sasha Mahmood Shanell Campbell Shaye DiPasquale Stephanie Lam Valerie Wu
OUR PREVIOUS ISSUE:
NEWS CULTURE
LOW PRICES AND LOWER MORALS. THE DARK SIDE OF THE FASHION INDUSTRY by lily zhou HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 13
any (if not all) of us have been drawn in by fast fashion brands stores like Forever 21 and H&M that sell trendy pieces for a price that’s cheaper than the salad you bought for lunch. The allure of the single digit price tag is hard to deny, but the low cost for the consumer comes at a high cost for the workers producing the clothes.
M
The “fast fashion” industry is aptly named; new trends are produced fast, sold fast, and ruined fast - it’s quite common for these cheap pieces to be turned to rags after just a few wears. Oftentimes, however, this is dismissed because of the low cost - “Oh well, it was only $5, I’ll just get a new one!” becomes the justification. Clothes are bought, sometimes in bulk, and then thrown out once the trend is over or the clothes are worn out - and the customer returns to stock up again.This high rate of turnover creates an enormous amount of waste of not only the consumer’s money but also of the resources used to produce the clothes.The worst impact, though, is on the factory workers.
PAGE 14
In an investigation done by the U.S. Labor Department as recently as 2016, “fast fashion” factory workers were discovered to be making as low as $4.50 an hour - significantly below minimum wage in any state. That’s another part of the problem; many people stay in denial about labor malpractice because they think it’s all happening in a third-world country far away from home, but this sort of practice happens in the U.S. too. People are comforted when they see a tag that says “Made in U.S” because they equate it to “Made ethically and not in a sweatshop”, but that’s not necessarily true. According to the U.S. Department of Labor, a sweatshop is a factory that defies 2 or more labor laws - such as those regulating minimum wage and child labor laws. Sweatshops are commonly found throughout the fashion/garment industry, with a higher proportion in the state of California. Workers in these sweatshops are often suffering in poor working conditions, and working unreasonable hours without fair or legal compensation. Additionally, they’re often immigrants (both documented and undocumented), and taken advantage of because of this.
HER CULTURE MAGAZINE | ISSUE NO. 21
Child labor is a continuing worldwide problem; the International Labor Organization estimates that about 170 million, or 11%, of children throughout the world are subjected to child labor. Many of them are working in factories and sweatshops that produce clothing for the U.S. The popularity of fast fashion pushes companies to look for the cheapest source of labor, which is
of children and workers that happens behind the cute, cheap clothes you see in storefronts and to brush it off and say that people are exaggerating. However, this is the truth of the industry, and so long as people buy these clothes, companies will continue to produce them this way.
oftentimes children, who are either willing to work for the lowest wages out of desperation, or duped with false promises of fair salary, food, and education. The reason that companies mostly get away with this abuse is that the business model of the fashion industry protects companies from legal repercussions. The U.S. Labor Department can only penalize companies that are directly employing people under these conditions - the companies can’t technically be punished if the violation of labor laws is happening under a third-party subcontracted company, which is usually what happens, and the companies can claim unawareness. It’s so easy to turn your head and stay in denial about the horrible mistreatment
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 15
In the Wake of Charlottesville, Why Diverse Matters: A Profile on Communities of Color by valerie wu A few months ago, I was fortunate enough to interview Malak Shahin, the editor-in-chief of Ascend Magazine, for an article I was writing on literary activism. Shahin is a Palestinian American who cares deeply about effecting social change, especially in securing justice for Palestine. The goal of Ascend was to provide a creative space where art and protest could intersect. When I asked her whether she believed that art was inherently connected to activism, she responded with: “Art is a form of self-determination...giving people the resources to make art can, in some ways, be liberating or at the very least a step towards liberation.” HER CULTURE MAGAZINE | ISSUE NO. 21
In a way, I think that art does embody a freedom of expression. Shahin, who is a Palestinian American and writes to evoke empathy for her people, is in her right to make art. I worked with Ascend for a while to curate a “Diversity Spotlight” feature, which aimed to highlight minorities advocating through the content they produce. We covered films, writing, and music--all forms of liberation for the people who made them. And when we experienced that art for ourselves, we learned more about the people who made them.
PAGE 17
As a high school journalist, I think that bridging the divide--politically and socially--comes from looking at an issue from both sides. The nation is struggling with race at the intersection of politics and protest, as evidenced by this week’s happenings in Charlottesville. There is a culture of hate that finds its breeding grounds in racially charged violence and overt discrimination. Yet what’s happening in Charlottesville isn’t new; subtle incidents of prejudice have been occurring since we began to acknowledge our differences in not only skin color, but identity.
white supremacist group has finally gotten the attention of white folk?”
Last week, Diana Ratcliff--Heather Heyer’s cousin--made a comment that I still can’t stop thinking about. She asked, “Why is it that the death of a white woman at the hands of a
For four months, I interviewed these communities, the artists and changemakers. I talked to Malak Shahin, who is Palestinian American and is acutely familiar with this sort
PAGE 18
Why is it? This is a question that has become crucial to understanding the very nature of our society and how it operates. Because if we are only just now acknowledging the white woman who dies, we are in a sense, erasing the deaths of the black communities, the Latino communities, the Asian American communities, that have died before-that have lost their culture because of these white supremacist values and the privilege they take for granted.
HER CULTURE MAGAZINE | ISSUE NO. 21
of marginalization. I traveled to the South Bronx and visited an “activist poetry cafe,” where chefs were actively resisting stereotypes by making better food and writers were writing their resistance. I met graffiti artists who were painting murals to protest gentrification. I researched and wrote and researched and wrote some more. I found out that many literary magazines who advocate for diversity are actually led by white women, and that there is an inherent minority bias within the publication industry. Art has sparked a social justice movement, and awareness of these issues regarding race relations comes from education. Because Diana Ratcliff’s right; we can’t just rely on what’s happening now to understand what it means for the future.
real and present today. It’s not just in our history books. Forms of expression are and always will be a form of expression and resistance. What I’ve learned, though, is that it is necessary to provide words for those who do not have them. In today's America, it's crucial that we act as the voices of those typically underrepresented in history: the immigrants, the nonbinary, those who have been discriminated against throughout the ages. We cannot be bystanders to historical oppression, just as we cannot forget the fact that history is multi-dimensional. The diversity of perspectives and voices is what allows us to make ethical decisions today--decisions that ultimately take into account the needs of each individual, people, and nation.
Through my time as a journalist of color, I’ve learned what it means to tell the stories that matter. Right now, we’re giving the platform to the wrong people. We don’t call what’s happening in Charlottesville terrorism because we don’t want to imagine anyone--Americans--as terrorists. We don’t want to think that racism still exists, and that it’s HER CULTURE MAGAZINE | ISSUE NO. 21
As a global citizen, it's my responsibility to care about the future of not just my country, but also the world and how we tell its story. That’s what I view freedom of speech as: speech that empowers. And as a human being, it's my duty to speak about what is so often lost: the truth.
PAGE 19
WEPs OVER WOE:
The Emerging Gender Lens Perspective in the Business Sector by manaved nambiar
T
he Women’s Empowerment
Principles (henceforth WEPs), is a collaborative initiative of UN Women and UN Global Compact (UNGC) to provide a framework to help the private sector focus on key elements integral to promoting gender equality in the workplace, marketplace and community. The business sector has traditionally been dominated by one singular gender. About 40% of businesses in G7 countries have no women in senior management positions. From a global standpoint, the proportion of senior business roles held by women stands at 24%. The only thing that we have seen an increase is in the percentage of firms with no women in senior management. With that in mind, it is no surprise that empowering women to fully participate in economic spheres across all sectors and throughout all levels of economic activity is essential. The reasons are many; building of strong economies, establishing more stable and just societies, achieving global development goals, promoting sustainability and human rights, improving quality of life for the family and catalyse business operations and goals. Much like your proverbial Rome,
frameworks cannot be dismantled in a day. A change in the mind-set of people is directly complimentary to a change in policies which are a direct result of such mind-sets. Enhancing inclusion throughout corporate policies and operations requires techniques, tools and practices that bring results. The WEPs, which were formulated through a multistakeholder consultative process with actors from all over the world, provides a gender lens perspective through which business can analyse contemporary initiatives, benchmarks and reporting practices. To put it simply, the WEPs (supported by real-life business practices) help companies tailor existing policies and practices to realize women’s empowerment and to promote gender equality. In dire cases, new frameworks are established to be in compliance with the WEPs. The WEPs also reflect the interests of government and civil society. In many ways, they support interactions among stakeholders as a way to achieve gender equality by ensuring an all-inclusive approach.
decades of biased and inequitable PAGE 22
HER CULTURE MAGAZINE | ISSUE NO. 21
In fact, UN Women brings three decades of cumulative experience to this partnership effort with the UN Global Compact, which is the world's largest corporate sustainability initiative with more than 12,000 participants in over 160 countries. There has been some criticism following the WEPs, mostly centred on how it is too soft and inefficacious. However, to bring down the patriarchal superstructure that pervades the business sector, slow and deliberate steps over the long term would be much more adaptable than a quick fix solution. The WEPs are a weapon, one which must be used wisely by those of us who wish to see an equitable economy.
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 23
UNDEFINED:
A (POLITICAL) NARRATIVE ON THE MARGINS by valerie wu
PAGE 24
HER CULTURE MAGAZINE | ISSUE NO. 21
To be undefined in a binary is a terrifying thing. To be undefined in a predominantly black-and-white binary is even more terrifying, as terrifying as it is tragic. As an Asian American living in a community where Chinese-Americans are the majority, I’ve had the privilege of having my race spotlighted, especially in the narrative of politics. Here in Northern California, we have leading political personality Evan Low representing the 28th district. We have Kansen Chu, a firstgeneration immigrant from Taiwan, as assembly member of the 25th district. When Kamala Harris, first Indian-American to serve in the United States, was elected, we all cheered. It was a day in history where our race was being featured. It was the day that our stories would start being told in not just the realm of public policy, but also in the way we lived our everyday lives.
I grew up knowing the story of my race, but never really seeing it represented in the majority narrative. In my United States History textbook, the section on Chinese railroad workers barely covered half a page, as if it was only a feature, a by the way, this happened--but it’s not relevant. It’s incredibly disheartening to realize that Americans still don’t value Asian-Americans as part of the broader story. We talk about the American Dream: Manifest Destiny, the Gold Rush, the pursuit of opportunity, but we never truly acknowledge and appreciate the significance of minorities who have had to work just as much to achieve what they have today. Immigrants are represented as statistics and “waves of newcomers in the 1800s,” when their individuality and personal stories have just as much importance to the narrative. Oppression doesn’t have to be explicit. It’s a universal language, one that translates itself in many different ways. When I transferred to a high school in which I was an ethnic minority, I began to realize just how much oppression was still present. It came in the form of
For those living on the margins, representation is a powerful, tangible, object--it changes the way we feel not just about the world, but also ourselves. HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 25
English teachers telling me that my vocabulary was too advanced for a “person like me,” and that I needed to cut down my sentences to less than what they were. Superfluous became more. Acknowledgement became realize. Deceit of oneself became lies. So many lies. I tried to take an art class in my sophomore year and was gazed upon with a dubious look. “People like you should stick to the technical fields,” the teacher told me condescendingly. I wanted to prove myself so badly; my words were all I had, but no one seemed to appreciate them. “Those aren’t your words,” others told me. They were. I knew there was something wrong here. Oh, she’s just a teenager, finding a problem to complain about. Each day when I came home, I would begin crying, knowing that my voice was being silenced, that I was becoming less and less of myself and more of what Americans seemed to want me to be. I had always called myself an advocate for the Asian-American narrative, but it weighed upon me: how could I be advocating for a broader community of people when I
PAGE 26
couldn’t even stand up for my own race? I began seeing the inequalities, the limited solution sets AsianAmericans were placed in. We could never transcend our range. We were confined within the domain of race, and it seemed impossible for us to ever break out of it. It was an absolute value. We were undefined in a world where the Asian-American story was invisible. In my initial years of math, I had trouble defining numbers. Everything had a numerical value, but some were rational, and some were irrational. But some, the ones in a different category altogether, were imaginary. They were no longer real. When I began to acknowledge my identity as someone who needed a hyphen for one identity, I started to think that maybe I was an imaginary number. I was zero, the absence of something. I was always trying to define myself within a limited solution set. René Descartes, French philosopher and mathematician, once stated, “I think, therefore I am.” In that sense, I was trying to associate myself within the inequalities of life. I ran for student
HER CULTURE MAGAZINE | ISSUE NO. 21
council in ninth grade, and lost to girls whose ancestors had been here since colonial times, who brought to school real artifacts of the Civil War because for them, it was easy. It was their history. I began to regret my decision to leave my community of yellow, to pursue an American education that didn’t value me as much as I valued it. At least in my community, I had opportunity. At least in my community, I had a dream, one where I could represent a quantity greater than myself. But I couldn’t measure my skin color, not quantitatively.
throughout history. The variable is still left unsolved. I’m a writer of color who’s still being forced to write about kung pao chicken and jade dragons in Beijing. That isn’t my history; I’m not a metaphor. What I represent is just one of many individual stories of the AsianAmerican experience, one that needs to be told. Political representation for AsianAmericans matters today specifically because of its potential to effect change. No, I was never elected for Student Council. But today, I continue to support the endeavors of AsianAmericans who do, knowing the trials they have overcome just to be standing on a stage and telling us why they matter. Because they do, and as voters in a story greater than ourselves, it’s our duty to acknowledge those stories for what they are, and not anything less. Your choice matters to the collective generation. Participation in the collective narrative, especially one in which Asian-Americans are traditionally underrepresented, is how we begin to showcase our narrative and define it for ourselves.
Math isn’t my strong suit, but I do know this: equality matters. Representation and resistance matter. In a land of color, I want to be able to look across the continent, from sea to shining sea, and see a country that values not just one ethnicity, but diversity. I want to be able to flip through a United States History textbook and see the multi-faceted Asian-Americans that have made up so much of history. I want to look at them, smile, say these are my people. These are my people. Living on the edge of the margins can be difficult. No, I can’t claim that my basic rights have been violated. I can’t say that I’ve been truly liberated either. I am still a human being that is subject to the many
I wonder if I can cross a continent.
stereotypes that have perpetuated HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 27
IT’S TIME TO START A #CULTUREREVOLUTION Her Culture is the first magazine to explore culture through a woman’s eyes. Join us as we celebrate what makes us all unique, and make a change in the world.
WE NEED TO BE HEARD. THE FIGHT FOR RACIAL EQUALITY AND ASIANAMERICAN REPRESENTATION IN THE AGE OF TRUMP by annie zhang PAGE 30
HER CULTURE MAGAZINE | ISSUE NO. 21
W
hen white nationalists wreaked havoc in Charlottesville, Virginia upon the city’s decision to remove Confederate statues, Elaine Chao - the U.S. Secretary of Transportation and a Taiwanese immigrant - failed to condemn them. When Trump blamed “both sides” white supremacists and anti-racist protestors- for the violent rally, Chao remained silent. And when Chao didn’t speak up,in effect, siding with Trump, AsianAmerican groups descended upon her, criticizing her for not using her position of power to stand up for POC (people of color)-and even calling for her resignation. This comes as no surprise-as one of the most prominent Asian-Americans in the U.S. government, her failure to stand against Trump signals that ( even as an Asian-American and a POC , she wanted to maintain her position of power and was unwilling to stand against the President and his ideals. More broadly, many AsianAmericans are apathetic about speaking up about alarming social/ political issues, even those
PAGE 32
concerning POC. In turn, since Chao did not denounce the white supremacists, Trump may get the impression that some racial minorities, such as Asians, condone his beliefs. By ignoring the alarming racial attacks in Charlottesville, Chao was perpetrating the model minority stereotype. Asian-Americans are often labeled by white people as a group who is academically successful and socioeconomically superior, and thus, an example for other minority racial groups,sending out the message that Asian-Americans are above the racism that other racial minorities face. However, this is not true;
Asian-Americans are not a model minority, and are not immune to the beliefs that the white supremacists spout.
HER CULTURE MAGAZINE | ISSUE NO. 21
Yes, Asian-Americans still face racist attacks in America. While they’re admittedly not on the same scale as other POC, such as black people, Asians are not excluded from the racist attacks directed toward them by white supremacists.
decisions for a culturally, racially, and religiously diverse country, is disproportionately white, and does not come close to reflecting America’s population. But in addition to that, there’s one more criterion to fulfill that’s especially important in the age of Trump, Black Lives Matter, and And also, no, it’s not okay for them to escalating racial tensions: we need ignore racist attacks upon POC that Asians who are willing to stand for are not Asian-American. our fellow POC. We need Asians who do not watch social problems grow We need to bigger while replace Chao silently standing We need to send out the with new and on the sidelines. message that Asians, too, more AsianWe need to send can make a change in this out the message American representation in country, and Asians, too, that Asians, too, Trump’s cabinet, can make a are fully included in the and in Congress. change in this fight for equality. This may be a country, and struggle, however; Asians, too, are while minority representation in the fully included in the fight for equality. U.S. government has recently been increasing, this trend may stagnate Because only then, when everyone as a under Trump. whole stands against white nationalists, will we become a step There is the obvious reason why closer towards making our country a Asians need more political safe and equal place for all. representation-more cultural diversity will bring new voices and perspectives to the president and Congress, which, despite its purpose to make important HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 33
KUNG-FU NUNS by shaye dipasquale
A
s reports of sexual assault rise in India, nuns from an ancient Buddhist sect are overcoming traditional gender roles and empowering other women through self-defense. Better known as the Kung Fu nuns, these women belong to the Drukpa lineage —the only female order in the patriarchal Buddhist monastic system that considers nuns and monks to be of equal status. In the past, nuns were expected to simply cook and clean. They were not PAGE 36
allowed to participate in physical activity. But all of this changed roughly a decade ago, when the head of the 1,000-year-old division, His Holiness The Gyalwang Drukpa, encouraged the nuns to study Kung Fu. Kung Fu is an umbrella term for the practice of Chinese martial arts that resemble karate. In its original meaning, Kung Fu refers to any study or learning that requires discipline, energy, hard work, and HER CULTURE MAGAZINE | ISSUE NO. 21
and patience. After visiting Vietnam and witnessing nuns in the region participating in combat training, The Gyalwang Drukpa chose to bring the idea of self-defense training back to his nuns in India and Nepal. Inspired by his own mother to support gender equality, The Gyalwang Drukpa hoped the selfdefense trainings would empower the young women he worked with.
will think: ‘If nuns can act, why can’t we?'” The Kung Fu nuns strongly believe that every woman should feel empowered. That is why they decided to start teaching other women how to protect themselves from attacks. India’s National Records Bureau reports that nearly 35,000 rapes were reported in 2015. During that same time period, there were over 80,000 reported sexual assaults. Sadly, there are likely many more cases that were never reported because many victims are afraid to come forward with their traumatic experiences.
Each day, nuns between the ages of 10 and 25 gather to take part in a series of training sessions. Instead of wearing their traditional maroon robes, the women dress in traditional martial arts attire. Between their prayer and meditation sessions, the nuns take classes in a variety of disciplines including gender equality courses. These women have become important leaders in their communities, doing everything from organizing eye care camps to working as electricians.
After the nuns heard about the numerous accounts of rape, stalking, and molestation that women in India face daily, they felt compelled to take action to fight back. The nuns offer workshops and training sessions to women of all ages who wish to learn how to defend themselves. These training sessions teach women techniques like strikes and takedowns and how women how to deal with being attacked from behind.
“Most people think nuns just sit and pray, but we do more,” said 19-yearold Jigme Wangchuk Lhamo, one of the Kung Fu trainers, told Reuters. “We walk the talk. If we act, people
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 37
Tsering Yangchen, a 23-year-old student who has participated in some of the nuns’ trainings, told Reuters that the self-defense sessions have left her feeling liberated. “I am often uncomfortable going to the market as there are boys standing around looking, whistling and catcalling. I was always hesitant to say anything but now I feel much more confident to speak out and even protect myself if I have to.”
PAGE 38
HER CULTURE MAGAZINE | ISSUE NO. 21
BRIDGE TO CHINATOWN THE ART OF GENTRIFICATION by jessica zhang HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 41
Art is supposed to connect people, serving as a bridge between individuals and communities. It can give a voice to those who might not otherwise have one. The installation of a new art gallery should represent a positive contribution to society—another bridge built between cultures. But in New York City’s iconic Chinatown, it means the onset of gentrification and the displacement of longtime residents whose community was built on the shared experience displacement in the first place. Within the past three years alone, 60 galleries have opened in New York City’s Chinatown. Rents are at an alltime high—according to NYU’s Furman Center, median rents in Chinatown have climbed from an average of $745 per month in 2005 to $946 just five years later, and census numbers show that the Chinese population of the neighborhood declined by 17 percent between 2000 and 2010. (Home ownership is rare in Chinatown, so the rise of property values doesn’t benefit residents, but
PAGE 42
rather renders them unable to remain in their own homes.) Art galleries are only part of the problem. New luxury high-rise condos and hotels stand in place of low-income housing. Offices, studios, cafes, and bars have replaced factories, bakeries, and herbal shops once staffed by immigrants paying a quarter to a fifth of the new rent price. Tourists sometimes trek to NYC Chinatown expecting some kind of ethnic theme park or historical reservation. Instead, Chinatown is simply home to more than 150 years of immigrants—a living representation of the ongoing impacts of history. It isn’t some isolated village, a spectacle or a landmark. It is a neighborhood, and one that possesses a thriving network of locally-based art, as well as politics, culture, food, and more. The issue here isn’t the art itself, but the art’s social impact. And given the inherent nature of art as a mode of communication with the outside world, is it not the artist’s responsibility to be conscious of their work’s external impact?
HER CULTURE MAGAZINE | ISSUE NO. 21
Chinatown Art Brigade, a cultural collective of artists and activists working to promote social justice, led a dialogue on the topic with Chinatown Tenants Union of Committee Against Asian American Violence: Organizing Asian Communities. Titled “Chinatown Is Not For Sale,” the art campaign is composed of large-scale projections onto buildings throughout Chinatown. “Gentrification is modern colonialism,” one read. “Who did you displace when you opened your gallery? Your bar?” “This past week we lost Terence Crutcher and Keith Lamont Scott. R.I.P. #BlackLivesMatter,” one said.
to make room for cocktail bars and— again—art galleries. Chinatown is itself the visible result of change, built from immigrants moving into a place where other people once were. But the gentrification of Chinatown is about more than just new residents moving into a place where there once were others. It’s more than just a few streets subject to the fluctuations of city planning and the real estate market. Chinatown is a symbol of a collective cultural memory. Its streets are alive with the past. After all, it wasn’t until 1965 that Chinese individuals were even legally allowed to enter and remain in the United States. They have always been subject to external forces dictating where they could or could not go. Gentrification is foisting the repetition of this history onto Chinese-Americans all over again. That’s what differentiates this neighborhood from others where market-rate developments may also occur—its valuable but too-oftenunheard story.
The text was pulled from the writings of real citizens, with Spanish and Mandarin alike finding their way into the projections. The issue of displacement is one that is intersectional, speaking to communities beyond ChineseAmericans. Neighborhoods like Harlem and Bed-Stuy, once longstanding black communities, have also been subject to the economic and cultural impacts of gentrification as its residents have been displaced
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 43
Despite art’s cultural benefits and value, the art gallery represents the pinnacle of privilege when it comes to gentrification. If you can afford to patronize an art gallery, you have the means to spend time on intellectual pastimes instead of having to work a low-paying job to make ends meet. If you can afford to patronize an art gallery, you have the means to live in affluent areas and displace former residents. An art gallery is a space for creatives to share their stories. But by remaining unaware and complicit in the unrelenting forces of gentrification, whose story are they disregarding?
PAGE 44
HER CULTURE MAGAZINE | ISSUE NO. 21
A WOMAN’S PLACE IS ON THE MONEY by elizabeth meisenzahl
PAGE 46
HER CULTURE MAGAZINE | ISSUE NO. 21
In June of 2015, then-United States Treasury Secretary Jack Lew announced that Harriet Tubman would replace Alexander Hamilton on the ten-dollar bill. Non-profits such as Women on 20s had long been urging the government to put a woman on paper currency, although they obviously had their sights set on the twenty-dollar bill (currently featuring Andrew Jackson, a devisive figure who notoriously
distrusted paper money). These groups, along with fans of Hamilton, were delighted, to hear in 2016 that Hamilton’s spot on the ten-dollar bill was safe, and Jackson would indeed be replaced by a woman - and not just any woman. The slave-holding President would have his likeness replaced by that of Harriet Tubman, known for leading slaves to freedom on the Underground Railroad.
Other suggestions for women on the twenty-dollar bill included Rosa Parks and Susan B. Anthony. The 2016 republican presidential candidates Mike Huckabee and Ben Carson, endorsed their wife and mother, respectively, when asked about which women should be on currency during a debate. Carly Fiorina, supported exactly zero women for the honor. Tubman isn’t the only woman who will be honored this way. The new five-dollar bill will feature Eleanor Roosevelt and Marian Anderson, a tewntieth century black singer. New ten-dollar bills released alongside the same Hamilton bills will feature leaders of the women’s suffrage movement, including Susan B. Anthony, Lucretia Mott, Elizabeth Cady Stanton, Sojourner Truth, and Alice Paul. The unveiling of the new ten-dollar bills is planned for 2020 as nod to the centennial anniversary of the 19th Amendment, which granted (white, literate) women the right to vote.
suspects. Representative Steve King (R-IA) attempted to add an amendment to an appropriations bill in 2016 that would have blocked the move by forbidding spending money on redesigning currency. His rationale? Placing a black woman in a position held previously by a white man would be “sexist” and “racist.” The House Rules Committee blocked Rep. King’s amendment.
This recognition of female contribution to American history is long overdue. Tubman will be only the third real woman to appear on paper money, and this will be the first time ever black people of any gender will be depicted on American currency.
The new faces of American currency, while applauded by most, was derided by some of the usual
PAGE 48
HER CULTURE MAGAZINE | ISSUE NO. 21
Early in American Treasury history, women tended to only appear when representing not people, but abstract ideas, such as liberty and justice. When the Treasury started printing money in 1789, it would be nearly one hundred years before the first real woman, Martha Washington, would be featured on money. A complement to the one-dollar bill depicting George Washington, the bill with his wife’s likeness was not in wide circulation, and could only be exchanged for silver from the Treasury. Pocahontas appeared on the twenty-dollar bill for a brief period in the 1860s, but was among a group of several people.
Who is placed on money (and on which notes) speaks volumes about who is looked fondly upon by history, as well as who is forgotten. The introduction of female faces onto some of the most ubiquitous notes in circulation takes a step towards recognizing the oftoverlooked contributions of women in American history. Current Treasury Secretary Steve Mnuchin has recently walked the White House's statements back on this issue. Although not explicitly stating the action would not go forward, Mnuchin expressed that this was not a priority for the current administration; saying that they will be focusing instead on thwarting counterfeiting efforts. While his attitude seems to put Tubman’s placement on the 20 in jeopardy, opponents hope that the long-term plan for depicting women on money will continue to gain momentum.
Meanwhile, one-dollar coins have been notable for their use of women. President Jimmy Carter signed the Susan B. Anthony Dollar Coin Act into law in 1979, and the Sacagawea dollar came into circulation in 2000. While this was a nice gesture, it remained just that - a gesture lacking any real meaning, as the dollar coin is a novelty used by few people. Sacagawea's was discontinued in 2011.
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 49
FOOD
CULTURE
Noodles are a common delicacy in Asian culture. While there are various ways to cook and flavor noodles, the recipe for making the noodles themselves remain mostly the same. If you ever feel in the mood to eat noodles, don’t go for takeout! Try this easy handpulled noodle recipe instead: (by stephanie lam)
PAGE 52
HER CULTURE MAGAZINE | ISSUE NO. 21
HAND-PULLED NOODLES PREP: 3 hrs
COOK: 15 mins Serves 4-6
INGREDIENTS: 1 3/4 cup flour, 1/2 tsp salt, 1 1/3 cup water at room temp SUPPLIES: Rolling pin, non-stick cookie sheet, medium pot, scissors, plastic wrap 1. In a bowl, combine the flour and salt. Mix together until well-incorporated. 2. Slowly begin to pour the water into the mixture, stirring occasionally with a pair of chopsticks or spoon until all the water is added and there is no dry flour left. 3. Coat your hands with a thin layer of flour, and begin to knead the mixture until a dough forms. The texture of the dough should be soft and very sticky. If you find that the dough is too watery, add in additional flour, 1 tablespoon at a time. 4. Generously coat your work surface with flour, and transfer the dough to the work surface. Knead the dough for about 10-15 minutes until the texture of the dough is smooth and springy. Form the dough into a large ball. 5. Coat the same bowl you used to mix the flour and salt with more flour. Place the dough ball in the bowl and and cover the bowl with plastic wrap. Let the dough rest at room temperature for 2 hours. 6. Once the dough has rested, coat your work surface again with flour. Divide the dough ball into 4 even pieces and reshape the pieces into balls. 7. Take one ball of dough and place it on your work surface. Press the dough into a round disc and use a rolling pin to roll the dough into an even circle until it is about 0.2 inches thick. 8. Use a pizza cutter to cut strips of dough about ½ in. width. (The width can vary depending on how wide/thin you want your noodles.) 9. Lay the strips of dough on a non-stick cookie sheet and cover with a damp paper towel. Let the dough rest again for about 30 minutes. 10. In a medium-sized pot, bring water to a roaring boil. Add a small handful of salt and about 2-3 tablespoons of oil into the water. 11. Take one dough strip and carefully begin to pull one end of it. You will find that the noodle is elastic, and can stretch to about a foot without breaking. Place the noodle into the water. Add about 2-3 of the stretched dough into the pot. Boil the noodles until they are fully cooked, about 2-3 minutes. 12. Drain the noodles and transfer them to a large bowl. Continue the process until you have all the noodles you desire. Store leftover uncooked dough in the fridge for about 2-3 days. If you cook the noodles, but do not plan to eat them immediately, add about 2-3 tablespoons of oil to prevent the noodles from clumping together.
The Power of British Brew by Emma Murray
F
irmly cemented within British culture is the traditional cup of tea. According to The Telegraph, “the average British person consumes 876 cups of tea each year – enough to fill more than two bathtubs”. It is a drink that assists in emerging from bed in the morning, a drink that unites families and perhaps most importantly it often serves as a replacement to emotional expression. British culture is notably more restrained than its American cousin, and hugging, kissing and a lighthearted declaration of “I love you” to a new acquaintance would shock a Britain to the very core. Emotions, if expressed at all, will often only make an appearance in the comfort of one's own home. Even when shrouded by the security of family, emotional expression can be difficult, so tea serves a surrogate. According to YouGov research “almost a quarter of young people are likely to turn to a cup of tea when feeling sad”, and “a third of women will put the kettle on when they feel unwell”. On that same poll, 50% of adults concurred “that they associated a cup of tea with comfort”,
PAGE 56
a belief that is expressed during the 2005 film adaptation of The Hitchhiker's Guide to the Galaxy, when Arthur played by Martin Freeman, remarks that “a cup of tea would restore my normality.” The quintessential British cup of tea does not have a particularly positive heritage however. A nod to England’s colonial past, the British Empire was instrumental in spreading tea from China to India; with British interests governing tea production. Indeed this integral part of British culture is no more English than the monarch who endorsed it wholeheartedly, Queen Victoria. But although the ancestry of tea is tainted by colonial dominance; now it represents a unification of cultures. Tea unlike any other drink celebrates social, cultural and political divides. Whether one is the Queen of england enjoying a dalliance with a porcelain pot of afternoon tea, or a labourer gulping a well-deserved mug of builder's tea, no level on the rigorous english hierarchy is too high or too low for the drink. The political and religious strife between the republic and Northern Ireland may continue , and yet the same midday pastime and
HER CULTURE MAGAZINE | ISSUE NO. 21
brand of tea can be appreciated by both. The countless blends of tea that line the aisles of supermarkets across the UK endorse diversity. On a national level the packaging honors the Yorkshire Dales and Scottish Highlands. And on an international level the popular blends of Assam and Darjiling although tarnished by Imperialism can now act as a physical representation of cultural immersion.
novel. Thus illustrating teas ability to facilitate conversation and deviate unwanted attention.
Tea is now a drink for the people, far removed from the female image of domesticity it once epitomized. Tea has become an art in itself.
After the introduction of tea to England in the 1660’s, the drink became a signature libation of the upper classes. Tea rooms were erected in the most fashionable locations, most notably in the Roman city of Bath. The elegant rooms provided gentlewoman with the opportunity to escape the confines of the family home, without fear of scandal. Jane Austen’s Georgian romances perfectly embody the function of tea as a vehicle for social interaction and as a replacement for emotional expression .In the novel Emma, the title character and her new friend Harriet Smith sit demurely sipping tea as Austen’s audacious suitor Mr Elton, tries and fails to woo the rich heroine of the HER CULTURE MAGAZINE | ISSUE NO. 21
An English person can take years to cultivate their perfect cup of tea, a brew is personalised and can illuminate a great deal about a person. One tea bag or two, sugar or sweetener, or must the drink be brewed in a pot or left to rest in a mug? Nonetheless the main point of contention for many is the ratio of milk to tea. It is a given that the milk must be present, a fact that is too often neglected in the United States. Henry James declared that “there are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea.” So it’s no surprise that Brits take such a considerable amount of time perfecting the pastime.
PAGE 57
This social drink has transformed, cementing itself within the equally traditional diversion of Afternoon Tea made fashionable by the Duchess of Bedford in 1840. This refreshment acts as the focal ingredient to a platter of sandwiches, cakes and biscuits, which in 2010 was augmented further to become the creative stimulus for the hit show Great British Bake Off. A reality series that celebrates the innocent delights of baking, enjoyed with a
PAGE 58
simple accompaniment of tea. The show much like the tea itself glorifies diversity bringing together ordinary citizens of different cultures. From its humble beginnings, tea has provided the foundation for an internationally acclaimed show that celebrates British culture and the diversity of a nation. So once again the brew has demonstrated itself to be a multi-faceted object capable of unification.
HER CULTURE MAGAZINE | ISSUE NO. 21
APHRODISIACS - THE CHEERLEADERS OF LIBIDO
by inika prasad
Aphrodisiacs are food substances that supposedly increase libido when consumed and can lead to more enhanced arousal and sexual gratification. The word has the same root as Aphrodite, the Greek goddess of love, beauty, and desire. Seen in practically all cultures around the world - whether ancient or modern it seems that one of the things humans have all had in common since the beginning of recorded history is the desire for better sex. There is a huge range of foods that, at some point or the other, have been PAGE 60
said to be aphrodisiacs. The most common can even be found in your own kitchen- bananas, figs, chocolate, chillis, wine, vanilla, pineapples, asparagus, almonds, strawberries, and even onions. Oysters and various types of seafood, as well as a variety of herbs, have all been referred to in folklore as heightening libido. In addition, marijuana, methamphetamine, cocaine, and other drugs have been known to excite and arouse.
HER CULTURE MAGAZINE | ISSUE NO. 21
On the other hand, there are plenty of more mysterious and bizarre substances touted as aphrodisiacs: horns and tusks such as those of the rhino, ambergris (a combination of squid beaks, fatty secretions, and whale poo), the Spanish fly beetle (of which even slight overdosage can be lethally venomous), bufo toad skin (also venomous).
and magnesium that are important for the production of sex hormones. In any case, it’s up to you to decide for yourself what you want to think of these seemingly magical substances. Maybe give them a shot? They may or may not work, but it will be an experience. And aren’t experiences what aphrodisiacs seek to give in the first place?
There are relatively few studies on the aphrodisiac properties of specific foods, and even fewer on the effect they have on humans in particular. Whether aphrodisiacs truly do affect libido is disputable. Despite the lack of solid and concrete evidence, a number of interesting theories float around on the internet and several health and lifestyle magazines. Foods which are reminiscent of sexual organs, such as bananas with their phallic shape and figs shaped like vulvas seem to act more as visual stimulants. Some, such as alcohol and hallucinogens, can remove inhibitions, which may create the illusion that they are increasing the want for sex. Other substances promote general health and wellbeing, including supplying vitamins and minerals such as zinc HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 61
AN INTRO TO JUICING by stephanie lam Juice is a beverage people drink to refresh themselves after a long day. It’s a beverage children drink out of small colorful boxes, and athletes drink to regain nutrients after a workout. Drinking juice is a part of people’s daily lives. However, sometimes people don’t stop to think about the nutritional benefits that juice can bring to their bodies. The term “juicing” refers to the process of extracting the juice from fruits and vegetables. Machines such as hand juicers, centrifugal juicers, and cold press juices are all tools that extract juice in different ways. The result: easily drinkable and digestible vitamins and minerals. Juicing can be used as a way to detox the body, or it can be used
can help one receive the extra nutrients from fruits or vegetables that he or she wouldn’t normally eat in day. Despite the many benefits of juicing, there isn’t any strong scientific evidence that juicing can help prevent diseases, like cancer. There are also suggestions that it is better to consume whole fruits and vegetables, as opposed to their juices, because of the fibers in whole fruits and vegetables that help regulate the digestive system. Even if fruits and veggies are less nutritious in juice form, if it's the only way you want to get those nutrients, here are some recipes to try out:"
as a supplements for meals. Adding juice in a person’s diet HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 63
GRAPE & KALE 1 bag of red seedless grapes 1 head of kale 1. De-stem the grapes, wash them, and place them in a separate bowl. 2. Wash and dry the kale. Then chop the kale into about four-five large sections (optional). 3. Remove the stem and bottoms of the kale. 4. Take a juicer, and begin to add in about a fistful of grapes and one section of kale. Make sure you add the grapes and kale gradually, instead of all at once. Alternate Method: If you don’t have a juicer, use a blender. Add in about 1-2 cups of water to help the grape and kale juice thin out. Once the grape and kale juice becomes as thin as possible, pour the juice into a strainer. Strain the juice about two to three times until most of the pulp is removed. 5. Pour yourself a cup of juice. Pour the remaining juice into a jar and store it in the refrigerator.
PAGE 64
HER CULTURE MAGAZINE | ISSUE NO. 21
CARROT & APPLE 4 carrots 2 apples 2 stalks of celery 1 ½ in. ginger 1. Wash the carrots and chop them into 3-4 sections. (If you are using a blender, chop the carrots into smaller pieces). 2. Wash and quarter the apples. 3. Wash the celery stalks and cut them into 3-4 sections. 4. Take your juicer, and begin to add in the ingredients. Alternate between carrots, apples, celery, and ginger. Alternate Method: If using a blender: hopping the carrots into smaller pieces will make blending easier. Blend 1-2 cups of water into your juice mix. Once your juice is done, strain it until the pulp is removed. 5. Pour yourself a cup of juice. Store remaining juice in a jar, and keep it refrigerated.
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 65
ART
CULTURE
BRINGING BACK
KNITTING by elie doctor
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 67
K
nitting is not typically seen as a young person’s activity. If you were asked to picture a person who would knit, ideas of gray hair, glasses, and a rocking chair would be involved. Nevertheless, knitting could be mastered by nearly every age, as it is not overly difficult. All it takes is two needles and a ball of yarn, and the world is at your fingertips. It’s a simple art, yet done correctly, can be masterful. Knitted pieces can be dated since the 11th century, likely due to its portability and easy nature. Throughout ancient Europe and the Middle East, knitting was used not only to make clothing but to display family crests. Through the 20th century, women would knit clothes for themselves and their families to save money. During World War I, spies would use this craft to disguise secret messages. Because so many women would knit at that time, seeing a woman knitting in public was not suspicious, and a good cover for a female spy. By the 1960s, most girls were taught to knit in school. Once the women of this era grew to be older generations, knitting became seen as an old person’s
PAGE 68
pastime. In the 1980s, purchasing knitted items became cheaper than making something yourself, which made knitting less of a necessity and more of a hobby. The media now shows knitters as retired people with an excess of time and took knitting out of haute couture. Today, knitting is starting to make its way back in. The internet is full of patterns, crafts, and informational videos, making knitting more accessible to a wider audience. As opposed to being a necessity, schools have begun to teach knitting again as a way to occupy the energetic hands of children. People have started giving homemade scarves and socks as more endearing and heartfelt gifts. Smaller artisanal yarn shops have become more and more popular. I learned how to knit in elementary school. I had a genius teacher who taught us how to knit while she read aloud to us, oftentimes giving us a special treat of a lollipop. Our mouths were filled so we couldn’t talk and our hands moved to give us an outlet for our energy, allowing us to fully listen to her reading.
HER CULTURE MAGAZINE | ISSUE NO. 21
Another teacher taught us how to turn our projects into hand puppets, which let us really grasp the usefulness of the craft. Since elementary school, I would knit off and on, but without any real drive. During my junior year of high school, I decided I wanted to give a heartfelt, personal gift to a friend. I knew that handmade gifts showed effort and that the recipient was worth more time and mental energy than simply buying something. After a long search on the internet, I found a pattern. This friend was a big fan of Star Wars, so I found a scarf with intricate Star Wars imagery within. Despite the intention of this being for a friend, I found immense pleasure along the way. Watching my work grow into a full-fleshed project reinforced my joy, and all while under the impression of doing a good deed for someone else.
started out a knitter, I've found crocheting patterns so intriguing that I’ve started into that world, too. The internet holds hundreds of thousands of patterns with instructional videos to help, making any project approachable. Though I am incredibly proud of the pieces I’ve made, I had to work on overcoming the negative associations that come with knitting. Instead of hiding my hobby, I just chalk up my interest in knitting as yet another quirk, something that makes me unique. My closest friends are impressed with my skills, especially after I give them a heartfelt handmade gift. As a lifelong nail biter, having a project to occupy my hands has helped me slow my nasty habit. I feel justified in bingewatching TV shows since I’m doing something productive as I watch. Constantly having a project to do makes me feel good, and it’s something I know I can turn to when I want to watch myself be productive. After knowing knitting’s history, you may be able to see a future in knitting.
Since then, I’ve constantly had a project of some sort, always meant for a friend. To start, I think of a friend and brainstorm some of their interests. From animals to movies to colors, I can usually throw in some keywords online and find a pattern that catches my interest. Though I HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 69
ON BEING A FEMALE WRITER by claudia wassailewska
Being a writer is inescapably full of woe. When you are a female writer, it’s two-fold. Some days, when I am staring hopelessly, defeatedly at the blank page before me, I wish just for a second that I was a finance major instead of a writing major. A woman working in finance seems far more outrageous than a woman writing, and that appeals to me. But what I didn’t realize until recently is that it’s actually pretty outrageous to be a female writer, too. I grew up thinking that writing was generally femaledominated. My mother discouraged me from STEM subjects because I am sensitive and emotional—two stereotypically feminine traits that wouldn’t be useful in the seemingly masculine, male-dominated STEM field. She, therefore, suggested I stick to writing my “little stories.” Luckily for me, I am creative, but that was never a deciding factor. Primarily, my mother viewed writing as an outlet for my effusive, girly emotions.
PAGE 72
It was somewhat surprising for me to learn that creativity is a trait generally associated with men. I didn’t know that growing up. I thought if you were emotional, you were likely to be creative too. Plus, other creative activities like dancing, jewelry-making, and cooking are not associated with men. A famous book written by Sandra Gilbert and Susan Gurbar, The Madwomen in the Attic, notes that men seem to have an ownership over literary creativity, which they keep by perpetuating in their novels that all women fall into one of two categories: the angel or the madwoman. Both archetypes are defined by their temperament. Nowadays, there are novels that portray women as creative beings who don’t care about behaving because they realize they are not men’s pets. Although the image of a creative woman has emerged, on a subconscious level women are still considered less creative than their male counterparts.
HER CULTURE MAGAZINE | ISSUE NO. 21
Two years ago, Duke University students conducted an experiment in which they gathered both men and women and asked them to relate a given list of “masculine” and “feminine” traits to creativity. Most participants related creativity to stereotypically masculine traits; they believed masculine traits (competitiveness, courage, independence) were better paired with creativity than feminine traits (nurture, sensitivity, sympathy). It would seem that femininity in of itself makes for bad writing.
best it is most feminine; the only difficulty lies in defining what we mean by feminine.” In the first part of the quote, Woolf is saying any writing written by a woman is inherently feminine. In a similar sense, any nest arranged by a bird is inherently avian. The denotation of feminine is “of women.” Its connotation, which Woolf addresses in the second half, can be a number of things depending on whom you ask: caring, delicate, emotional; or weak, dim, and difficult. Needless to say, the connotation is more impactful than the denotation.
Nobel writer VS Naipaul thinks so. Years after Naipaul accepted his award, The Guardian printed an article titled “VS Naipaul finds no woman writer his literary match – not even Jane Austen.” The article mentions Naipaul’s brash claim that he can identify a feminine voice in any piece of writing because it is so distinctly inferior to that of a man. Women’s "sentimentality” and “narrow view of the world," he says, reflect in their writing. On the idea of writing being gendered, Virginia Woolf said “A woman's writing is always feminine; it cannot help being feminine; at its HER CULTURE MAGAZINE | ISSUE NO. 21
Knowledgeable of gender prejudice in the literary world, and how it blocks female writers from the professional market, Joanne Rowling published Harry Potter under the pseudonym J.K. Rowling. To this day many people still refer to her as Mr. Rowling because it’s odd to think a woman would write a boy’s fantasy, and when we don’t know the author’s gender, the default is “he.” It is always he before she, himself before herself, his before hers. It turned out using this pseudonym was a great marketing trick because she attracted a bigger audience of
PAGE 73
boys, which she might not have if she printed her real, full name on the cover (“Harry Potter and the Mystery of J.K.’s Lost Initial” by Richard Savill). Miss Rowling is now a millionaire, so she may have done something good for herself. Unfortunately, her dupe doesn’t help the rest of the female writers population who are in need of representation. Previously mentioned, The Madwomen in the Attic, presents the term “anxiety of authorship” to describe female writers’ fear that they won’t be heard —that their creation won’t receive the acknowledgement it deserves because they are women. Consequently, some might give up writing altogether.
PAGE 74
Other female leaders, such as Eve Ensler loudly announce that they are women. Ensler famously wrote a play called The Vagina Monologues, which hyperbolizes Naipaul’s notion of feminine writing to express its absurdity. In doing so, Ensler exhibits a pride—almost hubris—in being woman, which is playful and arguably presumptuous. It is feminine, it is of women, and yet it is not feminine because it’s vulgar and indiscreet.
How scandalous we creative women are.
HER CULTURE MAGAZINE | ISSUE NO. 21
OPERA:
no skinny young girls allowed
by emma murray
T
o type "opera singer” into Google Images is to be faced with an inevitable stream of portly, or, at the very least far-from-slender singers. The greatest opera performers clearly enjoy the odd doughnut, sauntering onto the most prestigious stages utilising their rotund frame to project their voice above an accompanying orchestra. Opera legend, Luciano Pavarotti, and his signature tummy dazzled audiences for centuries with his full tenor tone, and passionate vibrato.
cage.” So after an extensive vocal career an opera singer’s frame, may look “fatter than it really is.” And yet it is not just weight that epitomizes the stars of the operatic world. Age, plays a significant role in the production of a talented vocalist. Undergraduate and graduate vocal training is fundamental, but even after the years of education, not to mention the monetary cost, a singer's voice may not reach its pinnacle until their thirties or even their forties. An operatic voice requires maturity and years of development and training, and so the world is presented with singers that are neither young nor slim, and a stark contrast from the 2-D figures that strut the catwalks of New York Fashion week.
There are countless theories as to why an opera singer renounces a slender figure. It is often thought that it is a considerable advantage to have the voice box engulfed by fatty tissue, as it augments resonance and magnifies projection, so that a microphone is not required for performances. Assuredly it would be a considerable feat indeed to develop a chunky neck without distributing the fat elsewhere on the body. Another such notion, founded by the National Voice Centre at the University of Sydney and published in the Journal of Voice is that “ the act of opera singing itself expands the body, particularly the rib HER CULTURE MAGAZINE | ISSUE NO. 21
It is certainly refreshing to be presented with an art, and with celebrities that exemplify ordinary people. Unlike in the pop world, the talent is more important than the aesthetic qualities of a performer. Russian diva Anna Netrebko celebrates her curves, frequently strutting the red carpet in designer apparel, which at the very least turns heads.
PAGE 77
Nonetheless Netrebko and a handful of others, Jonas Kaufmann and Lesley Garrett for example, are an exception to the rule. Largely opera is occupied by an image which is easily transferred into mockery. Even the children's classic Harry Potter includes a token fat opera singer, warbling away at a piercing pitch, attempting to shatter glass with her stentorious tessitura. For those individuals that do not consider themselves to be opera fanatics, the image often conjured in relation to the artform is a self-conceited diva, with an obnoxiously loud voice as immortalized by J.K Rowling in Prisoner of Azkaban. The masses claim to dislike opera, but is that purely because it has become unfashionable? For hundreds of years, to attend the opera was an auspicious occasion, audience members oozed class and sophistication, sporting the latest fashions, and fawning over every ornament in the latest Italian aria. It was an art form that broke boundaries, propelling diminished women into the limelight, providing them with fame, but also with a profession in which being half-naked, young and petite, were not requirements. Works such as
PAGE 78
Bizet’s Carmen transgressed social norms, forcing the wealthy European gentry to watch as poverty was illuminated before them.
But now opera is a dying art. The MET, Covent Garden and the other prestigious opera houses rely on aging patrons to fill their luxurious velvet seats and fight for funding and grants to keep the organisations afloat. In order to revitalise opera, companies are seeking to modernise, but in order to convince younger generations to enter the hallowed opera halls, the organizations need to finally make that leap into the twenty-first century. A social media presence has slowly weaved its way into the leading opera houses, with the Last Night at the MET fashion blog, seeking regular attention by Instagram and Twitter followers. And yet there's only so much one can achieve through millennial media channels. If the product being advertised is tired, ageing and drowning in facetious representations in film and tv, the HER CULTURE MAGAZINE | ISSUE NO. 21
seats will still not be filled. It would seem that companies are striving to rejuvenate their performers. Indeed an art that once celebrated the larger physique now sees soprano Deborah Voigt dismissed from The Royal Opera House for being too large. In order to rescue the dying art, drastic modernization is necessary, and perhaps companies are now seeking to transform their artists, especially the leading ladies into a more conventional modern music star. What a shame, that an artform that was once at the forefront of celebrating social differences, may now have to bow down to modern size zero ideals, in order to survive. So maybe one day it will be over when the fat lady sings.
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 79
MY PREJUDICE AGAINST NETFLIX SHOWS by claudia wasielewska Netflix shows are unavoidable for any Netflix user. Rather than streaming the stuff people actually want to watch, Netflix throws its own products at users. What’s that? You asked for Oreos? Shut up and have these brandless creme cookies. Still, I won’t join Hulu or Amazon video. I doubt those will be better and neither have their own generic products to offer— what a sham!
who in nature are susceptible to scandal, curse words, and the naked breast. Initially, I enjoyed Netflix originals. When Orange Is the New Black was released, it was all my friends and I would talk about. The premise was great. It was the perfect balance of funny and serious. I cared about most of the characters, or at least enough to watch them get hit by a van. The first season got us hooked; we waited what felt like an eternity for the next two, and were met with disappointment. Most of the characters we loved disappeared, and the protagonist’s purpose in the whole schema became unclear.
In part, I am sympathetic to the short life of Netflix shows. They are not set up like shows in Britain, which don’t air an episode once every week, but rather once every few weeks. Time is crucial to the perfection of any craft. But they are allowed more freedom than most American shows where profanity and nudity are concerned; these two devices draw in humans HER CULTURE MAGAZINE | ISSUE NO. 21
This isn’t an isolated incident.
PAGE 81
The same happened with House of Cards and Bloodline. In both shows the main conflict is resolved within the first season: Frank Underwood becomes president and Danny Rayburn dies. The motor that drives the protagonists of each show ceases to continue after the first season. The characters seem to have achieved everything they set out to achieve and more. We, the viewers, don’t care that much about every little loose end they need to tie up. Once the motor is gone, any last apologies, I love you’s, plant watering, grocery shopping can get wrapped up in a single episode. The only thing more frustrating than seeing these initially promising shows skew off a cliff is to see Netflix try to pump a few more seasons out of them. Non-Netflix shows are guilty of this as well. I am focusing on Netflix because I see a trend—a vicious cycle that has me convinced Netflix could be the creator of a new television show style: the one season show.
In a one season show format, each episode can be considered a short film. Each episode could focus on one character and their actions or two characters and their interactions. Conventionally, one episode is divided between a few characters. While the transition can be exciting, it can also be distracting. A close-up on each of the characters would make it easier for the viewers to become invested in them. There would have to be one conflict, and no tangential ones. The conflict would have to be neatly tied up in the last episode. In a sense, the one season show fits a realist form: nothing excess and a clear resolution. Undoubtedly, one season shows would be more manageable, and with this approach perhaps Netflix could regain its respectability.
Their tv shows ideas are great. They are too complex to fit into a two hour movie, but also not substantial for more than one season. So, why not just make one powerful, compelling season and leave with a bang instead of dragging the show out so long the viewers forget why it was even interesting in the first place? Netflix has gone so far as to take Gilmore Girls, a show that aired past its expiration, and make a sequel. PAGE 82
HER CULTURE MAGAZINE | ISSUE NO. 21
WHY I LOVE THE INTREPID by betsy hillstead
O
ne of my favorite places to visit in New York City is the Intrepid Sea, Air & Space Museum. Located on Pier 86 in the Hudson River on the west side of Manhattan, the museum boasts four main attractions: the retired aircraft carrier USS Intrepid, a superfast British Airways Concorde plane, the submarine USS Growler, and the space shuttle orbital prototype Enterprise. As a self-proclaimed space nerd, the space shuttle Enterprise is by far the most exciting part of the museum’s lineup, but the ship herself is incredibly interesting to explore in her own right. Guided tours of the ship are available throughout the day but I prefer to navigate Intrepid’s inner passageways unchaperoned. Bunks and mess halls are staged as they once operated, and visitors can see where crews slept, ate their meals, and where they managed the day to day business of living on an aircraft
PAGE 86
carrier. The coolest part about exploring the interior of the ship unsupervised is getting lost in her maze-like passageways. Every time I’m down there I spot something new that I haven’t discovered before. The temperature tends to stay cooler down there in the summer months, and it’s way less crowded than other areas of the ship that get overrun with tourists and children. The sense of history onboard the Intrepid conflicts sharply with the smell as you enter the hanger deck; she smells exactly like a freshly printed book, crisp and fresh. Perhaps the “new” smell is appropriate for an old warship that’s been repurposed into a place of learning and a repository for history. One of the most impactful exhibits in the hanger deck is an audio reenactment of a kamikaze strike that plays at set intervals thought the day. The attraction uses smoke and lighting effects, and is humbling and haunting to witness.
HER CULTURE MAGAZINE | ISSUE NO. 21
During the course of her career nearly 300 service members lost their lives onboard the Intrepid. She and her crews actively engaged in multiple American wars and conflicts including WWII, Vietnam, and the cold war. She was struck five times by Kamikaze missions and once with a torpedo.
unfortunately visitors aren’t allowed to actually go inside the shuttle.
Most people who visit the ship head for the hanger deck and then directly upstairs to Intrepid’s flight deck where there are lots of old-timey retired fighter planes on display, and visitors can enjoy breathtaking views of New York City. The flight deck’s space shuttle pavilion is where the museum houses my favorite attraction: the space shuttle orbital prototype Enterprise! The massive shuttle never actually made a space flight, but she was pivotal in the development of later shuttles that did travel to and from space. Enterprise came to New York City from Washington D.C. in 2012 when she was flown in strapped on top of another a huge plane, and then barged up the Hudson River to her current position onboard the Intrepid. Inside the space shuttle pavilion visitors can walk under and around Enterprise and learn about the history of the space program, but
Residents of New York City can enjoy discounted admission on a per visit basis. Museum members enjoy yearround free admission and an expedited entrance queue. Members also receive invitations to exclusive members-only nights and discounts on special events. My favorite events are the adults-only nights where everyone must be 21+ for entry. Adult nights usually have beer or wine for purchase and often feature a special speaker or presentation. The lines for the interactive exhibits and flight simulators are always the shortest with no children around, so adults get to play interactively with the exhibits guilt free! Plus, if you are a member of the museum you will get a discount at the gift shop.
HER CULTURE MAGAZINE | ISSUE NO. 21
The submarine Growler is neat but not my favorite exhibit to visit. The vessel is incredible technologically and fascinating historically, but I have a small problem with confined spaces.
PAGE 87
HOW PARKS AND REC CHANGED MY LIFE, SEASON BY SEASON by elie docter NBC’s Parks and Recreation first aired on April 9, 2009. Set in the small fictional town of Pawnee, Indiana, the series follows a small department of local government officials as they work, love, and strive to do good. I first caught wind of the series after the end of the first season but was head over heels in love by the beginning of the second. In the crux of the loneliest years of middle school, Parks and Rec became my safest and most loving space. Raised by two midwestern parents in California, I instantly connected with the culture creators Greg Daniels and Michael Schur lovingly created and how it poked fun
at the small town way of life. Thus, Parks and Rec was not only essential but highly influential as I began to develop, grow up, and create my own identity.
The first season consists of only six episodes. The main characters are introduced, and my personal hero, Leslie Knope, instantly shone through to me. Leslie is different despite being lovable and endearing; her focus and passion exceed all those around her, which is often seen as off-putting. Though I wasn’t nearly as driven as Leslie, I did feel like I was different than everyone else. Between my off-kilter appearance and nerdy interests, I had a hard time following what was normal and accepted. What Leslie showed me was that all issues can be fixed. In the episode “Boy’s Club,” Leslie decided to work her way in on
her own as opposed to being invited in. She and I found that sometimes the only way to feel accepted is to really push into another friend group, and win others over from the inside. Oftentimes, what you build up to be a great problem and ordeal in your mind is actually easily fixed if you’re upfront. Friends won’t just walk up to you, it’s going to take an effort to make it all work out. Season two is nearly three times longer than the first, which means that there is three times as much to love. It’s also the season that the love between the characters really starts to show. While Leslie continues to drive forward and push for what she believes in, she also begins to take into account how it may affect those she cares about. Though my friendships ebbed and flowed, I attempted to emulate Leslie by being as present as supportive as possible. As I saw miscellaneous friends beginning to struggle with mental illnesses, I would try to reach out to them, to be
present and supportive. Like Leslie in the episode “Telethon,” I would often find myself evading sleep in order to help out a friend. Though few of my middle school friendships lasted longer than a semester, Leslie instilled the idea of being a generous friend deep in me.
her own, but she’s even stronger with her friends. And most importantly, Leslie and I learned about the magic of sleep. It doesn’t necessarily solve your problems, but it makes you feel better, which may solve some of your problems. Season four gets gritty. To start, Leslie essentially has to choose between her career and her relationship. Luckily for her, the decision is essentially made for her, and she is allowed to work on her career. Even though I, again, haven’t had to make a decision like that before, Parks and Rec educated me to the fact that no relationship should define you, and it’s crucial to be able to stand up on your own. That’s not to say that a career move is more important than a relationship nor the inverse, but that the individual deserves as much recognition as a couple. Nevertheless, no individual is universally liked. In “Bowling for Votes,” Leslie is frustrated by the fact that she simply cannot please a single voter and becomes obsessed with changing his mind. I’ve always known myself to be a people-pleaser, a trait I get from my dad. Instead of being agitated by the idea of someone disliking me or
By the time season three starts, the show gained its feet. All of the main characters have been introduced and the camaraderie between them is tangible to viewers. The Parks crew works on the town Harvest Festival, which becomes Leslie’s pride and joy as well as her legacy. Yet once it’s over, she has no new ideas, and feels stuck. Though I don’t work on huge, allencasing projects like the Harvest Festival, I am quite familiar with the feeling of being stuck, so I took note of Leslie’s approach. Her first step is to go camping. Being able to step back into nature and breathe; even if she has a hard time forgetting the problem and taking a break. But Leslie doesn’t just step back, she also knows to ask her friends for help. This concept is one I’m still grappling with; it’s okay to ask for help or even just surround yourself with those you support and trust. Leslie is strong on HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 91
or something I did, I obsess. Like Leslie, my mind fixates on this issue; unlike Leslie, my mind tends to take it out on me, and my mind naturally begins to believe that I am unlikable, and all my friends and family members are flukes. When season four was airing, watching Leslie stand up for herself and having her friends stand by her allowed me to fight against my natural selfdeprecating tendencies. If we can find the strength to stand up for ourselves, raw vulnerability will attract those who will be ultimately beneficial in our lives. By season five, Parks and Recreation hits every episode out of the ballpark. Every character continuously faces new challenges, and the audience is clued into new tactics for fighting their own daily struggles. There are fewer plots about giant adventures, but the characters are shown more together as they work and deal with more common issues. By this season, I started high school and my life was fairly settled; however, I was still in school with the same people that I had gone to kindergarten with and continued to struggle to find my true
PAGE 92
friends. Like Ben Wyatt discovered in “Partridge,” I didn’t feel completely at home in my hometown. But seeing Ben find friends, love, and overall happiness elsewhere made me look forward to my future. While so many high schoolers obsessed over unnecessary drama and grades, I was dreaming about my future, picturing a place where I had a Parks crew of my own and a Ben Wyatt by my side. Though my current state felt bleak and not worthwhile, Parks and Rec demonstrated that there would be a light at the end of the tunnel, that I could find a better future away from my childhood. Season six was more emotional and honest than others. Leslie seems to take blow after blow but found a way to teach and inspire me nonetheless. When her dream job is being threatened, Leslie keeps herself busy instead of obsessing. When her best friends move away, Leslie throws a massive party to celebrate the two of them and continues to be generous and caring. Staying positive is difficult, but sometimes it’s easier when you can continue to focus on the future and stick to your current goals.
HER CULTURE MAGAZINE | ISSUE NO. 21
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 93
Instead of focusing on the negativity in my life, I tried to keep busy. Between improv troupes, exercise, and crafts, I tried to simply do more every day, and distract myself. Yet after saying goodbye to some of her best friends, Leslie immediately turns to her comfort food, waffles. When she loses her job, she also allows herself to relax, cool down, and feel her emotions, be them angry or sad. In order to find happiness, you have to allow your current feelings to flesh out. I like to think of season seven as an exploration, where Schur and Daniels allowed themselves to try things that typically wouldn’t fly. In their fictional future world, relationships have changed and friendships have dissolved. Though things had settled in my life, I continuously found myself frustrated with my friends and family. In “Leslie and Ron,” the two had to confront their issues head on and put it all out in the open. However, Leslie was surprised to learn that the cause for the issues between them are equally her fault and Ron’s. No issue is completely one sided, and Leslie helped me realize that I need to hear
PAGE 94
how other people perceive our interactions and that I may not always be right. Parks and Recreation, through carefully crafted language and years of passion, created a world of friendship that will impact me forever. Despite my desire to be a writer, words simply cannot express my deep love for that show. Although the town of Pawnee is fictional, Daniels and Schur created a Pawnee that taught the world to love and persevere. The words and ideas of Daniels and Schur were able to reach out of the television screen and make me feel genuine emotions. And so, like Leslie notes at the end of season seven, Parks and Rec has taught me that no matter what happens, I’ll be ready.
HER CULTURE MAGAZINE | ISSUE NO. 21
LIVE
CULTURE
#AINTNOCINDERELLA by ashni walia “Humare yahan ghadi ki soi, character decide karte hai.”
August. A 29-year-old woman named Varnika Kundu was stalked and chased by two men in the wee hours of night. She took to Facebook to recount the horrific incident and revealed that one of the perpetrators was the son of an influential politician in the ruling party, BJP.
This dialogue from the movie Pink loosely translates to, “In our society, the hand of the clock decides a woman’s character.” It refers to how, in India, imposing curfews on women is a common practice. Women who ‘dare’ to stay out after dusk are only shamed if they complain about molestation. Women's freedom takes a backseat and prejudices against them are revealed. One such case came to light in the quaint town of Chandigarh, India in HER CULTURE MAGAZINE | ISSUE NO. 21
BJP supporters and many others trolled and shamed Kundu for staying out late. A BJP leader even went ahead to say that Kundu’s father should have never let his daughter out in the night. Meanwhile they did not speak against the two men who stalked her.
PAGE 97
To fight against victim shaming, that many have to put up with constantly, women from across the country took to social media. They began to share their ‘night out’ photos posted with the hashtag ‘ain’t no Cinderella’ to show that it is a woman's right to stay out as late as she wants. The movement quickly became popular and received massive support. Here are some of my favorite tweets: “Dear regressive India, I will do as I please, night or day. Don’t ever think you have the right to stop me #AintNoCinderella “ - pooja (@queenpsays)
“Dear Regressive India, We ain’t damsels in distress. We are independent & we don’t need you to curb our freedom #AintNoCinderella here!” - Rekha Navani (@rekha_navani)
#AintNoCinderella has reached thousands of women who may not have even known about their rights prior to this. It challenges previously unchallenged beliefs. It questions the fairy tale princesses and their ‘ideal’ stories. It has left young girls thinking that they might need more Varnikas than Cinderellas.
“Women who are trending #AintNoCinderella should be called as Batgirls (Queen by day, Warrior by night)” - OMK (@omar_m_khan)
PAGE 98
HER CULTURE MAGAZINE | ISSUE NO. 21
4 AMAZING FESTIVALS YOU NEED TO EXPERIENCE by rida pasha
HOLI Holi is a Hindu celebration that takes place primarily in India, Nepal, Sri Lanka, Hindu regions as well as around the world. It is an exciting festival with bright, vibrant colours everywhere-literally everywhere. Bold blue, pink, yellow, purple, green, red, and orange coloured powder is thrown around to celebrate the triumph of good over evil. Essentially, it is a celebration that allows people to overcome the hardships and the in bad in the world and welcome new adventures ahead. This day is all about good vibes so there is a lot of hugging, laughter and the exchange the greeting “Happy Holi� with a slap of coloured powder in your face! It is a vividly unforgettable experience that everyone should take part in.
PAGE 102
HER CULTURE MAGAZINE | ISSUE NO. 21
ALBUQUERQUE INTERNATIONAL BALLOON FESTIVAL Albuquerque is home to the world-renowned “International Balloon Fiesta” attracting thousands of people worldwide to experience hundreds of beautiful hot air balloon floating in the sky. All the way back in 1972 was when the first Balloon Fiesta came to life-except is wasn’t much of a fiesta, rather a small number of 13 balloon launched from a shopping mall parking lot! Years later, this event has turned out to be the largest ballooning festival in the world launching nearly 600 hundreds balloons. This is one experience that you don’t want to miss! HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 103
SONGKRAN WATER FESTIVAL The Water Festival is perhaps one of wildest festivals in Thailand marking the beginning of the new solar year. Celebrated for 3-5 days, in which friends, families and strangers splash water on each other as a form of well wishes for a blessed year. These water fights are held across the country and many people bring water pistols, hoes and balloons to join in on the fun!
PAGE 104
HER CULTURE MAGAZINE | ISSUE NO. 21
RUNNING OF THE BULLS Held in Pamplona, Spain is a rather crazy and infamous festival that you may or may not have heard of. I’m talking about none other than the “Running of the Bulls!” Essentially bulls are let loose on the streets, lead by street runners all in fun. While it may just seem like a wild fiesta, you may be surprised to know that it has religious origins. This festival occurs in honour of San Fermin who was a patron saint of Navarra. However years and years later, this celebration has become one celebration of craze, partying and just having a great time.
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 105
THE SURNAME GAME: LIFE AFTER WEDLOCK by manaved nambiar A name is, quite quintessentially, what defines us. It is with us since the day we are born and it will remain with us until the day we die. It gives us a sense of identity and purpose. It is a large part of what makes us human.
However, such incidences are a scattered minority, and do not reflect the ground reality of the situation, a situation which ensures that women change their name after marriage. Wedlock is considered to be a union of two souls. However, it seems that one soul has to sacrifice their identity in most cases. Being a cis man, I do not have an obligation to change my surname after marriage. In fact, the thought itself irks me.
Indeed, it is no wonder that most prisons take away your name and assign you a number so as to dehumanise and control the very essence of your being. A name is the freedom that comes with being a human, and there is power in it.
Why then, should the other person be expected to change their name after marriage?
However, there is one segment of the population which has traditionally had to change their name after betrothal. In most cases, it is the women who bear the burden.
The answer is subtly hidden in the layers of societal norms which have validated this custom. It is an archaic system, designed to propagate possessiveness and patriarchy.
I personally come from an uncommon lineage, one which follows the matrilineal system. HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 107
If both parties had changed their surnames post marriage, then it would have been a pious expression of belief and love. Historically, however, that is not the case. The impetus of the loss of identity has always been on the woman. In contemporary times, there has been a better understanding of gender equality among all segments of the populace. With that understanding, has come the realisation that this particular practice is abhorrent. People worldwide, most notably the much maligned millennial generation, have started shedding this retrogressive practice.
Most of them opt to not change their name at all, and the practice of hyphenated names is also gaining steam. A person deserves their name. They deserve to choose. If they choose to change their name, so be it. If they choose to remain as they were, that’s fine too. The important element that must be stressed upon is informed choice. The choice to change or keep their name must be made in an informed environment, and not as a result of skewed societal frameworks, many of which still reek of patriarchy. At the end of the day, it is our name, and only we choose what we do with it.
PREJUDICE, STEREOTYPES, & BEING PASSED OVER what asian performers are facing in theater by gabby ballesteros
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 109
I
have always been a theatre kid. Growing up, I listened to the soundtracks of Les Miserables, The Phantom of the Opera, and RENT before I even understood what these shows were about. Leaping at every chance I got to see any type of theatre production, I was enraptured from the moment we entered the theatre to my dazed gait out of those same doors, and I held each and every performer I saw in the same light my peers would view a Jonas brother or Zac Efron (not that I didn’t love them as well). The artist I idolized the most was Lea Salonga. She was my personal daydream come to life - a girl from the Philippines, handpicked to star in a West End production and going on to win major theatrical awards and appear in numerous productions how could I help but admire her? I remember telling my voice teacher that I wanted to sound like Lea when I sang certain songs, and I would listen to recordings of her over and over again until I could mouth the words alongside her. I didn’t know then the struggle that Asian performers have faced and are currently grappling with in theatre:
PAGE 108
needing to dispel stereotypes, being turned away from auditions because of an overly “Asian appearance,” and getting passed over for roles and shows that they are more than talented and qualified enough to deserve. Lea Salonga herself tweeted, “That time I was told I couldn’t be seen for My Fair Lady because I was Asian. And I already won my Tony.” This tweet was part of a campaign started by Asian American performers to shed light on the difficulties they experience within the industry. Entitled #MyYellowfaceStory, it includes tweets and anecdotes from various Asian-American theatre artists, many of whom have several years of professional experience under their belts, and yet are still suffering from the prejudice and racism running rampant in theatre today. The campaign was spurred by the controversial casting of white actresses in two movie roles originally written as Asian characters: Scarlett Johansson in Ghost In The Shell and Tilda Swinton in Doctor Strange. This is far from the first time Asian actors have been passed up for parts written to fit them,
HER CULTURE MAGAZINE | ISSUE NO. 21
which are hard to come by in the first place. Jonathan Pryce, who won a Tony for his role as the halfVietnamese Engineer in Miss Saigon, wore bronzer and eye-prostheses to mimic Asian features. His costar Ken Burns, donned the same makeup to portray Thuy, another Asian role. This use of stage makeup to appear more Asian coined the term “yellow face,” and incited outrage in the Asian community, especially in addition to the flagrant snubbing actors of color have experienced in theatre and film. And there lies the dilemma - not only are Asian actors offered fewer opportunities because of their appearance and background, but they are passed over in favor of white actors for roles supposedly written for them. So where can they win?
original West End production of Miss Saigon, alongside Lea Salonga, and has been playing the role of the Engineer in various productions since 1994. Recent Broadway productions of The King And I, Allegiance, and Miss Saigon itself have provided outlets and opportunities for Asian performers, and Asian-American actors are playing lead roles in shows like Aladdin and The Phantom of The Opera.
Although we can celebrate the progress that’s been made, staggering discrepancies still exist in terms of the presence of Asian performers in theatre.
Fortunately, strides forward have already been made in terms of increasing Asian diversity in theatre. The revival of Miss Saigon currently on Broadway stars JonJon Briones and Devin Ilaw as the Engineer and Thuy, respectively - both Filipino actors who have received great praise for their performances in the show. In fact, Briones was a part of the HER CULTURE MAGAZINE | ISSUE NO. 21
According to the Asian American Performers Action Coalition, Asian performers were cast in 9% of all roles for the 2014-2015 Broadway Season, and in the top 16 non-profit theatre companies in New York City. In comparison, African-American actors were cast in 17% of all roles, and Caucasian actors were cast in an
PAGE 111
overwhelming 70%. This disparity needs to be addressed and corrected. Theatre is supposed to be a space for inclusivity and expression, an outlet for those with undeniable talent and potential, and most importantly, a platform on which actors can promote representation, tell stories, and inspire. For those kids singing along to soundtracks in their bedrooms, displaying Playbills like Picassos on bedroom walls, going out for their first auditions and discovering the magic of being on stage, Asian artists deserve a chance - a chance to be casted, to showcase their incredible talents, and to stand as role models in order for the theatre landscape to reflect the diversity it needs.
PAGE 112
HER CULTURE MAGAZINE | ISSUE NO. 21
A LOOK AT FEMALE COMPULSORY MILITARY SERVICE: ISRAEL by b. miller Despite efforts for peace, military conflict is an unavoidable reality and countries must consider how to protect and defend themselves, with compulsory military service as the top option. Most military service has been reserved for men, but over the years, we have seen the integration of women into military forces through voluntary service, drafts, and even their inclusion in compulsory military service. Therefore it is important to take a look at the state of women in military service, especially compulsory service, by examining their roles within the military and the perceptions of female soldiers. The countries that currently have compulsory military service for women include: Cuba, Israel, Norway, North Korea, Tunisia, and Eritrea. In this miniseries we will look at Israel, Norway, and North Korea in greater depth through reports by various media sources. In this first article I will discuss Israel’s compulsory military service in relation to female soldiers, female soldiers serving in combat roles in the Israeli military, and the perception and treatment of female soldiers.
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 115
Israel is one of the more wellknown countries with compulsory military service. Currently, men and women are conscripted at the age of 18, with men required to serve for three years and women two. The exceptions to the conscription are Israel’s Arab and ultra-Orthodox citizens. In an article about Israeli women’s combat roles, journalist Rowan Scarborough notes that (as of 2015) women, “… make up about one-third of the IDF’s [Israel Defense Force] 175,000 active force compared with about 14 percent in the U.S,” and that the IDF says, “… more than 90 percent of its jobs are open to women.” From this statistic, it seems that women have a significant presence in the military and that they have many role options open to them during their service. So what are some examples of these role options? And do they include combat roles, traditionally reserved for men? When looking at the statistics reported in articles such as Scarborough’s, this distinction between women’s participation in the military overall and their PAGE 116
participation in fighting ranks must be considered. In his article about Israeli women combat soldiers and their fight for equality, Yuval BenDavid reports that, (as of 2017) 85 percent of combat positions are open to women and that in the Israeli military’s combat ranks female soldiers make up 7 percent. There are specific “combat” battalions, which include female soldiers, such as the co-ed Haraam artillery battalion, Israeli military’s longestrunning mixed-gender combat battalion. Another co-ed battalion is mentioned in Larry Abramson’s article, “Women In Combat: Some Lessons From Israel's Military, ” The Caracal, which watches Israel’s border with Egypt, is 60 percent female. Though these are labeled as a “combat” position, Head of the Center for Military Readiness Elaine Donnelly reveals the border patrol and military combat training missions female soldiers engage in don't involve any offensive actions or ground combat against enemies. She says, “None of America’s allies, much less potential adversaries, are treating
HER CULTURE MAGAZINE | ISSUE NO. 21
women like men in the combat arms.” So, despite Israel seeming to have many options for women, including “combat” roles such as the Haraam and Caracal, the roles still aren’t at the same level of combat or training as the ones male soldiers are able to hold. When looking at the state of women in military service, it is also important to look at how people compare female soldiers with their male counterparts, and if the women themselves feel they are respected. In Ben-David’s piece he speaks with Matan Paull, a commanding officer in
the Haraam battalion. Paull claims female soldiers are generally, “more creative and mentally flexible than their male counterparts.” But Paull did note that the female soldiers tended to get injured more easily. Female soldier Prince tells Abramson, although female soldiers don't have to carry as much gear as men they are “theoretically” treated the same by superiors. As for how male soldiers treat her, Prince tells Abramson she gets “plenty of razzing” and that, “You don't sign up for work like this if you're put off by teasing.”
Despite this “razzing” Prince goes on to tell Abramson she feels she is taken seriously by her counterparts. Her commander Capt. Yaron Eyal, echoes this sentiment saying, “I really, really trust [female soldiers] ... to watch my back." Other sources still do not feel the same. Rowan Scarborough mentions in his article a Israeli Ynet news service report of a recent IDF study. The study rejected the idea of women in tanks because of “physical shortcomings compared with men” along with the “problematic” nature of men and women sharing close quarters inside of a tank for days. Scarborough includes a quote by retired Maj. Gen. Yiftach Ron-Tal from the Maj. Gen.’s interview with Voice of Israel radio, which highlights this disinclination to include women in combat roles. The Maj. Gen. said, “I think that women’s service in combat roles in the IDF should not be widened. I cannot even imagine a female soldier serving inside a tank or in elite infantry units, mostly because of operational considerations. The army must not allow this thing to interfere with its operational ability.” Physical
PAGE 118
capability and interference with operations are certainly valid concerns in situations of conflict and should be evaluated for legitimacy, but the “problematic nature” statement seems presumptuous of soldiers’ professionalism. While Israel is progressive in terms of gender-inclusive compulsory military service and the seemingly wide role options for women, there is a “glass ceiling.” Despite many “combat” positions being open to women, there is still a limited amount of women serving in them. There is also criticism from current military authorities against expanding female service. Maj. Gen. Ron-Tal told Voice of Israel radio that, “Expanding female service will be a grave mistake that will damage the prowess of the army.” With this type of thinking occurring, there is a barrier to achieving high rank positions, which female soldiers are striving for. Larry Abramson writes, according to the IDF, nearly 50 percent of Israel's lieutenants and captains are women, yet the highestranking female officer is a major general in charge of personnel. In
HER CULTURE MAGAZINE | ISSUE NO. 21
his discussion with retired colonel Miri Eisen, Abramson quotes Eisen as saying, "The military is a boys club. I think every military is a boys club. It's still a majority of men who are going to choose that way of life." If women are going to be given a real chance to thrive and be treated as equals, this “boys club” needs to be remodeled to include the girls who work just as hard right alongside them.
explained in more explicit detail in order to be a valid reason for barring women from participating. As soldier Matan Paull mentions, female soldiers’ have their own strengths, such as mental flexibility and creativity. Why wouldn’t you want to have them participating in your team to utilize these skills towards operational problem-solving or tactic-planning, especially with regards to complex combat situations?
As we can see from the information provided by various media sources, Israel has made progress integrating women into military activities. But with this progress, some concerning issues still remain. As noted above, there seems to be a large range of jobs open to women in the IDF and women have a decent participation percentage in the IDF. Yet despite these many “open” opportunities, women do not actually get many of the combat roles because they are still viewed by some, like Maj. Gen. Ron-Tal, as inferior to male soldiers and operational liabilities. While physical capability is a legitimate issue for consideration, the “operational interference” concern mentioned is vague and must be HER CULTURE MAGAZINE | ISSUE NO. 21
Women soldiers should be recognized for their assets and there needs to be more efforts made to not only treat them as equals, but also to utilize these important skills. The “glass ceiling” for female soldier’s professional development is also a concern that must be addressed. If you are going to promote gender equality, it should be at all role levels. While it may be true that it is still a majority of men
PAGE 119
who choose the military life, measures need to be taken to make sure that regardless of gender every soldiers feel respected and that they have the same opportunity to achieve leadership positions. As Capt. Yaron Eyal trusts female soldiers like
PAGE 120
Prince to have his back, we need to make sure we have theirs. Please see the next magazine issue for compulsory military service for women in Norway and in North Korea.
HER CULTURE MAGAZINE | ISSUE NO. 21
all photos by Mayan Toledano
3 FEARLESS INDIAN JOURNALISTS by ashni walia India is the largest democracy in the world and, but it is not easy to keep it that democratic. It is even more difficult to be a journalist in such a country. Hercules himself would have been crushed under the entire hullabaloo! From being armed with sassy catchphrases to not being bothered by the threats they receive on a daily basis, these journalists have truly borne it all to break the news:
Ravish Kumar If you are looking to find out what India really is, don’t forget to check out his primetime show on NDTV. Ravish Kumar speaks in Hindi and from the heart. Unlike many others, his stance is always backed by the truth and not by a viral Whatsapp message. Recently, for example, he invited Sikh volunteers for an
PAGE 122
interview to shut down allegations about their organization’s rumoured terrorist inclinations. He is the Beyonce of Indian journalists, simply the best.
Gauri Lankesh Gauri Lankesh wrote for a Kannada newspaper and was an avid human rights supporter. Her crtical views about Hindu extremists (who are pretty much like the white supremacists!) and the Caste system were met with constant threats. Unfortunately, many vocal Indian human rights supporters are branded as Maoist supporters. Lankesh was shot outside her house by three assailants in September. Since her death, there has been anunrest about freedom of speech's vitality.
HER CULTURE MAGAZINE | ISSUE NO. 21
Barkha Dutt A graduate of the Columbia University's Graduate School of Journalism, Dutt is a feminist icon for many. She fearlessly stands by her opinions, and that is exactly what makes her one of the best journalists today. When she recounted her experience with sexual abuse, she empowered many to raise their voices. She has brilliantly captured the essence of Indian women and has successfully represented them at on the international level, breaking down myths about India and Indian women. When some world leaders start to believe in fake news themselves, it is even more difficult for others to keep track of the truth. In times like these when the line between fake and real becomes blurry, it is such journalists who save the day! Turns out heroes don’t wear a cape; they hold a mic in one hand and a pen in the other!
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 123
USING FASHION TO EDUCATE ON MENSTRUAL HEALTH by shaye dipasquale
PAGE 124
HER CULTURE MAGAZINE | ISSUE NO. 21
Millions of people around the
By supporting companies and organizations that seek to educate the public about menstrual health and equity, consumers can help tear down the menstrual taboo- one menstrual product at a time.
world struggle with anxiety and discomfort every month because they cannot afford or do not have access to menstrual products. In a perfect world, every person would have the necessary resources to manage their period in a healthy and hygienic manner—but unfortunately, for many people around the world, that’s just not the case. HER CULTURE MAGAZINE | ISSUE NO. 21
Adrienne and Andrew McDermott, who have been traveling the world full-time since 2014, were inspired to take action to combat the effects of extreme poverty after learning about
PAGE 125
the horrific things that happen to women and girls in the slums of Africa. Like most people living in extreme poverty, women and girls living in African slums have limited access to menstrual products, which forces them to use mattress stuffing, newspaper scraps, and other unsanitary products to control their periods. While traveling through Kenya, the McDermotts met Camilla Wirseen, the co-founder and CEO of TheCup.org, an organization that seeks to provide underprivileged girls with sustainable menstrual cups and comprehensive reproductive health education. Adolescent girls in Kenya miss an average of 4.9 days of school every month because of their periods. According to UNICEF, one in 10 African girls skip school during menstruation and some girls will even drop out entirely due to a lack of access to menstrual products. In an effort to help ensure that more adolescent girls in Kenya stay in school, the McDermotts started a
charity-fashion line, The Robe Lives, that donates 100% of its profits to The Cup. The couple’s designs for their garments incorporate the vibrant prints and unique flavor of the Kitenge fabrics worn by the women they had met while traveling through East Africa. The hope is that the bright, statement robes will act as conversation-starters and help more people to get educated on the topic of menstrual equity.
“We saw an opportunity to donate money to charity as simply as possible,” Adrienne says.
PAGE 126
The sale of each robe supplies a young woman in Kenya with a menstrual cup that will last 10 years. Along with their reusable sanitary product, each young woman is enrolled in a sexual education class and receives a mentor from within the slum that they live in. The Cup’s program also provides young women with access to a helpline that can be called if someone needs to anonymously ask questions regarding pregnancy, safe abortion options, STI's, and so on.
HER CULTURE MAGAZINE | ISSUE NO. 21
While the McDermotts haven’t been able to visit the girls they are helping to support through The Robe Lives just yet, they hope to do so in the future. The couple would also like to go back and capture some footage of the women and girls that are benefiting from the partnership between The Robe Lives and The Cup. This would allow other people to see firsthand the impacts that menstrual health promotion and education can have on a community.
the McDermotts have been able to spark conversation and address the menstruation taboo. Unfortunately, not all of the couple’s followers appreciate when they make posts about periods. “Sometimes you lose a lot of followers when you post about it,” Adrienne says. “Some people only want to learn about travel, not vaginas.” Even though not everyone will react positively, the couple still urges people to use social media to promote their own social action campaigns.
The couple acknowledges that talking about menstruation publicly isn’t always easy. In fact, they have encountered people around the world who flinch whenever the word “period” or “menstruation” comes up in simple conversation. The Robe Lives is dedicated to helping to erase the stigma surrounding menstruation once and for all.
“It’s a great place to tell people the story of what you are doing and why you are doing it,” Andrew says. To learn more about The Robe Lives and their mission to promote menstrual equity, visit https:// www.therobelives.com/.
“We are happy to have these conversations,” Andrew says. “Some people don’t expect us to hold back. Sometimes it’s ‘vulgar’ and upfront and that’s okay.” By using their strong social media presence as an advocacy platform, HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 127
FIVE HEALTHY HABITS TO HAVE by Rida Pasha
It’s a no-brainer that we all want to be healthier. After all, taking care of yourself helps performance, makes you feel happier, and will of course add some years to your life. But not everyone can wake up and become a health guru just because the want to be in tip top shape-most of don’t have the time, knowledge and money to invest into it. But fear not, here are some little habits to incorporate in your life that don’t require too much effort but will be of great help over time.
PAGE 130
HER CULTURE MAGAZINE | ISSUE NO. 21
#1 BREATHE (5x3 Rule) Life can get super stressful and sometimes we can cause great damage to our mental health. This can lead to lack of proper self care and actually make things harder for you because your body is not taken care of. Whether you’re as preoccupied as the CEO of a top notch company or are as free of thought as a hippie from the 60s, take some time to breathe. It requires minimal work and only takes up a few minutes of your time. Here’s how to do it effectively:
Breathe in slowly to a count 5 Hold for slow count of 5 Slowly release on a count 5 Repeat for 3 minutes This great activity only takes up a few minutes of your day and is great way to centre yourself when the troubles of life takes over. Do this every day and you’ll find over time you’re a under less pressure from yourself than when you started.
#2: WORK WORK WORK Rhianna said it best when she released the hit song “Work.” Work hard, but also work out. No one is asking you to become an Olympic athlete-all you have to do is dedicate a little bit of your time in the morning to your body. You don’t have to spend that much time, just keep 10-20 minutes free so you can do some light exercise. Whether it’s a jog outside for some fresh air, some core work at home or a little stretch, the possibilities are up to you. Here are my three suggestions when working out in the morning Jog: Don’t jog for too little or put minimal effort because it will be a waste of time, but also don’t job for too long because you’ll just be exhausted before you even start your day. The key word is balance, and that word is different for everyone. Your morning jog should get you
PAGE 132
sweating just a little, but overall it should wake you up and keep you energized Core Work: This activity isn’t easy in the beginning but nonetheless, it’s a great way to get your body moving. If you’re super busy in the morning, then all you have to spare is 10 minutes and put all of your strength into this short amount of time. 40 sit ups and 20 push ups is all it takes. It will make you feel physically stronger and put you in a better mood. Stretch: If you have some time in the morning and could use the meditation, then stretching might be the best type of exercise for you. All you have to do is put on a stretching routine video from YouTube and you’re good to go. You may prefer to do your own stretching and put on relaxing music but it is all up to you!.
HER CULTURE MAGAZINE | ISSUE NO. 21
and make sure I finish that before bed.
#3: HYDRATE! It’s so simple, yet so hard. If you’re having difficulty drinking more water then consider these tips: Purchase a reusable water bottle and take that thing EVERYWHERE. Make a goal to finish drinking at least two bottles before bed. If need be, set a timer on your phone to remind you. For me, I leave home at 7:30 AM and come back home at 3:00 PM, so I try to finish one bottle in that time span. Then when I’m home I refill it HER CULTURE MAGAZINE | ISSUE NO. 21
Have certain times where you must drink one glass of water. For example, when you wake up-drink one cup, when you arrive at work/ school-drink one cup, before and after lunch-drink one cup, after you’re done using the bathroomdrink one cup. If you manage to have enough of these times where you drink a cup of water throughout the day, you will be well hydrated!
PAGE 133
#4: SNACK ON
#5: SLOW DOWN
If you’re habitual snacker and skip your meals, the likelihood is that you’re eating poor foods like chips, cookies, and carbs. Snacking is not a bad a thing, especially if you’re eating nutritious foods. Here’s a tipalways have snacks on you, but the good kind. Things like dried fruits, chopped up fruit, natural granola bars and nuts are great to snack on because they will keep you energy up and will also lower the chances of you having bad cravings. Snacking everyday will also make you feel less hungry throughout the day and will motivate you to make better meal choices which will in effect keep you more active.
A great way to reduce your cravings and overeating is to actually slow down when you’re eating your meals. When you’re eating on the go you tend to shove food down your throat and move on to the next task that needs to be taken care without appreciating the food you eat. Studies actually show that when you to eat quickly, you don’t tend to feel full even if you’ve eaten a full meal. Chewing slower also aids in making better choices and even better, it helps your body digest the food you are eating!
PAGE 134
HER CULTURE MAGAZINE | ISSUE NO. 21
WHITEWASHING: RACISM AND HOLLYWOOD
by grace lee
Whitewashing is a practice in the film industry in which white actors/ actresses are cast for roles meant for people of color. Undoubtfully, there is controversy over the premise of this issue and whether it’s an issue worth addressing, but recent developments and statistics are changing this idea. It may be difficult to grasp the idea of whitewashing without examples. One of the most egregious examples is in the famous Breakfast at Tiffany’s starring Audrey Hepburn. While the apartment of her character, Holly Golightly, seems cute and nice, its landlord, Mr. Yunioshi, is not. Constantly berating Golightly for throwing parties and bringing home men, his vulgarity is much deeper. Mr. Yuniyoshi is played by a white comedian Mickey Rooney in “yellowface”, a makeup technique used to purposefully make non-east Asian actors "appear Asian”. Yellowface can include decreasing eye size and changing skin tone. But PAGE 136
the east-Asian imitation is made in other ways as well. Mr. Yunioshi has an exaggerated “Asian” accent, complete with the mispronounciation "Mish Gorightry". A more recent, but potentially overlooked, example of whitewashing is the lowly rated movie Ghost in the Shell starring Scarlett Johansson. Ghost in the Shell is based off a manga that turned into a media franchise in Japan. With an already large and passionate fan base, Hollywood’s attempt to remake the manga was anticipated, but left fans uneasy. With Hollywood’s notorious past of whitewashing, fans questioned if they were going to finally get it right. While some argue that the ethnicity of anime characters can be open to interpretation, Ghost in the Shell does not follow this theory. Sadly, white Johansson’s portrayal of Japanese Major Motoko Kusanagi in the movie left angry scars for most and boycotts of the movie followed. The movie itself had a budget of 110 million dollars, but only was able to rake in 20 million dollars domestically the weekend of its release, according to Box Office
HER CULTURE MAGAZINE | ISSUE NO. 21
Mojo. Its reviews are not much better. Even though a direct correlation between the movie’s lack of success and whitewashing is under controversy, the strong possibility can’t be denied and productions such as The Great Wall and Iron Fist follow suit. Whitewashing is not just the overracializing or de-racializing of characters, but the insertion of white characters as well. Unnoticeable at first, Hidden Figures, a movie about three black women whom worked for NASA, played a dangerous game when the director admitted to creating a fictitious white character,
Al Harrison, in order to have “white people do the right thing”. The fact that this character is fictitious corrupts major scenes of the movie and gives a false report of history. A similar instance of whitewashing by insertion is anticipated in the upcoming live motion picture of Aladdin. Recent reports show that filmmakers added a character, already diverging from the original move that was loosely based off a story called “One Thousand and One Nights”. Billy Magnussen will be playing the newly created role and has come under heat for portraying a white character in an Arab-inspired world.
Although the film industry seems ignorant to these issues, recent developments show that things might be improving. The recent announcement of the movie Hellboy: Rise of the Blood Queen stirred controversy when it was announced that Ed Skrein, a white English actor, would be play Major Ben Daimio, a man of Asian descent. After facing criticism, Skrein made the decision give up the role in hopes that it would make a difference. While Skrein’s decision doesn’t eradicate the issue of whitewashing, it fueled more hope for the Asian American and Pacific Islander (AAPI) community that others will follow in his steps. It is also important to note that the deconstruction of whitewashing in film does not rely on the help of white actors/actresses.
industry is coming to its senses, the truth is that without boycotts and public outcry, the film industry would silence minority communities. The change means that minority communities have finally had enough of the continuous erasure of their identity. It is important that the visibility of whitewashing's pitfalls makes way. As the film industry continues to grow, racial and cultural authenticity must not be sacrificed. It is the hope of minority groups that this authenticity will be preserved and show to improve the movies overall, but it cannot just top there. This hope must fuel true progressive action in order to create any real change in what is becoming Hollywhite.
Wouldn’t it just be easier to cast actresses/actors of color to play these parts? The logistical reasoning (or lack thereof) behind this phenomenon will take years to unpack. Minority communities have finally had enough of the continuous erasure of their identity, and are causing a change in Hollywood. While it may look like the film
PAGE 138
HER CULTURE MAGAZINE | ISSUE NO. 21
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 139
A HISTORY OF U.S. WOMEN’S PROTESTS by elizabeth meisenzahl
PAGE 140
HER CULTURE MAGAZINE | ISSUE NO. 21
O
Throughout American history, women have played an oft-overlooked role in some of the biggest and most consequential protests of their time.
n January 21, the world watched as more than half a million women in Washington, D.C. alone took to the streets in protest of President Trump’s inauguration. Internationally, an estimated 2 million people participated in sister marches to stand up for women’s rights. The Women’s March movement that began as a Facebook event on November 9 had resulted in the largest single-day protest in American history. Since then, leaders of the movement have pushed for advocacy in areas including healthcare and immigration. They played a large part in grassroots protests that killed the bill that would have repealed the Affordable Care Act in July. As the leaders of the project, Linda Sarsour, Bob Bland, Tamika Mallory, and Carmen Perez have shown since then that the marchers’ belief in equality of race, gender, religion, and sexuality is here to stay.
The abolition movement in the United States, an emblem of protest against state-sanctioned injustice, saw women take the lead in speaking out against slavery. In 1837 (nearly three decades before slavery would finally be abolished in every state) prominent female speakers from across the nation met at the AntiSlavery Convention of American Women to discuss not only the progress of the movement, but also the particular role of women in ending slavery. The convention included a diverse coalition of women of color and women of low economic status, something that women’s organizations even today have been criticized for lacking.
Despite being the largest protest of its kind in American history, this march was far from unique in one way: it brought women into the streets to protest injustice. HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 141
The ideas first planted at this convention would blossom into another iconic protest in the United States: the 1848 Seneca Falls Convention, which would be centered exclusively on women’s rights, making it the first of its kind. However, where the Anti-Slavery Convention of American Women had worked to serve all women, the Seneca Falls Convention fell short in this respect, with the only black attendee being a man. Still, the Seneca Falls Convention's Declaration of Sentiments included that women be given the right to vote, a concept that was controversial for its time even among some attendees. These forms of protest may seem vastly different from the ones seen later in the United States, which featured marches and chants in the streets rather than days filled with lectures. However, these conventions and their resulting resolutions laid the groundwork for women to later dissent against government policies that hindered equality, making some of the more famous protest
PAGE 142
movements of the 20th century possible. A clear line can be drawn from the Seneca Falls Convention to the women’s suffrage movement. In 1913, on the day before Woodrow Wilson’s inauguration, 8,000 suffragists marched in Washington, D.C. for the right to vote. Known as the Woman Suffrage Procession, the event was a turning point for granting women the vote. As the women proceeded down Pennsylvania Avenue, led by Inez Mulholland dramatically mounted upon a horse, onlookers taunted and even physically assaulted the protesters. Police stood to the side, doing little to protect them. Newspaper coverage of the attack on the marchers garnered support for their cause, as Alice Paul, one of the organizers, skillfully argued that the police's misocnduct only showed how little the government could currently protect women’s interests. Public sympathy for the women and their cause would later be noted as a key factor in the passage of the 19th amendment.
HER CULTURE MAGAZINE | ISSUE NO. 21
Women played a prominent role in another defining struggle of the 20th century: the Civil Rights Movement. With earlier women’s issues protests being primarily focused on white women’s rights, the Civil Rights Movement was finally a chance to address the particular discrimination faced by black women. This, however, did not quite come to fruition, with much of the movement being hostile to inclusion of women’s issues alongside racial ones.
Parks had, in fact, been an organizer for years against segregation, and specifically against the harassment black women faced. Rather than simply being about one seat on a bus, Parks’ actions spoke to the working class black women who kept the protests going behind the scenes. According to Sales, Parks became emblematic of the movement because this very struggle “went to the very heart of black womanhood, and black women played a major role in sustaining that movement.”
Many women on the ground who led resistance to segregation have had their roles downplayed or simply lost to history altogether.
In the later half of the twentieth century, massive women’s protests became more frequent with the advent of second-wave feminism. Although some were more successful than others. The 1968 Miss America protest, led by Robin Morgan, called for the end of the beauty standards epitomized by the Miss America beauty pageant. Media coverage sensationalized reports of bra burning, despite attendees reporting no such actions.
As part of the Civil Rights History Project by the Library of Congress, Ruby Nell Sales, a longtime social activist, remembered that the narrative commonly accepted of Rosa Parks’ defiance is too simplistic. HER CULTURE MAGAZINE | ISSUE NO. 21
The National Organization for Women (NOW) picketed the Senate in 1970, interrupting another hearing to demand one on the Equal Rights
PAGE 143
Amendment. While the amendment failed on the national level, it was ratified by more than 20 states, a testament to the activism undertaken by NOW. That same year, NOW also sponsored the Women’s Strike for Equality to mark the 50th anniversary of the passage of the 19th Amendment. Women across the country employed a variety of tactics, including marches, sit-ins, and vigils to bring attention to gender inequality in the workplace and in the home, showing that protest can be carried out through many different means. Another focus of women’s protests in the past 50 years has been reproductive rights, typically being centered on access to abortion. A year before the landmark Roe v. Wade decision that legalized abortion, a feminist group called Redstockings held an abortion speakout in New York City where women could share their experiences of obtaining abortions illegally. Speakouts spread across the country, and are credited with helping to change the culture of silence about abortion. 35 years later, women in 2004 marched in the streets of
PAGE 144
Washington, D.C. to demand better reproductive care, including access to abortion, birth control, and paid family leave. The legacy of women’s protests in the United States is a robust one, and women have been the leaders of movements for equality spanning centuries, whether or not they have been properly recognized for it by history. The women who marched this January, and those who will do so in the future, stand on the shoulders of brave women who protested on their own behalf and for others who could not speak up for themselves.
HER CULTURE MAGAZINE | ISSUE NO. 21
STUDYING ANCIENT HISTORY: WHAT’S THE POINT? by Gabbie Ballesteros
W
e’ve all heard it before students griping about the readings they’ve been assigned, moaning about Socrates’ impossible syntax or the intricacies behind Homer’s The Odyssey, and cursing the teacher or professor who gave them those assignments in the first place. I’d be lying if I said that I haven’t sighed heavily myself when opening up to the section of Plato’s Symposium I’ve been instructed to read for next week’s class. So what’s the purpose of it all? Why pore over these texts, hundreds of years old, and try to decipher their meaning? Why sift through wars and debates from centuries ago? Is it all just a ploy to bore students into submission? Dramatic questions aside, ancient history holds more relevance in today’s society than most people realize. Elements of our daily life that we accept without question can trace their roots back to Greek and Roman civilizations, from things as simple as sewage systems and straight roads to grander concepts, like democracy and theatre. We have these ancient civilizations to thank for advances in architecture, pottery, philosophy, and mathematics, just to name a few. And fundamental values and ideas such as intelligence, hospitality, and even loyalty were held in high regard by the ancient Greeks and infused into everyday life, a phenomenon that carries into our societies today. From a cultural standpoint, many modern forms of art retain aspects of ancient artistic pursuits. The Art Deco style shares PAGE 148
elements with stunning works found in Egyptian tombs, and the famous Chrysler Building in New York actually draws on Egyptian motifs for its iconic design. Works of art centered around religion or mythology can credit their origins with the ancient civilizations, who focused their art around depicting such scenes, and music and drama have deep ancient influences as well - it was in Ancient Greece that music theory was invented, as well as theatre, which began as a way to honor the Olympian Gods. Studying ancient civilizations works in the same way that observing other cultures and examining the differences between how people live in various parts of the world can give greater insight on your own society. Grasping others’ cultural context and acknowledging perspectives besides your own allows you to become more aware, and makes you more open and receptive to how others differ in their thoughts and actions. Even aside from what these civilizations have left behind, the act of studying them can give us insight into the modern world, and allow us to better understand ourselves. By looking at our roots and where our cultures and ideas are grounded, we can get a sense of how humanity has progressed and grown since then, and appreciate where we have come from. Far from mere monotonous readings and endless ancient texts, the study of these past civilizations gives us a glimpse of our foundations and allows us to see the world through informed eyes.
HER CULTURE MAGAZINE | ISSUE NO. 21
THE CULTURE OF PHYSICIANASSISTED SUICIDE THE ARGUMENTS FOR AND AGAINST THE CONTROVERSIAL PRACTICE
by lily zhou HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 149
D
octors are the people we turn to in times of sickness, fear, and pain and are among those we trust the most. Our lives are in their hands, but should our deaths be as well? The legality and ethics of physician assisted suicide (PAS), also referred to as ‘physician assisted death’ and ‘death with dignity’, has been an emerging topic of controversy in the US in recent years. The concept of physician-assisted suicide is not widely accepted in American legislature. Only a five states (Oregon, Vermont, Washington, California, and Colorado - also in the District of Columbia and Montana by court ruling) have made it legal, and even then it is extremely restricted - the patient must be a terminally ill, mentally sound adult with a prognosis of six or fewer months left to live. The law makes it extremely difficult to obtain a physician-assisted suicide, but many people argue that it should not be so difficult to choose
PAGE 150
to end one’s own life, while others feel that giving physicians the legal power to help people end their own lives is a slippery and unethical slope. The debate essentially comes down to this- should physicians be able to end a person’s life at their request? Should people be able to choose their death in the face of something worse? Part of the controversy is that PAS is confused with euthanasia - which is an entirely separate matter, defined as “which is defined as the act of assisting people with their death in order to end their suffering, but without the backing of a controlling legal authority.” PAS, on the other hand, is very strictly regulated. Patients requesting a physicianassisted death “have to be able to take the drug themselves. They must have the mental capacity to know what they are doing and what the consequences are. They have to make two verbal requests, 15 days apart, and one written request with two witnesses. And two doctors—an attending physician and a consulting physician—must verify that the patient meets all the criteria”. All of these requirements are put into
HER CULTURE MAGAZINE | ISSUE NO. 21
place to ensure that the patient is sure of their decision and is choosing this option on their own free will - issues that are used in support of the legalization of PAS.
deteriorate, living with an increasing sense of dread because any day could be their last, is a torturous thing to put people through. The pain of grief is made so much worse with the knowledge that you never got to say goodbye, or tell someone how much they mean to you before they pass. With the option of physician-assisted death, patients will have time to tell their families about their choice, and enjoy their remaining time with their loved ones who will then have time to prepare themselves and say their final goodbyes.
The critical argument in support of physician assisted deaths is that of personal autonomy - a terminally ill patient should be able to choose their time of passing in order to preserve dignity, prevent suffering, and provide closure for their loved ones. Under these circumstances, no one should be forced to keep living, knowing that their illness is terminal and their condition will only worsen and deteriorate.
There are valid ethical concerns and misgivings about the legalization of physician-assisted deaths. However, there are safeguards that can be and have been put in place to prevent the abuse of these medications and procedures. Withholding the ability to choose to end their suffering from the terminally ill is, in itself, immoral terminally ill patients who aren’t residents of the states in which PAS is legal are forced to suffer unimaginable physical and emotional distress. For those who are living with a terminal prognosis, and facing indescribable suffering, physician-assisted suicide is a freedom and a comfort that they should not be denied.
No one else should control how much suffering a terminally ill patient is able to endure. Autonomy is so important when you’re living under these circumstances. Terminally ill patients often feel a loss of control - so let them control what they can. As it states on the Death with Dignity information and support page, “Some people know when it’s time, when they’ve reached a point where their disease or the pain and suffering it causes has robbed them of the quality of life they find essential. If you decide the time is not right, that’s fine; it only means the Death with Dignity Act is working as intended because it has given you the freedom and empowerment to set your own timeframe. Some people (about 1 in 3) never take the medication. Simply knowing they have this option, if they need it, gives them comfort.” Having this option is not only a comfort to the patient, but also to their loved ones. Watching someone you love suffer and HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 151
FEMINISM FOR THE MASSES by Mo Matin The fight for women’s rights and gender equality has existed since the beginning of the division of labor itself; the male hunter female gatherer days. So basically, it has been growing for a while now. Somewhere along the line, this fight was given a name: feminism. As steps are taken forward to achieve some semblance of a victory, of equality, what constitutes as equality and rights are changing in our presentday society. While I’m sure the domestic cavewoman has parallels with the unfulfilled housewife, I bet they didn’t really have to deal with music glorifying the degradation of women, limited access to healthcare, and unfair treatment in the media.
because of their constant presence in our society and lives . She also comments on the flaws within the Feminist Movement and her own difficulties in navigating through the warped mainstream standards of feminism. Through her experiences with inequality and deciphering feminism as well as her analysis of pop culture, Gay allows the reader to discover that female inequality is omnipresent, both big and small, but reassures us that hating inequality does not have to mean hating society. Gay’s essay “Bad Feminist: Take One” embodies many of the ideas within her collection. She introduces the reader to different public figures such as writer Elizabeth Wurtzel, who believes being a real feminist means earning a living and having money and means of their own, and actress Melissa Leo, who believes she is not a feminist simply because she took a comedic role on a sitcom,
In Roxane Gay’s collection of essays, Bad Feminist, she calls out the “damaging representations we’re consuming in music, movies and literature,” the ones we, herself included, have become immune to HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 153
implying that a feminist wouldn’t have been able to. Gay shows that it is due to these types of representations, “the notion that there are right and wrong ways to be a feminist and that there are consequences for doing feminism wrong” is born, a notion she coins as essential feminism in “Take One”. In the same essay, she goes on to explain that this is a “warped” description of the movement and that the largest problem with having this idea of the movement is that it leaves no “room for multiple or discordant points of view” and “doesn’t allow for the complexities of human experience of individuality.” This hard-line notion is what makes many women shy away from the feminist label or movement and makes Gay herself feels like she “falls short as a feminist” and that she is “not living up to the feminist ideals because of who and how [she] chooses to be” thus pushing her to give herself—and her collection of essays—the title of Bad Feminist. However, feminist blogger and author Julie Zeilinger provides an accurate description of the stage of feminism that the movement is in
PAGE 154
right now. Feminism didn’t happen in one day, not according to one person’s definition. It built itself over time. In her book A Little F’D Up: Why Feminism Is Not a Dirty Word, she provides insight on the different stages that feminism has gone through historically. She begins with the first wave that fought for the legal equality of women, through pushes for suffrage and education, and then moves on to the second wave, which focused on gaining social autonomy. Zeilinger describes that we are currently in the “third wave of feminism” which is more angled towards “the integration and individualization of feminist ideologies into everyday life and the world around us.” This is the feminism that Gay is working towards through her essays.
With Gay using her voice to bring forward examples of how to make feminism fit with an individual rather than the other way around, she is working towards making it more accessible.
HER CULTURE MAGAZINE | ISSUE NO. 21
Reading through Gay’s essays, you run into a slew of familiar names, movies, books, shows, actors, and singers. Bridesmaids, Girls, Sex and The City, Girlfriends (“Girls”), Sweet Valley High Series (“Miss America”), Two and A Half Men (“Beyond”), The Catcher In The Rye (“Make Friends”), Twilight, Fifty Shades of Grey (“Trouble”), Chris Brown, Charlie Sheen (“Dear Girls”), and Robin Thicke and Kanye (“Blurred”) just to name a few. At first glance, it seems like she’s using these examples to remain connected with her reader; after all, if she is appealing to a person in the 21st-century to discuss a 21st-century issue, she should use 21st-century examples. They create and exemplify the conversational tone that she maintains throughout most of her essays.
By using these examples, she is not someone who is an expert in the history of this field or someone who is more knowledgeable than the average person, but places herself on the same playing field as us, making her feel more like a best friend or a sister than an educator or lecturer. This persona makes the reader feel more comfortable and more open to change. When a celebrity or an expert promotes an idea, it seems practically impossible, as if it is exclusive to people of their standard only. But when you see your best friend or your sibling doing it, it feels more inreach because if they can do it you can do it. Gay addresses her confusing love for shows, books, movies, and songs that misrepresent women but are a part
of pop culture in her essay “Bad Feminist: Take Two.” She begins by describing how she is “failing” both as a woman and as a feminist because her “her perceptions of feminism have been warped by being a woman.” She means that because engaging with pop culture today contradicts many of the feminist ideals she holds true, she is unable to be a part of either. In the same essay, she describes herself as a mass of contradictions, stating “I want to be independent, but I want to be taken care of” and “I want to be in charge but I want to surrender.” She tells the reader that pink is her favorite color, that degrading rap is her favorite genre, and she knows nothing about cars; all things which make her not live up to the title of feminist. But when Gay describes herself as a “bad feminist” in “Take Two,” she is describing how well she measures up to the idea of an “essential feminist,” a version of feminism she describes as warped and misconstrued in her essay “Bad Feminist: Take One.” Gay has a turning point when she speaks about all the things she does right as a feminist. She has strong “opinions about misogyny and inequality of
PAGE 156
pay… and the repeated attacks on reproductive freedoms” in “Take Two.” She notes that the reason our popular culture can make degrading comments about women is due to the large social issues we are facing. In her essay “Some Jokes Are Funnier Than Others,” she points out that shows like Tosh.0, a show where the main comedian is “an unapologetic misogynist” and has made “rape jokes a part of his shtick” is the product of the larger issue that rape is not taken seriously by many politicians and in matters of legislation. Gay also points out that because women’s “bodies and reproductive freedom are open to legislation and public discourse” other issues like, like rape, have been normalized into a rape culture . Gay’s feminism is standing against the large issues which promote and create the culture we live in now, not just the products of the issues. Gay embraces the title of bad feminist because it “is the only way [she] can both embrace [herself] as a feminist and be [herself]” and she’d rather be “a bad feminist and than no feminist at all.” But this leads us to question how bad of a feminist is Gay?
HER CULTURE MAGAZINE | ISSUE NO. 21
In Lizzie Crocker’s article, “Roxane Gay: Not Such A Bad Feminist After All,” she touches on the point that while Gay may describe herself as a bad feminist, she is bringing attention to the fact that “we need a more nuanced view of feminism” and that she “argues strenuously against the need for “likeable” characters in literature, because women aren’t so two-dimensional in real life.” If we follow Gay’s definition of feminism from “Take One,” that it should be more “nuanced” and “allow for the complexities of human experience,” wouldn’t she simply be considered a feminist, or rather a good one at that? Gay calling herself a bad
PAGE 158
feminist is just another one of her contradictions. Though she says she is “a mass of contradictions” in “Take Two,” Gay still describes herself as a feminist. Through all of these contradictions, Gay is getting to the point that we don’t have to be perfect feminists to be a feminist. She is the embodiment of the “third wave feminism” that Zelinger discussed. Gay is no longer trying to fit into the schema of “essential feminism” but is making feminism fit into her identity. It becomes easier to adopt to feminism when you learn to separate it from the idea of essential feminism and
HER CULTURE MAGAZINE | ISSUE NO. 21
and instead focus on the simple advocation of gender equality; fighting the institutionalized way women are kept powerless, such as lack of control over reproductive rights, pay equality, and diversity of gender in certain workplaces. Gay describes in “Feminism” that “when women disavow feminism and shun the feminist label but say they support all the advances born of feminism…[she] sees a disconnect that does not need to be there.” She is redefining what a feminist can be and showing us that being a feminist does not mean limiting ourselves or choosing one thing over the other. We are all capable of identifying as a feminist because as she states in “Feminism,” “we don’t all have to believe in the same feminism…it can be pluralistic so long as we respect the different feminisms we carry with us.”. Gay pushes the acceptance of the label because “feminism will better succeed with collective effort.”
reproductive rights, and rape culture be represented and fixed? Gay states in “Beyond” that “change requires intent and effort,” so by encouraging women to accept the feminist title, differences and all, she is encouraging them to show that they have the intent and are willing to put in the effort to help redefine the label and as she hopes in “Feminism,” “become the feminists we would like to see moving through the world.”
At the end of the day, the larger the masses, the greater the difference. If people shy away from feminism because of the small stuff, like loving fifty shades, how would the more important parts, like pay inequality, HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 159
WHY WE NEED TO ERADICATE HUMAN TRAFFICKING by Annie Zhang
H
uman trafficking, which President Obama once proclaimed as one of the greatest human rights cases of our time, is a broad term that is used to describe a variety of cases involving the exploitation of other human beings. It’s a despicable violation of human rights. It’s modern-day slavery. However, that doesn’t stop human trafficking from being the third-largest criminal industry in the world, affecting an estimated 21 million victims (yes, 21 million--that’s about the size of the population in Australia) in every single country across the globe. Furthermore, victims have been found in slave-like conditions in nearly every industry, including agriculture, manufacturing, health care, janitorial services, mining, and so on.
victims are exposed to leads to severe mental health consequences -severe guilt, depression, anxiety, substance abuse (alcohol), eating disorders, post-traumatic stress disorder, and even suicide. Some also end up suffering with injuries such as broken bones and concussions. Even worse, traffickers closely monitor their captives to ensure that they don’t escape. If human trafficking is so despicable, why hasn’t it been eradicated yet? The United Nations has passed the Palermo Protocol (Protocol to Prevent, Suppress and Punish Trafficking in Persons, Especially Women and Children). However, since the UN doesn’t have any real control over the actions of individual countries, they have no real method to enforce this protocol. Additionally, most cases of human trafficking occur as victims are trafficked across international borders, so it’s hard for individual countries to combat individually.
Trafficking victims are severely abused. They’re placed in imprisoning conditions, where they’re starved, beaten, and raped; children may work in factories for up to 15 hours a day, while women may be beaten and raped repeatedly. Women and children are at risk of HIV/AIDS, and the abuse that HER CULTURE MAGAZINE | ISSUE NO. 21
Legislatively, different countries have different definitions for human trafficking; some, for example, place a disproportionate focus on particular
PAGE 161
on particular categories of victims (such as women) while leaving out others (such as children), and some emphasize prevention of particular types of trafficking (such as sexual exploitation) while ignoring others. Also, human trafficking tends to run rampant in countries with high levels of corruption (where traffickers are protected by law enforcement officials) and a lack of law enforcement capabilities. Furthermore, even when the laws are enforced and traffickers are arrested as they should, there’s another major obstacle to overcome: convicting and prosecuting them. Many traffickers are left unpunished after they are arrested (because of corruption),
PAGE 162
especially in countries with a lack of resources and a low threat of prosecution. Furthermore, vulnerable victims are not left with the protection they need, so once the traffickers are released from law enforcement officials, they can recapture their victims. The scope of human trafficking is enormous, and victims are left traumatized with life-long emotional and physical scars. However, human trafficking is a complex, multifaceted issue, and numerous problems prevent it from being eradicated.
HER CULTURE MAGAZINE | ISSUE NO. 21
THANK YOU! Thanks so much for reading Her Culture's 21st magazine issue. Without a community of dedicated, sophisticated, culture-enthusiastic women, we would not be where we are today. To keep up with all the latest news and culture stories, please visit www.herculture.org.
Special thanks to: the Mulloy family, the Miller family, issuu.com, Alexis Neuville, Katie Collins, Sareana Kimia, Emily Harris, World Reader, The Prospect, MissHeard Magazine, Luna Luna Magazine, Humans of Vietnam, The Wannabe Scientist, Hello Perfect, New York University's Steinhardt School of Culture, Education, and Human Development, Molly and Fox Magazine, The Fem Lit Magazine, H.E.R.
HER CULTURE MAGAZINE | ISSUE NO. 21
PAGE 163
HER CULTURE MAGAZINE www.herculture.org @herculture New York, NY OCTOBER/NOVEMBER Issue No. 21