Ms. Magnet (Issue 4.0/Dec 23)

M s.

agnet M DEFINING ECOFEMINISM US V. RAHIMI TEACHER FEATURE

WOMEN AND PROGRAMMING POETRY & ARTWORK Issue 4 | Decmeber 2023

Brought to you by CMHS GIRL UP Executive Editors: Ruby Knoebel and Anjali Veerareddy

Dear Readers, We really enjoy having the opportunity to present the work of so many of Magnet’s talented authors, artists, and activists.

Thank you to all of the students who have contributed pieces and our wonderful sponsors, Mr. Medlin and Ms. Sweeten!

For the last two years, Ms. Magnet has served as a safe place for students to share their talent and passion for women’s issues. In providing a space for high school students to discover their voices, we hope that we are encouraging continued activism throughout the lives of our contributors and readers.

Featuring stories about African women solving an invasive cacti threat, period poverty and Girl Up’s work to alleviate the issue, and the impact of conflict in Gaza and Israel on women, this issue is filled with information to expand your knowledge of women’s struggles around the world. We hope that you enjoy this issue of Ms. Magnet!

Sincerely, Anjali and Ruby

Editors’ Note

Table of 6

MEET MS. VEILLEUX

7

MAASAI WOMEN

8

LIFE AS A BLONDE

10

PERFECT

11

HOW DID WE GET HERE?

12

WOMEN IN SHOW BUSINESS

15

THE HUNGER GAMES

Tanmayee Iskapalli

Maya Trutschl

Parker Alleman

Anonymous

Lainey Howell

Claire Kevil & Elizabeth Shoup

Aashni Shah

Contents US V. RAHIMI

16

GENDER-BASED VIOLENCE

17

PERIOD POVERTY & GIRL UP

18

DEFINING ECOFEMISM Rishi Sultana

20

WOMEN & PROGRAMMING

22

ARTIST SPOTLIGHT

23

WHICH SONG ARE YOU?

24

Mr. Medlin

Anjali Veerareddy

Ruby Knoebel

Mason Sater

Alyssa Ward

Sadie Sledge

Ms. Veilleux interview by Tanmayee Iskapalli Why did you become a math teacher?

During high school, I always compared myself to others, especially in math. I felt like I was not very good at math, and that belief affected my attitude toward math.

English and math were always my favorite subjects, but I felt that I just wasn't good enough at math. However, thanks to some incredible teachers, I was able to perform well in the subject. I wanted the opportunity to teach a subject that most people find difficult and encourage them to see the beauty in math and that there is no such thing as a "math person"; everyone can be great at math!

Who would you say is your biggest role model?

My mentor teacher at the first school I taught at, Mrs. Duplessis. She is kind, firm, and inspires her students to work hard and have fun, inside and outside of the classroom.

What are some of your hobbies?

Cooking, reading, running, singing, playing with my dogs and cat, and hanging out with my family!

What’s your favorite part of Magnet?

My favorite part of Magnet is definitely the students. It is so refreshing to come to work every day and get to spend my time with students who have a love of learning. I enjoy my role in nurturing that love to encourage my students to become lifelong learners.

What’s your favorite part of being a teacher?

My favorite part about being a teacher are seeing the light-bulb moments when something suddenly clicks. Not everyone learns at the same pace, and it’s wonderful to see the uniqueness in individuals, so everyone "gets" things at different times.

Often in math, those "aha" moments aren't there or don't occur in class. You'll just be doing math one day and something you struggled with the previous year will just make sense; but when those moments do occur in class, it is so much fun and so rewarding to see!

Maasai Women's Eco-Solution to Invasive Cactus Threat in Kenya

By Maya Trutschl In Laikipia County, Kenya, Maasai women are tackling the threat of an invasive opuntia cactus with an innovative approach. The prickly pear, introduced by colonialists, poses dangers to livestock and the environment. The Iloplei Twala Cultural Manyatta Women Group is transforming this challenge into an opportunity by converting the cactus into biogas and various products, providing employment, empowerment, and environmental conservation.

The opuntia cactus, though partially edible, is covered in spikes, making it harmful to livestock attempting to graze on it. Local farmers in Laikipia County have reported severe losses due to their goats and sheep consuming the cactus, resulting in mouth injuries, severe diarrhea, and even death.

While elephants are adept at extracting the fruit, they sometimes suffer from digestive issues due to the small hairs on it. The invasive species competes for critical resources, jeopardizing community lands, wildlife reserves, and livestock ranches, prompting the need for an effective solution.

The Iloplei Twala Cultural Manyatta Women Group, consisting of 203 members, has taken up the challenge. These women are not only eradicating the cactus but also converting it into a valuable resource. By harvesting the prickly pear, they turn it into biogas for their homes, providing a sustainable fuel source. This initiative not only promotes environmental conservation but also offers an alternative livelihood for the women, empowering them in a society where they traditionally do domestic work and own little at home.

Rosemary Nenini, a member of the group, highlights the cultural significance of their initiative, stating, "We came together because in Maasai culture, women do all the domestic work and own nothing at home, so we want to empower ourselves."

Apart from biogas, the Twala women are utilizing the edible fruits of the cactus to create a range of products, including jams, cosmetics, and juices. This not only generates an independent income for the women but also adds value to the harvested cactus, reducing its environmental impact and providing sustainable economic opportunities.

The Maasai women of Laikipia County are exemplifying the power of community-driven initiatives to address environmental challenges. By transforming an invasive cactus into biogas and various products, they not only contribute to environmental conservation but also empower themselves economically. The success of these efforts not only benefits the community directly involved but also sets a positive precedent for sustainable solutions to environmental issues worldwide.

Source: https://www.eurone ws.com/green/2023/ 11/03/these-maasaiwomen-havedeveloped-an-ecofriendly-way-toturn-invasive-cactiinto-bio-fuel

“If I’ve Only One Life, Let Me Live It as a Blonde”

By Parker Alleman "If I've only one life, let me live it as a blonde."

The year was 1956. Elvis Presley just released his first hit song, “Heartbreak Hotel,” Norma Jean Mortenson became Marilyn Monroe, and just 7% of women colored their hair. This number was far too low for Clairol, a cosmetics company focusing on hair, which motivated an advertising campaign to increase the demand for their new at-home hair color bath. After this campaign, over 40% of women were coloring their hair. But why? How were so many women convinced going blonde was a good idea?

Was it simply a fashion trend that has bled over to the modern day? Or are there real advantages to bleaching your hair?

Across the world, only 2% of people are born blonde. Similarly, when looking at male CEOs of Fortune 500 companies, about 2% of the male CEOs are blonde.

One would expect the same to track for women, but the numbers differ. Instead of just 2%, 48% of female CEOs of Fortune 500 companies are blonde. It is not just limited to CEOs either. 35% of female senators are blonde. In fact, many of the most famous women in modern

American politics are blonde as well. The first female candidate of a major party for the presidency? Blonde. First female vice presidential candidate? Blonde. First female Supreme Court Justice? You guessed it, blonde. And it extends beyond the political and business spheres. Cultural icons are also disproportionately blonde--Taylor Swift, Marilyn Monroe, Margot Robbie. All blonde. One of the most famous feminist movies is even titled Legally Blonde, showing that blondes have immense cultural presence.

The effects of this hair color aren’t limited to culture either. A study run by the University of Queensland found that, on average, blondes make 7% more than non-blondes. Another study found that when pictures of blonde and brunette women were paired with quotes such as "My staff knows who's boss" or "I don't want there to be any ambiguity about who's in charge," brunettes were met with harsh criticism, while blondes were met with relative warmth.

Taylor Swift

Marilyn Monroe

Margot Robbie

Legally Blonde

Overall, blondes seem to be better liked than their brunette counterparts.

However, the story is more complicated than just that. That same study found that, when just the pictures of the women were offered up, “the men thought all the women were equally attractive, but that the brunettes were more competent and independent.” This strange wrinkle complicates the story. While blondes seem to enjoy a great advantage when it comes to status, the stereotype doesn’t come without drawbacks. But why does this stereotype exist?

One field that has attempted to tackle this question is evolutionary psychology.

In fact, the field’s founder, Charles Darwin, attempted to tackle it himself. He believed that blonde hair was sexually selected for. Unfortunately, a lack of evidence meant the theory was not included in his book, The Descent of Man and Selection in Relation to Sex. While others have found more evidence for the theory, it seems unlikely that the blonde stereotype is something exclusively originating from evolution. Instead, the most popular theory finds its origins in white supremacy.

Authors Ravon Ruffin and James “JP'' Miller elaborate on this in the Feminist Wire, stating, “Historically, white supremacist ideology located racial purity, nobility, vulnerability, and ideal cultural beauty in being blonde.”

Examples from the early 1930s, as noted by “Tumblr's go-to fashion philosopher

and beauty oracle” Arabelle Sicardi in Allure magazine, underscore how Hollywood perpetuated this association in films like The Blonde Captive, Trader Horn, and Blonde Venus. These films, filled with racial coding, starred blonde women in distress. White supremacists exploited their dominance in Hollywood to propagate the blonde stereotype, explaining the perplexing duality of blonde women in positions of power yet associated with stereotypes of incompetence.

These factors and others were instrumental in the creation of an article that graced the front page of Inc.com, a magazine committed to offering advice for the success of small businesses, in 2016. Its message to ambitious women?

“If you crave a leadership position, such as elected office, CEO of a large company, or head of a prestigious organization, you should dye your hair blond if it isn't that color already.”

In conclusion, the seemingly innocuous slogan "If I've only one life, let me live it as a blonde" conceals a complex phenomenon rooted in white supremacy and sexism. The prevalence of blonde stereotypes in various aspects of society underscores the need for a nuanced understanding of the societal forces shaping perceptions and opportunities for individuals based on their hair color.

E F CT R E P

By Anonymous

Doing makeup in your grandmother’s mirror What a sacred activity that only few know Any man would take this opportunity If only he knew what it entailed The feeling of being beautiful, smart, a girl In pink silk ribbons And white ruffles Is that which can only be found When doing your makeup in your grandmother’s mirror No man would pass up this chance So why should I feel shame When the pink mascara wand Lifts my eyelashes And my face lights up And I look like a princess Or a painting?

Because I’m protecting the sacred art Of doing your makeup In your grandmother’s mirror And no man would pass this up

How Did We Get Here?

By Lainey Howell How did we get here, When we were younger, we wished to grow up We wished that we could be older We wished to do whatever we wanted with no responsibilities.

We wanted to get older so we can do all the things we wanted when we were younger.

I would do anything to go back.

When everything was simple No worries No responsibilities Hurt was scraping your knee falling off the play set on the playground Hurt was not being allowed to eat a cookie or have ice cream for dinner Hurt was your parents telling you no in general.

But now, Hurt is having your heart broken by the person you thought loved you and made you feel like the most important person in the world, only to use you for their cynical benefit in the end.

Hurt is losing the person you could always go to for anything Hurt is being replaced or forgotten time and time again Hurt is losing the sister you always wanted at a young age of 6 Hurt is growing up.

The greatest pain, however, is the one you don’t see coming The one pain where you can’t feel anything anymore You are confused, mentally, And even physically.

You feel as though you don’t know where to turn And you don’t want to feel the pain of growing up anymore We grew up and sometimes, we grow apart From others or ourselves.

And we ask again, How did we get here?

Women IN SH

By Claire Kevil &

Historically, the performance world was dominated by men. All of the parts in Shakespeare’s plays were performed exclusively by men, which was the norm of the time period. All of the directors, writers, composers, and choreographers were also men. Over time, women were slowly integrated into performing roles, but it has taken even longer for women to fill leadership roles in the industry.

Lillian Trimble Bradley was a trailblazer for female directors as the first female director for a Broadway production. She studied abroad most of her life and then entered the Broadway world after meeting producer George Broadhurst in 1918. She then went on to direct productions such as The Wonderful Things (1920), Come Seven (1920), Tarzan of the Apes (1921), and Izzy (1924). In Shreveport, Liesl Cruz recently directed a local production of Anastasia Youth Edition that ran November 23-26. Notably, the musical director, Katie Phillps, and the choreographer, Kaitlyn Brown, rounded out the all-female leadership of the creative team. We asked them their thoughts on women in theater.

(Answers have been edited for length and clarity.)

Liesl Cruz Liesl is the Director of Education for Stage Center’s School of Performing Arts, where she leads the theatrical education of children aged kindergarten through twelfth grade.

She also helps bring a number of theater productions to the stage each year. The following responses are from Liesl.

What struggles have you faced as a female director throughout your career?

Often my voice is not given as much weight at the table, and my ideas are dismissed or passed over because “this is how we’ve always done it.” What’s tricky here is that there is a cultural narrative that being unheard is due to gender when really it could simply be a matter of being the newest voice at the table rather than a female voice. I’ve always been fortunate enough to work in environments where there have been no underhanded comments suggesting my worth is being undervalued because of my gender.

On the other hand, I have been in positions where more experienced male colleagues have been passed over because I am female and therefore seen as “more fit” to work with children, and this fact has been stated directly, so there is no question as to its basis. It has also made me aware to watch for my own biases when putting together production teams. We’re all responsible for checking ourselves and making space for everyone at the table.

OW Business Elizabeth Shoup

What advice would you give to young women who wish to work professionally as directors?

We can get caught up in the noise of division or we can be the change we want to see and step into our power by empowering everyone who comes along our path. We do not have to play it safe or fit into popular narratives. So to all the young women who are looking to step into the world of directing, don’t wait for a seat at the table, play games, and support old ways of thinking. Step into your power and create a new vision for collaboration, build a new and bigger table, and empower everyone you meet along the way. You won’t regret it.

Katie Phillips Katie served as the musical director for Anastasia Youth Edition. She was responsible for teaching the students their vocal parts and helping them create a beautifully blended sound to suit the show. Katie Phillips is a TAP music teacher in Bossier schools, and she focuses on teaching her students to sing beautifully and healthily. The following responses are from Katie.

What struggles have you faced as a female music director throughout your career?

I have sometimes felt that it was more difficult to have my voice heard and my opinions matter as much as men - there are times when what I think is best for my students is not what I am allowed to do/teach. Anastasia was my first show to music direct, and a woman hired me for that position, so there were no difficulties from the aspect of being female! I have heard of many difficulties for other women, but fortunately, that’s not been my experience.

What advice would you give to young women who wish to work professionally as music directors?

Be brave! Don’t be afraid to tout your skills and experience. Build connections with people in the field and work your way up. Be willing to learn, but also trust what you know and be confident in your abilities. Finding the right group/company to work with can make all the difference. Learn from your mistakes, and keep trying!

Photos from their recent production, Anastasia Youth Edition

Kaitlyn Bundrick-Brown Kaitlyn Bundrick-Brown was the choreographer for Anastasia Youth Edition. She works to educate young dancers about various styles of dance, and takes inspiration from the Fathers of Dance as well as female trailblazers like Martha Graham and Isadora Duncan. She takes pride in researching dance from different eras and parts of the world, incorporating what she learns into her choreography.

What struggles have you faced as a female choreographer throughout your career?

If you reflect upon the most influential choreographers in the history of dance, you’ll see that an overwhelming number of them are male. Bob Fosse, Alvin Ailey, George Balanchine, Jerome Robbins, just to name a few. I think like many other professional fields, female choreographers find themselves in the minority. As females, we have a unique perspective to bring to the table, and I have been extremely lucky in the fact that I have worked with amazing directors, male and female, who respect the female voice and have encouraged me to lean into that and create freely. When I first started my career as a choreographer, it was a challenge for me to speak up and offer my perspective. As I’ve gained experience and become more confident in myself and my abilities, I’ve learned that my voice and opinion matter.

What advice would you give to young women who wish to work professionally as a choreographer?

My advice is to start wherever and whenever you can, as soon as you can. I wish I would have listened to the voice inside my head and the tug in my heart and started creating sooner. When I reflect upon my life, I have been creating choreography in my head since I can remember. I never felt like I had a means of sharing it- so I didn’t. Don’t let the fear of starting get in your way. Create and choreograph for yourself, your friends, or your peers. Record your choreography and put it out to the world to see. Receive feedback from people you trust- one of the most vulnerable, yet valuable things any creative person can do. Ask for opportunities- After all, the worst answer you can hear is “no”. There are so many wonderful resources in our city and people who are willing to extend a hand, collaborate, teach, offer feedback, etc. If you feel like it’s something that is calling you, go for it.

From left to right: Kaitlyn, Liesl, Katie

Feminist Narratives in the Hunger Games Trilogy

By Aashni Shah

Against the backdrop of a dystopian landscape in Suzanne Collins’ The Hunger Games trilogy, feminist ideals and narratives emerge in the face of great oppression. From Katniss Everdeen’s strong individual feminist narrative to sisterly bonds portrayed in the trilogy, the narrative creates a story of resistance that challenges the Capitol’s attempt to suppress the autonomy of its female characters.

In the world of Panem, the Capitol orchestrates the Hunger Games, an annual event where 24 tributes, young participants selected from each district, are forced to fight to the death. The Capitol’s primary objective for the games is to simulate a war zone where all tributes are pitted against each other for one to emerge as a “victor.” In the 74th annual Hunger Games, Katniss, a resourceful tribute from District 12, befriends Rue, a younger and more vulnerable tribute from District 11. This forms a feminist archetype: an alliance between two women combatting the oppression inflicted by the Capitol. The Capitol’s goal was for the games to mimic a deadly battlefield where alliances and friendships were rare. But by showcasing

this connection between Katniss and Rue, the narrative highlights the genuine strength within a sisterly bond, countering the Capitol’s tactics to tear them two apart. This archetype of sisterhood and unity further enforces the idea that true connections between women can be forces of empowerment, resilience, and resistance.

Katniss Everdeen herself embodies strong feminist principles throughout the trilogy. Her strength is not merely physical, but also emotional. In a world where the Capitol’s ultimate goal is to strip citizens of their individuality, Katniss remains true to herself. One of her most significant feminist acts is her unwavering refusal to conform to the Capitol’s predefined role set for her. The Capitol hopes to turn Katniss into a mere pawn in its elaborate mission, but she continues to resist their force. Even in moments of intense pressure, loss, and grief, Katniss does not succumb to becoming a passive pawn in the Capitol’s games. Also, her proficiency with a bow and arrow, a traditionally “male” weapon, challenges the stereotypical portrayal of women in literature. As a multidimensional feminist protagonist, Katniss Everdeen challenges not only the Capitol but also broader societal expectations, leaving a lasting imprint on modern literature and the world as a whole.

United States v Rahimi Challenges Established Domestic Violence Protections

By Mr. Medlin In the wake of the Supreme Court’s recent decision in New York State Rifle and Pistol Association vs Bruen, which allows greater access to concealed-carry weapons and, generally, more access to firearms across the board, a plaintiff named Zackey Rahimi has sued the United States to strike down a previous law denying gun purchases for prospective buyers under a restraining order. Rachel Reed of Harvard Law today explains the case: “At the center of the controversy is a Texas drug dealer named Zackey Rahimi with a history of violence. In 2020, a court issued Rahimi’s girlfriend a restraining order against him and forbid Rahimi from owning a firearm. He soon defied the court’s order to stay away from the woman, then committed a litany of unrelated shootings, which eventually culminated in his arrest. He was charged with violating a federal law that prohibits someone with a domestic violence restraining order from possessing a gun — a law Rahimi says infringes on his Second Amendment rights.”

Roughly ninety minutes of arguments were heard on the case on November 7, and, according to Amy Howe of ScotusBlog, most justices seemed “wary” to overturn the law, but there has not yet been a ruling handed down.

Because of the attention being paid to Rahimi vs. the United States, many domestic abuse survivors

are feeling vulnerable because of the possibility that, soon, those that abused them may find themselves able to get their hands on a firearm and threaten, hurt, or kill them much more easily.

According to the AP, Ruth Glenn has personal experience with this situation. After a horrific encounter with her estranged husband, Ruth was left shot twice in the head and bleeding in the backseat of a car. At this time, there was no law prohibiting those under the sway of a restraining order from owning or purchasing guns, so the law that was passed in the aftermath of her experience may have saved her from a truly traumatic experience. She survived and went on to advocate for the continuation of the law to protect abuse survivors like herself, as well as for domestic abuse survivors in general.

It is not known when the Supreme Court will rule on the arguments held on November 7.

Impact of the Israel-Palestine Conflict on Women

By Anjali Veerareddy In the aftermath of the October 7 attack on Israel by Hamas and the following Israeli attacks on the Gaza Strip, the United Nations has recognized the devastating impact of the conflict on both Israeli and Palestinian individuals. More specifically, organizations around the world note that this conflict has largely impacted women and girls.

Reem Alsalem, a UN Special Rapporteur on violence against females, stated that “while these atrocities affect both women and men, their impact is gendered and disproportionately affects women.” Countless women and children have been displaced from their homes, forced to flee from the ongoing violence and seek refuge elsewhere. But this displacement often leads to a loss of security and stability for these populations, leaving women more vulnerable to various forms of exploitation and violence.

Areas of conflict often contribute to a rise in gender-based violence, and the Israel-Palestine conflict is no exception. In fact, experts around the world have expressed concern about the increasing number of reports of sexual violence against Israelis and Palestinians since October 7.

Women in both Israel and Palestine are at a greater risk of experiencing domestic violence, sexual assault, and harassment. The concept of women being more vulnerable to sexual violence during conflict is often referred to as conflict-

related sexual violence, or CRSV. Sexual violence is considered a war crime by international criminal law. However, experts at Georgetown University note that “little is done to address the social factors and environmental conditions that allow sexual crimes to occur.” Israeli women have been kidnapped and sexually assaulted by Hamas, and Palestinian women face risks of exploitation and trafficking. In addition, the United Nations has warned officials of the increasing likelihood of malnutrition for women and children who are left behind in cities.

Individuals in conflict ridden areas are unable to access clean water and the proper healthcare services necessary to maintain their health.

With the continuation of the Israel-Palestine conflict, the safety and health of women will only be placed at more risk. But the issues faced by women in conflict-affected areas is not just a reality for women in Israel and Palestine. Today, more than 600 million women and girls live in conflict-affected countries, an almost fifty percent increase since 2017. Whether the Israel-Palestine conflict, war in Ukraine, or any other conflict throughout history, the impact of these conflicts on women is often overlooked.

Sources: United Nations Human Rights Council UN Women Georgetown University Center for Security Studies

Girl Up and the Fight Against Period Poverty

By Ruby Knoebel Period poverty is the inability to afford needed menstrual products, and it affects millions of women globally each year.

According to the Journal of Global Health Reports, of 16.9 million impoverished women living in the United States, more than 11.1 million reported that they have been unable to afford menstrual products within the last year. Part of the inaccessibility of menstrual products comes from the so-called “Pink Tax,” a luxury tax placed on menstrual products. Though taxes vary from state to state, states usually exempt products like toilet paper, medicine, and groceries from this tax. To place this tax on period products while exempting other essential products is to suggest that period items are a luxury rather than a necessity, or worse–women’s ability to participate in the public sphere is unimportant. The American Civil Liberties Union (ACLU) found that in 2019, thirty-three states did not offer tax exemptions for menstrual products, and worse, these taxes could lead to price increases of as much as ten percent. For women who are already financially disadvantaged, this additional ten percent can impose a large hardship. Though many states must still continue the fight to end the Pink Tax, it ended in Louisiana in the summer of 2022 due to HB7 by Louisiana State Representative Aimee Freeman.

Though period poverty affects all age groups, the effects on each age group are different. For teenage girls, period poverty often results in school absences. Ashley Rapp and Sidonie Kilpatrick at the University of Michigan report that one in five girls will miss school because menstrual products are not available to her. As girls are forced to stay home, the equality gap between males and females expands: while male students are able to pursue education, female students are forced to stay home. With twenty percent of female students missing school, why are schools not required to provide menstrual products?

Fortunately, Caddo has recently started providing menstrual products in girls’ bathrooms in high schools throughout the parish. In the 2020-2021 school year, our Girl Up chapter began providing menstrual products in Magnet’s bathrooms with donations from club members, and in a presentation to the Caddo School Board, Girl Up was able to successfully advocate for the current legislation that protects the right to education of girls across the parish. However, despite proposed legislation at the state level, the same policy has not been passed due to unwillingness to fund it. With products like toilet paper provided in bathrooms, one must wonder why menstrual products are not provided too. The goal of both products is hygiene; the only difference is that one applies only to female students.

One of the ways that the ACLU identified for people to fight for menstrual equity is to reduce the stigma surrounding menstruation.

Problems must be brought to public attention in order to be solved. In the face of disappointments surrounding the advancement of menstrual equity both at the national and state levels, Girl Up has continued the fight. In October 2022, CMHS Girl Up partnered with the national PERIOD. organization to help reduce the stigma and increase advocacy. The event featured artwork, speakers (including Representative Aimee Freeman), and a period go-bag table for people to create bags of period product necessities. In December, Girl Up has collected pads for underprivileged women at Common Ground. In the face of inequality, advocates must remember to face forward: through reducing stigma around menstruation, supporting beneficial legislation, and providing more women with opportunities for societal advancement through education and financial gain, it’s possible to create solutions, however long it takes.

WHERE MOTHER AND EARTH COLLIDE: DEFINING ECOFEMINISM

BY RISHI SULTANTA From the growth of the civil rights movement to the rise of LGBTQ+ advocacy, the 1970s saw an explosion in social liberation movements. As second-wave feminism grew to a roar, so too did the green movement. A push for women’s social and political equality came as calls to save the environment grew louder and louder.

Eventually, intersections between the different movements began to form…and with these intersections came a concept known as ecofeminism.

The term “ecofeminism” was the brainchild of French feminist Francoise d’Eaubonne. Her unprecedented, radical thought challenged us to reconsider the boundaries we draw between social justice and environmental advocacy. In her nowfamous book, Feminism or Death, d’Eaubonne proposed that the liberation of women and the preservation of our planet are intertwined. In other words, the social structure of the patriarchy led to both the degradation of women and the environment. Some ecofeminists, for instance, pointed to the feminization of Mother Nature as a prime example of this idea—where Mother Nature was oppressed by the impacts of capitalism and

industrialization, so too were women oppressed by men.

In her novel, d’Eaubonne asks for a world where “the human-being will finally be treated first as a person, and not above all else as a male or a female.”

Much of her commentary revolves around the breaking down of masculine power via the concept of a global “mutation.”

Rather than use the word “revolution,” which d’Eaubonne stated as having masculine connotations, the word “mutation” implies a total reversal of male-centered power. This would lead to a theoretical destruction of power by women, ultimately liberating them alongside the planet. Ultimately, according to d’Eaubonne, this destruction should result in a realization of “nonpower” from “the confiscation of all… powers ever exercised,” rather than a total power switch between men and women. In essence, the goal was not to replace one dominant force with another but instead to transcend the very notion of power as it had been historically understood. By taking all power from humanity, ecofeminists believed that a

harmonious balance between genders and nature could be achieved through this concept of “non-power.”

Ecofeminism grew to influence various activist and artistic movements, such as the Eco Artists of the 1980s. However, unlike other social and environmental movements of the time, ecofeminism faced challenges in gaining widespread traction.

Despite its insights, this movement struggled to find a unified voice and concrete actions that could translate its framework into tangible change. The intersectionality of ecofeminism proved challenging to mobilize on a large scale. Additionally, this factor emphasized the shortcomings in d’Eaubonne’s commentary, given her prior Malthusian beliefs. Ecofeminism as a whole is widely criticized for its basis in racist and Eurocentric ideals, especially since it was coined by primarily white feminists. The original ecofeminist movement overlooked women of color in its impact; after all, it is the most deprived women who often suffer the most from pollution, yet original theses on ecofeminism fail to acknowledge women outside of developed countries, and though it takes concepts from Native American cultures, rarely does it go back to respect or credit their ideals.

Ultimately, ecofeminism failed to grow into a campaign with such a tangible impact as the remaining identity politics movements that surrounded it. However, it did influence the way feminists seek to address the challenges that connect movements that surrounded it. However,

it did influence the way feminists seek to address the challenges that connect gender inequality and environmental degradation. As the world grapples with pressing environmental and social issues, the principles of ecofeminism remain relevant, urging us to reconsider our relationship with nature and each other.

By Benny Estes

Women and Programming

By Mason Sater Correlation does not imply causation, but when 92% of the world’s software developers are men, it is apparent that there is a gap. Despite the fact that Ada Lovelace pioneered the way for modern-day coders by innovating Charles Babbage’s prototype computer with loops and arithmetic instructions, the male-dominated market quickly usurped these algorithms and redirected women to other areas of work, such as product managers.

The second-wave feminist movement theoretically allowed women to begin taking on coding or computer science as a career path, but it continues to remain hollow with the female population. One of the biggest reasons is due to the lack of mentorship in the computer science field. While many other workplace environments diversified following the Civil Rights Act and the release of The Feminine Mystique, the computer world has essentially created a wall of male stigma, making women feel unwelcome in the environment. Even at Magnet, a school known for expanding opportunity, I personally see the wall in my entirely male coding class.

Beyond learning the content itself, silent discrimination resides in the working environment.

Women are assumed to be better socially than men, and even if their passion resides in working hands-on with code, executives often move them to manage the teams of coders rather than working in them. According to Hema Manickavasgam, a female programmer, she was introduced with a much harder set of introductory problems than her male counterpart, who was applying for the same position. Males are assumed to be more productive at coding compared to women, causing greater hardship in the workplace and less motivation to pursue a career.

Hema also pointed out that she struggled mentally to join the coding field because she felt socially outcasted. Being so heavily dominated by the male population, she felt frowned upon by other girls for working in the field and constantly being associated with groups of guys. Comfort is crucial in expanding opportunities to all groups of people. While some people are more adventurous and daring than others, no one should have to feel unwelcomed, discriminated against, or unfairly challenged in following their passion.

The summation of issues regarding women in computer science points in one general direction for a solution: simply building a larger community of female programmers. With more possibilities to code at an earlier age through AP classes, Schoolhouse Tutoring, and online websites like Codecademy, there is not just an opportunity to learn but an opportunity to kick down the wall.

Rather than continuing to creep into the industry, a mark needs to be made and heard with large waves of initiatives. Whether it’s through gathering friends or forming women-centered organizations like SHECAN in Shreveport, the key to expanding the female coding community starts with creating a shelter.

Artist Spotlight:

Alyssa Ward

“Pink Flower Portrait” Alyssa Ward is a senior who has taken art with Mrs. Alexander for all four years of high school. Over the years, Alyssa has tremendously improved, producing work she is genuinely proud of. Looking ahead, Alyssa aspires to use the skills she has learned in pursuing a career as a psychiatrist while learning more about the world through travel. Through continued practice and refinement, her goal is to be able to sketch the landscapes and people she encounters during her journeys and everyday life.

“Serenity on the Sea”

“Blushing on the Couch”

Which Christmas Song Are You?

By Sadie Sledge When do you put up your Christmas decorations?

(A) November 1st!

(B) Right after Thanksgiving.

(C) December 1st.

(D) A week before Christmas…

What is your favorite way to prepare for Christmas?

(A) Go out caroling with my friends ...............and family.

(B) Go drive around and see all the ...............Christmas lights around town.

(C) Volunteer to help others!

(D) Bake cookies and watch my ...............favorite holiday movies.

Which seasonal scent are you buying for a new candle?

(A) Peppermint candy cane (B) Christmas tree pines (C) Fresh snow (D) Gingerbread sugar cookie

What is your favorite holiday drink?

(A) Peppermint hot chocolate (B) Eggnog (C) Apple cider (D) I don’t like holiday drinks

How do you prefer to wrap presents?

(A) In my favorite wrapping paper with ...............a cute bow on top (B) Getting it pre-wrapped from the ...............store (C) Put it in a bag with some tissue ...............paper for decoration (D) Just giving them as they are- no ...............wrapping

Results!

Mostly A’s

All I Want for Christmas is You - Mariah Carey

Mostly B’s

Last Christmas - Wham!

Mostly C’s

Santa Tell Me - Ariana Grande

Mostly D’s

Have Yourself A Merry Little Christmas - Frank Sinatra

T hanks for Reading!

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