Issue 5 | Spring 2011 | your student fee
letter from the editor
Happy Mayfest! Welcome to Medusa Issue 5. Gosh, I sure never thought I’d say that. When Hannah and I had the idea for a feminist magazine almost 2 years ago, I wasn’t sure how serious we were. And then Hannah sort of did it all — filled out the necessary paperwork, sent out the emails, found an advisor, and started piecing together a real live magazine. And now we’ve printed five issues and come such a long way. We’ve adapted our focus in many ways and we’re constantly reevaluating what it means to be a feminist magazine. I hope everyone is as excited as I am to see an article about the Syracuse Peace Council (p. 20) and a moving piece about women in the Arab world (p. 12). We’re remembering women who have been forgotten (Disney p. 16), and questioning stereotypes (housewives p. 8). I’m graduating increasingly soon and passing the reigns (back) to Hannah. I never thought I’d have the honor of serving as editorin-chief for a feminist magazine I helped to create, and I’m amazed that I had this opportunity. I’m humbled by my diligent and hardworking editing staff, who have always made it a priority to question everything. I’m in awe of my design staff who manage to constantly take my breath away. And I sometimes can’t believe the dedication of Medusa writers, who write moving and critical articles again and again. It has been such a pleasure working with this magazine, and I can’t wait to see what comes next. As for me, I still don’t know what comes next. If you feel like hiring me, that’d be cool. As always, if you’ve got anything to say, be it like questions, comments or suggestions, we want to hear it. And if you’re interested in writing, editing, photographing or designing for us, please do! Email us at medusamagazine@gmail.com. So much love,
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MEDUSA editor-in-chief
THE FACES OF FEMINISM 4-5
Sammy Lifson
by Melissa Perez
editor abroad
GENDER BREAKDOWN 6-7
Hannah Warren
compiled by Kasey Panetta
managing editors
REST IN PEACE: THE GOOD HOUSEWIFE 8-10 by Mayra Najera
OH, SO YOU’RE A FEMINIST 11 by Medusa Staff
Marissa Bholan Megan Poole Lauren Stefaniak
copy editors
Emmery Brakke Erin Carhart
design editor Nancy Szarkowski
IGNITING A GLOBAL REVOLUTION 12-15 by Luke Lanciano
THE GREATEST DISNEY ARTIST 16-19 by Kevin Martin Kern
SYRACUSE PEACE COUNCIL 20-23 by Christina Levin
A COMPOSITION OF HER OWN 24-25 by Kasey Panetta
COMITTEE ON WOMEN AND ART 26-27 by Erin Carhart
WOMEN ROCKING THE WORLD 28-29 at the ArtRage Gallery
DO YOU LIKE MY PEARL NECKLACE? 30 by Dr. XX
photo editor Elina Berzins
fact checkers Emmery Brakke Erin Carhart Sarah “Billie” Driscoll Laura Hollahan Emma Johnson Staphanie Shaw Debbie Truong
designers Elina Berzins Malinda Masing Mary Beth Wagner
cover art “Medusa” 2011. Ellen M. Blalock. Fabric Quilt. 108 x 95 Printed with permission of the ArtRage Gallery
faculty advisor Brad Gorham
Medusa Magazine is an independent publication devoted to open dialogue and discussion around issues of feminism. The opinions expressed in Medusa Magazine do not represent those of the Medusa editorial staff, its sponsors, the Women’s and Gender Studies Department, or Syracuse University. Submissions, suggestions, and opinions are encouraged and may be printed without contacting the writer. Medusa reserves the right to refuse or edit any submissions at the discretion of its editorial staff. All contents of the publication are copyright 2011 by their respective creators and may not be reproduced without their consent.
VISIT OUR BLOG AT MEDUSAMAGAZINE.BLOGSPOT.COM.
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the faces of
by MELISSA PEREZ photographs by REID SEARLS
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Weston Hoy “Feminism is a progressive process; it’s about personal and social betterment, reconciliation, and above all, liberation,” said Weston Hoy, a junior political science major who doesn’t hesitate in claiming the feminist title. Weston believes that it’s through personal experiences and diversity, along with patience, tolerance and a willingness to change, that we are able to break cycles of oppression. Weston’s frustration with re-packaged patriarchy, white supremacy, and the continued oppression of everyone inspires him to reach out and learn more about the world. “I call myself a feminist because I believe feminism is something I should be concerned about,” said Weston. It wasn’t until Weston reached college when he experienced a pivotal feminist moment. “Two of my close friends in college really made me think critically,” Weston said. “I asked myself: who is the real American? Whose land is this? Whose rules do we live by? And who is made to always feel less than?” Weston hopes to one day combine his formal schooling and feminist passions and dedicate his time to non-profit organizations that will help mobilize the feminist movement. “I think it’s important to develop a social, personal, and political consciousness; it’s time to wake up and challenge ourselves.” spring 2012 spring 4 4MEDUSA
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minism Lorraine Sánchez When asked if she identifies as a feminist, Lorraine Sánchez, a sophomore English and textual studies and women’s and gender studies dual major, heartily declares, “Hell yes!” For Lorraine, feminism isn’t just an academic subject, a political stance, or a new trend on campus; it’s a way of life. “[Feminism is] what has allowed me to keep going and fight,” said Lorraine. “Everything I identify and work for comes from feminism.” She identified with feminism in high school, but like Weston, it wasn’t until college that Lorraine was able to gain a better understanding. “‘Feminism’ is a word that compiles so many things into one. It’s standing and fighting for the equality of all,” said Lorraine. “But you have to first understand the systems of oppression. You have to work to understand the many issues that surround race, sexuality, religion, gender, class and much more. Feminism is fighting for social justice.” Lorraine puts her views into action by getting involved in various organizations on campus, such as SyraMatics, SPEAK! (Speak Positively by Educating Others about Konsciousness), and WellsLink. “At times there’s a disconnect between various groups in the study and movement,” she explained. “On campus I’ve found [feminism] problematic — certain groups or individuals who don’t really put a good face to feminism, [using] a binary, non-intersectional lens.” For Lorraine, the biggest challenges in claiming feminism are getting past the stereotypes and getting people to listen. “When I [say] I’m a feminist, they tend to say, ‘Oh, that explains why you’re like this [outspoken, passionate, and critical],’ but overall they respect it.” J Melissa Perez is a wise Latina with a “wild tongue.” A women’s and gender studies major from NYC, she enjoys whipping her hair back and forth and she makes a mean margarita. spring 2011
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We’ve all heard about the discrepancy between female and male salaries, but who thought it would hit so close to home? Medusa decided to investigate and found some startling results. Check out what the yearly budget report had to say.
Data source: Syracuse University Committee Z Report for 2010-2011 Chapter of the American Association of University Professors 6 6MEDUSA
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compiled by JENNIFER OSIAS
Average Women’s Salary as a percentage of Men’s
the average female profesor made 96% of what a male professor at SU earned.
Jennifer Osias is an international relations and political science double major who recently discovered how addicting Angry Birds is. She is currently looking for a support group. 2012 7 spring 2011spring MEDUSA
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the good housewife by MAYRA NAJERA
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n the U.S., we envision the ideal housewife as a loyal servant to her family, and in particular, her husband. During the 1950s, many stereotypical housewives devoutly followed Housekeeping Monthly’s checklist, “The Good Wife’s Guide.” The guide reminded the good housewife that she should plan the night before in order to prepare a delicious meal for the next day, freshen up before her husband arrived home, and always make sure that the home is clean, quiet, and peaceful. The guide suggested, “Let him talk first — remember, his topics of conversation are more important than yours.” The repressive 50s culture enforced the notion that women should find fulfillment in domesticity and service. The superwoman of the 50s, playing the role of the domestic housewife, is reemerging as a S.A.H.G (stay-at-homegirlfriend). A post by Quiana Stokes, a self-affirmed S.A.H.G., on the blog Brokelyn detailed the rules that keep her relationship in harmony: don’t sleep in, keep the apartment clean, cook or order in every night, keep yourself busy, pamper him, occasionally have a drink with a friend, and always be ready to have sex. She admits that she 8 8MEDUSA spring 2012 spring
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illustration by ALICIA ZYBURT
was raised to please her significant other. Stokes says, “When my boyfriend goes off to work, I spend my days cooking, cleaning our two-bedroom Greenpoint apartment, and trying to look good for him when he comes home.” Stokes is currently unemployed; making her boyfriend happy is her primary occupation. One irked blogger responded by commenting, “What I want to know is where do you keep the time machine that you used to go find this person in 1953 and beam her into 2011 long enough to write a blog post (I can only imagine how long it took to explain the whole Internet thing)?” Many angry commentators claimed that Stokes is setting women back. The survival guide for a S.A.H.G. is simply another version of “The Good Wife’s Guide.” The previous guide says, “Touch up your makeup, put a ribbon in your hair and be fresh looking. Be a little gay and a little more interesting.” Stokes’ fashion consists of a pair of denim shorts, a tank top, and flip-flops. She hopes that her attire will spice up their sex life. “Everyone knows there is nothing more important in a relationship than that special time between the sheets,” she says. The old
guide recommends that the housewife arrange her husband’s pillow and offer to take off his shoes. Stokes likes to pamper and pick up after her boyfriend. “I always have beer or whiskey ready,” she says. Another annoyed blogger responded by posting, “Congrats, you’ve become his mother while allowing your interests to fall to the sideline.” Many women aspire to be a housewife. Settling down and doting on their significant other is what they want to do. In that case, it would seem that the anti-feminist stigma attached to the concept of the housewife needs reevaluation. And why not? “Housewife,” by definition, doesn’t have to be an outdated and oppressive
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regime. In accepting that some women dream of being a housewife, the focus then shifts to awareness of the existing stereotypes. What’s important is that she lives her life in a way that is mindful of the power structures that cause her life-choice to be typically viewed as restrictive toward women. There’s no
“” Congrats, you’ve become his mother while allowing your interests to fall to the sideline.
reason that being a housewife can’t be a feminist career choice if she is acting on her own will and in her own interest. That being said, the feminist housewife option isn’t presented in the media today, just like it wasn’t in the 50s. In the past, the media exploded with advertisements that promoted the domestic space as a paradise for housewives. Yet in the 20th century, the entertainment business portrays the housewife as a rich and dramatic bitch. The Real Housewives of New Jersey stars five housewives who struggle to keep their titles of perfect mother and flawless wife. For example, the reality star Teresa Giudice is described as a true housewife for devoting herself to her four daughters and managing the household while still staying “fabulous!” Jacqueline Laurita, another housewife, loves spending time with family, cooking, working out, going to the spa,
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and catching up with her girlfriends. Caroline Manzo describes herself as a “Real Housewife of New Jersey” for having a family, friends, and a successful career. Besides the “Good Housewife” stereotypes that they proudly claim, they are portrayed as drama queens on camera. During season two of The Real Housewives of New Jersey, episode 17, Danielle Staub says to Teresa Giudice, “You’re a pig. Look at yourself. You’re disgusting.” Yet are these five women really emblematic of what it means to be a housewife? It seems that the entertainment industry has skewed the notion of a housewife, as Quiana Stokes claims that she is not the only woman taking the S.A.H.G. role. “I was the third of my female friends living with her boyfriend to wind up out of work, and all of us, to some degree, adhere to stereotypically ‘Stepfordish’ rules to keep our relationships afloat and ourselves sane,” she says. The phenomenon of the S.A.H.G. continues to propel while others fight against the inequality that still exists in our society. Yet with the changing definitions of “housewife” and “feminism” to a more modern line of thought, who’s to say that feminists should have a problem with housewives? Acting on her own accord, maybe a housewife can be a feminist after all. J
Mayra Najera is a magazine journalism major obsessed with almonds, dark chocolate, and gelato. She enjoys running on California’s beaches and aspires to be a vegan chef.
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Anti-feminists want to dis-empower us by stripping us of our femininity, suggesting that a woman without a man is somehow less of a woman. Here’s the glitch: feminists don’t hate men. I repeat: DON’T. HATE. MEN. Most feminists are aiming to deconstruct power structures that create inequalities among all identity groups, men included. And hey, some feminists are lesbians. But lesbians don’t hate men, either — not being attracted to someone doesn’t mean you hate them! And get this, some men are feminists too!
Love, sa Medu spring 2011 MEDUSA 11 spring 2012 11
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Igniting a
Gl bal Revolution How women are contributing to social upheaval in the Middle East by LUKE LANCIANO illustration by ERIN CARHART
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n Jan. 18, just one week before major protests started in Egypt, a YouTube video went viral. Twentyeight-year-old Asmaa Mahfouz, an Egyptian woman wearing a hijab, a traditional headscarf, stood in front of a modest apartment background, stared directly into the camera, and made her case for freedom, democracy, and justice in Egypt. “I, a girl, am going down to Tahrir Square, and I will stand alone. And I’ll hold up a banner. Perhaps people will show some honor,” Mahfouz said. “Don’t think you can be safe anymore. None of us are. Come down with us and demand your rights, my rights, your family’s rights. I am going down on Jan. 25 and will say
no to corruption, no to this regime.” Eighteen days later, Egyptian President Hosni Mubarak stepped down from his 30-year-long rule. A month earlier in Tunisia, a lowly fruit vendor was having a rough day. Mohamed Bouazizi was a 26-yearold university graduate, but due to the lack of job opportunities in the stagnant North African economy, he was stuck selling fruits and vegetables from a cart. Constantly harassed by bureaucrats from his local city hall for not having a permit, he selfimmolated, burning himself severely with gasoline. He died from his injuries barely 10 days before the 22-year reign of Tunisian dictator Zine El Abidine Ben Ali came to an end in the “Jasmine spring 2011 MEDUSA 13 spring 2012 13
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Revolution.” His martyrdom had immense effects across Tunisia and was symbolic of the plight of young Arabs across North Africa and the Middle East. His act helped provoke the citizens of the region to protest against entrenched autocrats in Egypt, Libya, Yemen, Bahrain, Algeria, Jordan, Morocco, and Saudi Arabia. With a large and educated generation reaching young adulthood, the Internet-savvy population is voicing its complaints on Facebook and other social networking sites. The world isn’t just experiencing political changes; what we may be seeing is an unpredictable social shift from antiquated Arab patriarchy to a more inclusive social system. Whereas at one time women didn’t partake in protests, times have changed; in particular, women in Egypt could be seen in the streets alongside their fellow activists. So far only Tunisia and Egypt have experienced full-out revolutions, while Libya has collapsed into civil war. Women have played a large role in these social movements, which may mean a greater role within their respective civil societies and governments. More than half of Egypt’s university students are women, and the lack of local jobs for the collegeeducated has helped spur massive upheaval in Egypt. As Clark University anthropology professor Anita Fabós put it, “Women have, as a group, a lot
to gain from social change…since they have been marginalized or excluded not just from politics but from labor movements, intellectual life, and other settings where decisions are made.” There is a widely held misconception in the West that “Arab women” can be understood as a singular oppressed group, devoid of agency and constrained by the Islamic religion. Yet Professor Fabós disagreed. “Islamic feminism has been around for a long time…these thinkers and activists
“
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Islamic feminism has been around for a long time…these thinkers and activists believe that it is indeed possible to interpret Islamic law and practice in accordance with equity for women.
”
believe that it is indeed possible to interpret Islamic law and practice in accordance with equity for women,” she said. For example, Khadijah, one of the Prophet Mohammed’s wives, was a successful businesswomen in sixth century Arabia. The harm done by foreigners imposing their own value systems on indigenous cultures — regardless of intentions — is immense and counterproductive. In 1994, CNN broadcast a live female circumcision of a 10-year-old girl, to which the West
— especially many Western feminists — became indignant, while religious leaders in Cairo defended the practice even more strongly. In North Africa, female circumcision is a social practice, not a religious one. But with strong external condemnations the lines become blurred and our condemnation has an opposite effect by strengthening the custom. As Syracuse University English professor Carol FaddaConrey pointed out, “The West — especially Western media — is keen on perpetuating the image of the culturally and religiously oppressed Arab woman, disregarding the long history of struggle for women’s rights and representation carried out by women in many parts of the Arab world.” Westerners shouldn’t judge others based on Western ideology; it inflames social tensions and breeds distrust. In Tahrir Square, the focal point of the Egyptian Revolution, women asserted their place by protesting alongside men, praying alongside men, and even camping out in the same general area. Prominent feminist activists and bloggers, such as Dalia Ziada, often wear a hijab while demanding a place for women in Egyptian society. The hijab signifies a woman’s modesty and her family’s honor. Clearly, the idea of women in hijabs taking to the streets and asserting their voices is relatively rare in a society where women traditionally
adhere to purdah, or segregation on account of gender. The demonstration of hundreds of women in Tahrir Square on March 8 (International Women’s Day) unfortunately devolved into a shouting match between men and the revolutionary feminists. But for the one of the first times in modern memory, women took the streets in large numbers in an Arab country to demand their rights. The simple, cheaply-made video posted to YouTube by Asmaa Mahfouz helped spark one of the fastest revolutions in modern history by appealing to Egyptians’ sense of disenfranchisement. As Professor Fadda-Conrey put it, “The concern and struggle for women’s rights is closely and intrinsically related to establishing economic opportunities, political and religious freedoms and democratic and just processes.” Such is the case in Egypt for women. Just a few years ago, the Egyptian Center for Women’s Rights closed a program due to lack of interest that would have helped young Egyptian women get politically involved. These days, their offices are overwhelmed by requests from women eager to participate. J Luke is a political science major with a focus in political conflict, and a totally unofficial minor in political activism. He runs STAND: A Student Anti-Genocide Coalition, which focuses on advocacy for the many conflict areas around the world.
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Mary Blair:
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The greatest Disney artist rhn o^ g^o^k a^Zk] h_
by KEVIN MARTIN KERN
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he history of feature film animation is rich with artistry, folklore, and colorful characters. I would be remiss if I didn’t mention the specific cast of artisans who have walked through the hallowed halls of the Walt Disney Animation Studios. Great men came together to craft classic films such as Snow White (1938), Fantasia (1940), and Bambi (1942) — all of which have had an indelible impact on modern American art. Now, I know what you’re probably thinking. Relax, you heard me right, I did say men. In the early years of animation, the industry was very much an “old boys club.” Run by the likes of Walt Disney, The Fleischer Brothers and early Hollywood animation mogul Pat Powers, the animation business was controlled by men. Only after the Great Wars did women enter the cartooning and studio industries in force. Studios relied on their newfound talents in myriad ways — from planning to production. However, women found supporting artistic roles at studios like Disney, holding positions in inking and painting departments. These jobs were
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essentially prepping, tracing and filling in drawings on plastic-like animation cels and glass panes for photographing. In these fields, women were away from the real creative centers of animation. Upon closer inspection, one can see perhaps the most vibrant artisan of all was not a man, but rather a fiercely creative, provokingly imaginative, and
“” Odds are, you probably grew up watching and experiencing the effects of this great artist, and didn’t even know it.
truly groundbreaking Disney concept artist named Mary Blair. “Mary who?” you may ask. Was this woman amongst Disney’s famed and veritable cast of creators such as the “Nine Old Men” of animation? Indeed, I’m talking about that very Mary. Odds are, you probably grew up watching and experiencing the effects of this great artist, and didn’t even know it.
When she joined Disney studios in 1940, Walt and his creative team immediately realized the spectacular talent they had on their hands; her knack for wild color and intricate patterns helped set her artwork apart from others. As a concept artist, Blair was responsible for exploring and testing various looks and feels of color, design and layout for the films that Walt’s “boys” were working on. Her big break came when she was asked to work on a segment for 1940s Fantasia. Though her work did not appear in the final cut of the film, she impressed Disney enough for him to keep her around. Because of her strong work, Walt Disney ultimately asked her to be a part of his “Good Neighbor Program” trip to South America in 1941. This was a turning point in Blair’s artistic career with Disney. Her beautiful depictions of Latin America landed her the role of “art supervisor” for the Disney studio’s forthcoming “Latin pictures:” Saludos Amigos (1942) and The Three Caballeros (1944). From this
Mary Blair’s work through the ages
Saludos Amigos (1942)
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Cinderella (1950)
point on, Blair’s influence on Disney films was cemented. She is known for setting the artistic tone for the animated films that Disney became world-renowned for, like Alice in Wonderland (1951) and Peter Pan (1953). The fun, whimsical and childish emotions that her color palettes invoked are unrivaled in cinema to this day. Blair’s seminal work doesn’t end there, either. She is also credited with single-handedly designing the infamous “It’s a small worldâ€? attraction at the Disney theme parks, which was originally created for one of Disney’s 1964 World’s Fair pavilions. She also designed the interior of many other Disney entertainments and resorts, such as the Contemporary Resort’s “Grand Canyon Concourseâ€? mural at Walt Disney World in Orlando, Florida. Looking at such an impressive rĂŠsumĂŠ, it’s hard to imagine and justly express the impact Blair’s work has had on art and entertainment in general. She is often emulated and copied, but
Alice in Wonderland (1951)
never equaled. The simplicity of her work has made it a standard for more than 60 years — a legacy rich with panache. Yet her accomplishments are still hidden and unknown to the general public. Blair’s work seems to be the“best kept secret� of animation because it provides a sense of what true imagination looks like. J Questions? E-mail: TheAnim8tionGuy@gmail.com. Kevin is a passionate cinephile whose research focuses on decoding family gender roles in animated films. You probably want him as a phone a friend, just sayin’.
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SYRACUSE PEACE COUNCIL Taking a Stand by CHRISTINA LEVIN photos by ELINA BERZINS and ASHLI TRUCHON
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(From right) Julienne Old Field, Wayne Chauncey and his wife, and Ursula Rozum express their anger toward hyrdrofracking to a local newscast on March 22 at Thorden Park.
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er roommates give her hell all the time, said Hannah Dean-Wood, a student volunteer at the Syracuse Peace Council (SPC). “They [her roommates] talk about us [the SPC] as extremists,” said Dean-Wood, who is also a senior environmental communications major at the State University of New York’s College of Environmental Science and Forestry. “We’re not trying to be radical for no reason.” The SPC, an anti-war and social justice organization of these socalled “extremists,” is celebrating its 75th anniversary this year. It was established in 1936 as a local forum for ideas and information about world peace, said Carol Baum, one of the staff organizers at the SPC. Also commemorating the occasion is the Peace Newsletter, which has been published by the SPC every month since January 1936. The newsletter features articles written by local authors, community group updates, and a calendar of events and meetings. Each issue focuses on topics relevant to the organization and community at large. With the abundance of everchanging issues, the SPC and the Peace Newsletter continue to be active and relevant even 75 years after their conception. Their statement of purpose includes educating, agitating, and organizing “for a world where war, violence and exploitation in any form will no longer exist.” “I really think it does have
something for everyone,” Dean-Wood said. “As disconnected as you might feel from something like the Iraq war, hydrofracking* could be happening in your backyard.” As it turns out, it might be. On March 22, a rally against radioactive hydrofracking waste in New York State took place in Thornden Park. The event was part of the SPC’s ongoing project called Neighbors of the Onondaga Nation, which deals with land rights and environmental issues, said Baum. SUNY ESF is highly involved in this effort, she added. The Military Alternatives Education Project is another major SPC endeavor, which educates the local youth about scholarship and career opportunities, said Baum. It teaches students about military service alternatives and encourages them to become engaged in social justice organizing, said DeanWood, who works with the program. Another SPC project seeks to inform and protest against Reaper drones. According to an SPC handout and the April 2011 newsletter, these are unmanned, satellite-linked aircrafts used for surveillance, assassination and bombing. They are operated by pilots from control rooms, which could be miles away from the battleground. Soon, they will be controlled from Central New York. A regional demonstration at the Hancock Airbase was recently held on April 22. Linking anti-militarism to social justice is an important facet spring 2011 MEDUSA spring 2012 21 21
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of the SPC. “War and oppression are all connected,” said Ursula Rozum, another staff organizer. “It’s the role of people to challenge oppressive structures, to challenge the government when we know it is committing injustices.” When states pursue war for profit and power, it’s an issue of imperialism and capitalism, according to Rozum. Richard Vallejo, a 24-year-old member of the SPC, said that he was primarily drawn to the council’s antiimperialism stance. He also appreciates that the SPC is nonpartisan. “I greatly value the fact that we don’t take part in partisan politics,” Vallejo said. “We focus on grassroots organizing rather than political campaigns, lobbying politicians or legislative action.” The SPC’s rejection of partisan politics is mirrored in it’s unique internal structure. Unlike many grassroots organizations, the SPC does not have an executive director, Rozum said. Instead, it is arranged as a democratic, consensus-based model of decision-making. “We function as a collective,” she said. “The structure of the SPC creates space for motivated students and other young people to get involved, gain experience and creatively stand up and confront the injustices facing us,” said Vallejo, who joined the SPC shortly after his high school graduation. He insisted that it’s imperative for young people to organize and defend hard-fought victories won 2222 MEDUSA spring 2012
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through social movements. Furthermore, this egalitarian structure has attracted more women to the SPC, which was male-dominated until the 1970s, Rozum said. The council operates using a feminist lens. Baum, the staff organizer agreed that “the Syracuse Peace Council has been informed by the culture of feminism.” Rozum sees the connection as well. “If you look around the world, in terms of war and injustice, women, I think, are more affected by poverty and war [than men],” Rozum said. Yet Rozum admits that apathy is a challenge for the SPC. However, now is an ideal time for change and peace since people are inspired by uprisings in other parts of the world, and more information and communications tools are available, she said. “If you don’t speak out, you’re complicit in the injustice that is occurring,” Rozum said. While it might be isolating to stand up for peace in the face of crushing opposition, silence will only perpetuate the status quo. And after 75 years, even at the risk of being called extremists, the Syracuse Peace Council aims to prove that there is reason to be “radical” after all. J *Hydrofracking is a controversial process used to stimulate production from oil and gas wells. Numerous environmental safety concerns are associated with with hydrofracking, like water contamination, pollution, and unnecessary waste production.
Christina is majoring in political science, sociology, and newspaper and online journalism. Originally from Ukraine, she likes to complain about the amount of work she has yet still seeks challenges every day.
Jerry Lotierzo smiles onto the road where he and other Syracuse Peace Council members protest the U.S. war efforts every 1st and 3rd Tuesday of the month at Hancock.
Herm Bieling, member of Syracuse Peace Council, looks into oncoming traffic, taking a stand by protesting a cause he feels strongly about.
Pam Shay, citizen of Syracuse, attended the rally because she spring 2012 23 believes the issue of hydrofracking is “very disturbing.�
clari t y
A Composition of One’s Own by KASEY PANETTA photos by ILANA GOLDMEIER
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hen Pauline Lombardo came to Syracuse University in 2008 on her way to a bachelor’s degree in music, she wanted to explore the music composition major. But one comment by an upperclassman made her question the program. “She was like, ‘Yeah, well good luck. The faculty is really sexist,’” Lombardo said. Despite the discouraging comment, she declared a music composition major her sophomore year, deciding that she loved it enough to fight the purported sexism. She became one of four female students brave enough to transcend the tradition. Historically, music composition has been a male–dominated field. From Bach to Mozart to John Williams, 24 MEDUSA spring 24 spring 2012
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few women break into the boy’s club. Though there are more women composing now, it has been a struggle. Andrew Waggoner, composer-inresidence and interim co-director at the Setnor School of Music, said that female composers were rare 20 to 30 years ago. “There is no question that among composers and musicologists — any scholarly discipline in the arts — women were actively discouraged,” Waggoner said. “And this is an old patriarchal sort of mindset just kind of working itself out generation by generation.” Waggoner said that by the time he began studying at Cornell University in the early 1980s, everyone verbally acknowledged that women had the
ability to be composers, but the limited number of women in the program didn’t reflect this notion. “This was still a male–dominated field and men’s responses ranged from dismissive to openly hostile about women encroaching on their turf,” Waggoner said. “At that time, I saw a number of women in the scholarly disciplines, not in composition, crushed by the program simply because they weren’t taken seriously.” Since then, he said, Cornell has changed drastically to become a very forward–thinking and accepting environment. SU has been a trailblazer in integrating the study of historical female composers into the core course work — as opposed to making it an elective course. The school also brings in a number of modern female composers to speak to students. Other organizations offer special scholarships to attract women and make it a point to feature music by female composers for a show. The number of women in the major at SU has also increased, said Waggoner. Despite all of these steps, it can still be hard for women to break into the culture. “Women often find themselves in the situation where they’re talking shop with a bunch of male composers and they just can’t quite find a way into the conversations. And they can’t get their teacher to engage with them on a level that would make it possible for them to benefit,” said Waggoner. “The teacher has just made this determination that the student isn’t
really worth investing in — and I’ve seen that pretty globally.” Sexism is not something that Lombardo has encountered in her major, despite the upperclassman’s disheartening warning. Now a junior music composition and music history double major, Lombardo said all the professors she has studied under have been encouraging and eager to help her develop her craft. She said she initially admitted to feeling like a girl in a boy’s club, but those feelings dissipated quickly. Similarly, Emma Logan, a junior composition major, said she was worried about not fitting in, but the faculty never treated her any differently. She has been inspired by Jennifer Higdon, the 2010 Pullitzer Prize winner in music, and views Higdon’s accomplishment as a big step for women in the field. “It’s changing and more women are getting into it, which is a great thing,” Logan said. “For now, it’s just a matter of getting out there and saying, ‘You can do this too.’” Waggoner believes that women have a lot to bring to the table in terms of composing and teaching music. The female composition majors at SU are a glimpse into an encouraging future where talent, not gender, is considered. But for now, women are still fighting to be considered equals. “There’s no question that women still have to work harder,” Waggoner said. “They still have to work harder to be heard.” J
Kasey Panetta has Irish-Italian roots and a New Jersey attitude. Standing at an impressive 5’0”, future plans include being the star center for the Knicks, a Rockette dancer, or a runway model.
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COMMITTEE on and women art by ERIN CARHART
I
n today’s art world, women are underrepresented in galleries, museums, and even periodicals. Although women have come a long way since the High Renaissance of the 15th century, they are still left in the dark. Today only five percent of the artwork shown in museums and 17 percent of work in galleries are by women. No matter the race or class, essentially all women are underrepresented in the art community. At Syracuse University, one organization is striving to produce a change: the Committee on Women and Art. Joanna Spitzner and Jennifer Gillespie founded the committee in 1992 to serve women of all races, classes,
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sexualities, and identities. The idea for a symposium called Matrilineage was formulated in 1991, though it wasn’t until the committee was founded in 1992 that the event got off the ground. Specifically, the event first showcases women artists and follows with student artwork. “Matrilineage, instead of Patrilineage, was [our] way to look to other women for legitimizing women’s art,” said Spitzner. Fortunately for us, though Spitzner graduated from SU in 1991, she is now the head of the Foundations Program, the first-year program for art and design in the College of Visual and Performing Arts. “Matrilineage is furthering the women artists’ voice
within a male-dominated art community,” Spitzner said. The Matrilineage symposium helps create an open dialogue about the involvement of women in the arts and how their presence is growing. The symposium is conducted by several visiting women artists who give lectures, perform, or
“” Matrilineage is furthering the women artists’ voice within a male-dominated art community.
rally about why their form of expression is important to the community. Several artists in the past include The Guerilla Girls, Ani Difranco, Judy Chicago, and Barbara Nessim. Jen Chan, a graduate student in art video and member of the Committee on Women and Art,
said, “[Artists] benefit from the opportunity of showing their work in our community where men are predominantly authors of work.” Not only do the artists benefit from the recognition, but the Syracuse community does as well. Through the event, they receive exposure they would have gotten in a more mainstream show. Although the Committee on Women and Art primarily brings women artists, performers, activists, and writers to campus, men are not excluded from the celebration of women artists. Spitzner said, “We haven’t had any male artists come [who promote the equality of women in the arts], but men have been involved in the organizing.” Matrilineage strives to mend the gap between male and female artists — one symposium at a time. J
Erin Carhart is a dual major in printmaking and women’s and gender studies. She believes her feminist voice is doing some darn good work for Medusa magazine and those reading it!
Get involved! Email matrilineage.cwa@gmail.com.
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rt age
505 Hawley Avenue, Syracuse, NY
100 YEARS OF WOMEN ROCKING THE WORLD: Celebrating International Women’s Day 1911 – 2011 This exhibition (running from March 5, 2011 to April 23, 2011) featured the art of 34 women artists; nine of whom were local to Syracuse. These women, in keeping with the mission of ArtRage, were activists and their work expressed a whole range of issues important to both women and the community of concerned people worldwide; self-image, hunger, collective action, war, children, the status of women, immigration, environmental crisis, alternative lifestyles and self-discovery. ArtRage is no ordinary gallery. They exhibit art that cultivates critical thinking skills; leading to question the power structures that exist in our society and to imagine other ways of life.
“Rescue Women” 2008. 22 x 34. Screened print. Copyright Marlena Buczek Smith. Printed with permission of the ArtRage Gallery.
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“The Nut, the Seed, the Kernel” 2010. 31.5 x 21.5. Colored Pencil. Copyright Sofia Luz Perez. Printed with permission of the ArtRage Gallery.
“Kaleden Atin mani/Poppies for Kirkuk” 2005. Copyright Lahib Jaddo. Acrylic on Canvas. 36 x 48. Printed with permission of the ArtRage Gallery.
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I’ll be honest: I didn’t slink off to my boyfriend’s house during my break between Do you like my TAing and Latin to bake cookies and crochet. My intentions weren’t exactly pure. But admittedly, I didn’t necessarily expect to find myself, as many people often by DR. XX do, sprawled out on a bed naked, staring down a ready-to-blow male member. A few seconds later, it hit me — literally — and I’m instantly thankful black lights aren’t part of LAT 101. Whether it’s for the first time, or it’s part of a daily routine, the cumshot remains a fascinating aspect of many couples’ sex lives. While male ejaculation may be a fairly regular occurrence, especially in porn, our lovely readers who are completely uninterested in dick may be wondering exactly how or why cumshots could play into their sex lives. Honestly, in most cases, they don’t. Ejaculating on someone is typically considered something a man does to another man or woman. This may very well be due to the fact that only a small portion of the female population has mastered the ability to ejaculate (an ability I’m diligently pursuing). For you ladies who have mastered the feat (respect!), let your girl juice soar onto the awaiting face and breasts of your partner, and celebrate the cumshot as an act of a woman. I don’t entirely get the draw of being ejaculated on, which is saying a lot, considering I’m a very enthusiastic participant. I suppose I can relate some of it to the fact that I’m into a number of female submissive sex acts. Still, the reasoning as to why bukkake, cumshots, and facials are considered “hot” blows my mind. I tend to be turned on by the notion of a facial and am ready and willing leading up to it, but immediately afterward it’s just…sticky. And of course, there’s the extra hassle of cleanup involved post-pearl necklace. Still, this is never enough to deter me from begging for cum to bask in whenever I get the chance. That having been said, it’s not all fun and games when it comes to participating in cum target practice. Ejaculating on a woman is often portrayed in a degrading manner. Does this mean it’s something that a feminist magazine should shy away from? Since you can see that I’m a happy participant, you should already know my answer. While there certainly are degrading themes involved in cum shots, as long as the degradation factor is kept to the sex play and not the relationship or the partners themselves, there is no reason not to get covered in your partner’s cum, if you’re into that. Just remember to close your eyes. Cum in the eye is a bitch. J
Pearl Necklace?
Dr. XX is a white (always), straight (usually) undergraduate in a loving, committed relationship filled with lots of consensual sex and bite marks. She enjoys telling women and men to embrace their sexualities and being a question mark wrapped in an enigma. 3030MEDUSA spring 2012 spring
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