The Belfield Banter, Issue 6

WOMEN’S HISTORY MONTH THE BELFIELD BANTER: Reflections from March, 2022

Vol. 6

The St. Anne’s-Belfield School Student Newspaper In This Issue:

I HAVE NEVER CELEBRATED INTERNATIONAL WOMEN’S DAY

HISTORICAL FEATURES: LEADING WOMEN IN ENTERTAINMENT

ST. ANNE’S BELFIELD THEATER REVIEW: MAMMA MIA

“VENUS”– THE BRIGHTEST STAR LETTERS FOR THE BETTER: WOMEN’S WRITING NIGHT MARSHA P. JONHSON COVER ART BY IZZY SANOK, ‘24

I HAVE NEVER CELEBRATED INTERNATIONAL WOMEN’S DAY

by Kay Tu

— When I was little, I didn’t celebrated International Women’s Day. **International Women’s Day: March 8th**

Putting the numbers three and eight together in my native language makes up a curse word referring to people who liked to gossip and could not mind their own business. If someone called me a “three-eight,” I would be furious and would throw my eraser at them.

Girls my age didn’t consider themselves to be “women.” We called Women’s Day “Girl’s Day” and emphasized the differences the rephrasing brought. “Women” referred to females who had gotten married. The term “women” had many negative connotatoins: being old, sloppy, philistine, and unreasonable. When we said “women,” we thought of uneducated housewives with outdated sweaters and grocery bags. I wanted to stick with my Pikachu jacket and Mickey Mouse school bag, so I was fine staying a girl.

This fear of being called a “woman” rises from the terrible prospect of marriage. Even as ten-year-olds, my friends and I tried to separate ourselves from the rest of the suffering women. We thought that sepa-

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-ration would grant us security. We failed to realize that “women” were also seen as less desirable than young, unmarried girls because of the long-standing perception of the “diminishing value” of sexually experienced women. Girls are “up-and-coming” under man’s sexual gaze, while women are considered “depreciated.” We dodged the woman’s burden of marriage but took on the girl’s risk of exploitation. Though, maturing is an inevitable process; threats still clung to us.

The language changed as I got older. By the time I entered middle school, “Girl’s Day” had changed back to “Women’s Day,” and, then, evolved to “Queen’s Day”. E-commerce had grown popular. Merchants sensed the spending power of working women and wanted to target them for profit. The crown could finally fall to us... only if we were willing to buy our way towards it. Was this really social recognition?

Or, is it just thinly-veiled manipulation through consumerism?

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The title of “Women’s Day” was restored. Ads like that strip off the stereotypes and façades, and re-recognize the phrase “woman” and the meaning behind it.

To call oneself a woman should be a proud title. Napoleon dared to crown himself without begging the Pope precisely because of his numerous victories in the military– the same can be true of women in modern struggles. Choose to give, but be rewarded. We are masters– not guests, nor servants.

Now, I proudly celebrate March 8th, International Women’s day.

With empty e-wallets and piles of packages, my friends and I were each teenaged queens, crowned by the pink labels tagged on the boxes delivered to us. Being a “girl” was no longer cool enough.

A few weeks ago, I saw an advertisement from Proya, a Chinese cosmetics company. Instead of crowning women and calling us queens, flattering us into purchasing its products and drawing us in with gorgeous supermodels, the advertisement employed an entirely different strategy.

“If washing machines don’t have genders, why do women always use them?

If toys don’t have genders, why do trucks always belong to boys and dolls to girls?

If it is always women that take care of the children.

If it is always men that make out a living.

If we start gender discrimination, then we can also stop it.

We strive to present more diverse women and men figures in our advertisement for this International Women’s Day. If we want a better world, not only should each individual be aware, but brands, should make a difference, using the power of advertisement.

Let’s make a better world.”

A FEW PROMINENT LEADING WOMEN IN THE ENTERTAINMENT INDUSTRY by an Anonymnous Student — DOLLY PARTON Dolly Parton is an American singer, songwriter, philanthropist, and businesswoman. Best known for her songs “9 to 5,” “Jolene,” and “Islands in the Stream,” Parton has been an active and successful musician since the 1960s. Throughout her career, Parton has faced misogyny and gender-based discrimination in each step of her career.

By using both her craft and her platform, Dolly has subverted and overcome the sexism she has faced and, as a result, has changed the music industry immensely. Through her songwriting, Dolly often steps into the shoes of different characters and experienc-

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-es. In 9 to 5, a film for which the song of the same name was written, Dolly played Doralee Rhodes, a character who played into the same stereotypes that were often used to reduce her: southern and beautiful, but less intelligent. The film consisted of quip after quip condemning the traditionally patriarchal workplaces of the 1980s. Through her songwriting, acts of philanthropy, and outspokenness, Dolly has made huge strides both for gender equity both in the music industry and society as a whole.

— BETTY WHITE Betty White (born Betty White Ludden) was an American actress, most known for The Betty White Show, The Mary Tyler Moore Show, and her role as Rose Nylund on The Golden Girls. White was an advocate for all, especially for the LGBTQ+ community and for animals. Throughout her career, White fiercely fought for the humane treatment of all animals and philanthropically supported and served as a trustee for many organizations.

As for LGBTQ+ rights, White frequently commented that couples should not be limited by their identities. Following her recent death on New Year’s Eve, expressions of appreciation and the impact of her loss occurred internationally.

Betty White shaped the world of entertainment for the better and has a legacy that will live on for years after her passing.

— HATTE McDANIEL Hattie McDaniel was a musician and actress known for her roles in movies such as Gone With the Wind, for which she won an Academy Award, and for her sixteen (known) songs about being a black woman in the 19th and 20th Centuries.

McDaniel was the first Black woman to be featured singing on American radio.

Throughout her career, Hattie made history by often

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triumphing in environments where her successes as an African-American woman were not often suspected. Due to the discrimination and stereotypes of the time, McDaniels’ roles were often those of maids or cooks. Her role as Mammy, the maid in Gone With the Wind, won her an Oscar and expanded her fame.

McDaniel was known for her prolific acting abilities and earned herself two stars on the Hollywood Walk of Fame, one for radio and one for the silver screen.

Hattie McDaniel was a pioneer for both women and people of color in the entertainment industry due to her unabashed bravery and forward-moving efforts.

— CAROLE KING Carole King is a musician and actress who is well known for her multiple decade-long musical career.

King started her career as a songwriter writing at night with her husband, Gerry Goffin.

Together, they wrote countless hit songs that consistently reached the top of the charts. Following their professional and romantic separation, King chose to focus on her career as an artist: she began to release original songs and covers of songs that she had previously written for other artists. King is a songwriter behind many of the hits of Aretha Franklin, The Beatles, James Taylor, and many others. After the split from her third husband, King shared that she had been frequently physically abused during their marriage. Ever since, King has been a fierce advocate for the importance of safe and healthy relationships. Carole King is one of the most influential songwriters of the 20th and 21st Centuries and has left a lasting impact on many, both musically and socially.

— SISTER ROSETTA THARPE Sister Rosetta Tharpe (born Rosetta Nubin) was a musician known for her influential role in the creation of rock and roll. Tharpe influenced the creation of the genre through her nontraditional use of instruments and distortion, which ended up being incredibly influential to many different artists, such as Johnny Cash, Elvis Presley, and Kieth Richards. Tharpe always advocated for women’s independence and believed that women should not have to rely on men for their livelihood. In all, Tharpe influenced the musical world in the early 20th Century and inspired generations of artists and women to find inspiration in the world around them. Historians have theorized that Tharpe was a member of the LGBTQ+ community, though,

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due to the nature of the time, it was never something that was discussed.

Sister Rosetta Tharpe is a musical rolemodel and influence to many and made an impact that will last in the work of countless artists for the rest of time.

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by each of their characters. I was further delighted when Leo Z., Burke G., and Andrew D. each developed that range into depths of true emotional concern for both Donna and Sophie.

ST. ANNE’S-BELFIELD THEATER REVIEW: MAMMA MIA

So, clearly the acting was up to par (though that seems inherent of St. Anne’s-Belfield productions)– how was the music? One thing that was unique about this performance was the entirely student-produced accompaniment. The pit (just out of sight from the audience but truly integral in shaping the show) could’ve been mistaken for a band of professional musicians. The energy and timber brought from the group below the stage matched the enthusiasm of the ensemble cast who were dancing and grinning through every group number. The ensemble, too, wasn’t just supportive: they had a VOICE. Overall, it was uplifting to see a production where everyone on stage was clearly enjoying themselves, especially during standout numbers like “Dancing Queen.”

Walking into Grisham Hall, I was immediately drawn in by the extravagant set design. Before the cast even stepped on stage, I understood a part of their world. It was odd, I’ll admit, to see my teenage peers playing roles of adults. The roles ranged from doting mothers, to rebellious 20-somethings looking to elope, to a triad of male ex-lovers, but each character was immaculately fleshed out. The acting of each cast member commanded the age and wisdom of the character they’d been tasked with playing, and the tones they adopted easily filled in their character’s backstories. The scene was perfectly set.

The energy and dynamics of each song truly sold the show for me. The light direction direction, stage effects, and choreography helped worked, silently to frame the stories being told by the music. Most notably, all components of the stage and pit came together in the making of the final scenes of Act I: “Super Trouper” was appropriately iconic and upbeat, but my praises must go to “Gimme! Gimme! Gimme!

(A Man After Midnight)”. While maintaining that same upbeat surface-level quality, this number managed to build tension, revealing that the pizzazz was all an excellently-done diversion, setting up the emotional climax of Act II.

The spread of characters was easily categorized: the three female leads, the three male leads, the supporting characters, and the ensemble. The female trio had delightful chemistry, clearly reminiscent of old friends. Each of the three had a distinct sense of humor that was well-delivered and engaging to watch. Donna (Sonia K.) shared notes of wisdom through her jokes about growing up and on motherhood, Rosie (Izzy S.) shared quick asides to the audience, teasing other characters or pointing out the obvious absurdity of the situations, and Tanya (Lindsay K.) brought incredible, dry-humored wit that made the whole audience erupt with laughter. From the male entourage, I was delighted by the full range of confidence shown

As Act II began, I was touched by the reveal of the story’s real conflict in “One of Us” – one between mother and daughter. BG C.’s touching delivery of the difficult message of “I’m gonna do it right, mom” shifted the tone of the rest of the act, especially going into the later number “Slipping Through My Fingers,” where one could truly imagine they were watching a mother wave goodbye to her daughter.

That being said, another stand-out number from

by Emma Finley-Gillis — Prior to March 25th, I had never seen Mamma Mia. I knew most of the songs, due to a childhood flooded with 70’s music… I was excited to see how the canon of ABBA songs could possibly be united into a coherent story.

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Act II was “Does Your Mother Know,” performed

by Pepper (Lilly R.) and Tanya (Lindsay K.).

Though it’s inherently an odd number, their acting (and random dance breaks) brought a smile to my face amidst the otherwise emotionally heavy act. The chemistry was unmatched.

Though we heard Spicer E.’s voice and energy as Sky in “Lay All Your Love on Me” (Act 1), we got to see each of the other male leads take on the stage solo in the Act II. The classic song “Knowing Me, Knowing You,” sung by Sam Carmichael (Andrew D.), was a perfect match for Andrew’s voice, and the lack of technical flair in the scene really highlighted that and made the scene feel far more meaningful.

The smaller gestures Sam (Andrew D.) made while talking to Sophie (BG C.) really sold the fatherly energy he’d been channeling since he discovered his possible fatherhood. Burke’s performance of “Our Last Summer” (Harry Bright singing to Donna) was truly lovely. These smaller numbers really contributed substantially to the show and showcased each actor’s capabilities.

And Leo Z. as Bill– I can’t believe I’ve made it this far in a review of any St. Anne’s-Belfield production without mentioning Leo! Leo is a treasure and, as Bill, he complimented everyone was with on stage while maintaining an endearing quality and a quasi-fatherly tone. I was thrilled to see Leo in “Take a Chance On Me” with Izzy S.; the two were a hilarious combo.

Overall, this was an excellent production.

While I hold some reservations about Mamma Mia as a high school musical, I think this group did a fantastic job dealing with all the difficulties the show might’ve posed to a younger set of actors. Everyone seemed comfortable on stage, and they embraced the oddities of the show with pride. The ending was perhaps one of the strangest recognitions of motherly love I’ve seen to date, but the message was clear and endearing. I look forward to next year’s musical!

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“VENUS,” THE BRIGHTEST STAR

by Qiming Fu

— When the name “Venus” is mentioned in China, the first thing that comes to mind to natives is typically not the celestial body in space, but a public figure.

Born in 1967 and still active today, Jin Xing ( ) is a trans, world-famous celebrity of North Korean and Chinese ancestry. Her name, Jin Xing (“Venus”), is the same name of the brightest planet in the night sky and of the Roman Goddess of Love and Femininity. Jin Xing fluently speaks six languages and excels in dancing and acting. She pioneered men’s pointe dance when she was just 18 and was quickly recognized nationally for her unparalleled skills and creativity. Despite her success and popularity, Jin Xing’s journey has not come without obstacles.

Jin Xing did not identify as the gender she was assigned at birth and therefore identified as transgender (Male to Female or MtF). This, at the time of her rise to fame, was incredibly dangerous for both her and her career, due to conservative beliefs across the country that rejected transgender existence. In an interview in her later years, Jin Xing revealed that, before she received surgery, she would often stand outside her studio during thunderstorms, hoping lightning would strike her and turn her body female.

In 1995, she underwent gender affirming surgery.

This resulted in her being removed as a judge/mentor for the famous show I Am The One (similar to The Voice) in 2011 after she publicly stated her support for the trans community and that she herself was as trans and had gender affirming surgery.

Angry and disappointed by the outright transphobia and sexism, Jin Xing proved her capabilities by constructing her own reality TV show, The Jin Xing Show, in four years and received massive success. With her incredible national fanbase, she shared her experience as a trans woman and gained empathy from women and trans people all across China.

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Women’s History Month

Due to her bold personality and consistent, unhesitant whistleblowing on powerful nationally recognized figures, The Jin Xing Show was eventually shut down due to threats behind the scenes. The shutdown of the beloved show met national outrage. Jin Xing calmly reassured fans that she would remake her show through a partnership with a studio in Paris. All the hate and doubt that surrounded her identity was quickly drowned out by Jin Xing’s glamor and repeated international achievements.

Jin Xing is debatably the first modern trans artist of Chinese ancestry that is both wellknown and accepted by her nation, and she has paved the safe way for future women and trans artists. When mentioning her name to any Chinese TV viewer, they will likely nod and agree that she is an icon of her country. Beloved by people of all cultural backgrounds, Jin Xing has pushed for progress in eastern culture and the embrace of artists and art as they are.

LETTERS FOR THE BETTER: “WOMEN’S WRITING NIGHT” RECAP AND REVIEW

by Izzy Sanok – The “Women’s Writing Night,” a forty-five minute period dedicated to celebrating women, was led by Katelyn Y. ‘23 on Thursday, March 17.

With wonderful leadership, a group of students and teachers came together to write messages for women across the globe. The letter distribution and writing was organized and conducted through The Letter Project, a non-profit organization based in the United States. T.L.P. has offices in one hundred different countries and has sent 208,000 letters to young women internationally. Their motto, “send with love” was emphasized throughout Writing Night. Katelyn took the initiative to organize the club period dedicated to writing letters and did so with co-

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nfidence. The letters written in this session consisted of encouraging messages covering topics like anxiety, depression, self-doubt, and eating disorders. Because of doubt, and the vulnerable subject matter, the students who participated in writing had a brief, yet sincere, discussion before beginning which consisted of brainstorming and clarifying guidelines to which writers must abide. These guidelines allowed for free discussion, licensing students to open up to their peers, and establishing a safe environment. Kindness, partnered with a well-curated playlist, added warmth to the seminar room, making the creative process of message spreading all the more easier. By the end of the meeting, the group created a total of eight well-composed letters addressed to three different girls across the world who were in need of support.

Below is a letter written by a member of the group addressed to a little girl struggling with body image and insecurities.

The simple purpose of spreading love makes this project rather special. It is difficult, both as a young person and as a woman, to maintain self-confidence.

I, along with countless other women, have faced years of media intake, saturated with endlessly impossible beauty standards. Because of such standards it’s all too common to sturggle with things such as mental health and body image. By talking about these issues and supportying those around us, we can make a difference. These letters are an excellent example of spreading kindness to others, even if they are thousands of miles away. A huge shoutout to Katelyn Yen and Dr. Simeone, who facilitated this writing group, and allowed the hearts and minds of women to open up and create a positive impact beyond the students of the St. Anne’s-Belfield community.

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MARSHA P. JOHNSON

by Qiming Fu and Emma Finley-Gillis – Marsha P. Johnson was a Black activist for transgender rights that played a crucial role in American LGBTQ+ history.

Marsha was born in Elizabeth, NJ, as the fifth of seven kids. They moved to Greenwich Village in Manhattan upon reaching adulthood, searching for the freedom to live as themself.

The Village was home to a prominent LGBTQ+ community, and Marsha was able to find security and safety. Quickly, they became well known as a drag performer, known for designing their own unique hats, jewelry, and elaborate outfits.

In the 1960’s, life was unsafe for LGBTQ+ Americans, especially those who were also people of color. Like Marsha, many found security in sects of cities which had “gay” neighborhoods. Outside of these areas, any behavior that was associated with being non-straight or non-cisgender was illegal– even holding hands/ dancing with someone of the same gender or dressing outside of what was considered “gender-appopriate” could warrant police intervention. Because of this, while gay bars were safe havens, they also frequently operated unlawfully. Police raids were a normal aspect of life.

On June 28, 1969, things turned violent at the Stonewall Inn (one of these bars). Police officers entered the club, armed and unwarranted, to attack and arrest patrons. It was one step too far– the crowd fought back, led largely by a group of Black, trans women, including Marsha P. Johson. The police took the bar and barracaded themselves inside. The riots continued for five days.

Though Stonewall cannot be credited with beginning the Gay Rights Movement, nor was it the only riot of its kind, it was one of the first to be fully covered in creditable news sources and helped to give the issue, the movement, and its leaders support and power.

After a life of activism, with a passion born from their own struggles, Marsha established STAR (Street Transvestite Action Revolutionaries) to help homeless LGBTQ+ youth and provide hope for future generations. In 1992, Marsha’s body was found in the Hudson river. The police ruled their death as suicide, despite evidence that argued otherwise. Marsha’s legacy lives on today and is spread with each new person who learns about them. Without Marsha P. Johnson’s influence, the movement for LGBTQ+ rights would not be where it is today.

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EDITOR’S NOTE

by The Belfield Banter Editorial Board — Hello, readers, We are very proud to share with you our Women’s History Month Issue for this school year.

In compiling this Women’s History Month Edition, we’ve collected an abundance of pieces detailing different changemakers, activists, and moments that have helped to further the fight for women’s rights.

There are so many stories and perspectives that we are so lucky to be able to share.

We truly hope that you enjoy this edition. Thank you to everyone that has taken the time to read The Belfield Banter.

We hope you have a wonderful week.

With much gratitude, The Belfield Banter Editorial Board

2021-22 BANTER STAFF Jack Dozier* - - - - - - - - - - - - - - - - - - - Editor in Chief Emma Finley-Gillis*- - - - - - - - - - - - Managing Editor Hannah Laufer - - - - - - - - - - - - - - - - Columns Editor Ally Alvarez - - - - - - - - - - - - - - - - - - -Features Editor Qiming Fu - - - - - - - - - - - - - - - - - - - Creative Director Kay Tu - - - - - - - - - - - - - - - - - - - - - - - - Digital Editor Anthony Cai - - - - - - - - - - - - - - - - - - - - Digital Editor Izzy Sanok- - - - - - - - - - - -Assistant Managing Editor Sonia Kamath- - - - - - - Director of Student Outreach Rose Ryan-Byrne - - - - - - - - - - - - Community Editor *Asterisk denotes members of the Editorial Board page seven