MAY 2019 1
TEAM EDITOR IN CHIEF Eva-Delilah Wieland
ART CURATOR Channing Smith
DEPUTY EDITOR Cassie Hurwitz
PHOTOGRAPHY DIRECTOR Max Goldberg
ART DIRECTOR Lauren Chung WUD PRESIDENT Mills Botham WUD PUBLICATIONS COMMITTEE DIRECTOR Fernanda Martinez Rodriguez WUD PUBLICATIONS COMMITTEE ADVISOR Jen Farley ON THE COVER Marin Smith by Jordan Biagomalo
CREATIVE DIRECTORS Geordon Wollner Reilly Koch FASHION EDITOR Ashley Mackens LIFESTYLE EDITOR Molly Rapozo CULTURE EDITOR Haidee Chu ARTS EDITOR Naomi Gallagher SOCIAL MEDIA AND MARKETING DIRECTOR Lindsey Young FINANCIAL DIRECTOR Maggie Brennan WEBMASTER Anna Soboleva
STAFF WRITERS Ariana King Gloria Requena Kate Lawless Katie Herrick Samara Jayamaha Saya Inoue CONTRIBUTING WRITERS Bella Mandarino Behaving Persaud Channing Smith Elm Stephenson Isabel Calvert Julianne Cornell Raynee Hamilton MODELS Anna Hughes Cassie Hurwitz Eva Wieland Gracie Comeau Madeline Rasmussen Marin Smith Max Goldberg Molly Rapozo Olivia Hughes Rachel Hyland Sita Fofana Tina DeLane Claire Moon ART Allyson Kong Channing Smith PHOTOGRAPHY Annika Ide Josh Redfearn Jordan Biagomalo Max Goldberg Nicole Golownia Tess Tsarong
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TABLE OF CONTENTS MAY 2019
LIFESTYLE
6 8 16 18 26
DATING APPS ARE SCARY
Tinder, Bumble and Hinge, oh my!
SUNNY DISPOSITION
An explosion of color
FROM SURVIVAL TO STRENGTH
30
HIT LIKE A GIRL
Roller derby challenges the traditional meaning of womanhood
SOME OF YOUR BEESNESS
Why you should be concerned about colony collapse disorder
43 56 57
BE A KID AGAIN
Make the most out of what’s already in your wardrobe
Rejuvenate your brain with mindless activities
SKIP THE SLOUCH
On the importance of good posture
ARTS
55
8
A testament to the strength and courage that lies within a survivor of intimate partner violence
30 WEARS TO FREEDOM
28
FASHION
ACROSS THE GREAT DIVIDE
Race and Southern Life on display at the Chazen
PAH-LA: A THRILLING TIBETAN DRAMA
An exciting contemporary play bringing light to the untold stories and conflicts of Tibet
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SPICE UP YOUR LIFE!
Celebrating the Spice Girls’ iconic style 20 years later
DIGITAL INFLUENCERS WITH BRAINS
What’s beneath the Clothes and Instagram filters
CULTURE DISCO REVOLUTION
How disco became the voice for 1970s feminism
31
THE BIRDS, THE BEES, THE TVS
54
HYPERSEXUALIZATION OF ASIAN WOMEN
58
THE POLITICS AND POWER OF ART
Why shows about puberty reflect a new #metoo climate
Female portrayal in anime, art and comics
How Madison-based artist Jenie Gao claims space through art
FEATURED
19 34 46
SKATE DATE
Meet us at the summer spot
MODA CLASS OF 2019 Farewell to the editorial board
IN REPOSE
Perfections within imperfection
MAY 2019 3
LETTERS FROM THE EDITORS
BO LD the
year
As we have both always said, Moda is a gathering place for UW–Madison’s most ambitious creatives. When we joined the magazine in 2015—during our FRESHman year—both us and the magazine were young. Moda was in its third year of publication, and the people that started it were still present when we came along. Now, however, the graduating seniors are the last ties to this original PULSE. Soon, a new editorial board will RISE to the occasion—one that we have bred and groomed to the resilient, SPIRITed group they are today. We have watched Moda evolve into something beyond what we expected. Although we have produced 10 professional-grade issues, hosted events for more than 1000 attendees and facilitated the major growth of our staff, getting there has not been easy. We always laughed about how leading the magazine brought out the boss in previous Editors in Chief, but now, Moda has created two more
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badass bitches: us. From budget PUNKS to crisis management to defending our mission, we learned that in publishing, things aren’t so PLUSH—you can’t take shit lying down. That is why, when it came down to our last monthly’s theme, we wanted it to embody all the ELEMENTs we have had to exude in our time as leaders. MOXIE says it all. Whether it is strutting up Bascom Hill to have a WHIMSY-cal farewell picnic, finding the gusto to date again or dressing like the Spice Girls, this issue doesn’t just show tenacity, it screams it! Go out with a BANG, be bold and keep reading Moda! Cheers and lots of love,
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MAY 2019 5
LIFESTYLE
DATING APP DILEMMAS BY CASSIE HURWITZ, DEPUTY EDITOR ILLUSTRATED BY CHANNING SMITH, ART CURATOR
Confession time: I’ve never used a dating app. I’ve never really dated, actually—with the exception of a first date that turned into a two-year relationship. Aside from that, dating in the modern world really frightens me. In both the college bubble and the world of young professionals, the main way to meet potential partners is through dating apps. Littering the phones of millions of college students are apps like Tinder, Bumble, Hinge and Coffee Meets Bagel, to name a few. Tinder far surpasses the competition at 84 percent usage.1 Tinder is, of course, notorious for hookups rather than dating, and that simply fuels my fear. Whether for casual or serious dating, or strictly hooking up, dating apps force users to put themselves out there. When you’re not on a dating app, you’re keeping yourself a secret from others. You could be single and searching or in a dedicated marriage— the point is, no one knows. Nowadays, if your face isn’t floating around as a suggestion to users, you don’t really exist in the world of modern dating. When you’re on one, though, it’s like having a personal ad constantly follow you around. 1“For Love or For Hookups?” Abodo, March 28, 2017.
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As someone who grew up on a hearty diet of romantic comedies, young adult fiction and generally avoiding conversations with those I had a crush on, the world of dating apps doesn’t seem to provide the meet-cutes I’m anticipating. I’m still expecting to meet my soulmate through spilled coffee, hands reaching for the same item or the dramatic saving from *insert neardeath experience here.* The romantic comedy complex has forced me to believe that I will meet a significant other when I’m least expecting it—and it will be everything I want and need. I won’t have to try. The perfect mate will simply drop into my lap, no effort required. This scenario becomes more and more unrealistic by the day. An increasingly digital world means we stay glued to our phones, rather than meeting the people around us, and a growing fear of women’s safety makes for apprehension when it comes to talking with strangers.
Tinder user is allowed 100 swipes each day, which, to some avid consumers, may not seem like a lot.2 To me, however, flipping through 100 profiles—and knowing there are thousands more out there— is overwhelming. But I’m not alone. Other than the fact that it might just be tiring to see so many faces in a row, there’s a real reason why this is a scary concept—the Choice Overload Effect. In discovering this phenomenon, researchers found that when participants are offered a selection of 24 jams, they found themselves unable to pick one and walked away empty handed. When faced with only six options, though, customers were 10 times more likely to buy a jar.3 Potential partners are not jams, I know, but the sentiment still remains. When dating app users have so many options to choose from, it’s often overwhelming and impossible to pick.
So, those searching for love, companionship or sex turn to the Internet, rather than experiencing inperson meet-cutes. Okay, that’s fine. I can work with that.
It gets worse. According to OkCupid Director of Product Nick Saretzky, “Hypothetically, if you were to swipe on enough thousands of people, you could go through everyone.” Meaning, dating app users could eventually pass
But, there’s still something nagging— this time, it comes in the form of swipe after swipe after swipe. A
2Kaitlyn Tiffany, “The Tinder Algorithm, Explained,” Vox, March 18, 2019. 3Maria Cohut, “Choice overload: Why decision-making can be so hard,” Medical News Today, October 3, 2018.
“ NOWADAYS, IF YOUR FACE ISN’T FLOATING AROUND AS A SUGGESTION TO USERS, YOU DON’T REALLY EXIST IN THE WORLD OF MODERN DATING. ”
through the profile of each and every person on the platform. He continues to share that each subsequent profile will be a less viable option for you because, based on their algorithm, the more suitable ones show up first.4 Great—I have a handle on why I’m so scared by the future of dating. Yet, something is still stopping me from creating a profile. This time, it’s a much more deeply-rooted, systemic issue. Although I’m a strong believer in women’s equality and recognize that within modern dating, men are no longer the sole instigators of dates and proposals, I still have this implicit feeling that I shouldn’t be the one to go after a partner. It harkens 4Ibid
back to the idea of having a personal ad constantly follow you around—having a dating app profile shows that you’re constantly open for business, whatever that might mean, and it seems to go against the chivalric tradition of men propositioning women. I am well aware that this mindset is harmful in many, many ways. It erases same-sex couples who do not fit into the man-asking-woman binary, upholds ideals of masculinity that should never have existed in the first place and halts women’s movement toward equality. On a lesser but rather more important note, it bars scaredy cats like me from the possibility of dating fun.
I am still residing b e h i n d the idea that women should not be the ones to seek out romantic partners. As modern and feminist as I am, I can’t get that notion out of my head. While it probably stems more from the fact that I am, by nature, a shy person, I still get an eerie feeling of going against tradition when I think of asking someone out. Well, then, how do I navigate the new and scary world of dating? Aside from working on my confidence and the inner complex that as a woman, I can’t ask someone out, I have to come to terms with the fact that dating apps might be the new normal. At the very least, they’re here to stay. Maybe I’ll join one, maybe I won’t—or maybe I’ll meet my match when we accidentally smack into each other on the sidewalk.
MAY 2019 7
FASHION
SPICE UP YOUR L BY GLORIA REQUENA, FASHION EDITORIAL ASSISTANT ILLUSTRATED BY CHANNING SMITH, ART CURATOR
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LIFE
Let’s talk about the women who invented ‘girl power’ and revolutionized style in the 1990s. It’s been 23 years since the Spice Girls took London’s Midland Grand Hotel by storm in the video for their debut anthem “Wannabe,” but their influence on fashion culture hasn’t swayed. From Posh to Scary, the style icons have given us a way to look good by having fun with our wardrobes, getting ready for any event life may throw at us.1 Even today, fashion trends allow us to channel our inner Spice Girl.
BABY SPICE
Tina DeLane photographed by Molly Jacobs In her pastels and brightly-colored, patterned dresses, Baby Spice is the perfect style icon to channel sweetness for things like baby showers or bachelorette parties. Prepare for any of these events by simply trying soft, happy colors and interesting shoes. A pink long dress and white platform boots? Thanks to Baby Spice, we’re in.
SPORTY SPICE
Margaret Raedeke photographed by Annika Ide Who knew tracksuits could look so stylish? Sporty Spice pioneered making it acceptable to wear athletic gear in public, providing an effortless way to look fit, gorgeous and comfortable. Get ready for a sporty-chic night out by pulling off stripe side track pants with stilettos. Channeling your inner Mel C will have everyone’s heart beating fast.
POSH SPICE
Gracie Comeau photographed by Max Goldberg Even though Posh Spice usually slayed a simple look, she was considered the most stylish of the five ladies. Nothing says sweet, sweet revenge like a little black dress—and she knew this all too well. As a business woman, Victoria is the perfect style reference to look sophisticated, mature and sexy in the workplace. Look for the highest slim heels in your wardrobe and get ready to make a statement in the office.
SCARY SPICE
Sita Fofana photographed by Nicole Golownia It goes without saying that Scary Spice’s wardrobe was defined by animal print. She pulled off statement pieces most people normally wouldn’t pick, which inspired the confidence to try on things most had never dared to look at before. Pair a metallic crop top with a cheetah skirt to get the edgiest Spice Girl look for any occasion where you want to stand out.
GINGER SPICE
Rachel Hyland photographed by Josh Redfearn Both on and off the stage, Ginger Spice owns her sexiness. She’s strong, confident and the definition of girl power. This style icon rocked a corset better than anyone in the 90s, so anyone channeling her today can use seduction and high glamour as their starting point. Prepare for a girls’ trip by pulling off a strapless red leather top with denim and platform boots. Ginger’s style will have you embodying female power! Kate Braner, “5 Hacks From The Spice Girls To Get You Out Of Any Fashion Emergency,” Elite Daily, February 25, 2016. 1
MAY 2019 9
LIFESTYLE
Sunny D
CASSIE HURWITZ, MARIN SMITH AND MOLLY RA
Step out of the box—take your clean sheets for a wal rainbow palette and a he
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Disposition
APOZO PHOTOGRAPHED BY JORDAN BIAGOMALA
lk. Let the waning sun of a late spring afternoon inspire a eaping serving of pink hearts.
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LIFESTYLE
FROM
SURVIVAL TO
STRENGTH
A TESTAMENT OF THE COURAGE THAT LIES WITHIN A SURVIVOR OF INTIMATE PARTNER VIOLENCE BY BELLA MANDARINO, CONTRIBUTING WRITER PHOTO PROVIDED BY MANDY MCLAUGHLIN
I have known Mandy McLaughlin since the very start of college. She’s a true representative of someone with courage. As a victim of intimate partner violence, she had the tenacity to speak up in a place where it wasn’t common to do so. She faced a lot of adversity from the community when she reported and went to court, but she still had the strength to carry through and do what was best for her. We sat down to discuss what it feels like to be a woman with determination. MODA MAGAZINE: You have told me that you are a survivor of intimate partner violence. Can you tell me more about your experience again? MANDY MCLAUGHLIN: When I was 14 years old, I had a boyfriend who was two years older than me. He went to the same high school and was emotionally, physically and sexually abusive in every way, shape and form. He was very manipulative. Everyone knew. In a small town, you can’t really hide scars or bruises, even if they are just emotional. Actually, a lot of his friends and my friends knew about his jealousy and manipulation, and even
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saw my bruises, but no one, including me, would ever speak out against him. When my friends started finding out that he was physically abusive, everyone encouraged me to leave him. I was told that I was pathetic, stupid. I was told that it was my responsibility to leave. And it took me a very long time, but I did. One day I just woke up and [thought], I can’t do this anymore. So I left. One year later, I decided to report [him]. I went back and forth with this decision for a very long time because he was out of high school, he had a new job, a new girlfriend. He had his whole future ahead of him. But then I asked myself, at what point do I keep putting his future ahead of my own? So I spoke up—and no one believed me. Because in my town people don’t speak up about this. Everyone knows you are a victim of physical and sexual abuse, but no one will actually talk about it. In court, his family and lawyer praised his good character. Everyone including the District Attorney seemed to care more about his future and not
tainting his life more than they cared about mine. The DA offered him 90 days in jail and I was infuriated, you know? Because I thought that when I reported I would get some sort of justice or closure. I didn’t. And all he got was a slap on the wrist. MODA: From where you stand now, do feelings from the experience still linger? MANDY: In many ways I still feel very alone, because that’s how I felt throughout the whole thing. I didn’t have anyone I could talk to about it. None of my friends or family understood, and with my family it was more so a problem that you sweep under the rug or you pray away, not something you address head on. But today I disagree with that. I wouldn’t say I regret reporting, but going through the whole criminal justice system was probably one of the hardest things I’ve ever done. I never saw myself as a victim until I reported. And a lot of memories I had repressed I suddenly remembered— and I remembered them through
flashbacks which resulted in panic attacks, crying outbursts and intimacy issues that I have to this day. I wouldn’t say that reporting and speaking out made me a better person. Some people like to believe everything happens for a reason, but I don’t think that’s true. I don’t think I was raped and abused to make me a good person, you know? But, I do think I am who I am today because of everything I had survived. If you asked me if I would do it all again, I would, because there is a lot to be said about how much abuse just gets...tossed to the side. A lot of stories of abuse in my town get tossed to the side, because as a victim you have the responsibility to leave, and the blame is not placed on the abuser like it should be. MODA: What would you say to those who have had similar experiences? MANDY: If you are a victim of sexual or intimate partner violence, just know that you are not alone. I know that it can feel really lonely and you might even feel shame or guilt, but that is not on you to feel because it is not our fault—it is your abuser’s, 100 percent. If you know someone who has been a victim, believe [them]. And let [them] be angry. So many times we want our friends and family to feel better, but we don’t really think about what that really looks like for them. I’m not saying [people] should report just because I did, but I think that was the best decision just for me. Know that reporting is not the only way to recovery. MODA: What have you learned about yourself after reporting and where do you think you’ll go from here? MANDY: I learned that I’m pretty badass. I learned that I can handle a lot more than I think I can. I think that comes from when life throws you shit, you just bear the unbearable. Since I left, I have embodied resistance in the sense that I don’t view myself as a victim. I view myself as the student, yogi, singer, musician and strong
person I have become. I want to go to medical school, if I can get in. No, I [will] get in. My end goal is to become a women’s health provider, and although that doesn’t directly relate to sexual violence, I think that’s a good thing. If [that was my] whole career I would drown in the negativity, [but] I want to help people. I’m hoping to be an advocate for women that may have had consent and agency and autonomy taken away from them, maybe in just more than one form than sexual violence. Because I know what it feels like to have my agency and voice taken away from me. MODA: Did you use any resources (hotlines, websites, therapy) to help you through the process of healing
" I’VE LEARNED THAT WE POSSESS A LOT MORE POWER THAN WE THINK WE DO. EVEN IN SITUATIONS WHERE WE ARE MADE TO FEEL VERY POWERLESS, WE DO HAVE AGENCY " and do you recommend any of those? MANDY: I am not your key gal for this because I did not use any resources. In high school, throughout the whole court process, there was a victim witness advocate and her role was to help [me] get through the court system and feel ok with what was happening—because a lot of women feel revictimized by the court system just as I did. But I thought she was very unhelpful because I did not want to feel better about the situation. I wanted her to advocate that, “Hey, he should get more than three months, because he sucks!” You know? I had a lot of people telling me—my parents, the DA, the victim witness advocate—that I should go to therapy, that I should utilize these resources.
But I didn’t want to, because in my mind, anger was the only thing I could control. I wanted to hold onto it—and I don’t think that being angry is necessarily bad. I think the anger has fueled me to be a very successful, passionate person and it has led me to travel leaps and bounds [more] than what he ever will. It’s a common narrative that we want victims to just feel better, and therapy is the only way—this checklist of yoga, therapy, new boyfriend— [then] they will be a new person and totally recovered from the assault. But being a victim of intimate partner violence, it’s not a disease or a disorder. Recovery and PTSD [are] ongoing things that I struggle with every day. I don’t think it’s something you can ever “cure” just by going to therapy—I think it helps a lot of people just being able to talk about what they felt—but for me it wasn’t the right fit. For the most part, I have done my healing through feeling it. For a long time I just repressed the emotions and hoped [they] would go away because that’s what your brain wants to do, that’s how your brain was designed to cope with trauma. But what I have learned is best for me is to feel it, and sit with it, and be comfortable with the pain and loneliness, because sometimes the only way out of those horrible feelings of shame and guilt and sadness and anxiety is through [them]. So while resources and hotlines might be beneficial for some people, I still want [people] to know that recovery is not linear. Mandy’s experience does not define who she is, but it has shaped her into the woman she is today. Upon reflection after our chat, Mandy explains, “I’ve learned that we possess a lot more power than we think we do. Even in situations where we are made to feel very powerless, we do have agency.” The anger her abuser left her with has brought out passion and determination that she has fully embraced, pushing her toward success. When she wants something, she is unstoppable in achieving it. Today, she embodies moxie in everything that she does.
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LIFESTYLE
H IT LIKE A
ROLLER DERBY CHALLENGES THE TRADITIONAL MEANING OF WOMANHOOD BY KATE LAWLESS, LIFESTYLE EDITORIAL ASSISTANT ILLUSTRATED BY CHANNING SMITH, ART CURATOR Roller derby isn’t the first thing that comes to mind when thinking of girls’ sports. We’re more likely to think of volleyball or cheerleading. However, roller derby is a little different. It’s fullcontact, hardcore and definitely not for the faint of heart. You have to wear pads and mouth guards and even so, you’ll still likely get off the track with at least a couple of bruises. It takes guts to get out on the track and grit to get back up again when you’ve been knocked down. When it was first started in the 1930s, roller derby was considered immoral because women were neglecting their duties as wives and mothers to engage in a violent s p o r t .1 1Ash-
leigh
Over time, leagues became populated by “misfits,” meaning women in college, teachers, artists and anyone who didn’t want to be limited by gender norms that said they couldn’t play full-contact sports like males.2 The game itself is pretty simple. A team consists of five people—one jammer and four blockers. The jammer scores points by lapping the other team’s skaters, and the blockers try to take down the opposing jammer by any means necessary.3 Roller derby culture embraces contradictions of traditional ideas without blinking an eye. It’s girly, yet gritty. It’s about competition, but it’s also about community. In roller derby, being a woman doesn’t mean you can’t throw some elbows. Punk culture rolls in as a way to rebel against traditional femininity. Teams have witty, often raunchy names like the Unholy Rollers and the Vaudeville Vixens. While teams are known for their glittery spandex uniforms, they also wear fishnets and heavy makeup that pay homage to the 1970s punk scene. Aycock, “Feminism on the Flat Track,” Women’shistory.org, June 22, 2018. 2Ibid. 3Ibid.
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The spirit of inclusivity makes the roller derby community a safe haven for LGBTQIA+ individuals.4 It’s a good example of a community that is committed to intersectional feminism, encouraging trans women, women of color and non-binary people to participate in the sport. This year, the Women’s Flat Track Derby Association openly supported Trans Visibility Day and Indigenous People’s Day and renewed the league’s commitment to “developing more inclusive policies, improving language to be supportive of all members and increasing advocacy within the organization for marginalized populations.”5 Women created modern roller derby teams to let out their frustration and challenge the gender norms that constrained them. In this community, women don’t sacrifice parts of themselves—they are 100 percent athlete and have the sisterhood of the roller derby world to back them up. Here, women are competitive and they’re not afraid to hit back. They work hard, and better yet, they work together. The roller derby community may be a small subset of society, but it’s one that does feminism right. 4Ibid. 5Jumpy McGee, “Celebrating Indigenous Culture and Community in Roller Derby,” WFTDA.com, October 8, 2018.
FASHION
MEET US AT THE SUMMER SPOT MAX GOLDBERG, MADELINE RASMUSSEN & EVA WIELAND PHOTOGRAPHED BY JOSH REDFEARN DIRECTED BY ASHLEY MACKENS, FASHION EDITOR
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MAY 2019 25
LIFESTYLE
Some of Your BEESness WHY YOU SHOULD BE CONCERNED ABOUT COLLAPSING COLONIES BY KATIE HERRICK, LIFESTYLE STAFF WRITER ILLUSTRATED BY ALLYSON KONZ
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The honeybees are dying, and at a rapid rate, too. Even with the high rate of deaths, most of us likely do not know the true causes and effects.1 In order to ensure their well-being and our food supply, we need to start taking action, all of us.
WHY ARE THEY DYING?
There isn’t one clear cause of death for bees, but rather many different bad factors teaming up to take down our little worker friends. The biggest causes we can point to are parasites, pathogens, pesticides, poor nutrition and habitat loss, almost all of which are ultimately caused by climate change.2 The use of deadly pesticides limits what crops bees can eat and pollinate. Just like us, bees need a healthy diet, and because their food options are limited by pesticide use, they become more susceptible to viruses and diseases.3 Varroa destructors, aptly named after their murderous effects on bees, are one of their biggest predators.4 The blood-sucking parasites turn bee larvae into liquid and lay eggs in their breathing tubes, suffocating them from the inside out.
WHY PROTECT THEM?
So, if the bees go extinct you may wonder if the planet will adjust, considering many insects and animals have gone extinct. The simple answer: not really. There are other pollinators, including flies, wasps, moths and beetles, among other animals, but bees are by far the best. While others only eat the plants, bees collect pollen, carrying it back to their hives.5 1It’s Okay To Be Smart. Why Are The Bees Dying?, YouTube, June 22, 2015. 2Bob Schildgen, “Why Are Honeybees Dying Off?” Sierra Club, May 8, 2018. 3Ibid. 4Ibid. 5“Why Do We Need Bees?,” Friends of the Earth,
All the different types of bees work together to pollinate specific crops and types of plants, some of which can’t be pollinated by other types of pollinators. There are an estimated 2.7 million bee colonies in America today, with almost two-thirds traveling the entire country to pollinate. This may seem like a lot, however, the California almond industry alone requires 1.8 million colonies of honey bees in order to pollinate their almond orchards.6 What would the world look like without bees? Say goodbye to broccoli, melons, apples, cranberries,
" WE NEED DRAMATIC ACTION NOW IF WE WANT TO HAVE A LIVABLE WORLD FOR THE FUTURE " blueberries, cherries, many different types of flowers, honey, beeswax and beeswax beauty products, such as Burt’s Bees, and almonds, to name a few goods we’d lose without bees. Some agricultural groups are 90 percent reliant on bees.7
HOW TO SAVE THEM.
The major problem with trying to save the bees is that the type of action needed to save them is not something as simple as recycling, but rather demands large scale changes in pesticide usage and farming practices. July 25, 2017. 6“Pollination Facts,” American Beekeeping Federation. 7Ibid.
However, there are small changes you can make as a consumer.8 Don’t use herbicides, pesticides or fungicides in your garden. Lobby for less “-cide” usage in agriculture. Buy honey or beeswax products from local beekeepers. Make sure that your beekeepers are using sustainable beekeeping practices. Plant bee-friendly plants like lavender, crocuses, rosemary, bluebells, crabapples, hawthorn or ox-eye daisies.9 Install a tiny water basin on your balcony or porch so bees can get a cool drink on a warm day, but be sure to add a rock or cork so they won’t drown. Educate yourself and others on the risks of bee extinction and how to help. Sponsor a hive.10 Do your part to be a conscious consumer and user of natural resources. Stop swatting/killing honeybees. Make sure to learn more about what kinds of bees there are and which are in trouble — some are hurting more than others. Check out this great bee identification guide.11 Saving the bees is only one small step forward in our long journey to reverse climate change and its ever-growing and devastating destruction of the planet. Recycling, conserving water and driving less aren’t enough anymore—we need dramatic action now if we want to have a livable world for the future. 8“10 Ways You Can Help Save The Bees,” New York Bee Sanctuary, March 3, 2016. 9David Domoney, “Top 10 Bee-friendly Plants,” David Domoney, June 1, 2017. 10 “5 Reasons to Sponsor-A-Hive Today,” The Honeybee Conservancy. 11 “The Great British Bee Count Bee Identification Guide,” Friends of the Earth.
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ARTS
AC R OSS THE GR E AT DIVIDE RACE AND SOUTHERN LIFE ON DISPLAY AT THE CHAZEN BY ELM STEPHENSON, CONTRIBUTING WRITER The popular conception of coming of age in the South is lifted out of the pages of a William Faulkner novel, complete with debutants and sultry exclamations of “I do declare.” In actuality, the transition into adulthood in the South is much like the common experience of all American adolescents—it is framed by race and punctuated by prom. Photojournalist and UW-Madison alumna Gillian Laub spent time documenting the intersection between the two in a small Georgia town for an exhibit called Southern Rites, which is on display at the Chazen Museum of Art until May 12. Southern Rites consists of a photographic exhibition and an accompanying documentary, which work in tandem to represent the racial reality of becoming an adult in America. Laub’s photography depicts high school students preparing for prom in the swampy heat of Mount Vernon, Georgia. The photos, which are framed by the lush splendor of overgrown grass and world-weary architecture, capture students in a state of confident fragility amidst the reverie of prom. The subjects are typically photographed at some point in their preparation for the big event, whether they are preening themselves or posing with their dates. At face value, the photos seem to be tender portraits of adolescents at a seminal moment in their lives. However, much of the value of the exhibit lies within the context of race. While the schools of Mount Vernon are integrated, prom was, until 2011, a segregated affair, with white and black students hosting their own separate celebrations. In this context, the photographs of the simple joy of prom are tainted, as the color of one’s skin takes on an achingly clear meaning. The film component to Laub’s work, on the other hand, presents the violent
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side of the awkward racial dynamic on display in Mount Vernon. What began for Laub as the documentation of an anachronistic oddity transformed into a project exploring the harsh reality of race and criminal justice in the rural South. The film is centered around the death of Justin Patterson, who was shot after he and his brother snuck into a house to meet with a girl they met on Facebook. Justin and his brother were discovered by the girl’s uncle, Norman Neesmith, who shot Justin while he fled the house. This tragedy falls within a sadly familiar framework of racial injustice. Justin was an unarmed black man shot by a white man who was sentenced to a single year in prison for his actions. Through several tortured interviews with those involved in the case, Laub manages to capture the complex humanity of the situation. Her time with Neesmith is particularly difficult, as the viewer has a front-row seat to his troubling rationalization and prejudice. Laub’s documentation of the raw emotions of both sides of the case demonstrates the pain and suffering that materializes from a culture of racial separation. The film ends on a somewhat lighter note with some of Laub’s footage of Mount Vernon’s first integrated prom. Laub took a great part in this change in school policy, as attention from the 2009 publication of her photos from the proms sparked a national outcry. After the story was published, Laub took several trips back to Mount Vernon
to film the documentary and follow up with the people there. During these trips, she collected thoughts from her photography subjects about race in America. In the Chazen exhibit, some of these quotes from different points in time are wisely presented alongside the photos. The quotes are illuminating, showing developments in the mindset of race, with many of them mentioning the work of #BlackLivesMatter and other instances of black activism. In a broader sense, the exhibition and the film chart a shift in the discourse surrounding race during the Obama years. They portray a country growing up in the ways it confronts its racist past and present, and the growing pains that are to come on its journey toward justice and moral maturity.
PHOTO COURTESY OF SOUTHERN RITES EXHIBIT
CULTURE
D I S CO R E VOLU TI ON BY RAYNEE HAMILTON, CONTRIBUTING WRITER ILLUSTRATED BY CHANNING SMITH, ART CURATOR
The Beatles have just disbanded, Richard Nixon is president and gas costs 36 cents a gallon— it’s 1970, the start of a decade that will be defined by both its culture and politics. These two aspects came together in February 1970, when David Mancuso opened The Loft in New York City.1 The Loft is widely known as the birthplace of disco, a musical style that would quickly take over the national music scene. Disco had a strong and immediate appeal to marginalized groups who often lacked representation in popular culture, such as minorities, women and members of the LGBTQ community. It gave voice especially to minority women, who throughout that era were consistently the main trailblazers in the genre.2 But more generally, Disco clubs were a place where women could exercise their agency and freedom—a place that was hard to find elsewhere. Emphasizing self empowerment and personal expression, the dance floor was a place where women were not seen as inherently inferior to men.3 Second wave feminism, which started in the early 1960s, emphasized women’s control over their own bodies and lives. Disco, often deemed as the beginning of club culture,4 offered women a new space where they could freely express their sexuality in virtually any way they 1Richard Powers, “The Disco Lifestyle,” Socialdance.stanford.edu. 2Diana L. Mankowski, “Gendering the Disco Inferno: Sexual Revolution, Liberation, and Popular Culture in 1970s America” (dissertation, University of Michigan, 2010). 3Ibid. 4Stevie Mackenzie-Smith, “Your guide to disco – where nightlife truly began,” Dazeddigital.com, September 22, 2016.
the man. As disco became mainstream during the mid1970s, the ideals that it propagated about gender dynamics and norms became more socially acceptable than they had been in the past. By providing a space that began to equalize the relationship between men and women, disco clubs became the grounds from which feminist ideas were able to flourish in society.
saw fit. Style icons of the era, such as Bianca Jagger and Diana Ross, pushed the boundaries of acceptable fashion, making glitzy statement outfits a commonplace occurrence at clubs.5 The typical disco outfit was sophisticated and glamorous, with women experimenting with unconventional materials, such as sequins, metallics and fringe.
Aside from dismantling traditional patriarchal standards, disco also gave female performers an outlet to influence society through their music. Disco music, pioneered by African American female singers, focused on sexual liberty in part because disco as a culture did the same.7 When Billboard began their disco music chart in 1974, the first number-one song was “Never Can Say Goodbye” by African American singer Gloria Gaynor.8 Because the voice of disco was overwhelmingly female, many of the songs were about overcoming the experiences that women, specifically minority women, went through at the time.
The experimental and expressive nature of fashion at disco clubs also manifested itself on the dance floor, where women were, for the first time, encouraged to dance alone or to lead in a dance with a man.6 Dancing manuals at the time stipulated that the leader in a dance should be whoever is the most experienced, which was just as often the woman as it was
Female disco singers were a voice of survival and empowerment in the music industry, and they spread feminism from inside the political sphere to the outside world, into popular culture.9 The popularity and influence of disco during the 1970s showcased the growing acceptance for unconventional gender relations in American society—a phenomenon that will continue to unfold for the decades to come.
5Taylah Brewer, “70’s Fashion For Women,” The Trend Spotter. 6Ibid.
7Ibid. 8Ibid. 9Ibid.
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FASHION
DIGITAL INFLUENCERS WITH BRAINS BY JULIANNE CORNELL, CONTRIBUTING WRITER The cultivation of social media sites and digital platforms has led to the rise of digital influencers and fashion moguls who share their ideas and personal style online. Despite their popularity, a negative stigma surrounds many young influencers, assuming they are uneducated, talentless airheads. Eva Chen and Arielle Charnas (Something Navy) are two fashion-obsessed digital influencers working against these stereotypes to prove that influencers are unique, savvy and powerful risk takers. Eva Chen is certainly far from uneducated as a graduate of Johns Hopkins University who jumped from being pre-med to pre-law. The fashion world was the last industry in which Chen thought she would have a career. One summer before she would begin to study for the MCAT, Chen decided to try something different. She landed an internship at Harper’s Bazaar, which became the turning point of her career path. Still unsure of pursuing a future with magazines, though, she worked as a paralegal until a colleague reached out with a freelance opportunity. She took the job and a month later found an open position at Elle as a beauty assistant.1 Chen spent three years at Elle, eventually being promoted to Associate Editor. She also assisted legendary French stylist Carlyne Cerf De Dudzeele. After seven years at Teen Vogue and some freelance work for Vogue, Anna Wintour reached out to Chen to be a consultant at Lucky, where she quickly became Editor in Chief. Instagram noticed Chen’s impressive career trajectory and offered her 1Tyler McCall, “How Eva Chen Went From PreMed Student to Director of Fashion Partnerships at Instagram,” Fashionista, November 6, 2018.
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the Director of Fashion Partnerships position. Through her work as an editor she built up a reputation on social media with over 950,000 followers. She is also well known for her #evachenpose shots, which showcase her outfit of the day. She is a powerful woman in the digital fashion industry. Arielle Charnas, also known as Something Navy, has a total of 1.2 million followers on her Instagram, as well as an additional 215,000 followers on her brand page. In 2009, Charnas graduated Syracuse University with a bachelor’s degree in Psychology. She began paving the way for digital influencers soon after she started her own blog to get revenge on her exboyfriend, proving to him that she was hardworking and passionate about something. Charnas began posting pictures of herself in outfits that she styled along with blog posts. People would comment on her blog saying they loved her style—she quickly became a tangible fashion icon for women everywhere. This became a form of empowerment for her, a manner in which she discovered her true passion.2 After around six month blogging, Charnas received an email from fashion author and New York Times bestseller Karen Robinovitz. She began to help her make connections and took her to photoshoots in the city. Charnas began sending her resume to every designer, brand and store possible but continued to be turned down. Despite the nos she was receiving, however, she continued to send her resume and eventually landed a job at Theory, where she continued to maintain her blog and following.3 2Arielle Charnas, “My Story Part One,” Something Navy, February 16, 2018.
Eight months later, Robinovitz ran into Charnas working at Theory and helped her find her first job as a fashion blogger. Charnas became one of the first ever influencer for Robinovitz’s digital marketing agency. She quit her job at Theory soon after and began blogging full time. She worked hard to build partnerships including a four-year contract with TRESemmé, and since has worked with over 300 brands.3 In 2017, Charnas launched a capsule collation for one of Nordstrom’s inhouse brands, Treasure and Bond. In less than 24 hours, Something Navy X Treasure & Bond ready-to-wear collection made more than $1 million in sales. After the success of the capsule collection, Charnas was offered the opportunity to create her own clothing brand. In September of 2018, Charnas launched her clothing brand, Something Navy, with Nordstrom. The partnership drove an estimated $5 million in single day sales, beating collaborations from the past with Beyoncé and Rihanna.4 Beneath the surface of Instagram filters and designer clothes, there is more than meets the eye for these entrepreneurs. It is clear that both Eva Chen and Arielle Charnas are not stylish airheads, they are chic innovators with brains who influence the beauty and fashion industry as well as the lives of millions. Through hard work and dedication, both Chen and Charnas have proved that digital influencers have moxie, a unique and powerful quality, and are two forces to be reckoned with. 3 Merin Curotto, “Something Navy’s Arielle Charnas Is More Successful Than Ever-But at What Price?” Observer, December 13, 2018.
INSTAGRAM: @ARIELLECHARNAS
INSTAGRAM: @EVACHEN212
INSTAGRAM: @EVACHEN212
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INSTAGRAM: @EVACHEN212
CULTURE
WRITTEN AND ILLUSTRATED BY CHANNING SMITH, ART CURATOR It’s the night before the first day of school. Best friends Maya Erskine and Anna Konkle picked out matching chokers to wear. Erskine’s roller backpack is filled with jelly pens. Konkle might even wear a bra for the first time. “Seventh grade is going to be amazing,” Maya says dreamily, twirling the cord of the landline. This introductory scene to Hulu Original show “PEN15” encapsulates the pure hope and naivety of being thirteen. But something isn’t right. Erskine and Konkle are in their 30s, but they’re playing 13-year-old versions of themselves next to a cast of tweens. This choice does more than add a funny gimmick to the show; it is an immediate clue to the idea that fitting in at middle school is not going to be as easy as the two thought. “PEN15” is painfully awkward, teetering between hilariously goofy and downright tragic. The show takes such frivolous middle school fears soberingly serious. In each of the 10 episodes, Konkle and Erskine take their initial joke—a middle school debacle that feels like the end of the world—to a further, more somber and meaningful place, always finding peace in their friendship. The duo wants to experience all their firsts together: first kiss, first beer, first shave. The show is a triumph proving that with an Anna or a Maya by your side, even the impossible—like surviving seventh grade—feels possible. Though Erskine and Konkle might crush on the occasional gym-classcutie, they are much more content in each other’s presence, perhaps while making up dances to Spice Girls songs.
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There are some important messages here: the way teens, especially girls, can set the stage for female empowerment and healthier relationships down the road by prioritizing strong friendships when they are young. When a little boy hits a little girl, she is told he “likes her”—no wonder the fascination with toxic bad boys exists later on. “You are my actual rainbow gel pen in a sea of blue and black writing utensils,” Konkle says to Erskine. It’s a sentiment I wish I could articulate to my best friends who made the traumatic years of middle school that much more tolerable. “PEN15” isn’t the only of its kind, though. Many shows and movies have recently taken on themes of coming-of-age and puberty, such as Netflix’s “Big Mouth” and YouTube star-turned-director Bo Burnham’s movie “Eighth Grade.” But this surge of frizzy hair and braces isn’t a coincidence. In the era of #MeToo, it’s important to start teaching children and teens about gendered power and sexual misconduct to stop it in its tracks. The way puberty and emerging sexuality is taught in schools can be problematic, limiting and even sexist. Boys and girls are often separated into different rooms and taught anatomy-based lessons without the nuances of gender fluidity, sexuality or even sexual violence. Sexual education in middle schools rarely includes plans for dealing with harassment or assault, but these shows and movies address that. They demonstrate that tweens often aren’t prepared to handle situations of sexual misconduct, which start at a younger age than one would expect. Burnham’s “Eighth Grade” does an amazing job at this. It shows that though
moments of sexual exploitation can be small and spontaneous, their impact is no less significant. I would apologize for spoilers, but everyone should have seen this movie by now or should do so immediately. Middle school protagonist Kayla sits in the back of an older boy’s car when an innocent game of truth or dare escalates; the boy demands that Kayla takes her shirt off. The scene is especially upsetting because it speaks to the reality that young girls can become subject to abrasive sexual behaviors even before their first kiss. But by including scenes of such harassment, “Eighth Grade” is encouraging teens and tweens to start acknowledging that reality and address it from there on. Comedians Nick Kroll and John Mulaney’s show “Big Mouth,” on the other hand, takes a different approach at exploring this heavy theme. Laced with light-hearted humor, “Big Mouth” shows a motley crew of characters quickly learning that sexuality is something to be celebrated, but is also easily exploited by others. The animated series covers topics like healthy masturbation, consent and birth control—all the while normalizing such topics with humor, songs and overall absurdity. A major part of making sure that the next generation keeps their hands to themselves entails normalizing uncomfortable topics; the free flow of communication can stop any questionable behavior in its tracks. Including these themes in popular media is a great start. “Big Mouth” and “PEN15” share a common theme: the power of friendship. This new type of pubescent “traumedy” shows that no matter how horrible middle school is—no matter how much you stuff your bra, no matter how uncomfortable your retainer may be— it’s better with someone by your side.
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LIFESTYLE
MOD
CLASS O PHOTOGRAPHED BY
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DA
OF 2019 ANNIKA IDE
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Eva Wieland Editor in Chief “Moda—and the talented people in Moda—has inspired me to grow into the girl boss that I am today. This magazine is the reason I identify as a creative and pursued a certificate in Graphic Design to go with my business degree. It has also given me the opportunity to prove myself as a leader and was a safe place for me to discover my own style."
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Cassie Hurwitz Deputy Editor “Moda has meant absolutely everything to me these past few years. It’s not only been the most enjoyable (and frustrating and exhilarating and trying) experience of my time at UW, but also the most rewarding. The work I’ve done with Moda set me on the path I’m on now—pursuing a career in magazine editing. I can’t thank this beautiful publication enough—and the lovely ladies that I’ve worked alongside—for showing me my potential.”
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Ashley Mackens
Lindsey Young
Fashion Editor
Marketing Director
“Moda has shown me the multitude of jobs that exist in the fashion industry. There is so much work behind the scenes I previously did not know about. Being exposed to a variety of positions has encouraged me to pursue a career in the fashion/beauty industry.”
“[Moda has given me] a heightened appreciation for creative energy and people who are not afraid to stand out.”
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Max Goldberg
Molly Rapozo
Ha
Photography Director
Lifestyle Editor
Cult
“Being a part of Moda meant the world to me—yes that's cheesy, but fashion and photography make up my world, so to be a part of an organization that celebrates pivotal pieces of what I do is so special to me.”
“Moda has revealed to me a world that I've always known about and loved but never considered to be a viable career choice—publications and books and editing and writing. All of the majors I switched in and out of are in no way related to any of those things but it is most definitely where I'd like to go from here.”
“[Mod hour-l creati UW.”
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aidee Chu
ture Editor
da helped me find] a group of people who I can go on long rants about current events [with]. It has allowed ive-minded people to enter my social experience at
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Reilly Koch Creative Director “I wasn’t sold on Madison after my freshman year, but Moda reeled me in and kept me coming back for more. I wouldn’t graduating from here if it weren’t for Moda!”
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Geordon Wollner Creative Director “Moda has been the most meaningful and rewarding experience of my life. I have no doubt in my mind that without it, I would not be who I am today. Moda has brought to light so many different parts of myself that I would've never discovered without it and, for that reason, I will be forever grateful for this beautiful publication.�
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LIFESTYLE
freedom 3 0 W E ARS TO
THE NEW HASHTAG ENCOURAGING YOU TO MAKE THE MOST OF WHAT’S ALREADY IN YOUR WARDROBE BY ISABEL CALVERT, CONTRIBUTING WRITER
UNSPLASH
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It’s no secret that fashion is a major part of global trade. But there is something about “fast fashion,” the affordable, mass-produced clothes that are readily available in local shopping malls and online websites, that is incredibly problematic. The fashion industry currently emits 1.2 billion tons of carbon annually, more than that of all international flights and maritime shipping combined, according to the Ellen MacArthur Foundation.1 More than a half trillion gallons of freshwater are used in the dyeing process of textiles each year, amounting to 20 percent of global industrial water pollution. It takes around 7,000 liters of water to produce one single pair of jeans— equivalent to the amount of water one individual drinks in five to six years. When we raise awareness of the dangers of fast fashion, we sometimes reach an impasse. Everyone wants to look like a goddess at all times, obviously, but no one wants blood or plastic on their hands. So, how can you look like a “snack” and still sleep well at night?
night. Women make up the vast majority of garment workers in fast fashion supplier factories, and while management positions are maledominated, women typically work as machine operators and checkers. This results in a hierarchical power structure in which a male-majority management controls a femalemajority workforce.2 Returning back to the environmental aspect of fashion: The United Nations has told us we have 12 years to slow climate change and after that, it’s a runaway train.3 We are facing a situation where water and oxygen might run out in our lifetime. So, if we like breathing and we’re not interested in sustainable, ethical practices, then we’d better get interested quickly. The facts are frightening, but the 30 Wears Challenge is a great way for 2Victoria Stafford, “Factory Exploitation and the Fast Fashion Machine,” Green America, August 8, 2018. 3“Climate Change,” UN.org.
newbies to ease their way into the sustainable fashion world. You don’t need to give up buying the clothes you love or spend your days researching different companies’ ethics. In today’s culture of fast fashion, we are so conditioned to never be seen in the same outfit twice and to always be chasing after the newest trends. The 30 Wears Challenge reduces the urge to buy a whole new wardrobe once a month just when you’re having a low confidence day or are struggling to decide what goes together. Also, it can help you boost your creativity by finding new ways to wear things you already own whilst being kind to your wallet in the process. Choosing better quality clothes, looking after them, wearing them 30 times or more and extending the average life of our clothes is one of the best things we can do to make a positive impact—not just for the planet, but for ourselves.
Enter: the 30 Wears Challenge. The goal of the 30 Wears Challenge campaign is to encourage shoppers to buy less fast fashion and more quality pieces that they will wear over and over again. On Instagram, the hashtag “#30wearschallenge” is making refashioning different outfits from the same few pieces exciting. Over time, the less we buy, the less clothing ends up in landfills. Not to mention, if we opt to spend our money on ethically and sustainably made pieces, other retailers will follow the trend. I love new clothes, but I realized that my habit of frequently updating my wardrobe with fast fashion pieces was compromising my beliefs—a desire for female equality. We should be questioning who is making our clothes and whether they’re being paid enough to get little luxuries like, you know, going home at 1“A New Textiles Economy: Redesigning fashion’s future,” Ellen MacArthur Foundation, 2017.
UNSPLASH
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anna and olivia hughes wearing original designs by rachel cohen + “this is love set” in white from Free People photographed by max goldberg creative direction by geordon wollner + reilly koch assisted by janey sheth, maria dayneko + rachel cohen makeup by maria dayneko art direction by geordon wollner un grand merci a la maison fancaise
IN REPOSE
As I’ve learned about the process of turning flaws into beauty, I realized that this theme is a constant in my life—and something I have come to appreciate about myself. With this inspiration in mind, I incorporated vintage clothing into many pieces of my collection that had already lived another life and, when I found them, were old, discolored and imperfect. Their washed-out colors became my color palette and I included these pieces to celebrate their beauty and to create something new and sustainable. Many pieces in my collection have long lines with connecting pieces of hardware, showing that things can connect in unexpected ways, not always creating a linear connection but regardless, a connection that is beautiful, a connection within flaws—beauty within flaws. Straight, sleek lines live alongside puffy and full silhouettes. Asymmetric and linear forms play with feminine yet gender neutral pieces to emphasize beauty in deviating from the norm. My collection is a celebration of every mistake that has turned into a discovery, every problem that has resulted in a solution, every unknown path that has created an adventure, every beautiful flaw — the perfections within the imperfection.
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- rachel cohen student designer + artist
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CULTURE
H YPERSEXUAL I Z ATI O N O F ASI AN WO M EN BY SAYA INOUE, CULTURE STAFF WRITER ILLUSTRATED BY CHANNING SMITH, ART CURATOR
Asian women often find themselves caught within complicated sexual dynamics that distort their true identities. Historically speaking, Asian women have been exoticized by the western world as “oriental”— manifesting in various cultural productions. “Madam Butterfly,” a famous opera composed by Italian composer Giacomo Puccini, articulates a romance between a Japanese geisha and a white man who eventually leaves her behind. The harmful themes and stereotypes that underlie the musical—ones that depict Asian women as sexual properties, Asian men as weak and white men as saviors—are said to have influenced the popular musical, “Miss Saigon,” which tells the story of a romance between a Vietnamese woman and white American soldier during the wars in Southeast Asia. But the sexualization of Asian women exists not just in the west; it’s
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a pervasive phenomenon even within Asian popular culture. In Japan—the world’s most prolific anime producer— comic books and video games work in tandem to cultivate different prototypes for stereotypical, sexualized women in the media. These comics are divided into two categories: those designed to target men and those designed to target women. As a Japanese reader who enjoys both types of comic books, I often find myself confused with each type of comic’s expectation toward the “opposite” sex. Men’s comics often exaggerate the thighs and chest of the heroines’ bodies; heroines who do not have huge breasts, on the other hand, tend to be treated as a joke. Sexual harassment such as touching a woman’s body, too, has been mildly accepted in Japanese animation. Those contents are widespread in not only Japan, but also in other surrounding countries and overseas. Since comic books and anime are some of the major ways through which people socialize with Japanese language, behaviours and values, one can only imagine how they impact the ways in which women
and men alike internalize these biases against Asian women. Fashion magazines, too, set up biased beauty standards. In Japan, these magazines sometimes create sexualized depictions of women, such as women in school uniforms created for men’s fantasization of purity. Even in daily life, strict school dress codes make it especially difficult for Japanese girls to express and navigate their identities. While women in Japan come with different characteristics and different physical features, they do not have the freedom to express them. Instead, they are relegated to these stereotypical roles. Asian women’s bodies are restricted by stereotypes. Beyond that, the media has set up different sexualized prototypes that make it difficult for Asian women to decide how they should represent themselves and fathom their identities. However, films and TV shows are slowly putting more effort into representing Asian people without stereotypes and prejudices. Asian women carry with them different cultures, representing more than 40 countries; a lot can change when the day comes that they decide to connect and mobilize each other to combat the stereotypes and prejudices assigned to their bodies.
ARTS
PAH-LA A THRILLING TIBETAN DRAMA BY SAMAAYA JAYAMAHA, ARTS STAFF WRITER
Intrigued by the vagueness of news reports, the array of stories told by locals and the overall true embodiment of moxie in the Tibetan uprising, playwright Abhishek Majumdar made it his mission to discover, interpret and share the untold the stories of many Tibetans in his play Pah-La, meaning “father” in Tibetan. Since the 1950s when Communist Chinese authorities marched into the Tibetan plateau, the relations between the Tibetan and Chinese people have been severely strained. Buddhist monasteries have been demolished, religion and cultures oppressed and protests by fearless individuals and groups have sporadically run rampant. The Chinese government claims that without their intervention, the people living in the region would not be as well off and technologically advanced. However, Tibetans severely disagree: many individuals are anxious to share any level of cultural or religious
expression in fear of being arrested. The oppressive, tense nature of the region has led to a range of protests, perhaps most notably the 2008 Tibetan uprising in the capital city of Lhasa. Although violent and with casualties suspected to be upwards of 200, there is no guarantee of the true size of the catastrophe aside from the memories etched in people’s minds. Majumdar fearlessly ventured through the furthest reaches of the Himalayas and covertly gathered information from local Buddhists, many of whom were so fearful of Chinese officials that they refrained from using the name of the Dalai-Lama. The result of his research and years of writing: a fascinating drama exploring concepts of nonviolence and overcoming oppression. In short, the story surrounds the female lead named Deshar who disowns her father to become a Buddhist nun. From there, her dauntless spirit leads her to defy other authoritarian figures
and eventually self immolate, an act that is not exactly uncommon in recent Tibetan history. Essentially, Pah-La sets both the stage and its audiences ablaze, facing significant criticism by many Tibetans for dramatizing many events and trying to include too many themes, ideas and statements. However, the play has gained the support from the Dalai Lama himself, who has been exiled in India since the invasion of the Chinese government. Despite the mixed reviews and perhaps overdone web of messages and themes encoded into the plot, the expression of true grit and bravery is clear no matter what angle you view and interpret Pah-La. From the fearless female heroine radiating fortitude and exuding grace to the determination that was required to even construct the play together, Majumdar’s work is successful in exhibiting the countless examples of Tibetan grit that has remained unscathed despite the terrors faced by Chinese forces.
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LIFESTYLE
PUZZLE PERFECTION BY BHAVINI PERSAUD, CONTRIBUTING WRITER PHOTOGRAPHED BY NICOLE GOLOWNIA
Escaping daily stresses is no easy feat—with increased pressure to do well in academics, extracurriculars or jobs, we can feel guilty for not keeping up with all of our responsibilities 100 percent of the time. With constant busy days and obligations, you may not give yourself a chance to breathe and relax—but everyone deserves a break once in a while. There are the tried-and-true methods of stress-relief that are commonly employed by college students—going outside, seeing friends or watching Netflix—and then there are the lesser-known, more eccentric ways of relaxing. You may think puzzles or coloring books are only for kids, but adults can still color outside the lines. We’re re-illustrating notes from kindergarten by dusting off our puzzles and pulling out the old coloring books. Puzzles can engage our minds through problem-solving, giving us boosts of dopamine. By using new approaches to solve a puzzle, we frequently
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engage with our critical-thinking and problem-solving skills. Puzzles have the ability to work out our brains— they improve short-term memory by training neuron connections, much like you’d train your muscles.1 By exercising our memory while we are young, we can increase the longevity of our brain plasticity. When we challenge ourselves to solve a puzzle, dopamine, the neurotransmitter that triggers a positive mood, is released.2 When dopamine is released, the brain registers the need of wanting more of what we experienced. When we find the next fitting puzzle piece, we are motivated to continue because of this release.
color, it is the only thing you need to focus on. Our fight-or-flight response, which is controlled by our amygdala, is lessened through coloring, giving us relief from the constant bombardment of anxious or negative thoughts.
While puzzles engage our mind and help us develop good problem-solving skills, coloring books are another great way to relieve stress. The process of coloring allows us to relax through mindless activity—when you
Embracing childhood favorites is a great way to keep our brain healthy by challenging us to think critically and creatively. Both are simple ways to manage stress in a proactive way— and away from a screen.
1“The Surprising Benefits of Puzzles for Adults,” USA Today, August 23, 2018. 2Bethany Brookshire, “Explainer: What Is Dopamine?,” Science News for Students, January 17, 2017.
Coloring also has a tendency to revert us to our childhood, a place that usually consisted of fewer obligations. When we have a lot to accomplish, it can be easy to procrastinate and lose focus. By working on one simple task, we practice maintaining our attention through a peaceful and joyful activity—which comes in handy when we are finishing assignments or work obligations.3
3Martinez, Nikki, Dr. “7 Reasons Adult Coloring Books Are Great for Your Mental, Emotional and Intellectual Health.” HuffPost. November 24, 2016. Accessed April 23, 2019.
LIFESTYLE
SKIP THE SLOUCH ON THE IMPORTANCE OF GOOD POSTURE BY MOLLY RAPOZO, LIFESTYLE EDITOR CLAIRE MOON PHOTOGRAPHED BY TESSA TSARONG
We live in a world seeking alignment. We align ourselves with parties, labels and beliefs. But, in coordinating ourselves with these bigger themes and categories of the universe, we often forget to align ourselves with our selves. I refuse to apologize for how cheesy that was because, you know what, posture is important. It isn’t just to make sure your spine stands tall— it’s that, plus the support all of your ligaments, joints, tendons, bones and muscles. Done right, good posture reduces stress, fatigue and the general wear-and-tear of your body. It can also boost self-confidence, aid in proper digestion and support good circulation.1 Sitting, standing or lying in the right way fits well in the ever-popular discussion of mindfulness. Our default is often far from proper posture, as it takes careful thought and time to develop. The evaluation of where your body is at in this moment—a common mindfulness technique—can bring attention to an area of your posture that needs fixing. So, take a deep breath and sit as tall as you can. Starting with the position of your head, it should feel like a small string is coming out of the very top and 1Jenna Jonaitis, “12 Benefits of Good Posture,” Healthline.
pulling upwards. This might feel like you’re doing a little bit of a double-chin, which is correct. Your shoulders should be pulled back just enough to feel a lift in your chest. That same string that pulls your head upward might also be connected to you at your heart, pulling that up as well. Moving down to your hips, these should be in line with your shoulders— making your head, torso and hips one entity. Your knees should be at or below your hips, legs uncrossed.2 Standing straight should elicit a similar feeling—of all those strings are still there and still pulling up. Your feet should be about shoulder-width apart and when you place your weight in them, the weight should fall on the balls of your feet, the cushiest part just under the toes. Keeping a slight bend in the knees helps everything stay relaxed. Engaging your core and pulling your stomach in and up is a simple, easy way to spiff up posture if you’ve followed all the steps and something still feels off. 2“Maintaining Good Posture,” American Chiropractic Association.
When lying down, it’s important to sleep on your back or side. Sleeping on your stomach puts unnecessary stress on your back and neck—you’re trying to rest! Treat your body right by placing a cushy-yet-supportive pillow under your head. If you have extra pillows around, putting one under your knees if you’re on your back, or in between your legs if you’re on your side, can help support your body in all the right ways. With a little thoughtfulness and adjusting, your posture can be something that helps your body, not hinders it. With all of the stresses that your body encounters each day, don’t you want to be as kind as you can? A little mindfulness goes a long way— pulling your shoulders back, keeping your hips in line and sitting or standing upright treats your body very nicely, with minimal effort. That feels better, doesn’t it?
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CULTURE
POLIT ICS & POWER BY ARIANA KING, CULTURE STAFF WRITER
shares. “I saw great potential in being an artist and storyteller. It means having the right to speak and be considered in society. It means having your culture and identity be relevant. It means getting to decide what the relevant culture is, instead of having it assigned to you by someone else’s writing about you.”
Madison-based printmaker and public artist Jenie Gao used to hang drawings around her house as a kid— drawings she constructed using only scrap paper lying around. Growing up in a poor, immigrant family, art was discouraged as an unstable and unlikely career. However, Gao did not give up on her dream to become an artist. “My parents both rebelled against their own status quos, so I’m not quite sure what they expected when they told me to follow the rules. What I learned from discouragement early on was that I had to be serious in my discipline if I wanted to succeed,” Gao
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Gao’s views on the importance and meaning of art became more personal after her father’s passing when she was 21. It led to what she describes as an “obsession with recording personal stories.” She hopes that her father’s story will live on and be remembered through her art. Although Gao’s work has expanded beyond personal narratives since then, she believes that claiming space for untold stories is still inherent in her role as a public artist. “Public works transform the spaces they become a part of and are one way of asserting stories and identity for a place in an extremely democratic [way],” Gao says. What she has created over the years is art that challenges the confines of household art—works that take art into the public sphere. They’re
bold and powerful. “Rest and Rejuvenation,” one of Gao’s large public art projects, “[demands] to be a part of a conversation and physically and emotionally transform the spaces that people share.” This, she says, “gives power to what we pay attention to,” which can have huge social and political ramifications. Even with Gao’s obvious gift for creating meaningful work, getting art out there isn’t easy. As a full-time artist and business owner, Gao believes artists like her “have to advocate for the platforms and the channels [they] have to be able to make [their] work.” She calls attention to the dynamics between war and protest through her series “Survival Tools.” It features a gundog and a bulldog, which represent “war and violence” and “protest and speech,” respectively. “The two are often depicted in conflict, [but] they have the same origin,” Gao states. “At the center of most divisions is the shared desire to fight for what we believe is necessary to survive, and disagreements that are the hardest for us are the ones most intimate.” But profound truths like those in Gao’s “Survival Tools” series wouldn’t be in the public’s radar if she hadn’t created and advocated for space for her art. Without space, the true effects of the art’s power would never reach their full potential. Perhaps the most crucial part of Gao’s art, then, is her ability to speak out and fight for the right to artistic space itself.
Photo by Sharon Vanorny
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