Bolivian Fem @bolivianfem - Tumblr Blog

Highlighting: Vanessa Acosta and Wasi Clothing - Voices for Las Bolivianitas

Today I wanted to highlight Wasi Clothing, a Latinx Bolivian owned brand based in Los Angeles. Its owner, Vanessa Acosta is breaking down barriers in the fashion world, and making great strides for women of color, especially las Bolivianas! Vanessa launched Wasi in May of 2018, with a mission to incorporate Bolivian culture into ethically made fashionable pieces. Acosta says, “Every part of Wasi is intentional, from sourcing sustainable options to textiles, continuing into conscious packaging, and even representing Bolivian culture in a way that highlights an underrepresented community while also respecting the sacredness and magic of our Bolivian ancestors” (wasiclothing.com). Wasi and Vanessa also aim to empower women of color and allies to be the best version of themselves.

Wasi is the Quechua word for home. (Quechua is an indigenous dialect spoken in Bolivia and Peru!) She wanted to name her brand Wasi to make sure it felt like home to women of color and allies alike. To design many of her pieces, Vanessa uses traditionally indigenus textiles from Bolivia, much of which she brings back herself. Of course, prior to the pandemic she was able to travel and bring back the textiles and fabrics, specifically that of aguayo. She makes custom aguayo pieces and accessories. In fact, I own one of her aguayo scrunchies and her cute graphic tees! Introducing and involving Bolivian culture into mainstream fashion is a powerful way of shaking up the fashion world, and something I find very inspiring.

Vanessa (pictured below,) has been running this business as a one woman show since its start, acting as its primary designer, photographer, and boss! She says, “I represent one of the many small brown businesses that are educating the masses to stop supporting fast fashion and companies that appropriate cultures and start supporting brown businesses that hand make their own items ethically” (Acosta). Recently, Acosta shared how a large fast fashion company reached out to her to collaborate on a line, however she ultimately declined. Saying no was a rather easy decision for her, as she prides herself on being as ethical and sustainable as a fashion brand can be. Acosta sews and handmakes most of the pieces herself. Now that her brand is gaining more traction, she has hired a handful of Latinx sewers to help her out. Vanessa and Wasi are a fabulous example of reclaiming culture and infiltrating a largely capitalistic, Westernized fashion world! Many fast fashion companies only cater to a capitalistic society that hurts and discriminates against women around the world in various ways. For one, Wasi is continuing to grow as a size inclusive brand, and is made for people of all identities. More specifically, she continues to be a voice and brand that speaks up for all women and people of color.

Acosta not only continues to grow her business, but enjoys photography and including Bolivian culture in the rest of her work as well. She began a photography project called “Bolivianitas,” in which she interviews and photographs Bolivian-American women to tell their stories. She says, “The goal is to shed light on a country & culture of people in the Latinx community that are so often forgotten” (Acosta). One of the women interviewed was Stephanie Beatriz, a prominent actress who stars in NBC’s Brooklyn 99. (Stephanie’s portrait done by Vanessa is below.) This series is so important in telling the stories and narratives of Bolivian women that mix traditional indigenous culture with more modern experiences. The best part is that the series is conducted by a Bolivian woman for Bolivian women. Sometimes people misconstrue the experiences that Latinx women, especially Bolivian women have because of Westernized perspectives. However, people like Vanessa use their platform to dispel these narratives and share stories through the true lenses of these women.

When I found Vanessa and Wasi, I immediately messaged her and explained how refreshed and proud I was to see a Bolivian woman succeeding in her field. I have never seen a direct representation of Bolivian women in any form of media, so I am very happy that Vanessa continues to pursue her brand in such empowering ways. She says, “I'm making something out of myself and being unapologetic about what I stand for, what I represent, and what I create. With all that, I hope to represent other brown girls to do the same!” (Acosta). Andale, Vanessa!

Wasi Clothing website: https://wasiclothing.com/

Source used: https://blog.planoly.com/how-vanessa-is-paving-the-way-for-latinx-creatives-planoly

Untethering Maggie Rogers

My last post reminded me of another instance that occurred with one of my favorite artists, Maggie Rogers. Rogers is a singer-songwriter who was also nominated for Best New Artist at the 2020 Grammy’s. Maggie attended NYU and took classes within its Clive Davis Institute of Recorded Music. In 2016, Pharrell Williams visited one of her classes, in which he gave feedback on various students’ songs. It was here where Maggie Rogers’ song, “Alaska” would go viral. (”Alaska” is one of my favorite songs ever!) Once Maggie played her song for Pharell, he was stunned and said, “I have zero, zero, zero feedback for that… I’ve never heard anyone like you” (YouTube). The internet went wild over Pharell’s reaction, and Maggie was soon signed to a record label.

Since this occurred, Maggie’s name has been undoubtedly tied to Pharell’s, many people saying that he “discovered” her and launched her career. Many articles about Maggie’s album and music tether Maggie’s name to Pharell’s in their headlines. In a Pitchfork article, Maggie says she fears being known as, “the Pharell girl” (Pitchfork). Although she expresses gratitude for Pharell’s kind words, it is obvious that she would like to move forward with her career.

In 2019, Maggie tweeted out a clip from an Australian television show she appeared on with the caption, “note to future journalists- I have no idea what pharell smells like” (Twitter.com). During the interview, the man asks, “Did he smell good? It looks like he’d smell amazing” (Twitter). Before he asked the question, the interviewer promised it would be the last Pharell-related question to which Maggie responded, “Only if you promise” (Twitter). I am sensing a very unusual pattern here. I’m not sure I have any words for these journalists anymore… Once again a successful woman is being tethered to a man’s name and asked about his scent! Maggie had to clarify, “I have spoken to Pharell a total of three times after that video” (Twitter). This video occurred three years after Pharrell heard Maggie’s song, and they had only spoken three times throughout that period. There are multiple layers to this situation, in that women artists waiting to be “discovered” and “found” by men makes them sound unable and unfit to reach success on their own. Second, journalists and media focus on all the wrong aspects of these artists and actresses making them out to be obsessive people focused on the smell and appearance of men. Third, these women deserve to have name recognition without being associated with another man to reach success. Similar to how Mrs. means Mr’s, these women are tied to a man whether they like it or not because that is how they are portrayed in culture and media. I think it is time we untether them and recognize them for their own successes and achievements!

The video Maggie tweeted can be found here: https://twitter.com/maggierogers/status/1131205981092732928?s=21

Video/sources referenced: https://pitchfork.com/thepitch/1206-pharrells-stunned-face-launched-maggie-rogers-career-now-what/

https://www.youtube.com/watch?v=FAM1N1APk80

Keep Writing, Girls!

Expanding on my last post, it is so important to dispel the negative connotations attached to fangirls and the culture surrounding it. Like I previously mentioned, fangirls are grouped and generalized into a big group of crazed girls. However, it is important to note their individuality and their contributions to culture and the industry. Within fandoms, young girls are able to meet like minded individuals where their camaraderie blossoms into lifelong friendships. I can attest to this, where the girls I met almost 10 years ago are my best friends. Being in a fandom has helped us choose possible career paths. When I was younger, my love for One Direction was like an outlet for the arts. I was in choir, dance, and acting, and loved going to 1D concerts to express my love for music and the arts. As I grew older, I got to learn more about public relations, the power of social media, and communications, which helped me lean toward a possible career path in college. It is important to foster these young women’s passions, as their love for music and artists could grow into something else. My other “fangirl” friends are music journalists, photographers, and writers. It is imperative not to shame or judge young women for what they are passionate about.

Fanfiction is another outlet that may seem a bit excessive or odd to some people. However, fan communities made up of young women actually help foster their writing skills and bloom into great writers. Ksenia Korobkova conducted a study where multiple One Direction fans were interviewed. One of the girls interviewed was Nicole, a 17 year-old fan from India. She mentioned how much being in the fandom and writing fanfiction has helped her with literacy skills. She explains how she learned to write longer paragraphs, “new genres of writing,” and, “how to compose multimodal texts…” (Korobkova, 35). Additionally, Nicole mentioned how many friends she has made, and how she feels she found a voice within her writing. Another fanfiction writer, Abigail, (13) from Canada explained how fanfiction helped her writing skills in school. Both of these girls explain how they find community and true friendship with many other young women. They lean on each other to uplift one another, and improve their writing, which is something that should be celebrated and highlighted in our culture. Let’s not shame fangirls and young women with dedication and passion, but nurture and foster their love for writing, photography, etc! Go girls!

Source referenced: https://clrn.dmlhub.net/wp-content/uploads/2014/05/Schooling-the-Directioners_Korobkova.pdf

Fangirls Run the World... and the Music Industry

If someone is asked to picture a “fangirl” in their head, they will most likely picture a “crazy,” “obsessive,” tween girl. Oftentimes, the way that fangirls are portrayed in media by television shows, movies, and comedians are inherently sexist. Fangirls are often made punchlines and the same repetitive stereotype is overused. This portrayal of fangirls is very one-dimensional and can be detrimental to young women who are passionate about their favorite artists. I’d like to dispel the negative associations pertaining to fangirls and fan culture, especially because I grew up extremely immersed in music and pop culture. I was a major One Direction fan and found a community within the fandom. I still identify as a fangirl in many aspects, and I think fangirls are the fuel that keep the music industry going.

It is often adults who look down upon fangirls and fan culture, calling them ridiculous and crazed. However, it is fangirls that hold the power in the industry. After all, they are a large deciding factor in whether an artist will be successful or not. These young women are capable of acting as an artist’s PR team, merchandise team, and marketing team all at once. Nicole Sanetero of UNLV drafted a dissertation pertaining to the power that fangirls have on the music industry, specifically One Direction fans, also known as Directioners. One Direction had a song called, “No Control,” which the fans believed should have been a single. They started the #ProjectNoControl, and got it trending worldwide. Sanetero writes, “Believing they could do a better job than the band’s management and record label in promoting the band’s album, Directioners came together to become One Direction’s own publicity and promotion team” (Sanetero, 12). The song then rose to #1 on the Billboard charts, gaining massive attention across all social media platforms, with the hashtag trending for days on end. The project also garnered the band’s attention, making them add it to their tour setlist. This is just one instance of how fangirls have control and power over social media trends. Fangirls are not given enough credit where it is certainly overdue. Because fangirl culture is associated with femininity and naivete, the power these young women have is largely unknown.

The misconception and popular ideology that fangirls are wildly naive, hormonal, young tweens is a part of a completely unfair and ever present double standard. Why is it that sports fans, a majority of them adult men, are allowed to scream, cry, wear merchandise, wait in long lines, and use social media to express their feelings over a sport, and young women fans are painted as obsessive? Sports fans and sports culture is widely accepted into mainstream culture, while young girls are often judged for loving a certain band or artist. Similarly, it is acceptable for people to camp out for multiple days outside of an Apple store for a new phone, but it is not scrutinized as much as fangirl culture. These young girls and young women are largely generalized into a group of obsessed, naive, girls, and never looked at as individuals with specific interests. I recall one day in eighth grade when my friend’s mom saw a Harry Styles poster of mine and said to my mom, “Wow I’m so glad that my daughter isn’t going through this phase.” Yes, I am not making that up.

Source used: https://digitalscholarship.unlv.edu/cgi/viewcontent.cgi?article=3731&context=thesesdissertations

My Curls As Resistance

Imagine this: You’re in the fifth grade play and have to wear your hair down for your role. But, you have big, frizzy, curly hair that you never let anyone outside of your family see. You’re hesitant to let anyone see it. This was a conundrum I faced in fifth grade when I was playing the Wicked Witch of the East. When I was younger, I didn’t love my hair because it didn’t look like everyone else’s. It was not straight, shiny, or smooth. It was big, frizzy, curly, and a lot to work with. Up until high school, I never wore my hair down. It was always slicked back into either in a pony tail, braid, or bun. In fifth grade, my teacher took out my braid and teased out my hair for the play. She said, “Oh honey, I’m so sorry you have so much hair! I get why it’s in a braid all the time.” She started laughing and so did my classmates. I was pretty humiliated to say the least, and it did not help my hair insecurities.

It wasn’t really until my last few months of high school that I realized my hair had a deeper meaning. It bears a cultural significance and has roots in indigenous Bolivian culture. Hair and hair care might be a kind of trivial thing for most people, but it has a deeper meaning for so many communities of color. I cannot equate my experiences to those of Black women and Black hair, but want to point out and acknowledge how much of a hold Western beauty standards have on society. Once I realized my hair’s significance, I wanted to take care and nurture my curls because they aren’t anything to be ashamed of. Maria Garcia of wbur.org speaks about her experience as a Latina with curly hair, stating, “Of course, women like... me were influenced by the lack of Latinas in the media, but we didn't hate ourselves. We just wanted to assimilate enough to navigate the world more easily” (Garcia, wbur.org). Garcia talks about the cultural significance Latinx women’s hair can hold, noting how many may have to relearn how to take care of their hair because they had/wanted to assimilate to mass culture previously. I can absolutely relate to this, as I have been on a journey of relearning how to take care of my hair. Garcia mentions going to curly hair specialists and better understanding what works and what doesn’t. I have been to a curly hair specialist, and now look at hair care as a sort of ritual that takes time.

For many women of color, flattening hair and straightening curls is a modern way of perpetuating colonial standards. Lighter, straighter hair is in line with Westernized beauty standards, similar to how thinner bodies are most desirable. Women of color’s hair is even policed and called unkept if not slicked back, looking “professional.” When talking to my mom about her assimilation process once she immigrated, she explained how she had to adjust certain things about her appearance, and learn an entire new language to try and fit in. By hiding certain parts of myself, I feel as if I am giving into those standards. My hair has also suffered from pulling it and gelling it back for so many years. I’ll admit, I still sometimes struggle with my hair, but am realizing how significant curls can be and continue to own them. Now, I see curly hair as a sort of resistance to colonization and assimilation efforts. I only wish I had realized this much sooner and not felt out of place when showing my curls.

Maria Garcia’s article, “For Some Latinas, Natural Hair Is A Statement of Identity” Link: https://www.wbur.org/artery/2018/03/22/latinas-curly-hair

“Me Quiero, Me Amo, y Me Valoro”

When talking about the waves of feminism and the fight for women’s recognition and liberation throughout history, we see the obstacles that women have had to overcome, being sent to jail, being silenced and shamed for speaking up about something they believe in. We also see the divide between groups of women, as not everyone experiences the same privileges others do. Women of different ethnicities, cultures, and gender identities confront certain types of sexism and inequality that affect them in so many different ways. Doña Emi’s story is an example of just a few of the barriers that indigenous women in Bolivia face. We see how she turns food and a signifier of her oppression into something about ambition, strength, and self love.

Netflix’s mini docu-series entitled, Street Food: Latin America, covers the food and culture of multiple countries across Latin America. The last episode of season 1 focuses on La Paz, Bolivia, and highlights women as the backbone of Bolivian culture and cuisine. One woman highlighted is Emiliana Condori, also known as Doña Emi, (pictured above holding her famous rellenos de papa.) The mini documentary-like episode covers the obstacles and perils that Doña Emi has faced while running her successful street food stand in La Paz for the past 30 years. Doña Emi has helped popularize rellenos, a mashed potato ball with filling, eaten with a variety of sauces. She has fought against discrimination toward indigenous women, and helped fight for street vendor rights. One woman interviewed in the episode says, “She is a great role model for women in Bolivia because she is proof that we can achieve anything” (Street Food: Latin America).

Doña Emi talks about her experience in an arranged marriage, mentioning the heavily prevalent machista culture in Bolivia. She said once she was married, she felt like a caged lion at home. Bolivian machista culture is still very much rooted in the ideology that women’s work is in the private sphere, at home and tied to domestic duties. Doña Emi decided she wanted to work, and talked about her thought process about opening her own food stand. She says, “I decided that I wouldn’t let myself be controlled. And my life changed completely. No one tells me what to do. I’m going to work. I’m going to open a street food stall” (Doña Emi, Street Food: Latin America). A little over 30 years ago when she decided to start her stand, street vendors were not exactly legal, and were belittled by police. Many thought she had no business selling as a woman, let alone on the street. Doña Emi was arrested several times when fighting for her right to sell, and would not back down. She said, “Me volvi macha,” meaning, “I became a badass.” She mentioned that she “had a right to work, earn money, and to eat” (Doña Emi, Street Food: Latin America). She turned something that society deems as a domestic duty and women’s work, into a fight for change and liberation for indigenous women in Bolivia.

After fighting for quite some time, Doña Emi eventually gained the right to sell her rellenos, paving the way not just for street vendors, but for women and cholitas all across Bolivia. Her small business has since expanded, and she has many food stands across several cities in Bolivia, with a full working staff. She talks about the journey of self-love when fighting for oneself. Doña Emi talks about the strength that women have, and tells us to fight for what we believe in because we are worthy. My favorite thing that Doña Emi said in her interview is, “Me quiero, me amo, y me valoro” (Doña Emi). In English, this translates to, “I care for myself, I love myself, and I value myself.”

(Episode 6, “La Paz, Bolivia” of Street Food: Latin America is available to stream on Netflix! The docu-series highlights other cholita street vendors and the amazing culture behind Bolivian food!)

The Skating Cholitas of Bolivia

I previously mentioned Bolivian cholitas and how they use their fashion to reclaim their power and identity. They take garments once forced upon them by their oppressors and use them now as statements of power as they continue to make great strides in society. Today I want to highlight ImillaSkate, a cholita skateboarding collective hailing from La Paz, Bolivia. The name is a mixture of Aymara, an indigenous dialect, and English. Imilla translates to girl in Aymara, translating the collective name to Girl Skate. I admire these skaters as they own their indigenous culture whilst making their mark in a predominantly male sport. It was amazing to see them skating in their polleras and bowlero hats while also wearing Vans. Vans is an American brand popular for their skateboarding shoes and apparel. Mixing their traditional dress with an American shoe is another way they are taking the signifiers of their oppressors to make giant strides within male-dominated spaces. Imilla Skate was started after another group of skating cholitas from Cochabamba, Bolivia inspired them to do so.

Skateboarding has become a popular sport and pastime for cholitas, and yes, they do it fully dressed in their staple cholita garb. Skateboarder Milenda Apaza says, “You don’t see traditionally dressed women skating in other countries. The world is going to know that Bolivia has women skateboarders, cholita skateboarders, and not just because we are women who skate, but because we do it while showcasing our culture and showing our love for the sport” (AP). Imilla Skate says one of its main goals is to express and show Bolivian culture while also encouraging and promoting women in sports. They want to continue to show Bolivian girls and women that they can dominate and excel at this sport. They show their independence by defying expectations of what skaters or women should look and act like.

Below is a video by Associated Press showing a few skaters practicing at a skate park in La Paz. Even at this park, mainly young men are skating around, however, we see skaters like Milenda and Aide skating with their friends, taking up space to show off their skills and difficult tricks.

It’s More Than Hair: Natural Hair in Hollywood and the Workplace

Recently, Monique Coleman, actor known for the High School Musical trilogy, spoke out about her experience with her hair while filming. If while watching the High School Musical movies you noticed the array of headbands Coleman’s character Taylor McKessie would often sport, it wasn’t the original plan for her. Coleman spoke to Insider for the first film’s 15 year anniversary and said, “The truth is, is that they had done my hair and they had done it very poorly in the front. And we had to start filming before I had a chance to fix it” (Insider). After noticing her poorly done hair, she suggested to the wardrobe department that they should incorporate headbands into her character and make that her thing. You can see her character donning these colorful headbands in all three movies.

In the tweet below, you can see actress Yvette Nicole Brown share her experience as a Black woman in Hollywood, stating how often Black actors must take it upon themselves to get their hair done separately, or bring in their own wigs, clip-ins, and products. After Monique Coleman’s first experience on the set of HSM, why didn’t the producers hire a hairdresser who was experienced with natural hair? Natural hair and Black women are not prioritized in the workplace. Here, we see the other-ization of Black women and actors, as they are excluded from the hair and makeup chair because of their identity. These experiences are unfortunately not isolated incidents, with Black women experiencing the negative effects of hair discrimination in the workplace everywhere.

This is a part of a much bigger issue that does not just happen in Hollywood trailers, but in all types of workplaces. Actors Gabrielle Union, Marsai Martin, and Keke Palmer partook in a PSA for the CROWN Act, (Creating a Respectful and Open World for Natural Hair) where Black women across the US described their experiences with natural hair in the workplace. Martin read a quote from a teen who had to get her braids cut off at school because the beads were making too much noise. Additionally, Palmer mentioned a woman whose human resources told her that her hair would look more professional slicked back in a bun. This type of discrimination against Black women must be stopped. Associating natural hair with unprofessionalism and ruggedness adds fuel to the notion that it is abnormal, otherizing Black women, and justifying discrimination of natural hair in all of society.

Link to Insider article: https://www.insider.com/high-school-musical-monique-coleman-taylor-headbands-reason-interview-2021-1

Link to CROWN Act PSA article: https://www.usatoday.com/story/entertainment/celebrities/2020/08/26/keke-palmer-more-celebs-call-out-black-hair-discrimination-psa/5638081002/

La Cholita: Fashionably Reclaiming Power

Over time, women have been reclaiming parts of their identity. After being erased out of history, they have found ways to rewrite it and have fought for ways to include themselves. To me, cholitas serve as an inspiration, and continue to show how resilient they are. Because I am Bolivian, it brings me so much pride to learn about indigenous women and the ways they continue to uplift themselves in society. They continue to reclaim their identity and exude strength.

Cholitas are Bolivian indigenous women. To begin, the word, ‘cholita’ was once a derogatory term used by colonizers to degrade indgenous people, specifically indigenous Aymara women. Although I have not visited Bolivia yet, my family has told me about their experiences growing up in Bolivia. Even from their stories, it is apparent that class differences were, and still are extremely stark and rigid. Cholitas were outlawed and seen as lower class, painted as second class citizens. Now, cholitas use the word with pride and identify themselves as a backbone of Bolivian heritage and culture.

Along with the term, cholitas have reclaimed their fashion. Certain pieces of their now staple garments were once used as outfits forced on them by colonizers when catering and serving to them. Now cholitas proudly sport their outfits and are nationally recognized as they continue to make great strides in taking up space in society. Rosario Aguilar, a politician from La Paz, has been using her platform on the city council to uplift indigenous women and shed light on cholita fashion. She even started a successful cholita modeling school, with over 200 graduates (Farthing, americasquarterly.org). With Aguilar’s help, cholita fashion and garments have made their way down several runways, and become part of some of the most anticipated moments at Bolivian and international fashion shows. Aguilar says, “I wanted to break old patterns of discrimination that meant we weren’t allowed into luxury hotels and fancy restaurants” (Farthing, americasquarterly.org). Aguilar has successfully helped uplift indigenous cholitas by also using their fashion and garments to do so.

Paula Dear of BBC News briefly broke down each piece of their clothing garments. First, is the bowlero hat that every cholita wears. It is the one element of their fashion that they can never leave out. Next is their manta, (shawl,) which is held together by their broach, another integral part of cholita fashion. Their polleras (large skirts) are another integral component in which individuality can be shown through material and color. During shows, and even out in public, polleras are often the part that cholitas like to accentuate. Under their polleras are enaguas, which are layered skirts that often peak out to show a burst of color. Cholitas also see their hair as a point of pride, often braided together and kept long.

Once considered second class, cholitas and their fashion have been making waves in Bolivia, with more and more indigenous women reclaiming their power in the cultural, social, and political spheres. Bolivian designer Ana Palza states, “This is what we show, the entire woman. – with her essence… This is not only about the clothes – the mujer of pollera is not an item – this is about the woman’” (bolivianexpress.org). Plaza describes cholitas and their fashion well, in that their being and identity is not just defined by their clothes and fashion, but their true essence and innate power to claim what is theirs.

Links to articles referenced:

https://www.americasquarterly.org/article/aq-top-5-fashion-innovators-rosario-aguilar/

https://www.bbc.com/news/magazine-26172313

http://www.bolivianexpress.org/blog/posts/bolivian-fashion-takes-paris-by-storm. - Image also courtesy of bolivianexpress.org

Poema Original - “Ser Mujer” Orginal Poem - “To Be A Woman”

In, “Grandmother Spider,” author Rebecca Solnit writes about the erasure of women throughout centuries. Solnit says, “Eliminate your mother, then your two grandmothers… Go back more generations and hundreds, then thousands then disappear” (Solnit, 72). Multiple generations of women and their achievements have been heavily overshadowed by men, as we have been regarded as second class citizens and categorized as ‘other.’ This inspired me to write a poem about the powerful women in my life. My mom, grandma, aunt, and older sister have inspired me countless times throughout my life. To me, these women exemplify the power each generation of woman holds. I learn from their experiences and cherish their words. They stay present in my mind, and I feel a responsibility to honor them. My grandma, mom, and aunt are immigrants from Bolivia and continuously show me the definition of powerful, strong women. I’ve written this poem in Spanish, so I will add an English translation. The translation may be a little loose, and the rhymes may not translate in English but that’s okay! Here is, “Ser Mujer,” written by me, Carol P.

“Ser Mujer”

La luz en la distancia tan brillante

Estoy aquí, ¿porque no me escuchan?

Sigue brillando como nunca antes

Soy mujer, y mis derechos me quitan

Mi abuela y mamá en mis lados

A pesar de las paredes, luchamos

Como obstáculos, siguen parados

Escucho a mi mama decir, ¡Vamos!

Piensan que pueden hacer lo que quieren

La Luz al final nunca nos dejan ver

En estos tiempos, así es ser mujer

Por estos derechos, unas se mueren

Es nuestra responsabilidad hacer

Todo para poseer nuestro poder

“To Be A Woman”

The light in the distance, so bright

I am here, why can’t they hear me?

It keeps shining like never before

I am woman, and my rights they take away

My grandmother and mother on my sides

Despite the walls, we keep fighting

Like obstacles, they stay in front of us

I hear my mother say, “Let’s go!”

They think they can do what they want

The light at the end blinds us

During these times, this is being a woman

For these rights, many have died

It is our responsibility to do

Everything we can to repossess our power

The ‘Fat Tax’

In my last post about The Plus Bus, I mentioned how shopping experiences for fat women can be troubling. Finding clothing that is affordable, flattering, and in style can be significantly harder to find. Today, I will be focusing on the affordability aspect of it all. This is a global issue, and contributes to the glorification of Eurocentric beauty standards. When learning about the silencing of women, we learn that the world is also built around conventionally thin, white, male bodies. The Fat Tax, which we will discuss, is something that also caters to thin, male bodies while putting plus sized women at a disadvantage.

As I mentioned before, the policing of bigger bodies is a global issue. Cecil Yeginsu of The New York Times wrote a piece about The Fat Tax focusing on British retailer, New Look. Shopper Maria Waller noted that a pair of plus sized green women’s trousers were marked up by 15 percent. Sizes 16 and up (UK size 16 equates to a US women’s size 12) were affected by this price mark up. Many may make the argument that if more material is used to produce a garment, customers should be charged more to purchase it. However, if this argument is sound, shouldn’t smaller sizes be significantly marked down and cheaper because they require less fabric? How about medium sizes? Like British fashion designer Amanda Bowes stated, “if the pricing metric is going to be based on size, then every size should be priced differently” (Yeginsu, New York Times). Yeginsu and Waller also noted that if pricing should be based on fabric usage, that ‘tall’ and maternity sizes should all be marked up and priced differently. However that is rarely ever the case. They are not affected as much as fat bodies. Fat women’s bodies.

Yeginsu also mentions this same Fat Tax being imposed and present in US retailers. Popular retailer Old Navy is just one example highlighted in the article. The Fat Tax is not just a result of fat phobia, but an example of capitalism and society catering directly to the patriarchy. At Old Navy, a pair of “Rockstar Super Skinny Jeans” were priced at $26 for a size 6, and $40 for a size 26. This is quite the price difference. To further investigate, I looked at the Old Navy website to find that a pair of men’s skinny jeans are evenly priced at $27 for all sizes. My current perusing on the Old Navy website has proven that the Fat Tax is still very much present and in action.

What is the message these retailers are trying to send toward women? Plus size shopper Madeline Moll frames it in a way I think is quite accurate. She states, “It’s almost like the shops are trying to make a point by putting up the price. It’s like they are saying, “‘Lose some weight, love.’” (Yeginsu, New York Times). Rather than just saying it’s the shops, I might add that this is what society tells us, and has been telling us for quite some time. Women have been told to lose weight to be more attractive and desirable and are quite literally punished if we don’t. This Fat Tax is also a tangent of women’s inconsistent sizing. Am I truly a size 16? I have jeans in my closet that fit fine but range from sizes 14 through 18. Inconsistent sizing is another tangent that I will touch upon later, as it is constructed to make women feel bigger or smaller than they are. I wonder why inconsistent sizing is so prominent in women’s clothing. Lose some weight, love?

Link to New York Times article: https://www.nytimes.com/2018/05/16/world/europe/new-look-fat-tax.html#:~:text=%E2%80%9CObviously%20it%20costs%20more%20to,a%20phone%20interview%20on%20Wednesday.

Images from The Plus Bus! Goes along with my last post highlighting The Plus Bus as they continue to create happy and comfortable shopping experiences for fat baddies! Particularly love the sign found in the store. Say no to body policing, gender norms, health trolling, and diet/food shaming! (These were posted on The Plus Bus’s Yelp).

#theplusbus

Highlighting: The Plus Bus - “You Are In A Body-Positive Zone”

Today I want to highlight a boutique located here in Northeast Los Angeles called The Plus Bus! The Plus Bus started up in 2015, and was created by fat women for fat women. Jen Wilder and Marcy Guevara-Prete wanted to create a safe space for plus-sized baddies, and have successfully been running this boutique for 6+ years. I follow the Plus Bus on Instagram, where they serve their audience fatshion inspiration and hold livestreams where they sell clothing items in a sort of live-auction style. Just a few weeks ago, Lizzo sent over heaps of her clothing to sell to Plus Bus customers. At this boutique, you can buy, sell, and trade clothing from sizes 12 and up.

As a fat girl, I love this idea and see the store as a safe space. There have been countless times where I had trouble finding flattering clothing that fits well, as most stores hold clothes for conventionally thinner bodies. This is an issue for so many fat women, and they are excluded and erased from many popular, and a lot of times affordable stores. Yes, bigger sizes means spending more money for fat women. I see this all the time where for example a t-shirt is $8 for sizes XXS-L, but $14 for sizes XL and up. Although there are a handful of plus size stores, their fashion and styles are very outdated and not flattering for certain bodies. Here at the Plus Bus, fat influencers often send their clothes over, and are much more in style and current. You can find almost any kind of item of clothing, handbag, or pair of earrings that actually fit!

The Plus Bus is helping create a safe, positive, and comfortable open space for fat women that they often do not have in most stores. This boutique also helps in creating a freeing and happy shopping experience. The Plus Bus recently moved to a bigger storefront in Highland Park, and if you are a fat baddie I encourage you to support Jen and Marcy’s business! As it says on their webpage, they welcome you to their, “fatshion oasis!” (theplus-bus.com). As I said before, they also hold instagram live sales, and who knows? You could own one of Lizzo’s tops!

Plus Bus socials: @theplusbus on Instagram

Website: https://www.theplus-bus.com/

#theplusbus #loveyourbody

“Ask yourself where your idea of beauty actually comes from” (@/seedingsovereignty on Instagram). Thank you to @/seedingsovereignty on Instagram for these amazing graphics. Why does society favor small, petite, white bodies and constantly scrutinize fat bodies, especially those of color? It is so important to learn about how fat bodies have been colonized over time. These ideas have been translated to how we treat fat bodies now. Think about how fat bodies are mistreated and associated with laziness, ugliness, and unattractiveness, while skinny and thin bodies are constantly glorified, glamorized, and idealized. These ideas and societal beauty standards are thrown at women even harder. Why is it that I rarely see fat women on television and media? Why can I only think of one prominent fat woman of color as an artist? Is there only space for one fat woman of color to thrive and succeed as a singer? (You go Lizzo!) As a young girl, I can tell you that I would have loved to see a fat woman unapologetically loving herself and her body onstage at the Grammy’s, VMA’S, on Instagram, etc. Next time you murmur, “Ugh I look so fat today,” or “Oh my gosh I ate too much I’m scared of getting fat,” please think about how you are only uplifting colonizer standards and beliefs. Do not associate fatness with ugliness, being fat is not an insult and you should not fear being fat. Do not fear fat bodies! I have so much more to say on fatness, but I just wanted to share how fat phobia has major roots in colonization and how prominent white Eurocentric beauty standards are today!

#bodypositivity #loveyourbody

Congratulations On Your Oscar, Youn Yuh-Jung!

This past weekend, The Oscars took place in all of their Hollywood glory. Among the nominees that attended was Youn Yuh-jung. Youn is an incredibly talented Korean actress who has accomplished so much throughout her career, including widespread fame and recognition in South Korea, and countless prestigious awards. Most recently, she appeared in the film Minari. The film focuses on a Korean family of immigrants trying to navigate life in the US. For her role, she received the Oscar for Best Supporting Actress. She made history by being the first South Korean actress to win an Academy Award, and the first Asian actress to win Best Supporting Actress since the 1957 Oscars! (nytimes.com).

With her incredible performance in Minari, and the history she made that night, you would think interviewers and media would ask her about her work and much deserved award, but alas, she was met with a different set of questions once inside the press room after getting off stage. To preface the question, I should note that Brad Pitt presented Youn with her Oscar, and later had a very brief conversation with her. An interviewer asked, “I have to ask you- what did you guys talk about and what did he smell like?” At first looking a little stunned at a question, she responded by saying, “I didn’t smell him, I’m not a dog! I didn’t smell him...” (Variety). I, along with many people on the internet were stunned that the interviewer would have the opportunity to interview a history-making Oscar winner, and then ask about a man! Nevertheless, how he smells. Youn politely answered by saying how she saw Pitt’s movies and recognized him as a big movie star, but did not even get to mention her performance or the fact that she was holding an Oscar for her work. Twitter user @/clemmie tweeted out, “why not ask her about the Oscar she won 15 minutes ago?” (Twitter.com). In a later interview with a Korean news source, Youn said, “They kept asking, ‘What was it like seeing Brad Pitt?’” (Twitter.com).

And so I must say that it is unfortunately no surprise that the media still treats women in such drastically different ways than men. I do not think people asked Brad Pitt what Youn Yuh-jung smelled like. Youn and Brad Pitt are on the same level, achieving one of the highest levels of success in the film industry. However, women are often thought of in association to men, and often do not get the credit they deserve for their achievements and accomplishments. In a way, the American media and that specific interviewer have silenced and downplayed Youn’s success. This reminded me of Rebcca Solnit’s “Men Explain Things To Me,” where she describes a situation with a man who did not want to understand her success as a novel writer. Brad Pitt had the pleasure and honor of meeting Youn Yuh-Jung! Not the other way around. Although this one question may have been a subtle form of silencing and a bit of ignorance, it still contributes to the fact that women’s success is looked at in a different way than men. It is so imperative that we look at women as independent, successful beings, and not feel the need to associate them with men.

Sources used:

https://twitter.com/thefilmupdates/status/1386511195969105920?s=21

https://www.nytimes.com/2021/04/26/world/asia/south-korea-oscar-minari.html

https://twitter.com/nickcho/status/1386926079437250560?s=21

Rina Sawayama Critiques Socetial Gender Norms Through Empowering Synth-Pop Bop

Rina Sawayama’s song, “Comme Des Garçons (Like the Boys)” has been on my playlist for a while now, and I thought her and this song were great topics to highlight today! I not only love the song for its upbeat, synth-pop, strut-inducing tune, but also for its clever way of critiquing societal gender roles. More specifically, it takes a look at the way men, women, and non-masculine identifying folks are socialized so differently into the world.

Sawayama is a Japanese-British singer and songwriter, who makes amazing, danceable music with powerful messages. Another one of my favorite Rina songs is “XS,” which talks about our consumer habits and our want for excess things, while also hinting at the pay gap that a capitalistic society carries forth. Both “XS” and “Comme De Garçons (Like the Boys)” are tracks off of her first full length studio album Sawayama, released on April 17, 2020.

“Comme De Garçons” translates to “Like the boys” or, “Like Boys Do” in French. Comme De Garçons is also the name of a high end fashion brand, which is popular in today’s current fashion trends. Sawayama uses this particular phrase as a way to challenge the way men and women are told to exude confidence in such differing ways. Boys and men are commonly associated with confidence, and are encouraged to be proud of their achievements and boast their innate sense of confidence. However, girls and women are told differently, and to act humble and downplay their displays of confidence. Essentially, confidence is associated with masculinity. Sawayama uses this phrase and turns the tables, singing, “Like the boys, like the boys, Comme des garçons, I'm so confident. Excuse my ego, Can't go incognito, Every time you see me, It's like winning big in Reno” (Sawayama). She takes something associated with masculinity, and makes it her own. In the music video, she reverses the roles, and kicks things up a notch by elevating herself on a turning platform. At her feet are a group of shirtless men trying to reach her status. I love this part of the video, because she claims her power as a confident woman, while the men are visibly and literally below her. (I’ve included a gif at the top of the post of this particular moment.)

In an interview for Pitchfork, Sawayama stated, “The idea that the socially acceptable version of confidence is in acting “like the boys,” otherwise as a woman you get called a bitch—but in the club, we reclaim the word “bitch” as a sign of ultimate confidence (“yes bitch,” “work bitch”)” (Pitchfork). Here, she explains the message behind her song, mentioning how masculinity and confidence are so often connected, and how women and non-masculine folks should adopt masculine traits to be seen as confident. “Comme Des Garçon” does a fantastic job at simultaneously creating an enjoyable track and critiquing the different experiences men and women have with confidence. She also sings the lyrics, “Girl it’s okay, you should never be ashamed to have it all” (Sawayama). This specific line is another way Sawayama helps uplift women by saying directly that they shouldn’t be afraid to be and feel confident, blurring the lines between gender and confidence. Go Rina!

Link to Rina’s music video:

Link to Pitchfork article referenced: https://pitchfork.com/news/rina-sawayama-announces-tour-and-debut-album-shares-new-song-listen/?utm_social-type=owned&utm_brand=p4k&utm_source=twitter&mbid=social_twitter&utm_medium=social

The Public Scrutinization of Women In the Industry

This past weekend, I among many other music fans sat down to watch the 63rd annual Grammy Awards. The broadcast hosted a group of A-list musicians and performers from Dua Lipa to Cardi B. Upon watching the performances, I quickly noticed the difference in performance quality between a few of the men and women artists. These differences are not anything new. We often expect different things from men and women in the entertainment industry. Women musicians and artists are often expected to give performances of much higher entertainment value, or else they are deemed lackluster artists. Their performances are highly scrutinized, and might even be made into memes if not up to the public’s standards. Additionally, their clothing choices and moves are also scrutinized much more. This of course varies to how the public views male artists’ performances. They are critiqued much less on their performance value and level of entertainment.

Megan Thee Stallion and Cardi B gave an extravagant performance of their song, “WAP,” with Megan also performing a mashup of two of her hits- “Body” and “Savage.” Their performances were also intricately choreographed, with a troop of talented dancers showing a variety of dance genres supporting the artists onstage. Megan and Cardi also danced and sang around and atop many extravagant props. Harry Styles also opened up the show, and although I have been a devoted Harry fan for oh so many years and even blushed at his performance, I must point out how underwhelming his performance was compared to Megan and Cardi B. He mainly just sang the song and roamed around the stage in a leather ensemble. He was also shirtless the entirety of his performance. Why is this significant? Allow me to explain. After the Grammy’s, ABC WFAA reported that the FCC received dozens of complaints criticizing Megan Thee Stallion and Cardi B’s performance. A Conneticut viewer stated, “The Grammys need to require the artist not to be performing any types of sexual acts and require clothes to stay on…” (ABC). Another Texan viewer stated, “The media has a problem with Dr. Seuss, yet allows Cardi B to sing about her [WAP] on national television” (ABC). These complaints further prove the double standard surrounding men and women’s bodies, and freedom of expression, especially in public. Styles was able to sing his (sexually suggestive) song shirtless and unscathed by critics, while Megan and Cardi B. were and still are being publicly shamed and scrutinized. Albeit, they were actually clothed, not shirtless!

Again, this very alive and well double standard is present for all women. At last year’s Super Bowl Halftime performance, Shakira and Jennifer Lopez gave a performance that was apparently a little too controversial. Although they were fully clothed, critics were still upset at the artists’ outfits and movements. Their performances were not as sexually suggestive as these critics claim them to be, only further proving the point that women’s bodies, especially Latinx women’s bodies are extremely hyper-sexualized. This matters, as these women were just performing their songs along with amazingly difficult choreography, but were still found to be, “too sexual.” ABC WFAA reported that over 1,300 complaints were filed with the FCC against Shakira and Jennifer Lopez’s halftime show. Meanwhile, in 2019 Maroon 5 performed at this same halftime show, with Adam Levine performing shirtless during a majority of the performance. He was also hip thrusting and executing sexually suggestive moves. This did not spark any outrage, it only grew Adam Levine fans’ affinity for him. People swoon at shirtless men, but when women wear bras or cropped tops in public, they are shamed and endless complaints are filed.

These performances also prove another point: We do not expect the same performance quality from men and women performers. As I stated, Megan Thee Stallion, Cardi B., Shakira, and Jennifer Lopez all gave larger than life performances, yet are still harshly critiqued by the public. In fact, Dua Lipa was made fun of for her dancing at the Grammy’s, while Megan Thee Stallion’s tap dancers were critiqued for looking “too tired,” and “exhausted.” (These amazing gals are in the gif below.) However, I did not see such harsh critiques on social media for performers Post Malone or Harry Styles. Their performances did not involve multiple costume changes or elaborate background props. The unfortunate truth is that we always expect so much more from women, and the average from men.

Link to Megan Thee Stallion’s Grammy’s performance:

Link to ABC article referenced: https://www.wfaa.com/article/news/entertainment-news/cardi-b-megan-thee-stallions-wap-performance-grammys-fcc-complaints-what-viewers-wrote/287-ca469ee2-2a4e-4e43-9277-74559fbea404

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