Altruism, Performative Activism, and the Instagram Infographic

by Natalie Brennan //

Let’s Talk Altruism

I took a philosophy course my senior year of high school. Aside from discussing philosophical works, we spent most of our class time discussing personal morals and ethics. It was an intense yet rewarding experience where I fear my pretentious side was cultured. To this day it is still one of the best classes I have taken.

He asked us if altruism even existed at all and insisted that there is always a reward when we do something for someone else. Examples we had brought up, such as donating to a food bank or reading to an elementary school student, did reward us with the emotional gratification of helping someone. 

In a more notorious class, we discussed what true altruism, or going out of the way for someone with nothing in return, looks like in practice. We all enthusiastically agreed that we could be truly altruistic, but this notion was challenged by our teacher. He asked us if altruism even existed at all and insisted that there is always a reward when we do something for someone else. Examples we had brought up, such as donating to a food bank or reading to an elementary school student, did reward us with the emotional gratification of helping someone. 

This conversation shifted to a moment of digestive silence as we processed our teacher’s argument. Is there any break in our fixed biology to do something completely in favor of someone else? I am not well versed enough in philosophy to give you the answer, nor am I equipped with the ability to unpack that.

Read more about defining true altruism here.

Activism at the Height of Quarantine

It is here that I switch gears to good old March of 2020. Stuck in my house with philosophical thoughts on altruism and the like, I took to attempting whipped coffee, walks around my block, and YouTube workouts to mitigate the whinnies of the moral high horse. In all seriousness, I certainly felt the stir-crazy that being stuck at home brought us and the anxiety of navigating all the unknown that was in front of us. For example, my mother, who was deemed an essential worker, would bring home stories of a coworker who insisted that martial law was to be enacted soon to enforce the quarantine. It was like living in a dystopian novel: social unrest was magnified.

The political polarization became more evident than ever. Those who opposed the lockdown took to all social media platforms to express their distaste for the government’s decision. I distinctly remember my mother and me calling my grandmother to discuss some of her Facebook posts (think outlandish sentences on the future of society with links to “independent” news sources). Protests took to the streets throughout the USA in support of BLM after George Floyd’s murder, and groups once again began to gather in solidarity. Flags were displayed in people’s yards, in the front windows of stores and small businesses, and on bumper stickers on the back of Subarus. CNN was kept on at all times in my household, and I had friends and family that would only watch Fox. Looking back, I realize that we all were actively contributing to the polarization that was occurring.

There had never been a moment in my life where I had been so aware of the news. I was searching up the mask mandates by state, locations of protests near me, the positivity rate of COVID cases in my town, and what exactly a presidential impeachment looked like. So much new information was to be acquired, and as a Gen Z-er, I had all of the social media outlets to get it from. As young people during this pandemic, we scrambled to make our voices heard to the general public.

Turn your Virtue Signals On

Enter the rise of the Instagram infographic. Again, as we clamored to find our online presence, as we worked to learn more and to spread awareness, infographics spread like wildfire. Unfortunately, these posts put more emphasis on aesthetics than reliable information. 

You can read more about the rise of the “Instagram Infographic” here.

My peers with left-leaning views would post an infographic with COVID news, information on the climate crisis, the Israeli-Palestinian conflict, and statistics on police brutality. My right-leaning peers responded similarly, with reposts of Trump’s pictures or tweets, Joe Rogan quotes, and Blue Lives Matter propaganda (not to mention there was a severe lack of pink and glittery infographics on their end).

These infographics, although on occasion imbued with reliable, good information, were used as weaponry. They were used to signal virtue, to incite conflict, and they often ended up as a conversation starter that resulted in both parties feeling more distanced from each other. The rise of the infographic was nothing short of performative activism.

My first semester at college proved to be just as ineffective with the push toward the Instagram infographic. In my freshman year, I attended a small liberal arts institution with just over 2000 students. In the most altruistic effort to form communities, Instagram accounts related to our school would post infographics as well. Most of the time these infographics were about COVID news on campus or mutual aid funds for BIPOC students. These were shared among members of our community on Instagram stories. When tensions would reach a high, whether this was an increase in COVID cases on campus or the forming of a chapter of Libertarian students, infographics would flurry onto my feed. For context, the general population of my school was very left-leaning, so the majority of these reposts would feed into an echo chamber, with rebuttals from that one “socially liberal, but fiscally conservative” closeted-Republican lax bro, resulting in his inevitable cancellation.

If Altruism Doesn’t Exist…Then All Activism is Performative Activism

Nothing quite spells out performative activism like sharing a cute, pastel infographic on violence against minority communities. We feel emotional gratification after reposting something, emotional gratification from what feels like us standing in solidarity, but really just screaming to your four active followers “I am not an asshole!”. 

If all activism is performative in the context of altruism, then we need to put our money where our mouth is. Direct funds need to be given to organizations or people who may be directly facing the conflicts and oppression posted about in these infographics. Every time there’s an urge to repost, make sure some other work is done on top of that so it isn’t just an announcement of your activism.

In my experience, the reposting of accounts for mutual aid or centers for donation was a chain reaction, starting with one account and leading to a heightened social media presence. But these goals for funds would often go unachieved, which I think speaks well to just how performative these reposts of infographics are. Don’t get me wrong, I know there are economic discrepancies among students on my previous campus. However, it was a small, predominantly white, and wealthy campus. I knew most of these kids personally, as COVID kept a large fraction of students squirreled away from campus. I still don’t think it would have hurt them to chip in a couple of dollars every time instead of reposting the same infographic.

If all activism is performative in the context of altruism, then we need to put our money where our mouth is. Direct funds need to be given to organizations or people who may be directly facing the conflicts and oppression posted about in these infographics. Every time there’s an urge to repost, make sure some other work is done on top of that so it isn’t just an announcement of your activism. Sure, there may be some emotional gratification in return after we donate, but at least there is a tangible benefit for those who are struggling.

I can openly say that, yes, I too mindlessly reposted circulating infographics to my Instagram story to avoid people thinking I was problematic. In the spirit of speaking against Instagram infographics, I don’t want to hypocritically oversimplify an issue. Performative activism can come in separate forms than the cursed infographic, and they can be reposted for entirely different reasons. There is nuance behind the choice to repost something that often ends up in an assumption about the reposter. I can assure you that from my viewpoint, not all infographic reposts are negative. But I can enforce the deductive argument that if altruism doesn’t exist, rendering all activism performative, then money in the form of aid and more agentic activism in society will speak louder than a circulating, pink Instagram infographic.

epic

by anonymous //

today,
my ex-girlfriend told me
she wanted us to get back together.

how do i tell her i
didn’t just survive the breakup,
i thrived?

i didn’t grieve 
because i wasn’t experiencing a loss,
i didn’t cry
because there was nothing to be sad about;
i found great friends and a brand new job
i started studying for tests (and acing them)
i ate alongside my classmates (and enjoyed it)
i finally felt free (of her)

her, on the other hand,
she cried
every day,
posted
all over her finsta
about how much she
loved me and
missed me and
hated me and
loved me;

how could she not?

i was the one who broke her heart.

i was the bad guy,
i was the one who said
“we need a break”

even though this is a breakup poem
and breakup poems are supposed to be written by the victim.

we were best friends first,
(as they always are)
the ones who unfailingly
texted “good morning” and “good night”
asked each other if our days went well
and comforted each other when they did not

we were an epic love story,
all of our friends were jealous
and they admired
us. we were going to last
Forever

until one day
in the middle of the summer
i woke up
feeling nothing for her
and the next day
and the next day
and the next

until i couldn’t just ignore it anymore,
it couldn’t just be something
in the back of my mind
pushed deep down because
i wanted us to remain:
in love?
comfortable?
epic.

we tried to remain best friends,
because how could you live without your best friend when
breaking up with your girlfriend?
but there’s something so wrong about
shit-talking your ex to your best friend
when your best friend is your ex,
and the boundaries between
girlfriend and
bestfriend had
blurred so much they were
impossible to untangle.

we were best friends first
until ‘we’ became ‘me’ and ‘her’
and ‘us’ became a chore because
‘we’ overstayed its welcome
and it was impossible to remain ‘best’ or ‘friends’ anymore, so

today, when 
my ex-girlfriend said
she wanted to get back together with me

i had to accept my fate
as the villain in our epic.

Sex Education Season Three: Gendered Difference in Character Development

by Hanna Carney //

The Netflix original Sex Education has been getting a lot of praise for its depiction of sex-positivity and its empowerment of teenagers and adults since Season One was released. Sex Education Season Three was recently released on September 17 2021, and its fan base remains enthusiastic about the series. The show revolves around Otis Milburn (Asa Butterfield) as he navigates high school, relationships, and sex. Otis, whose mother is a sex therapist (Gillian Anderson), forms a complicated friendship with Maeve Wiley. Together, they start a small business at their school, educating their peers (and the audience) on sex positivity, safe sex practices, and more. 

Although Otis and Maeve are the respectable main characters, the gems of this season were a few side characters: Adam Groff (Connor Swindells) and Ruby Matthews (Mimi Keene). It’s a running joke online that these two carried Sex Education this season. Adam, a bully-turned-sweetheart, is the boyfriend of Eric Effiong, Otis’ best friend. Ruby, one of the popular girls at Moordale Secondary School, is the fleeting love interest of Otis. We see these characters grow throughout Sex Education Season Three, and we come to forgive them for their shortcomings in earlier seasons. 

However, there is a key difference in the way these characters develop and “carry the season.” The directors give Adam more agency in his character arc, while the directors expect our sympathy for Ruby to draw from her relationships with men. Despite Sex Education’s feminist efforts to be inclusive of all identities, misogyny still pervades some of their plot lines—particularly Ruby’s.

However, there is a key difference in the way these characters develop and “carry the season.” The directors give Adam more agency in his character arc, while the directors expect our sympathy for Ruby to draw from her relationships with men. Despite Sex Education’s feminist efforts to be inclusive of all identities, misogyny still pervades some of their plot lines—particularly Ruby’s.

Adam’s Agency and Growth 

Adam starts out Season One as the school bully. He had an unhappy home life with a cold father. He would actually beat up his now-boyfriend Eric regularly until he realized and accepted his attraction for Eric. The directors offer up Adam’s complicated homelife and discomfort with his sexuality as an explanation for his outrage, and the directors hope we accept this explanation. Sex Education Season 3 was dangerously close to employing the toxic enemies-to-lovers trope and glorifying bullying. Remember Kurt Hummel and David Karofsky on Glee? Or, Mindy Krenshaw and Josh Nichols on Drake and Josh? But Sex Education’s deptiction of the bully turned romantic partner is slightly more thoughtful than these other shows. Alan Sepinwall writes in Rolling Stone,

 I’ve now mostly let go of my frustration that he [Eric] was paired off with Adam, who was introduced in Season One as a bully who relentlessly tormented Eric. Their stories this year, both together and apart, work very well. 

Overall, he overcomes his masculine outrage from Season One by accepting his identity as a gay man and working to grow as a person. Adam has our admiration, and we accept him with open arms. 

Fast forward two seasons later, and Adam comes across as an endearing young man with a kind heart. He cares deeply for his boyfriend Eric, writes him poetry, and tries harder in school. The fact that Eric forgives Adam helps us forgive him, too. And, if that doesn’t have audience members convinced, you can’t forget the scene where Eric does Adam’s makeup and Adam responds, “I look quite pretty.” Seeing Adam embrace femininity warms our hearts and seals the deal.

Like Sepinwall writes in Rolling Stone, the fact that Eric’s and Adam’s stories work “both together and apart” is a key element in Adam’s agency. He has a story outside of his boyfriend, and Adam puts in the effort to improve himself. He asks his teachers for help, practices sharing his feelings, etc. Overall, he overcomes his masculine outrage from Season One by accepting his identity as a gay man and working to grow as a person. Adam has our admiration, and we accept him with open arms. 

A Female Character’s Story Dependent on Men 

There’s another character that the directors clearly want us to sympathize with and accept—Ruby. Like Adam, Ruby also has a complex character arc. She’s one of the stereotypical popular, “mean girls” at school, and eventually the show presents her as an independent person that knows her worth. The directors want us to forgive Ruby like we did Adam. However, the directors don’t assign her agency as she grows as a character. Instead, her growth is contingent on her relationships with men.

Adam has a story “together and apart” from Eric. Ruby seems to only have a story “together” with Otis. The season opens by focusing on Otis and Ruby’s casual relationship. Ruby is embarrassed of her sexual relationship with him and spends much of Sex Education Season Three trying to change Otis—his behaviors, his clothing, etc. She is also standoffish about him going over to her house. The directors were purposeful in having the audience wait to find out why Ruby is acting this way.

“Tough Girl with a Soft Heart” Cliché 

Then, comes the “big reveal”—Ruby comes from a middle-class household, and her father has MS. How do the directors want us to feel about this? It seems like the directors are playing with a common trope: the beautiful, popular girl with a tough exterior has a secret to make us pity her—suddenly we see she has a heart. But in reality, living in a middle class household or having a close family member with an illness or disability is a normal thing. Why make her father’s experience central to her character? It seems like it should be more his story than hers. 

To make it worse, the directors seem to lose interest in Ruby’s character once Otis breaks up with her. She doesn’t really get a story of her own.

Immediately after this scene comes the vulnerable moment when Ruby tells Otis she loves him… and he doesn’t say it back. As much as we may feel for Ruby and her rejection, the directors over-emphasize her father’s role in this sympathy. They chose to place this scene directly after Otis meets Ruby’s father. As the directors imply, it is a big deal that she is sharing a secret part of her life with Otis, so we should feel even worse for Ruby. But I would argue that we should admire Ruby for other reasons—her confidence, her humor, and her ability to stand up to people. It’s a pity that the directors over-emphasize her relationships with men.

To make it worse, the directors seem to lose interest in Ruby’s character once Otis breaks up with her. She doesn’t really get a story of her own. We are expected to sympathize with her and move on. Her father’s disease and her relationship with Otis takes up too much space in her narrative.

Gender Differences in Character Arc 

@winterstxrk

best character development with them <3 #fyp #rubymatthews #adamgroff

♬ original sound – amber

It’s interesting that with Adam, we get to sympathize with his character for his personal struggles and his agency in overcoming them. For Ruby, the female character, we are expected to sympathize with her because of her association with men and their struggles. This pattern of giving male characters more agency than others is getting a bit old, don’t you think?

Sex Education did an amazing job in Season Three in its representation of all kinds of identities. We saw more non-binary representation, disabled individuals as love interests, and more. However, they fell a bit short when it came to Ruby’s character development. Let’s hope that if Season Four is in the works, the directors will give Ruby more space in the show’s narrative as she deserves.

Reminder: All Cosplayers Deserve Respect

by Aditi Hukerikar //

After transitioning to a virtual format due to the pandemic, comic conventions are finally returning to their former glory. October 7-10 of this year, droves of fans eagerly attended New York Comic-Con. Sadly, along with the return of Comic-Con comes another pre-pandemic occurrence: the criticism women face for cosplaying at conventions. Women who cosplay often face harassment if their outfits are deemed “too sexy” or are criticized for supposedly pretending to have interests in comics for attention. 

Cosplaying Is A Commitment

Clearly, people of all genders who cosplay are dedicated to their art

Women who cosplay spend a lot of time, money, and effort on their cosplays. The motivation for cosplay stems from passion, not a desire for attention. If they’re proud of their art and eager to wear and showcase their hard work, they should be respected. 

Why Should Women “Prove” Their Interests Are Real?

The belief that women’s interest in comics and other “nerdy” media is disingenuous isn’t a novel form of sexism.

For example, in 2012, YouTube user albinwonderland posted a video titled “Fake Geek Girls.” This post was a response to a Facebook post by a male comic book artist who was berating women who cosplay for “faking” their interest in comic books and “seeking male attention.”

Most of the content produced in this community is tailored towards an audience of men, which only fuels the cycle of men feeling that women aren’t allowed to occupy the same space they do within the comics community. 

Though this video was posted nearly a decade ago, albinwonderland does an incredible job of illustrating how women feel uncomfortable in nerd spaces due to the hostile, elitist communities that men create within them.

The fact that women in comic or geek spaces face this treatment can be partly attributed to how the creators themselves tend to be overwhelmingly male. According to The Beat, in the last six months of 2018, 83.7% of Marvel’s credited comic creators were men (with 16.3% representing women and non-binary creators) and 82.8% of DC’s credited creators were men (with 17.2% representing women and non-binary creators). Given these statistics, it’s unsurprising that most of the content produced in this community is tailored towards an audience of men, which only fuels the cycle of men feeling that women aren’t allowed to occupy the same space they do within the comics community. 

Not Everything is for Male Attention

In general, many are quick to label women and girls’ interests as means of seeking male attention: women who wear makeup are supposedly aiming to be more attractive to men, women who like sports are just trying to impress men, and so on. This false logic fosters the belief that unwanted attention from men is the woman’s fault. Just as a woman who is wearing makeup or a miniskirt does not want to be harassed as she walks down the street, women who cosplay do not want to be harassed based on the style of their costume.

Women’s interests in such media, regardless of how much they engage with interest-based communities, are valid, and it is no one’s place to tell a woman that her interest in something is fake.

Bottom Line: Respect Your Fellow Fans

Women who cosplay do so out of a passion for comics and geeky media, pouring time and effort into creating and perfecting their cosplay. Women’s interests in such media, regardless of how much they engage with interest-based communities, are valid, and it is no one’s place to tell a woman that her interest in something is fake. There is little more to say besides a final reminder: respect your fellow fans.

#LadyPower in Marie de France’s “Yonec”

In “Yonec,” one of the twelve poems included in The Lais of Marie de France, Marie crafts a short but fascinating narrative that includes characters from the otherworld and explores themes like jealousy, love, and rebellion. If you haven’t read “Yonec,” give it a try! It’s only a few pages long, but as I’m going to demonstrate in this article, there’s a lot you can unpack.

At the beginning of the poem, a lady makes a speech that expresses her frustration with her situation. And her emotions are completely valid—this lady lives with an oppressive husband who controls essentially every aspect of her life. She’s completely isolated.

While the poem was likely written in the late twelfth century, the inquiries that can be derived from the text are timeless. Here’s a more in-depth understanding of the lady’s lament and its implications in Marie’s narrative poem.

At the beginning of her speech, the lady expresses frustration and aggrievement. Her strong feelings of isolation are apparent as she verbalizes her distress:

‘Alas,’ she said, ‘that ever I was born! My destiny is hard indeed. I am a prisoner in this tower and death alone will free me. What is this jealous old man afraid of, to keep me so securely imprisoned? He is extremely stupid and foolish, always fearing that he will be betrayed. I can neither go to church nor hear God’s service. I could put on a friendly mien for him, even without any desire to do so, if I could talk to people and join them in amusement. (Marie 87)

Until the events that follow her speech, the lady’s actions were dictated by her controlling husband. Because of her husband’s jealousy and his abuse of patriarchal power, the lady was essentially separated from the rest of society. He had locked her in a tower for seven years, did not permit her to see her family and friends, and had his sister act like the lady’s prison guard. His mistreatment of his authority resulted in  misery for the lady, a woman he supposedly loved.

The lady also seems to take agency over her isolation.

However, the lady also seems to take agency over her isolation. The lady’s husband secluded her from all company, but the lady is aware that he was not the only person involved in her predicament. She continues her speech by cursing her relatives. In imprecating her relations, the lady isolates herself from her social environment; while she is already physically separated from society, the lady creates space from others through her speech. Her words seem to be a retaliation to her relations, as they allowed her marriage to the jealous man to take place, and the match was likely made against her will. 

The lady’s strong emotions of frustration and loneliness—feelings that arose from her unjust situation and her husband’s ill-treatment towards her—inspire rebellion. In the last part of her lament, the lady makes a wish:

I have often heard tell that in this country one used to encounter adventures which relieved those afflicted by care: knights discovered maidens to their liking, noble and fair, and ladies found handsome and courtly lovers, worthy and valiant men.  There was no fear of reproach and they alone could see them. If this can be and ever was, if it ever did happen to anyone, may almighty God grant my wish! (Marie 87)

She hopes for a knight, with characteristics that differ greatly from her husband, to discover her and become her lover. Subsequently, a hawk arrives and transforms into a handsome knight who fulfills her wish. It is interesting to note that the hawk can be seen as a symbol of freedom, as the lady had claimed that death alone could free her; the knight provides a way for the lady to gain the freedom that she wished for, even though she did not think she could achieve it without death. The knight and the lady soon enter into an adulterous relationship and continue to see each other until their affair is discovered by the jealous man’s sister. 

Marie illustrates the power of the lady’s conviction through the implications of the lady’s speech. It is through her imagination that the woman can call upon the knight to her tower. In “The Power of Feminine Anger in Marie de France’s ‘Yonec’ and ‘Guigemar,” Jennifer Willging writes about how Marie does not set apart reality and the imagination, which in turn demonstrates her refusal to support the idea that the mind and body are separated, a concept that twelfth-century theology promoted.

The woman is human, yet she can summon the knight. Furthermore, the knight has aspects of the otherworldly, but he is able to have a child with the lady. Marie’s story gives power and agency to the woman, as the consequences of the lady’s speech produce the remaining plot, and she contradicts the idea that femininity equals irrationality. 

Furthermore, the adulterous relationship between the knight and the lady could be considered an act of rebellion in response to her husband’s abuse of patriarchal power. Rather than framing the woman in a negative light for her rebellious infidelity, the woman’s actions are seen as just. After their passing, the knight and the lady are honored and remembered for their love.

In the narrative, the lady is not depicted as illogical or hysterical, and her strong emotions are what allows her to escape from her controlling husband.

The story frames the lady and knight as the protagonists, while the lady’s husband is the evil and irrational character. Thus, the lady’s anger and her actions that result from her frustration are depicted as intuitive and acceptable responses to the unfortunate situation she was in. In the narrative, the lady is not depicted as illogical or hysterical, and her strong emotions are what allows her to escape from her controlling husband. 

By analyzing how Marie included the concepts of isolation, rebellion, and imagination in “Yonec,” we can see how “Yonec” demonstrates the power of the woman’s speech and validates the actions that stem from feminine feelings. Thus, we can see “Yonec” as a celebration of individual agency and imagination that considers the significance of rebellion stemming as a response to abused power and legitimate emotions. 

Works Cited

Marie, et al. The Lais of Marie De France. Penguin Books Ltd, 1999. Willging, Jennifer. 

Resources

by Hanna Carney //

It can be hard to keep up with everything going on in the world–especially now, and especially as a full time student. Here is a list of compiled resources for readers to self-educate and support feminist issues and BIPOC communities.

Ways to Donate

  1. 68 Ways to Donate in Support of Asian Communities
  2. Stop AAPI Hate
  3. The Daunte Wright Sr. Memorial Fund
  4. Indianapolis FedEx Facility Family Support Fund
  5. JusticeForMakhiaBryant
  6. Support the APPI Community Fund
  7. Navajo & Hopi Families COVID-19 Relief Fund 
  8. Minnesota Freedom Fund
  9. National Bail Fund Network
  10. Central Ohio Freedom Fund
  11. Detroit Justice Center
  12. How to help India during its COVID surge–12 places you can donate

Petitions to sign

  1. Black Lives Matter petitions on Change.org
  2. Change Minnesota Sexual Assault Laws 
  3. End Hate Crimes Against Asian Amerians
  4. A Call For an End To Violence Against Black People and Law Enforcement Officers

Breonna Taylor Petitions

  1. Breonna Taylor- moveon.org
  2. Breonna Taylor- colorofchange.org
  3. Breonna Taylor- justiceforbreonna.org
  4. Breonna Taylor- change.org
  5. Breonna Taylor- thepetitionsite.com

Ways to Self-Educate: Reading Material

Books

21 Things You May Not Know About the Indian Act by Bob Joseph

As written in the book summary, “Joseph examines how Indigenous Peoples can return to self-government, self-determination, and self-reliance–and why doing so would result in a better country for every Canadian. He dissects the complex issues around the Indian Act, and demonstrates why learning about its cruel and irrevocable legacy is vital for the country to move toward true reconciliation.”

Hood Feminism by Mikki Kendall

In her book, Kendall examines intersectional feminism and the ways mainstream feminists have failed to account for issues such as food insecurity, access to quality education and medical care, etc.

Me and White Supremacy by Layla Saad

Based on the original workbook with the same title, Me and White Supremacy helps readers understand their white privilege and engagement in white supremacy.

Minor Feelings: An Asian American Reckoning by Cathy Hong

As is written in Amazon’s summary, “Poet and essayist Cathy Park Hong fearlessly and provocatively blends memoir, cultural criticism, and history to expose fresh truths about racialized consciousness in America. Part memoir and part cultural criticism, this collection is vulnerable, humorous, and provocative—and its relentless and riveting pursuit of vital questions around family and friendship, art and politics, identity and individuality, will change the way you think about our world.” 

How to Be an Antiracist by Ibram X. Kendi

Founder of the Antiracism Research and Policy Center. Explains why it is necessary to be actively against racism–neutrality only exacerbates problems in our racist society. 

One Person, No Vote by Carol Anderson 

Touches on gerrymandering, voter suppression, and racial discrimination during elections .

Articles

  1. How to Help India Amid the Covid Crisis
  2. 68 Ways to Donate in Support of Asian communities
  3. The Politics Behind India’s Covid Crisis
  4. From India, Brazil and Beyond: Pandemic Refugees at the Border
  5. A Minnesota man can’t be charged with felony rape because the woman chose to drink beforehand, court rules

Podcasts 

The Stoop

A podcast that focuses on blackness, race, and American identity.

The Daily

Made by the New York Times. A good way to keep up with world events if you’re too busy to sit down and read or watch the news 

Code Switch NPR

Journalists of color have conversations about race and how it impacts different parts of society

Black Girl in Om

Guided meditation for Black women to practice self-reflection and self-care.

Mental Health Resources 

Black Girl in Om

See above description.

Asians Do Therapy

Yin Li is a licensed therapist that began Asians Do Therapy in the hopes of acknowledging Asian people’s experience in therapy and encouraging more Asians and Asian Americans to seek therapy if they need it.

One Sky Center

One Sky Center is a resource center for American Indian and Alaska Native education, research, and health. This organization hopes to qualify health care across Indian Country. 

BEAM Collective 

As stated on their website, “BEAM is a national training, movement building and grant making organization dedicated to the healing, wellness and liberation of Black and marginalized communities.” 

Buddy Project

Founded by Gabby Frost, this non-profit works to prevent suicide by pairing people with a buddy to help them through loneliness and isolation.

The Obsession Over the “Perfect” Pregnancy

by Valentina Loaiza //

Earlier last month, I encountered a video of ¡Despierta América! host, Francisca Lachapel, responding to criticisms about her pregnancy. In a ten-minute video posted on her Instagram as an “IGTV,” teary-eyed Lachapel expressed her frustration and sadness after constantly seeing negative comments and messages about changes to her weight and

Lachapel has made it very clear that pregnancy has been the most beautiful phase of her life and acknowledges the existence of the “perfect” pregnancy label, a label she feels she’s far from.fashion style. 

It’s a no-brainer that these aspects of her image have been impacted by her pregnancy, which she goes into further detail about in her video. Nonetheless, viewers and acquaintances have taken it upon themselves to claim that pregnancy doesn’t suit her because she’s “gained weight” and “dresses like an old lady.” She explained that her dressing style has changed, adapting to her changing body and making an effort to feel as comfortable as possible. Despite the insensitive comments, Lachapel has made it very clear that pregnancy has been the most beautiful phase of her life and acknowledges the existence of the “perfect” pregnancy label, a label she feels she’s far from. “Every woman carries their child differently” and with that, Lachapel reassures the public that she feels beautiful and wouldn’t change anything about her pregnancy. 

With the pressure put forth on body image by the Spanish-speaking media, and the media in general, Lachapel is only one of many women publicly scrutinized during, or as a result of pregnancy. Alejandra Espinoza, another host on Univision, shared with Lachapel on an Instagram live that she had also been cyberbullied after giving birth to her first child. Espinoza’s experience was different in many ways. In 2015, Espinoza gave birth to her first child after going through three miscarriages in the past. Viewers have been accompanying Espinoza since 2007 after her coronation in Univision’s beauty pageant, Nuestra Belleza Latina. She shared her pregnancy with the public from beginning to end, but her newborn fell victim to many criticisms because of his appearance. Showering a new mother with harsh comments about her newborn is outright despicable.

It’s about time we all recognize that pregnancies are unique to each person. The harsh criticism towards pregnant public figures is uncalled for, insensitive, and illogical. For example, when I Google, “What to wear during pregnancy?” there are extensive results encouraging women to wear comfortable clothes including, maxi dresses, loose shirts, gowns, tunics, and wraparounds. Of course, for television hosts like Lachapel, maintaining an “attractive” physical appearance is an essential part of their jobs. I just hope that pregnant bodies continue to be empowered and addressed as something natural rather than something that needs to be scrutinized. 

A Sad Girl’s Love Song

by Leio Koga //

Slyvia Plath left a literary legacy behind her, although her story is quite the tragedy. Plath was a brilliant student but struggled with severe mental illnesses from a young age. By the time she was 30, Plath was well-known in the literary community. She was known for her confessional style of writing and poetry; her pieces were described to intensely portray her mental anguish, volatile emotional state, troubled marriage, poor self-image, and unresolved conflict with her parents. Plath wrote some of her most famous pieces, including, “Daddy,” “The Bell Jar,” and “The Colossus,” during the worst mental state of her life. She fell into a deep depression and committed suicide when she was only 31. 

I was exposed to the power of Plath’s words when I first read “Mad Girl’s Love Song” during my senior year of high school. This poem is about someone who is going through heartbreak and suffering from mental health issues. The poem, though very abstract, clearly depicts the dangers of living within one’s mind all the time, especially when one’s thoughts are clouded by heartbreak and pain. Plath draws on the idea of how romance is not romantic at all. The way Plath writes, love is empty, unfulfilling, and possibly, all in one’s head. While she wrote this poem when she was just 20 years old, I could clearly see her internal, emotional turbulence of heartbreak and unrequited love. I wanted to recreate this poem as a reflection of the anguish and pure sadness that her words made me feel. 

A Sad Girl’s Love Song

I shut my eyes and all the world drops dead

Trapped in a vision of the infinite ocean

The vicious waves of your love I tread 

The breeze whispers like a lover, but I was only mislead 

I am the waves undeniably drawn back into your deep, perilous sea 

I shut my eyes and all the world drops dead 

Your anger is a storm—fast but calamitous— I always dread

Each time I mend my broken pieces just for your disaster to strike me again 

And leave my soul in shreds

God topples from the sky, hell’s waves rise and crash, and I hang on by a thread

But the raft tips over and I thrash, sob, curse your name  

I wish I made you up inside my head 

I fell for the way your surface sparkled, but instead

Your love was the world of secrecy underneath it 

Chained to an anchor, darkness consumed me whole but still, for you, my heart bled 

I shut my eyes and all the world drops dead

Trapped in a vision of the infinite ocean 

And at the bottom is where you are, on a throne created from my tears of pain  

I wish I made you up inside my head

The Evil Witch Inside Us

by Helen Zhang //

Look around your room. How many mirrors do you see? 

Now, if you did not include your phone, laptop, or other technology with screens, adjust your answer. 

Did your number change?

Mine certainly did. Personally, I have five mirrors in my bedroom alone. That fact shocks me. After all, like many 18 year-olds in this day and age, I have a love-hate relationship with mirrors. As a child, my mirror fascinated me. I spent quite a bit of time in front of it, making faces and laughing as the person in front of me smiled and giggled with me. But as I grew older, those faces froze in the reflection. I stopped making them, but my appearance still seemed off. I didn’t like it anymore, but I couldn’t step away.

Mirror Mirror on the wall, 

Tell me what are all my flaws. 

I recall reading fairy tales as a child. I read them at home, and we talked about them in school too. Everyone remembers the magical mirror that the evil queen had and how it told her that Snow White was prettier than her. In elementary school, we were taught that each fairy tale comes with a lesson. The lesson in Snow White was that beauty is not what you look like, but who you are inside. But that’s not all that I took away. The portrayal of the evil queen suggested that caring about your appearance was abnormal, a bad thing. 

It’s not. 

We all have that magic-looking glass. That’s what mirrors are. And while it may not be speaking to us aloud, that inner voice critiquing ourselves when we look at the mirror is the same thing. 

Technology had become a mirror itself, and though I resented it, I still couldn’t step away. I couldn’t step away, and I didn’t know why. I was becoming the evil queen from Snow White. 

So what happens when there’s a voice inside you telling you that you are not enough? We begin to see ourselves as the evil queen, someone obsessed with our appearance. As we get older, our relationship with mirrors becomes more complicated—especially as a girl. And yet, the more insecure we get, the more mirrors pop up in our life. The bathroom mirror that I used to quickly check my appearance was transformed into a full-length mirror that rejected every clothing choice I showed in front of it. That mirror then transformed into my phone, a portable device that allowed me to not only critique myself but have my image shared and critiqued by other people. Technology had become a mirror itself, and though I resented it, I still couldn’t step away. I couldn’t step away, and I didn’t know why. I was becoming the evil queen from Snow White. 

But why is that a bad thing? 

The stepmother needed to hear exactly what she wanted and from the source that she wanted. After being told that she was the most beautiful person, “[the queen] was contented, for she knew that the looking-glass spoke the truth.” How is that so different from the way we use social media? Like the evil queen, we seek approval from others to be content with ourselves. And when we hear critiques, we try to change something to get a different outcome. Filters and photoshop transform our reality to mold into the approved societal standard. But that rarely takes the voice away.

Some of my friends have taken breaks from social media, deleting apps from their phones to get away from the toxic environment. They tell me how refreshing it is. But I could never do that. And neither could the evil queen. She wanted to be the most beautiful person in the world, but all she heard from her mirror was that she was not enough. So she tried to change that result the only way she could think of–by getting rid of Snow White. The huntsman. The lace. The comb. The apple. The queen was obsessed with becoming beautiful, and every failed attempt to kill Snow White brought more anger and disappointment upon herself. I have felt that anger and disappointment countless times when I look in the mirror. 

She had an addiction—one that many of us can relate to. In addition to having insecurities about our image, we have to deal with the rest of society telling us that we shouldn’t have them. But those insecurities grow inside us like the “envy and pride like ill weeds” that made its home in the queen’s heart. Weeds grow uncontrollably, and you may think that you have gotten rid of all of them, but all it takes is one single sprout to have a full infestation.

I’m not trying to say that the queen was right in attempting to kill Snow White. She had an obsession; one that consumed her. But what we all need to know is that it is okay to care about your appearance.

I’m not trying to tell you how to deal with your insecurities. I’m not trying to say that the queen was right in attempting to kill Snow White. She had an obsession; one that consumed her. But what we all need to know is that it is okay to care about your appearance. Unlike the evil queen’s portrayal in Snow White, it is not villainous to want to be beautiful. It is what humanized her. There isn’t an easy solution to dealing with insecurities, and appearance is one of the most common ones out there. 

But we all have a little evil queen inside of us, and that’s okay. 

Aditi’s Makeup Story

by Aditi Hukerikar //

When I was in middle school, I thought that I was ugly. Not an uncommon experience for young girls to have (which is an issue in its own right) but one that defined how I felt about myself as I grew up. There definitely wasn’t one cause for it, but rather a blend of experiences I had gone through: wearing glasses from a young age (when are we going to get rid of that movie trope where the woman instantly becomes “attractive” when she takes her glasses off?), body insecurity, and most of all, the sheer amount of snide comments people would make about my (very thick) hair. 

I write this because it is a precursor to this story that can’t be ignored. Before I got into makeup, I was insecure. I would be lying if I told you that that had nothing to do with my initial interest in makeup, but I hope you don’t discount the rest of my story because of it. 

One summer, out of boredom, I wound up on the beauty guru side of YouTube. As soon as I watched a few videos, I was hooked. It was fascinating to watch these YouTubers create such a vast variety of makeup looks, utilizing their different colors, brushes, and products. I didn’t even own any makeup myself, but I yearned to try what I learned on myself. 

When I did finally get my own makeup at the end of the summer, my excitement lay in figuring out my own different makeup looks to try. I hadn’t completely forgotten my insecurity, but it did take a backseat to the prospect of experimenting that I was anticipating. 

Rather than becoming a means for me to change my appearance, makeup became something I could learn and work on. And working on my craft made me care less about what I looked like, because all I did care about was that I had finally figured out a new blending technique or made an unlikely color combination of eyeshadows work. 

Since I went to a uniform school at the time, wearing makeup didn’t become a daily habit for me. Instead, it helped makeup fit into my life as a way to express myself in ways that I didn’t get to regularly.

I write this because I know how divisive the conversation about makeup can be at times. And I understand that teaching young people that they need makeup to look beautiful is harmful. But I wanted to share a story about how makeup did truly become a form of self-expression for me when my self-esteem was low. Makeup culture won’t change overnight, but I hope that more new makeup users can grow up loving makeup for its ability to be a creative outlet rather than an extension of insecurity.