Tags: culture, gender, lgbtq, sex/sexuality, fa'afafine, gender binary, Samoan culture, third gender, 06 to 10 mins
Year: 2010
Length: 6:35
Access: YouTube

Summary: This segment from the New Zealand television program Pacific Beat St explores the concept of Fa'afafine (fah-fa-fee-neh), a gender category in Samoan culture that is distinct from man or woman. In this way, Fa’afafine can be understood as a third gender that falls outside of the gender dichotomy, and this gender category is integrated into the fabric of Samoan society. As explained here, if a family is comprised of all sons, one of the boys will sometimes be raised as a daughter in order to perform daily duties that are associated with femininity. Other times, parents will raise their (biologically born) boys Fa’afafine if they exhibit strong feminine characteristics at an early age. The work performed by Fa’afafines is valued within the culture and, as noted in this clip, can include such things as cooking, caregiving, and singing in the choir. Fa'afafines present their gender in a variety of ways, as one American traveller observed: "Some of the Fa'afafines I met were very effeminate and dramatic, some were big old bruisers, some were very understated and graceful, but all walked among their countrymen with heads high and a solid footing in society." However, although Fa’afafines are an established part of Samoan culture, as this video states, they still face discrimination and marginalization, similar to transgender people in other societies. In this clip, Phylesha Brown-Acton, a Fa'afafine and transgender advocate, speaks of the prejudices she's faced. Instructors can highlight the specific stereotypes Phylesha cites, which, in addition to being perceived as "a sex worker, a druggie, a thief," also include the misperception of being "a man who wears women's clothing." As Phylesha says, every Fa'afafine has a different identity, but she personally does not identify as a man or a woman; as such, she is not "a man who wears women's clothing." This perspective and societal arrangement challenges the Western gender binary system. The clip also features Phylesha's advocacy work with youth and we meet three Fa’afafine youth advocates who work on behalf of transgender issues.

Submitted By: Valerie Chepp

Tags: gender, lgbtq, sex/sexuality, conversion therapy, gender socialization, research ethics, 06 to 10 mins
Year: 2011
Length: 7:56
Access: CNN.com

Summary: This CNN investigation looks at the controversial work of psychologist George Allan Rekers, whose 1970s "sissy boy" experiment sought to make a boy more masculine. It covers many sociological concerns including gender socialization, sexual orientation, and the ethics of research. First, in believing young boys who display behaviors thought of as feminine are more likely to be gay than supposedly masculine boys, Rekers exemplifies a common type of flawed thinking by conflating gender and sexual orientation. He attempted to "correct" supposedly feminine boys with severe sanctions (positive and negative) not only to compel boys to act in more masculine ways, but also to reduce the likelihood they would be gay as adults (and he is within a minority of people who think that is a bad thing). Second, because of the extremity of the sanctions that occurred under a psychologist’s recommendations, the “sissy boy experiment” raises many ethical concerns about applied social-psychological research—especially studies conducted on children (and also conversion therapy more generally) without consideration to the long term effects. Rekers, who is well-known in the anti-gay movement today, heralds the experiment as a success despite the fact that the boy committed suicide as an adult. As a third and final consideration about this video, we should keep in mind that everyone is subject to milder forms of sanctions on our gendered behaviors; boys (and even adult men) are often rewarded for supposedly masculine behavior while being shamed or even punished when they act ways deemed feminine (and of course, vice-versa for women). There is no doubt these experiences shape our gendered selves while reinforcing normative gendered behaviors more generally.

Submitted By: Jason Eastman

Tags: art/music, intersectionality, lgbtq, prejudice/discrimination, race/ethnicity, sex/sexuality, 00 to 05 mins
Year: 2012
Length: 4:12
Access: YouTube

Summary: This poem, performed by two young women in the youth poetry competition Brave New Voices, is an excellent way to introduce students to the concepts of intersectionality and Oppression Olympics. "Oppression Olympics is a term used when two or more groups compete to prove themselves more oppressed than each other." Intersectionality is the theory of thought that draws attention to the ways in which inequalities are intersecting and interlocking, and thus proves the difficulties associated with comparing one group's experience with oppression to another's. The poem specifically chronicles what happens when members of the African American community and the lesbian, gay, bisexual, and transgender (LGBT) community engage in comparisons of who has had it worse. While the practice of comparing the harms of racism to homophobia isn't new, as sociologist Eric Anthony Grollman points out in this blog post, "the supposed black-versus-gay divide is old, and frankly a little tired." Indeed, as Grollman and the youth poets show, the experiences and activist histories of these two marginalized groups have much in common. Such insight supports what the bisexual Caribbean-American activist poet June Jordan wrote in her book, Some of Us Did Not Die: "Freedom is indivisible, and either we are working for freedom or you are working for the sake of your self-interests and I am working for mine." In addition to pairing this video with Jordan's work, the clip would work well with scholarship by other intersectional thinkers such as Audre Lorde, Allan Johnson, and Patricia Hill Collins.

Submitted By: Kendra Barber

Tags: emotion/desire, foucault, lgbtq, sex/sexuality, 00 to 05 mins
Length: 1:57
Year: 1991
Access: YouTube

Summary: This clip is from the Seinfeld episode entitled "The Note," which is the first episode of the show's third season (note: the audio is low; turn up the volume when screening this clip). After receiving a massage from a man, George shows up at Jerry's apartment, clearly distraught. George reveals to Jerry that he thinks he might have had an erection during the massage and he fearfully exclaims: "That's the sign! The test…if a man makes it move." Jerry reassures George saying, "That's not the test. Contact is the test. If it moves as a result of contact." This clip can be used to teach several concepts. First, the clip can be use to illustrate how sexuality is not a fixed concept; it is fluid and not easily defined. For example, is sexuality defined by sexual desire? Sexual behavior? Sexual identity? In this case, George focuses on sexual desire. Despite not identifying as gay or engaging in sexual behavior with men, George wonders if his erection is a sign of same-sex desire, a desire presumably unbeknownst to him. Jerry shifts the focus by narrowing in on behavior, stating that the sign of gay entails physical contact that results in sexual arousal. This discussion points to the complexity of sexuality. Viewers can be encouraged to consider various scenarios in order to highlight this complexity. For example, if George dates women, has sex with women, self-identifies as straight, yet is aroused by a man, is he gay? What if he identifies as gay but has sex with women? Viewers can further be encouraged to question our cultural obsession with defining sexuality in the first place. In his book The History of Sexuality, Michel Foucault calls this a discourse of knowledge and, similarly, power. The clip also illustrates how heterosexuality gets renormalized in our culture through social interactions—that is, there is no need for George and Jerry to debate the definition of being straight. Presumably, that's just known and normal. Finally, the clip also supports elements of Michael Kimmel's concept of masculinity as homophobia, or the notion that men are terrified to be gay or, even more, be perceived as gay. 

Submitted By: Valerie Chepp

Tags: art/music, bodies, gender, intersectionality, race/ethnicity, sex/sexuality, feminism, rap music, 00 to 05 mins
Year: 2007
Length: 4:25
Access: YouTube

Summary: In this music video, rap artist Missy Elliott fills the void in the discussion of pro-sex black feminism. Historically, black voices have been excluded from the sex-positive feminist revolution. In part, the marginalization of black voices is a product of a colonial past that has stereotyped the black body as always already hypersexual (see Saarjite Baartman). As a result, black academics have taken up a “politics of silence” to resist these stereotypes. A potential site to begin the discussion of a pro-sex black feminist discourse is rap music (Skeggs 1993). The female rappers “talk back, talk black” (hooks 1989) to the colonialist system that attempts to contain the expression of women’s sexuality. In Missy Elliott’s hit song “Work It” (lyrics here), she expresses her own kind of sexuality, effectively creating a dialogue for us to rethink our analyses of black women’s sexuality. How does Missy (re)claim her body as a site of desire and empowerment? How does Missy establish herself as an active sexual subject in the song? Does this challenge patriarchal notions of female sexuality? How does she subvert traditional understandings of the black body? Does Missy challenge conventional (white) beauty standards (i.e. celebration of hips, large butt etc)? How, if at all, does Missy’s music differ from other female artists and, specifically, other popular women rappers? Does Missy create a language for other black women to start understanding and theorizing about their sexual experiences? Can we understand the black female body as separate from representations of Saartje Baartman? How does this enhance our understanding of active black female desire? Do you think that rap music is a legitimate medium to begin theorizing about black sexual scripts?

Submitted By: Pat Louie

Tags: bodies, culture, emotion/desire, gender, multiculturalism, sex/sexuality, social construction, cultural relativity, ideal beauty, 06 to 10 mins
Year: 1997
Length: 9:56
Access: YouTube

Summary: What is beauty? Is beauty an objective feature or is it in the "eye of the beholder"? According to a 2012 competition hosted by Lorraine Cosmetics, the most "natural" and "objectively" beautiful woman was determined "scientifically" through such measures as facial symmetry. While the incident ignited a public debate about the ability to "scientifically" measure beauty, a review of the research shows that people's sense of beauty varies across time and culture. In this video, famous anthropologist Desmond Morris notes that while there is a "biological language of sex" in which people are attracted to others through physical characteristics, this process is mediated through a "complex cultural adventure." Throughout cultures across the world, people exaggerate the features of beauty that their culture deems attractive. A study looking at beauty across 200 different cultures found hardly any qualities that existed across all cultures. The video documents several of these physical features on women, including neck length, foot size, and lip size. It illustrates the cultural evaluation of beauty and the (often painful) techniques used to achieve the unnaturally extreme forms of beauty. What notions of female beauty in your culture might be similar to or different from conceptions of beauty found in the video? Viewers may also note the heteronormativity of the video, in which beauty is explicitly stated to attract members of the opposite sex.

Submitted By: omowbray

Tags:  emotion/desire, foucault, lgbtq, sex/sexuality, theory, abjection, asexuality, heterosexuality, masculinity, 06 to 10 mins
Year: 2006
Length: 6:44
Access: YouTube

Summary: A common assumption about sexuality is that all humans have sexual desire, which suggests that sexual identity is biological or innate (e.g. see Foucault 1978; Planned Parenthood). However, in this interview with Tucker Carlson, asexual activist David Jay broadens the discourse on sexual orientation by bringing asexuality to the forefront of the discussion. In short, an asexual person is defined as someone who does not experience sexual attraction. Through his interview with Carlson, Jay challenges the commonly held belief that all humans are sexual beings, and effectively creates a dialogue for viewers to rethink taken-for-granted assumptions about male-dominated heterosexuality. Questions to ask while watching this video include: How does Tucker Carlson define sexuality in patriarchal terms? How is his definition of a heterosexual male limited? How does David blur the dichotomous lines of gay and straight? Can we understand sexuality on a spectrum instead of as mutually exclusive? Why is Tucker pressuring David to “try” sex? Is this Tucker’s attempt to make David an intelligible body? Why is it so important to Tucker that David perform his sexuality “properly”? How does Tucker abject David and the concept of asexuality? Why is the concept of asexuality so problematic for Tucker? Julia Kristeva’s (1982) theory of abjection may serve as a useful concept to frame discussions around this video. The abject is defined as “the other” or as “the human reaction […] to a threatened breakdown in meaning caused by the loss of the distinction between the subject and object or between the self and the other.” We fear and loathe the abject because they are threatening to the social order and ultimately to conceptions of our self. Considering this, another question to ask is whether or not asexual relationships threaten heterosexual masculinity. The discussion of asexuality challenges naturalized conceptions about human sexuality and paves the way for the exploration of other forms of intimacy, sexual orientations and partnerships. It is only when we let go of normative prescriptions of sexuality that we can experience and recognize other forms of love and expression.

Submitted By: Pat Louie

Tags: art/music, inequality, lgbtq, marriage/family, prejudice/discrimination, sex/sexuality, hip-hop culture, homophobia, marriage equality, privilege, 06 to 10 mins
Year: 2012
Length: 7:03
Access: YouTube

Summary: Seattle rapper Macklemore’s hit track “Same Love” provides a social commentary for the relatively absent discussion of homosexual love in mainstream hip-hop culture. In “Same Love,” Macklemore expresses his support for gay marriage and creates a space for listeners to reflect upon their views of both gay marriage and homophobia—online, in rap music, and in our daily lives. The video tells a story of struggle with sexual identity, acceptance, love, and marriage. The video follows a man from childhood to old age, unraveling a story about the difficulties of navigating queer sexuality in a heteronormative environment. In the song’s opening lines, Macklemore unpacks stereotypical assumptions that society holds of prescriptions that define “gayness,” explaining his own confusion with his sexual identity as a child because he was “good at drawing” and “keeps his room straight.” Macklemore’s music provides a counter-narrative to typical messages in hip-hop centered around sex, money, drugs, and objectifying women. Instead, he uses his music as a forum to spread awareness about social issues. He effectively flips the discourse from the glorification of homophobic language in mainstream hip-hop to a discussion about prejudice and discrimination. Some questions that instructors can ask students include: “What do heterosexual people take for granted at school dances? At parties? At family dinners with their partner? How do these events illustrate some of the privileges associated with being heterosexual? What are some of the ways we “properly” perform heterosexuality in high school? Do you think hip-hop is an effective medium to educate and create discussions about social issues? For another post that features hip-hop music as a forum to engage social issues, click here.

Submitted By: Pat Louie

Tags:  gender, inequality, lgbtq, prejudice/discrimination, sex/sexuality, social mvmts/social change/resistance, sports, 00 to 05 mins
Year: 2012
Length: 1:00
Access: You Can Play Project

Summary: The You Can Play project brings athletes, gay and straight, together to promote and educate other athletes and sports fans about equity in all levels of sport from professional to recreational. The project argues "It’s time to talk about sports and it’s time for us to create change. It’s one of the last bastions of society where discrimination and slurs are tolerated. It doesn’t have to be this way. There’s an assumption in sports that gay and lesbian players are shunned by all athletes. It’s just not true and You Can Play is dedicated to providing positive messages from athletes, coaches and fans." Their website features a growing library of video clips, each 30-60 seconds long, with professional and collegiate athletes and team personnel describing their support for the initiative. Some videos simply show athletes' meanings of sport without vocalizing their support, while other videos feature explicit statements of support (e.g. San Jose Sharks forward Tommy Wingels says "I am proud to support LGBT athletes everywhere"). The videos can be used to discuss gender and sexuality stereotypes in sport, to challenge these stereotypes, and show how sport can also function as a site for education and social change.

Submitted By: Margaret Austin Smith

Tags:  art/music, gender, intersectionality, race/ethnicity, sex/sexuality, androcentrism, female masculinity, gender performance, masculinity, schemas, 00 to 05 mins
Year: 2010
Length: 3:21
Access: YouTube

Summary:  [Trigger warning: there is explicit language used in this clip.] This is the official music video for  English pop singer and songwriter Jessie J's debut single "Do it Like a Dude" (2010). I use this video to discuss gender schemas, or cognitive processes by which individuals become gendered in society. I begin by asking students to identify, according to the video and society at large, the different characteristics that compose "doing it like a dude." Students might mention such things as wearing certain attire, making certain movements or gestures, drinking beer, smoking cigars, having money, being aggressive, or having heterosexual penetrative sex. Students can be encouraged to think how our ideas about these behaviors serve to gender individuals. The video is also a useful catalyst for a discussion about intersectionality and the multiplicities of masculinities (and femininities). For example, instructors might ask students to identify characteristic associated with racialized constructions of gender (e.g., Black masculinity, Latino masculinity, white masculinity, etc...), and how different constructions of masculinity are similar and/or different from one another. Further, the juxtaposition between the lyrics and the styling of Jessie J is also a useful illustration of capitalism and marketing. While singing about performing masculinity, Jessie J performs a sexualized femininity, and students are often quick to connect this with the drive to sell albums. Finally, the video can be used to discuss issues related to androcentrism—can we imagine a male artist trying to "do it like a woman?"

Submitted By: Michelle Sandhoff