Alma Gottlieb

 

Photo by Noam Galai

Women (and some men) with signs, as far as the eye could see.

In my first post about the Women’s March of January 21, 2017, I chronicled the social and emotional ties I saw created in this space of massive communitas, feminist style. Here, I offer a textual analysis of the posters I observed.

Photo by Alma Gottlieb

Above the sea of pink knit hats, thousands of posters claimed the sky. Their messages ranged from instructive to witty, from loving to outraged. Let’s browse through a small selection of some of the most creative and impassioned, and see what they can tell us about this extraordinary moment in America’s still-young democracy.

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Photo by Linda Seligmann

 

At the entrance to the event, a team of independent filmmakers documented the day’s events. They didn’t need to pester people to beg them for interviews. Instead, they staked out a prominent spot and simply held up an appealing sign: “Tell us why you came.”

Everyone had her story, and these filmmakers wanted to document as many as they could.

Mine was simple. I told them: “I came as a feminist dedicated to the radical proposition that women are human.”

Photo by Alanna Vaglanos/The Huffington Post

Later, I was gratified to see a man bearing the same conviction. The strategy behind the motto works best when men are on board, too.

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Photo by Alma Gottlieb

 

I like the multiple layers of this poster.

The long lashes and bright blue eyes evoke women’s beauty—a classic subject of men’s gaze.

But the message below up-ends that practice and puts women in the active position of viewer rather than viewed.  That message challenges the gross misogyny of Donald Trump’s outrageous comments about women (the infamous “pussy-grabbing” remark being only one of many).

More broadly, this poster announces that women are paying attention to any gross misdeeds Trump may attempt. The women’s movement that re-birthed on January 21^st, 2017 attests to this poster.

 

Photo by Alma Gottlieb

This poster adds another sense modality to the sentiment of the last one. Not only are women watching the antics on the House and Senate floors, they are also listening to the outrageous speeches. And they are not forgetting. Trump’s bank account can’t buy amnesia for the rest of the world.

This poster implicitly evokes the power of the Internet. Pre-Digital Age, politicians could conceal their misdeeds, their offensive statements, and even the bills they introduced into the legislature, far more easily. Now, digital cameras and cell phones-turned-tape-recorders document politicians’ back-door dealings; investigative reporters “follow the money”; and any citizen can hold police accountable with a simple snap of the shutter.

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Photo by Alma Gottlieb

Donald Trump’s infamous comment resonated everywhere that day in Washington. In case anyone had been living under a rock all fall and needed help decoding the pink knit caps with “cat ears,” this poster reminded everyone of the odious Say what?! statement that outraged even Republicans.

“Pussy” used to be an X-rated term used by men to refer insultingly to women’s genitals. With a president as an avowed, enthusiastic sexual harasser,  women have now re-appropriated the metaphor and turned it against would-be “pussy grabbers.”

Photo by Alma Gottlieb

Photo by Alma Gottlieb

Photo by Mina Cooper

“Pussy”-as-vagina and “pussy”-as-cat have now combined such that women are re-claiming their gendered identity as a space of agency rather than victimhood.  Effectively using the strategy of the gay rights movement, which re-appropriated “gay” and “queer” as terms of pride and self-identification, feminists have re-appropriated “pussy.”  Not only was “pussy” a degrading term for women’s genitals; “Don’t be a pussy” previously meant, “Don’t be a coward,” with the vagina standing in synecdochally for cowardice. The thousands of cat-pun-themed posters and -knit hats in view everywhere in D.C. signaled a powerful message: these women would not be bullied into submission. Rather, women own their genitals and feel empowered to push back against the sexist agenda of the Trump regime.

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Photo by Alma Gottlieb

This poster distressed me more than all others I saw. I kept finding myself somehow compelled to look at it, then compelled to look away.

The idea of a sexually harassing president is odious enough. Taking that image as a metaphor for raping democracy, as symbolized by the feminized Statue of Liberty, is, if such a thing is possible, even more disturbing. Whether from direct experience or from hearing about it from friends and relatives, all women know what it is to be sexually assaulted. Imagining our collective polity and shared values assaulted in this symbolically resonant way is almost too painful to contemplate.

Yet Trump’s abhorrent statement from long ago, now immortalized, has spawned a new generation of feminists. The feminist artist who visualized this metaphor has created a powerful image that is bound to speak for months and years to come, for all who so much as glimpsed her horrifying poster.

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Photo by Alma Gottlieb

Donald Trump’s personal history as a proud sexual harasser may even include rape—several accusations have been neither fully proven nor discredited. As such, the individual representing our nation to the world is deeply problematic. How can such a person have been chosen as Time magazine’s “person of the year”? This poster mocks Time’s decision by applying a new, degrading title, along with an iconic image of evil–the horns of the devil in Christian iconography (inherited from the satyrs of Greek mythology)–to our commander-in-chief.

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Photo by Alanna Vaglanos/Huffington Post

Why does everyone like Dr. Seuss? Because he distills complex concepts into simple rhymes that even young children get.

This brilliant poster takes advantage of that strategy. Donald Trump’s disturbing history of sexual aggression towards women is protested via a child’s rhyme—not to belittle the seriousness of our president’s outrageous misogynist history, but to insist in the clearest and simplest possible terms on the basic fact of its unacceptability.

And, in case anyone missed the Dr. Seuss connection, the poster mad that inspiration explicit with a signature red-and-white-striped hat.

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Photo by Alma Gottlieb

This sign echoed hundreds of others referring to so many issues important to America’s women. Having a “pussy-grabbing” president terrifies young women, who keenly appreciate the battles their mothers and grandmothers fought to keep abortion legal and safe, breastfeed in public, name sexual harassment as a crime, and put rapists behind bars.  In other words, “My Body. My Choice” resonates across multiple registers.  It indexes the many struggles women have waged across multiple centuries and communities to assert somatic autonomy; the battles that have already been won to achieve this aim; and the precarity of those successes in the new U.S. administration.

This particular sign was silk-screened, along with hundreds of others, by members of an arts collective who donated their expertise and services at the Nasty Women Exhibition, a six-day art fair held in Queens, NY, the week before the Women’s Marches. All artwork at that exhibit sold out, and the entirety of the $42,000 raised was donated to Planned Parenthood. In this photo, my daughter, Hannah Gottlieb-Graham, doubled as sign-holder and photographer as she observed and marched.

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Photo by Alma Gottlieb

Another devastating combination of 2 words + 1 image.

Roe v. Wade represents just one of many rights that people at the Women’s March aimed to defend. But it epitomizes the anger that women feel at the life-threatening medical risks they would incur if Roe V. Wade were reversed.

This poster speaks poignantly to my own family history.

My maternal grandmother had thirteen dangerous and illegal abortions.

Or so my mother once told me. Out of a combination of shock and embarrassment, I never asked my mother any details. And I certainly never queried my beloved grandmother about what must have been painful memories, as the topic was entirely taboo during the years when my grandmother was alive. But from what I know of my grandmother’s life, I find the claim entirely plausible.

As Jews living in extreme poverty in shtetls of Eastern Europe, both my maternal grandparents had only managed to attend grade school, through maybe the third or fourth grades, before they managed to flee religious persecution and make new lives for themselves in the U.S. Once here, they found religious freedom but continued to live in poverty: they rented the same three-floor-walk-up, one-bedroom apartment in the Bronx for 50 years. They both worked long, hard hours for decades—my grandfather, as a waiter; my grandmother, as a licensed practical nurse.

My grandmother had two daughters, but the second (my aunt) was born with a serious kidney disease, and the doctor wasn’t optimistic about her chances for survival. My grandmother devoted herself to her sickly daughter’s health, and through her love combined with her basic nursing training, she managed to keep her daughter alive.

According to my mother, this medical and emotional trauma, combined with the family’s poverty, convinced my grandmother to put an end to her childbearing years after my aunt was born in 1923. But reliable birth control methods were still decades away. My grandmother’s only recourse to thirteen more pregnancies was to have thirteen back-alley abortions. Here’s where my pre-anthropological days fail me. I don’t know the details of who did the work, where, and how much they charged, although I imagine that coat hangers might well have been involved.

Until Jan. 21, 2017, this old family story, while a part of my maternal lineage, seemed worlds away from the lives of modern American women. As we await the drama unfolding in the nomination of Neil Gorsuch to the Supreme Court, images of coat hangers sometimes invade my dreams.

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Photo by Alma Gottlieb

A personal favorite. This poster says so much with two words and one powerful image.

So many women–in the U.S. and elsewhere—are sexually assaulted. So few rapists are ever even tried, let alone convicted and jailed. And in recent years, so much legislation has been proposed by Republican politicians at both state and federal levels in the U.S. that aims to curtail women’s hard-won freedoms.

Moreover, in middle schools, girls across the U.S. and elsewhere view textbook drawings that make the inside of their bodies seem like alien territory.

The net effect of these efforts is that, to some young women, it feels that the simple state of being a woman is being criminalized.

The artistic creator of this poster has used warm colors to draw the uterus as an object of beauty. Along with the über-short and über-clear text, she declares that a woman’s genitals should be the source of pride, not fear, much less invasion–whether physical, symbolic, or legal.

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Photo by Alma Gottlieb

And this poster individualizes the determination to protect women’s bodies by evoking a veritable vagina dentata motif. Here, we see an empowering response to Trump’s threats to women’s reproductive rights and sexual autonomy.

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Photo by Alanna Vaglanos/The Huffington Post

For many years, “Grow a pair” or (more explicitly) “Grow some balls” has served to urge men and boys to gain courage. In that idiom, testicles function as a metaphor for all that is stereotypically associated with masculinity — physical strength, emotional steadiness, tenacity.

This women’s march not only challenged the economics of patriarchy. With posters such as this, the protest challenged our deepest assumptions about gender.

“Grow a vagina” as an exhortation to be brave urges girls and women to think of their genitals as organs of strength. Any woman who has ever menstruated gets it. So does any woman who has lost her virginity to a man. And what about childbirth? There’s a reason Asante women of Ghana liken childbirth to going to war. And don’t even get me started about rape. As every woman knows, women’s genitals are the site of almost super-human strength.

 

Photo by Alanna Vaglanos/Huffington Post

This poster expands the notion of female strength from the genitals. Here, women are depicted categorically as strong. The poster’s motto overturns two phrases commonly used to encourage boys to be strong: “Don’t cry like a girl” and “You fight like a girl.” Here, fighting like a girl is taken as a badge of honor, with girls depicted as a model to emulate, not avoid.

 

Photo by Alanna Vaglanos/Huffington Post

In this poster, the beloved fictional character of Princess Leia stands dramatically for women’s ability to defend themselves. The double-entendre, single-word text packs a powerful punch. With those eight letters, women are at once offered Princess Leia as a role model for resistance, and a vision of sisterhood both with that fictional character, and with one another.

Years ago, the renowned anthropologist Ashley Montagu argued that men are, intrinsically, the weaker sex. His book, The Natural Superiority of Women, first published in 1952, was an inspiration to the founders of the National Organization of Women in 1966.

The set of posters just analyzed suggests it might be time for Ashley Montagu’s book to become required reading in high school social studies classes across America.

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Photo by Alma Gottlieb

If the hundreds of posters I saw shared an overarching theme, it was probably, “Intersectionality.”

Unlike the “second wave” of (largely white) feminists of the 1960s, feminists of the 21^st century understand that the fates of the world’s women are interlinked, and, moreover, that our struggles are also interlinked with those of other marginalized and oppressed populations. At the Women’s March in Washington, everywhere, I saw religious minorities, immigrants, sexual minorities, racial and ethnic minorities, and the economically vulnerable—both in person, and represented on signs.

Photo by Alma Gottlieb

I took the “bridges” on this sign both in the literal sense, concerning the US/Mexican border—and as a metaphorical sign urging political alliances to link the many marginalized and vulnerable groups now targeted by the Trump administration.

 

Photo by Alanna Vaglanos /Huffington Post

This poster makes ironic ties to another bitter controversy in the contemporary era: the rights of gun owners vs. the need for public safety.

Are women really less valued than guns in American law and American society?

 

Photo by Alma Gottlieb

These young Latina girls probably ranged from 13-16 years old, but their posters testified that they already identified as women. And their posters signaled their early understanding that in 21^st century America, this identity comes with political baggage, and demands solidarity and pluck.

The energy and positivity of this cheerful but powerful young group felt infectious.

 

Photo by Alma Gottlieb

This young Muslim women displayed a dazzling understanding of intersectional issues. Islamophobia, reproductive rights, racism, misogyny, ignorance, hatred, climate change, the school-to-prison pipeline, the Black Lives Matter movement, and love all found a place on her packed poster. As such — and in contrast to her own headscarf-wearing body — her poster proclaimed a subliminal retort to the common American stereotyping of Muslims as “other.” Through her poster, this young woman asserted her common humanity with so many “others,” thereby deconstruction the “othering” impulse itself.

 

Photo by Linda Seligmann

If the protesters understood acutely the ways in which seemingly disparate issues intersect, the same cannot be said for Republicans who see these issues as unrelated. This poster in effect offered a meta-critique of those conceptual blinders. The ironic result it pointed out: the unborn have more rights than many groups of people outside the womb.

 

Photo by Alma Gottlieb

The movement began with women, and attracted over a half a million of them in Washington, D.C. alone. But men joined in as allies, often pointing out the intersections with other issues.

The legal right to protest Trump’s policies was on people’s minds early on. The button I spotted on this man’s hat proved prescient.

With a president who has declared that journalists are “the enemy of the people,” the ACLU — staunch defender of free speech — should become a major player in the next four years.

Thankfully, in the weeks following the inauguration, the American Civil Liberties Union attracted unprecedented donations by ordinary Americans. According to a report published by CNN on Jan. 31, 2017:

“The American Civil Liberties Union said it received $24.1 million in online donations over the weekend.

In a normal year, the activist group makes about $4 million in online donations. In one weekend, it raised six times as much money.”

The ACLU will doubtless put these funds to important use.

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Photo by Alma Gottlieb

Another personal favorite.

Back in Aug. 2015, Fox news journalist Megyn Kelly moderated a debate among Republican primary contenders. Kelly was especially tough on Trump for his anti-women agenda. After the interview, Trump dismissed Kelly’s challenging questions by referring to her genitals: he implied her questions lacked legitimacy because they must have been produced by menstrual processes — “You could see there was blood coming out of her eyes, blood coming out of her . . . wherever.” Reverting to an age-old patriarchal habit of delegitimizing women’s claims for equality by suggesting out-of-control hormonal processes signaled that Trump’s misogyny was unlimited.

This poster revisits that moment and turns it against Trump. The sign holder owns her anger, and even associates it with her menstrual cycle. As with the pink knit “pussy hats,” in so doing, she is, in effect, using the logic of the gay rights movement, once activists re-appropriated the previously insulting terms used against them–“gay” and “queer.” This sign-maker’s menstrual anger does not control her; rather, she controls it, and for a political purpose: to push back against the sexist agenda of Donald Trump and others of his ilk.

Note, too, the angry tampon in the upper-right corner. Animating that piece of menstrual technology gives life to an inanimate object that is an intimate part of many modern women’s monthly bodily regimes. As such, the angry tampon re-channels the anger of all women, everywhere, who were denigrated by Trump’s insulting dismissal of Megyn Kelly’s professional journalism.

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Photo by Alma Gottlieb

Not all posters were grim or angry. Even through their outrage, some protesters found ways to make us laugh. This clever Miller analogy offered a bitter chuckle for Jewish protestors.

 

Photo by Linda Seligmann

Another punster targeted not Trump, but his Cabinet picks.

At the time of the Women’s March, Trump had already announced many outrageous choices for top Cabinet positions, including Betsy DeVos for Education, Rick Perry for Energy, Tom Price for Health and Human Services, and Ben Carson for Housing and Urban Development. Just a day after the inauguration, reasonable people educated about these picks were already furious.

Nevertheless, this protester’s play on words earned a smile wherever she went.

 

Photo by Alma Gottlieb

Another poster offered a different play on words. The time for Cyndi Lauper’s celebration of girls protesting against sexism via partying is over. With the assault on women’s bodies on many registers, today’s girls just wanna have fun-damental rights.

Even in the most urgent of political crises, a joke can keep us sane. As H. L. Mencken once said, “What restrains us from killing is partly fear of punishment, partly moral scruple, and partly what may be described as a sense of humor.”

 

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Photo by Alma Gottlieb

The last theme I want to signal is the set of inter-generational conversations that abounded on many posters.

Women who remember earlier women’s rights struggles displayed their frustration with old battles that they thought they had won, only to see them re-appear with new force and Hydra-like terror.

Photo by Alma Gottlieb

In the U.S., Republicans often point to the 1950s as a Golden Age. Women, and minorities of all sorts, know better.

American schools were still segregated, and Jim Crow laws were still on the books and followed across the South. Gays were still either closeted or bullied. Women were still expected to marry, have children, and devote themselves exclusively to their families while abandoning all career aspirations. The “military-industrial complex” was just being born. The Cold War divided the world into “us” and “them” while starting to outsource military conflicts to the global South. No concept of rights for the disabled even existed. Public awareness of any religions beyond Christianity was nil. Industrial expansion produced unprecedented toxins polluting the water, air, and land, without nary a protest.

Today, our nation is far from utopian, yet the gains made over the past half-century in rights for women, for minorities of all sorts, and for the earth, are undeniable. The Trump administration’s efforts to turn back the clock and undo those significant gains reminds women old enough to remember the 1950s of a nightmare that, until now, seemed like it was just a distant memory.

 

Photo by Alanna Vaglanos/Huffington Post

This poster reminds us of a far longer timeline. Evoking the Massachusetts’ Salem witch trials of 1692-83, the women carrying this set of posters performed a sort of moving political theatre.

Feminist scholars such as Isaac Reed have argued that the Salem witch trials must be understood as a component of gendered history — rooted in patriarchal institutions and mindsets of colonial America. These contemporary protesters argued that the Puritan patriarchal mindset is still with us. They also saw the accused witches as early feminist rebel-heroes — and themselves, as their heiresses.

 

Photo by Alma Gottlieb

 

As a feminist grandmother, I can relate to this one.

If women in general are supposed to demonstrate infinite patience, that gendered stereotype applies tenfold to grandmothers. They’re the ones kids turn to when parents are mad. If even Grandma is pissed off to the point of making a crude hand gesture, something is seriously amiss.

This poster highlights issues of special concern to the elderly — having enough money to live on after retiring, and a good enough medical insurance policy to cover the increasing costs of staying healthy.

And, yes, the poster also reminds us: old women are also vulnerable to sexual assault.

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Photo by Alma Gottlieb

Finally, lurking at the back of all our minds that day was the unstated question: “Now what?”

Posters abounded proclaiming, in one way or another, that the sun would not set definitively on that day. The momentous event — with its global impact — will be hard to dismiss or forget.

Although the Washington protest was the largest and, because of its location, the most symbolically most potent, it inspired sister marches around the country, and across the globe. Crowd estimates by scholars tell us that something like 4.5 million people marched in 915 individual events around the world.

These extraordinary numbers suggest two striking facts: a great deal of passion, and a great deal of coordination. When passion and coordination are harnessed, a powerful cocktail is created.

Which brings me to the next poster.

 

Photo by Alma Gottlieb

During the campaign season, Donald Trump’s campaign motto, “Make America great again,” resonated with many white voters who feared global flows. But others saw in that slogan an unrealistic effort to close our borders to the world, and a dangerous evocation of earlier nationalist moves that produced imperialist invasion/expansion in places ranging from Vietnam and the Philippines to Iraq and Afghanistan.

This poster bitterly mocks that motto. Here, “Feminism” substitutes for “America” — thereby, implicitly, challenging not only the nativist/xenophobic agenda of Trump, but his longstanding misogyny, as well. This especially subversive slogan is bound to irritate Trump (and his supporters) greatly.

 

Photo by Alma Gottlieb

What to do with all these posters at the end of the day?

Many marchers felt reluctant to ditch them in trash cans.

A spontaneous art exhibit formed at this metro station, as protesters donated their signs to thE subway floor-turned-impromptu art-gallery that expanded by the minute.

Only two days later, museums and libraries around the world, from the Smithsonian’s National Museum of American History in Washington, D.C. to the Royal Alberta Museum in Vancouver, announced that they would start collecting the posters.

 

Photo by Alma Gottlieb

While museum curators soon presented exhibits protesting President Trump’s executive order against Muslim immigrants and refugees either by removing (or covering over) all artwork by immigrants, or by featuring such works, political activists forged their own plans.

Across the US, a new organization has formed: “Indivisible.” Already, 7,000 chapters have been created. Members are busy protesting the Trump agenda, while mindful of the numbers necessary in Congress for Democrats to reclaim the national agenda. The most effective way is to “Mobilize for Midterms”—that is, the “mid-term” elections that will take place in 2018, in the middle of the current presidential term.

This poster featured the pragmatic side to the march, complementing the poetic and the artistic approaches featured in the posters highlighted above.

All approaches were in full force in Washington, and equally welcome.

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Photo by Linda Seligmann

The joy of raising a feminist.

My daughter, Hannah Gottlieb-Graham, had accompanied my husband and me to smaller protests over the years, but this massive scene made an impression like no other.

To plan for our trip to Washington, she’d bought us matching t-shirts. No offense meant to men, but given the past few millennia ruled by patriarchy, redressing the balance seems in order.

 

                                           Photo by Alma Gottlieb

When Hillary Clinton was still running for president, people from Kim Kardashian and Oprah Winfrey to Barack Obama declared their allegiance by announcing, “I’m with her.” The un-referenced pronoun easily stood for Hillary Clinton because she was the first woman ever to win the nomination of one of the two major political parties of the United States. T-shirts supporting Hillary didn’t even have to mention her name—the “her” in question was obviously Hillary.

At the march in Washington, these simple three words took on a powerful new meaning when added to multiple arrows pointing in every possible direction. Once Hillary lost, “I’m with her” referred not to one woman, but to Every Woman. The power of a gendered political movement was born with those arrows.

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The official Women’s March on Washington has called for a national Women’s Strike on March 8th. Let’s join them!