Art & Representation A Poetic and Visual Inquiry into The Male Professoriate: Clive, Todd, Mark and William Enquête poétique et visuelle du professorat mâle: Clive, Todd, Mark et William Fiona Blaikie | Brock University T his is a poetic and visual arts-informed inquiry into the male professoriate: Situated in social theory on the body and clothing, artworks, and poetry, visual identity and male scholarship are revealed and presented. Dress is a self-reflexive personal, social and political statement that challenges and/or confirms gendered and social roles. Social acceptance within one’s discipline and the academy is key. For two of the four participants in this research study, Clive and Todd, social acceptance is determined by fitting in via incarnations of conservative scholarly clothing. For the remaining two participants, Mark and William, scholarly clothing is a contested site of conventions and taboos. Acceptance is judged by gender and sexual orientation, revealed in a policed personal, socio-cultural and visual aesthetic of the body and what counts as scholarly clothing. This paper draws attention to how bodies are managed, clothed and situated in spaces and places, offering through text, visual images and poems alternative possibilities for knowing and understanding through arts-informed research. I l s’agit d’une enquête poétique sur le professorat chez l’homme, renseignée par les arts visuels, des œuvres d’art et des poèmes. Identité visuelle et art professoral sont introduits et présentés dans un contexte de théorie sociale corporelle et vestimentaire. La tenue vestimentaire est une affirmation introspective personnelle, sociale et politique qui remet en question et/ou confirme les rôles hommes-femmes et sociaux. L’acceptation sociale au sein d’une discipline et du milieu académique est un enjeu fondamental. Pour Clive et Todd, deux des quatre participants à cette étude, l’acceptation sociale repose sur l’intégration facilitée par le port de tenues académiques traditionnelles. Pour les deux autres participants, Mark et William, la tenue vestimentaire académique est un mécanisme de contestation des conventions et tabous. L’acceptation est fonction du sexe et de l’orientation sexuelle, tels qu’annoncés par l’esthétique visuelle, socioculturelle et personnelle contrôlée du corps et de ce que l’on qualifie de tenue académique. L’article s’intéresse à la façon de gérer et de vêtir le corps et de le présenter dans les divers espaces et lieux, en proposant de nouvelles avenues de conscientisation et de compréhension par le biais de la recherche à caractère artistique et plus particulièrement de textes, d’images visuelles et de poèmes. 45 Blaikie | A Poetic & Visual Inquiry Boys must be boys Recently on the Canadian Broadcasting Corporation (CBC), I heard a woman telling a story of her four year old son and his favorite pink T shirt. On the first day of kindergarten, he wore the pink T shirt. But after that first day, he wouldn’t wear it again. When the mother asked her son why, the four year old kindergarten boy said that the kids at school, male and female, told him “boys don’t wear pink”. As R.W. Connell (2002) notes, usually gender is used as a means of control through shaming, for example, telling a crying boy he is “acting like a girl” (p. 158). When he was about eleven, my son started doing ballet, following hip hop dance. But in our town, we were told on several occasions that boys don’t do ballet. For example, a young girl waiting for her class to begin watched my son through the viewing window, the only boy in a class of twelve year old girls. She said to me “Why is he doing ballet? Ballet isn’t for boys. Boys shouldn’t do ballet.” “Why not?” I asked her. “Because it’s only for girls. Boys do hockey.” More recently my son began full time training at a professional ballet school where, on a weekend visit, the shaming Connell (2002) refers to was carried out again, this time by an adult. As I walked away from the residence, the mother of a girl in my son’s academic grade said “Well my son wouldn’t be interested at all in ballet. He’s all boy”. Constructions of male identities in schools examined by Mairtin Mac an Ghaill (1994) speak to these notions of what boys are supposed to do and be, as opposed to girls. As Connell notes, difference “is often immediately interpreted for them (boys) in gender terms. Ed Johnson, for instance, did not like football, did like knitting and cooking, and thereby aroused deep suspicion in his father’s mind” (p.120). Your body, your underwear, your shoes, your clothing, your haircut, and your accessories speak volumes (Lurie, 1981) about who you are, what you value, and how you feel at any moment. The way we present our bodies, clothed and accessorized, communicates sexual, gender, political, religious, social and cultural affiliations and preferences. Most of us are unconscious of the extent to which our clothed bodies are socialized and gendered. For most human beings, the process begins the moment we are born. Diapers are created with blue or pink patterning and imagery for “boy” and “girl” babies and toddlers. Babies, toddlers, children and teenagers’ clothes, toys, games, activities, bedrooms, furniture, books, fabrics and decor are designed to reinforce a culturally, politically, socially, religiously genderized “norm” along binary male versus female lines which is policed by everyone, including ourselves. Our ontologies are reinforced by our own enculturated conditioning. The Canadian Review of Art Education | Volume 38 46 Gendered Spaces and Places In addition to clothing, spaces and places are heavily gendered—for example, the ballet studio, the hockey arena, the barber shop, the chic hair salon and the locker room. Juliet Kinchin (1996) in The Gendered Object describes the 19th century female domain at home. Still relevant today, these spaces include the often frillier drawing room, boudoir, and bedroom, decorated colourfully and delicately, while the male domain includes the dining room, hall, library, study, billiard and smoking rooms decorated in darker tones, featuring leather and dark wood (p.13). In Joel Sander’s Stud, (1996), a 1950s Playboy penthouse apartment is described hilariously as a “high handsome haven” (note the alliterative reference to “he”) for the “bachelor in town” (p. 55). The 1950s bathroom, for example, has copied frescoes of the prehistoric cave paintings at Lascaux and indoor plants, suggesting the woodsy earthy visceral beast/man, who, with his high tech lighting, sound dimmers and automatic drape switches at the head of the seven foot bed performs the dual role of feral sex-beast following his wild animal instincts, while presenting himself more civilly and seductively as urbane Player Extraordinaire: “Entering the bedroom from the living room we are immediately aware of the textural difference between the living room’s cork floor and the luxurious wall–to–wall carpeting of the bedroom, which seems to invite a barefoot romp but which also speaks of rich smartness” (p. 67). Recessed lighting is provided rather than “lamps, which would impede the clean open look of the place...there is a complete absence of bric–a–brac, patterned fabrics, pleats and ruffles” (p.67). Masculinity, like femininity, is a social construction (Butler, 1993, 1999; Connell, 2002, p. 29). The bachelor inhabiting the Playboy penthouse male space is positioned securely and correctly (one is assured) as all male, averse to anything female or shrilly feminine in his space, unless “she” is there for sexual or house–cleaning purposes. This binary is often so demarcated, in male sports, for example, that it raises in me suspicions around unconscious conflict (Connell, 2002, p.120). Connell cites a study by Foley where football is examined as an iconic activity in the reproduction of encoded gender roles. The same could be true for any sport (and most sports are male dominated), such as rugby, cricket, soccer, basketball and hockey. In football, the game directly defines a pattern of aggressive and dominating performance on the field as the most admired form of high performing masculinity, in/directly marginalizing others who cannot “perform”, while cheerleaders are models of feminine desirability; their desirability further defining the hierarchy of masculinity among footballers, since only the most secure and confident will risk ridicule by asking a cheerleader for a date (p. 159). 47 Blaikie | A Poetic & Visual Inquiry Imagine the football field as a space and place of 1950s style pumping red-hot masculinity, leased briefly and in a token way to sexed up cheerleaders. Universities, colleges and schools are spaces occupied by persons and objects that are defined in multiple and perhaps even more complicated ways. Donal O’Donoghue’s (2007) work examines 17 boys’ experiences and conceptions of space and place in an elementary school in Ireland where “masculinities are constructed, performed, and regulated, but they are not uniform and universally generalizable to all boys/men in our society” (p.62). A set of unspoken messy “rules” point to the ways in which gendered social, professional, academic and sexual identities and roles play out within the academy. A poetic and visual inquiry into the male professoriate This is a poetic and visual arts-informed (Cole and Knowles, 2008) inquiry into the male professoriate, focusing on the clothed, disciplined, and/or transgressing bodies of male scholars. Through the literature, artworks and poetry situated meanings of scholarship and visual identity are revealed and presented. Professors are often challenged and subtly punished (by members of their own group) for not living up to acceptable codes of behavior and dress. It is ironic that, within the hallowed halls of academe where the phenomenon of social control is often a site of contestation, the same force of social control is exerted over appearances. It is this site of contestation that I explore. Methodology Tom Barone (2008) asserts that arts-based research is not a substitute for qualitative research. What it is is an entirely different way of collecting, analyzing and creating data that broadens our ways of knowing, seeing and understanding. Arts–related methodologies originate in the practices of studio art and art criticism, and in writing theoretically, analytically, interpretively, and creatively. Focusing specifically on arts–informed research (Knowles and Cole, 2008 and Cole and Knowles, 2008) draws upon the idea that meaningful images and texts incorporated into research processes deepen and enhance understanding not possible through conventional academic means. According to Ardra Cole and Gary Knowles (2008) “Bringing together the systematic and rigorous qualities of conventional qualitative methodologies with the artistic, disciplined, and imaginative qualities of the arts acknowledges the power of art forms to reach diverse audiences and the importance of diverse languages for gaining insights into the complexities of the human condition” (p.59). Arts–informed educational research reaches “multiple audiences by making scholarship more accessible. The methodology infuses the languages, processes, and forms of literary, visual, and performing arts with the expansive possibilities of scholarly inquiry for the purposes of advancing knowledge” (Cole and Knowles, p.59) which is necessarily connected to a moral purpose because “ultimately, the research must stand for something” (p.66). The Canadian Review of Art Education | Volume 38 48 The human condition, moral and ethical issues explored in my earlier work (Blaikie, 2009) encompass performing as a female administrator, transgendered, gay and feminist scholarship. Revealed in poems and images, my participants’ clothing and visual identities are value laden: Shoes, jackets, and accessories say and tell who each scholar is and what s/he values, masking and revealing secrets and histories. They speak to functionality and subjectivity, scholarly disciplines, gender, sexuality and culture. Melisa Cahnmann–Taylor and Richard Siegesmund (2008) describe arts-based research as a tool for every aspect of engaging in research, from recording to creating to generating data. I seek to exemplify this statement in this study. The primary research question focuses on each male participant’s sense of his embodied self expressed through clothing, within the context of his work as a scholar within a particular discipline. I ask: “Tell me about your clothing and accessories, and how they reveal your identity as a scholar?” Photographs and artifacts inspire drawings and paintings; transcripts of conversations inspire prose and poetry. Through arts-informed educational research (Cole and Knowles, 2008) I wish to reveal the poems and artworks as having inherent meaning, as connected, integrated and mutually supportive. Creating the Poems Finding meaning in the transcripts for me means revealing each participant’s stories in a chronological way, as well as identifying significant moments, feelings, phrases and words. Before engaging in creating poems in this research context, and in addition to academic writing, I have already written several short stories and short poems. I love writing of all kinds. Creating poems in a research context is different. I know that implicit in the process of all writing is re- writing and editing in an obsessive way. In fact, re–writing and editing is the process. I read each transcript multiple times in order to identify emergent themes, and in order to isolate specific elements of text and narrative. After extracting this data from each transcript into a new emergent working document, I identified four elements which I judged to be important: • significant events and moments • significant feelings • significant words • significant images which emerge from moments, feelings and words Following events and moments first, I re–arranged the emergent text so that a storyline was revealed. Then, I edited numerous times, and in doing so I isolated moments, words, feelings and images, deleting anything extraneous or repetitive. From these words and phrases I created the poems, engaging in a process of purging and synthesizing until each poem felt right and complete. 49 Blaikie | A Poetic & Visual Inquiry Creating the Artworks The photographs of the participants inspired drawings and paintings, drawing from the photographs but altering them, inspired by the significant images emergent from our conversations. Making visual art is something I have engaged in as a necessarily integral part of my life ever since I could hold a crayon. Before teaching high school art and English, I received an undergraduate fine arts degree from the Michaelis School of Fine Art, University of Cape Town. I majored in art history and painting, focusing on portraits. I have always painted portraits and still life using oils and oil pastel washes on canvas and canvas paper. I like oils because I love the smell, the plasticity and sensuality of the paint itself and the way the canvas gives as I stroke it with my favorite brushes, and the richness of the colours I love to use, including Monestial Blue, Naples Yellow and Indian Yellow. The latter is very malleable and can become a light cream or hot saffron, merging into a hot flame when mixed with Alazarin Crimson. O’Donoghue (2009) notes that in undertaking arts-based research, we need to consider the “processes and practices of artists” (p.352). In this work that focuses on and is infused by research as artistic practice, and artistic practice as research, I have much material or data to work with: In addition to the broader realm of artistic practices and the literature relevant to this work, I have each transcript with all its moments, feelings, words and images; I have photographs of each participant, and I have access to multiple images in print media such as magazines. I study the transcripts and photographs, and I look at stock and print images. Then, I create a collage of a person who, for me, conjures up the essence of who my participant is. I might use eyes from one photograph or print image, a mouth, chin and dress suit from another, for example. The collage is not the final artwork. Several artworks are created using the collage/s as a reference for drawings and paintings, using oils, oils pastels, heavy 4B or 8B pencils, as well as water colour pencil crayons. For a paper such as this one, I selected the artworks I believe best reveal the moments, feelings, words and images expressed by each participant. The Participants Using pseudonyms, the participants, Clive, Todd, Mark and William are presented to you now through artworks and poems. I selected four participants because of the space the poems and artworks take in relation to the length of a typical journal manuscript, and because of the relative differences between these participants from one another in the ways in which they perform their masculinities, their differences culturally, experientially, academically and sexually, as well as their varied relationships with and to their managed, clothed bodies. The Canadian Review of Art Education | Volume 38 50 POEM FOR CLIVE You say: I do science My clothes are utilitarian sweaters, T shirts shirts and jackets for teaching for respect you say I don’t notice I see no gender differences then prodded embarrassed, perhaps, you throw me a bit of Life, Art her sharp shoes his flamboyant fedoras and berets where does he get them? you wonder… I see and smell denial an/aesthetic I imagine a heavy dim drizzly Monday morning you dressing in your brown or blue with your favourite Mark's Wearhouse tan jacket brown-lace-ups form manly respect, for teaching and you turn and say to Irene it is raining therefore, I need an umbrella 51 Blaikie | A Poetic & Visual Inquiry PAINTING FOR CLIVE With regard to Clive, I am particularly intrigued by Steve Penfold’s (2007) provocative description of the university as a “refuge for the socially awkward and physically unattractive”(p.31). Despite caricature images of the disembodied professor–big on ideas with little care for or attention to style, fashion, or appearance—the body and its presentation in clothing matters. While scientist Clive describes his own clothes as “utilitarian”, he acknowledges that he notices her “sharp shoes”, and his “flamboyant fedoras”. At times deliberately and boldly but more often in subtler ways, what professors wear and how they present themselves says as much or perhaps more about them, their politics, their academic disciplines, and how they wish to be ‘read’ by students, colleagues, and others within and beyond the academy than spoken or written words. Diane P. Freedman and Martha Stoddard Holmes (2003) describe the ethnic, dis/ abled, gendered, aging, pregnant, and classed body of the professor going unnoticed, remaining invisible. “Even the battered briefcase” they claim, “expresses disregard for anything but the life of the mind and the practicalities of scholarship” (p. 7). Appearance for male scholars and “appearance symbols” are unexamined and presented stereotypically as the beard with tweed coat and suede elbow patches, because as Kaiser Chandler and Hammidi (2001) allege, men “don’t have to contend with discourses about fashion, femininity and feminism as women do” (p.118). The Canadian Review of Art Education | Volume 38 52 POEM FOR TODD As a sociology/anthropology grad student at our conferences I wore jeans, T shirts, sweaters the quantitative sociologists then, and others with NGOs and governments as a young prof are suit and tie wearers I was cool, young and hip the critical ones, into political science identifying with students wear jeans and leather jackets, running shoes or boots my clothes said, I’m one of you sociologist women wear sensible shoes, sandals there are old hippies in flowing skirts in those days and feminists with short hair we anthropologists did fieldwork no make up returning in the clothes rejecting of our people style dressed as them superficiality different and frivolity exotic strange now we tried to counter stereotypes as a new Dean at conferences I’m self conscious we swapped stories of older malaria and hepatitis when I get my clothes wrong wearing our people’s clothing my whole day is wrong as a badge at some meetings they wear ties saying at others, none look at me there’s a logic I did something often I don’t get it right I studied in Cambodia, Ghana or India I’m distant uncertain that world has gone uncool in the 80s marked came accessibility an authority figure and consciousness of cultural appropriation away from students how do we fit, what do we do? colleagues we became self reflexive friends now, I want comfortable participants but for you I’m not pretending to be them I’m in my favourite in jeans black turtleneck or as a corporate executive and my 1980s tweed jacket, from graduate school participants have expectations I got it right a professor is coming I feel comfortable I show respect for today and balance in chinos and a jacket 53 Blaikie | A Poetic & Visual Inquiry DRAWING FOR TODD Bodies are managed, clothed and situated in places and spaces that are gendered, spaces such as universities, schools, the business world, agriculture, sports, politics, shopping centres and hospitals (Connell, 2002, p.215). Within these spaces and places, typically male dress conforms to defined and strictly gendered codes in that men do not wear skirts, high heels and lipstick. However, their clothing is not limited. At universities, schools, in the world of business, in offices and law courts, in agriculture, sports, politics, and the army, male clothing ranges from the couture dress suit to the scruffy brown ensemble, the army uniform, the cowboy hat, the padded large-shouldered massive-bottomed baseball player outfit, to the artsy tight emo jeans, designer glasses and black polo neck sweater. The Canadian Review of Art Education | Volume 38 54