Blog of the Society for Menstrual Cycle Research

Love Your Body, Love Your Beach, Love Your Cup

September 5th, 2011 by Chris Bobel

Mooncup, the British reusable menstrual cup makers, just launched their Love Your Beach? Love Your Vagina campaign—a compelling attempt to connect the care for your body/care for your planet messages at the root of the push for alternative menstrual care.

My first reaction: that deliciously sensual vulva has HAIR! ‘Atta girls!’ This body-positive, earth-loving feminist is on board.

Then I read British journalist/commentator (and self described “broad-minded broad”) Julie Burchill’s piece in The Independent about the Mooncup ad and was brought back to reality, that is, the reality that is colored by menstrual taboos and woman-body-hating. Oh geez, really, Julie? Et tu?

In short, Burchill rails against not only the soft cup, but also the sponge and reusable pads, and by extension “breastfeeding, small shopping, slow eating”—other movements, she concludes that “conspire to straight up KEEP WOMEN AT HOME FOR AS MUCH AS POSSIBLE” (yes, her words, her emphasis). Words like gory, inappropriate, and vile pepper her indictment against options she rejects before she tried them. Her basis? Her “best ex-hippie friend, happily brought back to the land of the living.”

If you strip away her regrettable squeamishness at trying something new (single use pads and tampons FTW!), we find a rather clumsy critique of eco-feminism. Though I can’t be sure since I keep tripping over Burchill’s ignorance and the REAL public enemy.

I, too, shudder, when a product is sold to women (or anyone) because THEY MUST or THEY SHOULD. When this US national breastfeeding awareness campaign heavy-handedly warned women that NOT breastfeeding effectively meant selfish mothering, lots of feminists protested.

Give me info, support, and compassion, not a big finger wagging in my face.

So I hear Burchill’s frustration with ‘Go green, you bitch’ messages, but here, it doesn’t stick. She is mad at a cup maker for promoting a product she thinks sets women back. But for me, the scoundrel is not MORE options, but rather our old nemesis the menstrual taboo which grows out of a long standing discomfort with women’s bodies ON THEIR OWN TERMS. We are cursed with an egregious inconsistency bred out of sexism: Women’s bodies on display? Cool. Women’s bodies as commodities? Score! Women’s bodies lactating, menstruating, doing what bodies do. Eeewww!

Exposed breasts and reusable cups and a expanding field of options—these aren’t the problems limiting women’s potential.  No, deep-seated discomfort with women’s bodies in their natural state–that’s one that really keeps us back.

Post to Twitter Post to Plurk Post to Yahoo Buzz Post to Delicious Post to Digg Post to Facebook Post to MySpace Post to Reddit Post to StumbleUpon

Literary Menstruphobia, Part I

September 1st, 2011 by David Linton

The taboos against menstrual sex are ancient and deep-seated.  Despite the well established fact that sexual intercourse during the period is not medically counter-indicated nor somehow debilitating to women and, furthermore, that some women find the experience more pleasurable than the non-menstrual variety, the prejudice lingers on.  What’s more intriguing is the ways and places that menstrual sexual phobias are made manifest.

According to several literary and cinematic biographies, two of the most revered figures in the English language critical and literary cannon may have been so traumatized by menstrual encounters on their honeymoons that they swore off sex for evermore.

In 1994 a British biopic named “Tom & Viv” offered up the sad story – we might call it an anti-romance – of the poet T.S. Eliot and his wife, Vivienne Haigh-Wood (played by Willem Dafoe and Miranda Richardson) who eloped in 1915.  According to the IMDB summary, the film depicts how “her longstanding gynecological and emotional problems disrupt their planned honeymoon.”  In fact, what the scene shows is that Eliot is so appalled by his wife’s menstrual condition – the sheets are awash in the results of her heavy flow – that he nearly goes into shock.  His repulsion is so great that he has to leave her for a walk on the beach where he wades fully clothed in the waves to cleanse himself.

The entire film consists of little more that a series of scenes in which Viv causes one embarrassing emotional fracas after another in desperate attempts to gain the affection of her increasingly alienated, cold and aloof husband.  There is little doubt that hormonal imbalances are the cause of her instability as early in the film a close mother-daughter conversation conveys the fact that she is perpetually on the brink of yet another menstrual misstep.

Eventually, Eliot has his wife committed to a mental institution where she spends the rest of her life, even after she enters menopause and, we are told and shown, she has become calm and serene.

The YouTube clip that is posted from the film does not include the crucial honeymoon bloody sheets scene but, at over eleven minutes in length, it does display quite a few of the scenes demonstrating Viv’s hormonal flare ups.  Though the film might deserve a subtitle like “Beware the Menstrual Monster,” it does give Miranda Richardson an opportunity to chew up every piece of available scenery.

Post to Twitter Post to Plurk Post to Yahoo Buzz Post to Delicious Post to Digg Post to Facebook Post to MySpace Post to Reddit Post to StumbleUpon

Respecting the Maori Menstrual Taboo

October 14th, 2010 by Elizabeth Kissling

Female visitors to Te Papa (Museum of New Zealand) are faced with a difficult moral dilemma regarding the taonga Maori collection included in an upcoming tour.

An invitation for regional museum staff to go on a behind-the-scenes tour of some of Te Papa’s collections included the condition that “wahine who are either hapu [pregnant] or mate wahine [menstruating]” were unable to attend.

Te Papa spokeswoman Jane Keig said the policy was in place because of Maori beliefs surrounding the taonga Maori collection included in the tour.

“There are items within that collection that have been used in sacred rituals. That rule is in place with consideration for both the safety of the taonga and the women,” Keig said.

She said there was a belief that each taonga had its own wairua, or spirit, inside it.

“Pregnant women are sacred and the policy is in place to protect women from these objects.”

The policy does not apply to the entire exhibit, but to a “behind-the-scenes” tour offered November 5. Visitors’ reproductive status will not be verified in any way, but women are expected to be honest about it and obey the request.


Post to Twitter Post to Plurk Post to Yahoo Buzz Post to Delicious Post to Digg Post to Facebook Post to MySpace Post to Reddit Post to StumbleUpon

What’s Menstruation Got to Do with It?

March 3rd, 2010 by Chris Bobel

vday in london

Tina Turner didn’t sing THOSE lyrics, but what if?

Those that follow re:Cycling may recall-with a grin and a cringe–how Ingrid Berthon-Moine’s portraits of women wearing their menstrual blood as lipstick sent many Guardian and Salon Broadsheet readers to the “icky” place, where unexamined assumptions run amok.

Plenty of folks readily expressed their disgust at the idea of menstrual blood on display (ack!!!on the mouth??)  but few were willing to dig into WHY this disgusted them and how that disgust hurts women and girls…..if they dared to really look first, at those blood-smeared lips, and then,  at themselves.

Moine’s models, silent and unblinking, issue a challenge. When we meet their gaze and contemplate their deep red mouths, we are forced to look back at ourselves, and at each other.

Why is  there a menstrual taboo, anyway? And who and what does it serve? There must be an awful lot at stake when people work so hard to keep it alive.

This week Moine is exhibiting her work in London. Placing her portraits in the context of a V-Day show makes explicit the connections between the denigration of women’s bodies and violence against women and girls.

Sexism and misogyny shape cultural attitudes about women’s bodies and women’s lives, rendering them deficient, at best, and repulsive, at worst. This sets the stage for abuse, for the “justification” of power and control over women and girls and all things feminine.

Let’s not let that connection go unnoticed while we look away from the  “icky,”   especially then.

The menstrual taboo is rooted in a negative and dysfunctional view of women’s bodies and experiences, an artifact of sexism, as old as sexism itself.   Challenging the taboo says NO to disrespecting women and moves us one step closer to ending violence against women.  That’s the power of work like Moine’s.

That’s what menstruation has to do with it. Sing it with me.

____________

If you are in London, check it out:

V Day London Presents an exhibition of work by female artists: Emli Bendixen, Ingrid Berthon-Moine, Alicia Clarke, Cordelia Donohoe, Maria Pia Jamie, Heather Joy Riggs and Vicky Scott.

Opening Friday the 5th of March 6.30 – 8.30 The show will run from the 5th to 20th of March   At : New Player Theatre 10 The Arches
Villiers St, London WC2N 6NG
020 7930 5868

The exhibition is a response to International Women’s Day 2010. V-Day London is part of the global V-Day movement to end violence against women and girls. For more information visit http://v-daylondon.blogspot.com/ Five percent of the sale prices from the artworks will be donated to V-Day women’s charities.


Post to Twitter Post to Plurk Post to Yahoo Buzz Post to Delicious Post to Digg Post to Facebook Post to MySpace Post to Reddit Post to StumbleUpon

Book Review: The Modern Period

February 8th, 2010 by Elizabeth Kissling

If I correctly understand the terms of SHM’s copyright agreement with Oxford University Press, I am permitted to publish this unedited version of my review as a “pre-print” article. The final version will be available only from Social History of Medicine.

Lara Freidenfelds, The Modern Period: Menstruation in Twentieth Century America, Baltimore: Johns Hopkins University Press, 2008. Pp. 242. £31/$60. ISBN 978 0-8018 9245 5.

Book cover: The Modern Period by Lara Freidenfelds Lara Freidenfelds, an historian currently teaching in Women’s Studies at Wellesley College, has written a thorough and engaging history of menstruation in twentieth century USA. Her title, The Modern Period, is more than a succinct description; it cleverly references her discussion throughout of how advancing Progressive values shaped beliefs and practices surrounding menstruation. These Progressive values included faith in scientific rationality, belief in the value of education, and unqualified endorsement of technological progress. The ‘modern period’ also references the evolution of menstrual management practices into a coherent whole and the movement away from practices and beliefs considered old-fashioned, such as worries about catching a chill or the use of cloth pads. Her analysis throughout addresses the class implications of modernization; that is, the perceived need to adopt modern practices of bodily presentation and self-control for class mobility. Such modernization, asserts Friedenfelds, is a key component of Americans’ ability to see themselves as middle-class across great gaps in education and income.

Friedenfelds skillfully integrates a variety of historical sources, such as advertisements, promotional brochures, educational texts, and previous historical and sociological research on menstrual beliefs and practices with her own extended interviews with women and men of a range of ages, occupations, social standings, and ethnic backgrounds. This adroit synthesis helps Friedenfelds show how the modern period was created collectively by advertisers, health educators, manufacturers of menstrual products, and other ‘experts’, with the eager assistance of ordinary people.

The diversity of age and ethnicity among Friedenfelds’ interview participants is particularly striking and significant in a work such as this: the oldest informant was born before 1910, and the youngest after 1970. The 75 interviewees included white Americans in New England, African Americans in the rural South, Chinese Americans in California, as well as 13 people from other backgrounds. Examples from these interviews are well contextualized and grounded with historical research.

Friedenfelds’ choice to organize The Modern Period thematically rather than chronologically made the text a more appealing read as a whole while simultaneously making it possible for each chapter to stand alone. This organizational choice also makes clear how changes in the evolving modern period came about gradually and often in fragmented ways. The book is divided into five chapters, plus brief introduction and conclusion, around the themes of life before modern menstrual management, modern talk about menstruation, modern menstrual behavior, modern techniques of menstrual management, and a fifth chapter about tampons as a case study in controversy.

Some contemporary readers may find it difficult to believe that tampons were once controversial. But when they were first introduced as a commercial product in the 1930s and 1940s, both menstruators and physicians were skeptical about their safety and efficacy. There were also debates about the sexual implications of tampons, and whether it was advisable for sexually inexperienced women to use them. This chapter provides a keen example of how effectively Freidenfelds uses interview data to supplement documents-based research: Using tampons required women to cross boundaries of race, class, culture, and region, as well as learn different bodily practices required by tampon use compared to menstrual pads. Freidenfelds shows this with vivid interview narratives about women experimenting on their own to learn how to insert a tampon, modern daughters explaining to traditional, immigrant mothers that tampons were safe, and more. The frankness of these narratives is a testament to Freidenfelds’ skill as an interviewer.

This is What Menstrual Activism Looks Like

October 12th, 2009 by Chris Bobel

Wow. Chella Quint, UK-based real live activist, posted this 40 seconds of brilliance [by filmmaker Lindsey Keith] on her blog recently. I caught the bug and hope to spread it around. No menstrual taboo? Uh…. Then why is this short film positively hysterical?

Post to Twitter Post to Plurk Post to Yahoo Buzz Post to Delicious Post to Digg Post to Facebook Post to MySpace Post to Reddit Post to StumbleUpon

Readers should note that statements published in re: Cycling are those of individual authors and do not necessarily reflect the positions of the Society as a whole.