Beyond the Binary: Gender Performances in Asian Theatre

Kayson Carlin

Bowling Green State Univeristy

November 28, 2018

 

Beyond the Binary: Gender Performances in Asian Theatre

Recent years have seen a surge in attention to issues concerning gender, as if the topic were a new phenomenon. However, history is saturated with gender issues, from defining what gender is exactly, to determining what role one should play in life based on genitalia, to debating if gender has a spectrum of identities or forms. In the world of arts, the line between male, female, and other is frequently blurred, especially in the performing arts which pays great attention to the human form. Theatre is notorious for crossing this line. It should be noted though, that the idea of gender itself varies from region to region. What is considered masculine, feminine, or androgynous in western theatre differs from that of Asian theatre. As such, theatre in Asia includes great variation when it comes to performances on the gender spectrum.

Japan has one of the most notable reputations for gender bending not only on the stage, but in other popular entertainment as well. There exists a sort of androgyny for what is considered attractive, as seen in comics, television, film, and celebrities. This could be partially explained by Japan’s history of cross-dressing entertainment, such as Takarazuka and Kabuki’s onnagata.

The term onnagata refers to a female impersonator on the kabuki stage. Women in kabuki groups often consisted of nothing more than prostitutes (Bowers p.44) or were considered too “alluring” for the audience to watch, and resulted in their nation-wide ban on performing in the mid-17^th century. From 1629 on, male actors, the onnagata, played women’s roles (Leiter p.495). Such actors were specifically designated female roles rather than portraying both men and women on stage. Far from what may be thought in the west, this was, and still is, a respected art. In the onnagata‘ s early years, roles of power went to male-role actors while dance was the onnagata‘s specialty (Leiter p.502). From this portrayal of women, the onnagata created an idealized version of femininity, based on what men thought women should be like. They created an abstract idea of a woman, becoming a stylized version instead of someone specific (Scott p.3). Some accounts even included these actors who would live as women to better understand and perform femininity. Kabuki crossdressing is mainly a matter of men dressing as women rather than the reverse (Leiter p.512), though this later changes when women are allowed to perform again.

In 1629, any appearance of women on stage were forbidden, and until the 19^th century the ordinance remained tacitly in effect (Bowers p.44). Women were limited to behind-the-scenes work, such as costume construction. In the late nineteenth century, western-style theatre was introduced to Japan and challenged the custom that only men were allowed to perform on the stage (Chen p.54). Due to it’s influence, the constraints on gender began to loosen, and women stepped into the light. Although theatre offered women a platform, its policy was heavily informed by the male stance, and its categorization of gender roles on the stage, in fact, accorded with Japanese social expectations of men and women (Chen p.58). The Takarazuka Revue, founded in 1913, was one of the first all-female performing groups in Japan. Less than a year later in 1914, The Takarazuka Girls Revue gave its first performance in the Paradise Theater, a converted indoor pool (Takarazuka Revue Company). Despite women playing the roles of men, the gender binary is strictly enforced. On the Takarazuka stage, gender is constructed in two categories; one is the otokoyaku (an actress playing the male role) and the other is the musumeyaku (an actress playing the female role). The categorization of otokoyaku and musumeyaku reinforces gender stereotyping of both male and female roles (Chen p.64). The two different genders on the Takarazuka stage are made distinct by the use of stylization in gesture, movement and voice; the otokoyaku emphasizes masculinity as she plays the male role whereas the musumeyaku highlights femininity as she plays the female role (Chen p.58). It’s interesting to note that while male characters (specifically love interests) attempt to adhere to the binary, they are not extremely”manly”, and instead are portrayed as androgynous with a masculine edge. Similar to the onnagata, otokoyaku is the idealized version of what women want men to be; strong and capable yet in touch with his feminine side.

China has an extensive history of traversing gender, most notably Mei Lanfang who was regarded as the greatest nandan (female impersonator) in living memory (Li p.39). This type of cross-dressing, male to female, can be said to have existed several hundred years prior to the Tang Dynasty. The earliest recorded instance of female cross-dressing (female to male) is found in the eighth century Tang Dynasty when actresses played the role of the male officer in a theatrical act known as “The military counselor” (Li p.33). However Chinese opera, and theatre in general, has gone through dramatic changes depending on political authority. In the Yuan Dynasty, under Mongol rule, male and female performers were free to appear on stage together. In fact, women prospered in theatre; the first fully developed Chinese theatre to emerge in the Yuan Dynasty favored female players and female cross-dressing (Li p.40). Furtermore, each play was, very uniquely, written as either a female role-type script (danben) or a male role-type script (moben). Despite this categorization, there were female players who, apart from playing the leading female role, also cross-dressed to play the leading male role, and equally certain that there were also men who played the leading male role (Li p.50). In the subsequent Ming Dynasty, however, such freedom was reigned in due to backlash of “not being Chinese enough”. Basically, anything that flourished in the Yuan Dynasty was seen as Mongolian, and needed to be replaced with more “Chinese” ways of thought. It was with this re-emergence of Neo-Confucianism under such conservative return to “Chinese” culture in Ming China that women were tightly confined to the private sphere (Li p.58). As such, began the stage practice of separating male and female actors. Due to these resrictions, cross-dressing became a necessity for the sake of the performance, especially for female roles, as women were restricted from public stages.

When discussing gendered performances in Chinese theatre, it’s important to mention “The Butterfly Lovers”, arguably the most celebrated folk tale in Chinese culture (Li p.109). The general narrative revolves around Zhu, a girl disguised as a boy in order to attend a prestigious school, and her male best friend, Liang, who is unaware of her true gender. After studying together for three years, Zhu is called home for an arranged marriage. She reveals her true gender to Liang, and despite falling in love, she is forced into her arranged marriage. Liang soon becomes ill, and dies, and at his funeral, Zhu commits suicide by throwing herself into his tomb. The two are then said to have turned into butterflies. While the story itself plays with gender, theatre has taken it to a new level for performance. The character of Zhu bends gender expectations, and as such, can be difficult to cast. Historically speaking, when women were prohibited from the stage, men would play female roles, as mentioned above. The actor for Zhu, then, would be a male, playing the role of a female, disguised as a male, resulting in a double cross-dressing act. In the Yuan period, when women performed on stage, the character of Liang would occasionally be played by a woman. In these instances of cross-play, it is important to note that the traditional Chinese construction of masculinity manifests itself in a variety of representations and is in many ways different from today’s Euro-American notions of masculinity (Li p.125). Therefore, having men and women playing oppsite sexes, is less transversive than western expectations. Today, “The Butterfly Lovers” is a popular performance put on by the Yueju opera in mainland China, which is basically female and is dominated by female players, although there are often a couple of male actors in each troupe (Li p.112). In the staging, on the physical level of the players, there are two women; while on the level of dramatic representation of the characters, it is a man and a woman (Li p.125), though the character of Zhu complicates which is which. The gender-bending of this play is a cornerstone in Chinese theatre and gender theory.

India has a complex approach when it comes to gender and theatre. Like Japan and China, Indian theatre has a history of dividing performers along the gender binary of male and female. However, in India there are people known as hijra, who are culturally recognized as a third gender, neither male nor female. This adds another layer to gendered performances on stage that is unique, though somewhat ambiguous and under researched.

Chhau is a performance belonging to the three contiguous States of Jharkhand (Seraikela), Orissa (Baripada) and West Bengal (Purulia), involving vigorous dance movements based on mythology, and is traditionally performed by males (Mehta p.1). Some movements, however, are modeled after the daily housework of women, such as sweeping, fetching water, and grinding spices. The Chhau dance at Purulia does not have many female characters, since its themes are from episodes of the epics of Mahabharata that do not have such characters. Women as performers have not yet been introduced to Chhau at Purulia, while Chhau at Seraikela and Mayurbhanj have an array of female characters and women as participants (Mehta p.10). Traditionally, Chhau had restricted women as performers, as the only women who performed in public were dancers known as devdasis, a type of courtesean or prostitute. Therefore Chhau is a heavily male dominated art form having had the traditional hegemony of not only male performers, but teachers and instrumentalists as well (Mehta p.39). Hijra, who are more commonly born male or intersex, were then designated to female roles (if there were any). Often this was one of the only ways to earn money, as their gender ambiguity caused scorn and adversity in mainstream society. Even today women do not have exclusionary rights to female performance roles as male artists continue to perform the female roles (Mehta p.74), though this is rapidly changing as there is no official decree banning women on stage. Where this leaves the hijra is unknown.

The common thread seen not only in Asian theatre, but theatre around the world is the restriction of the female sex at one point or another. As a necessity, cross-dressing proliferated, and blurred the lines of gender. Men performing female or feminine roles took precedence, despite the existence of women playing male roles, partly due to the fact that there was not much academic concern of them until fairly recently. In fact, some performers cannot be distinguished between male or female, resulting in being overlooked by historians. Thus, the gender binary of male and female in theatre is constantly being rewritten as new information comes to light. Perhaps in the future, this binary will be replaced by a spectrum of sex, gender identity, and gender expression, if it hasn’t already.

 

 

References

Banerji, Anurima. Odissi Dance: Paratopic Performances Of Gender, State, And Nation. New York University: UMI, 2010.

Bowers, Faubion. Japanese Theatre. Toronto. Canada: University of Michigan Press, 1952. Book.

Chen, Yilin. “Gender and homosexuality in Takarazuka theatre.” Performing Ethos 1.1 (2010): 53–67.

Kothari, Sunil and Avinash Pasricha. Odissi, Indian classical dance art. University of Michigan: Marg Publications, 1990. Book. 26 November 2018.

Leiter, Samuel L. “From Gay to Gei : The Onnagata and the Creation of Kabuki ‘s Female Characters.” Comparative Drama 33.4 (2000): 495-514.

Li, Siu Leung. Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press, 2003.

Mehta, Gouri Nilakantan. Pan Indian Identities Of Female Performers. Miami University: UMI, 2004.

Scott, Margaret. “Transformer Controversial Kabuki star Tamasaburo Bando.” Los Angeles Times 22 May 1994. Newspaper.

Takarazuka Revue Company. History. n.d. 10 October 2018. <http://kageki.hankyu.co.jp/english/history/index.html&gt;.

 

Gender Representation and LGBTQ+ Portrayal in Steven Universe

Kayson Carlin

Bowling Green State University

April 18, 2018

 

Gender Representation and LGBTQ+ Portrayal in Steven Universe

            Cartoons have spread far and wide, and cover a great variety of topics, from educational television shows for children, to nationalistic propaganda during wartime. Certain themes addressed in cartoons, like all media, change with the societal and/or political climate. For example, in the 1950’s, American cartoons have included references to the Cold War. Even characters were coded as Russian or communist. At that time, it was a relevant issue for audiences who watched international political tension rise day after day. 60 years later, we find ourselves concerned with different issues that affect our daily lives, such as representation of certain minority groups. Today’s cartoons are beginning to reflect ideas of gender and queerness by either explicitly acknowledging it, or subtly coding characters, similarly to certain ethnicities and affiliations of those from time gone by. However, there is concern when it comes to proper representation and how certain groups of people are displayed. Steven Universe (Sugar, 2013) is a fairly recent, ongoing animated series on a major network, that approaches such issues in a positive way, without becoming overbearing or preachy. It contains characters that are considered gender-variant, and queer, and takes their struggles seriously, giving them validity where other cartoons may play them off as a joke. Steven Universe provides visibility for these underrepresented groups.

The 2013 American cartoon Steven Universe centers on a young boy, Steven, and his family of gemstone based aliens as they protect earth from invaders who would wipe out the human race. Millenia before the start of the series, Earth was a colony for these gemstone aliens, until a soldier named Rose Quartz, rebelled. Believing that life on Earth was precious and should be spared, she gained a following of like-minded gems, eventually leading a rebellion and succeeding. In the present, the story continues with Steven, who learns that he is half-human, half-gem, the first hybrid ever in the universe, having inherited his gemstone from his mother, Rose Quartz, who gave up her physical form so that he would live on in her place. With him are the last three remaining gems on Earth; Pearl, Garnet, and Amethyst. Together they help each other heal after the loss of their beloved leader, Rose Quartz, as well as defend the planet from the returning threat of the gemstone home world.

In the lore of Steven Universe, the gemstone based beings are technically sexless, as they are quite literally humanoid forms of rocks. However, every single gem shown in the series thus far is considered female. From this fact, Steven Universe makes a distinction between sex and gender as two different concepts, portraying gender as a social construct. Gems do not have human anatomy, and as such, they have a “fluid, self-described gender” (Tishma) of whatever they wish; in their mind/personal identity, or how they present themselves. Interestingly, every gem uses feminine pronouns i.e. “she/her”, despite not being anatomically female. Though the details of why this is have not been discussed, it’s created a starting point for gender variant characters, especially when looking at how some gemstones present.

A central figure, Rose Quartz, is a gem that embodies femininity. Despite starting a savage war against her own people, she is portrayed as a kind, just, and protective motherly character. She wears a long, white gown, and often gracefully floats just above the ground. Her hair is pink, a color commonly associated with femininity, and her preferred human form is that of a bigger-boned woman. In fact, her entire character theme is associated with the color pink and rose motifs. From these characteristics it is evident that Rose represents someone on the effeminate female side of the gender spectrum. In stark contrast is the antagonist, Jasper, who is on the masculine side of the gender spectrum. Jasper is a tall, muscular humanoid with a sharp jawline and husky voice. She is seen wearing trousers and boots as opposed to more “flowing” clothing such as skirts or dresses that other gems have been known to wear. She is a soldier, physically strong, huge, headstrong and unrelenting (Tishma). Aside from her physical appearance, Jasper also displays male-coded personality traits, such as a disdain for emotions that she considers weak. Within the storyline, her position of power is one often filled by men, and she often bullies others to go along with her. She has no interest in anything outside of combat, and victory, again landing her squarely in the hyper-masculine square (Tishma). However, Jasper is still considered female, using she/her pronouns. This can be read as a representation that not everyone who is female is necessarily feminine. With Rose Quartz and Jasper, two vastly different characters, Steven Universe is portraying gender expression variance by having effeminate females, hyper-masculine females, and everything in between.

Steven is the only gem considered male, as he is half human and thus has a human, male body. Despite this, he has many characteristics that are typically coded as female. He is gentle, caring, and wishes to avoid conflict by meaningful communication instead of fighting and violence. He readily expresses his emotions, such as fear, sadness, loneliness, and most importantly love, unlike a typical male protagonist in many cartoons. And while his confidence, independence, and adventurous spirit classifies him as masculine, his deep nurturing core makes him feminine (Tishma). Further evidence of this is shown in battle, where his weapon of choice is not actually a weapon at all. While the gems wield spears, swords, and whips, Steven uses a pink shield to protect others instead of inflicting harm. He even has healing powers when his friends and family are injured. Both of these aspects are normally reserved for female characters, who are commonly portrayed as unwilling to fight, preferring to utilize their “maternal instinct” to heal and care for others. These traits are not used to reflect negatively upon Steven nor do they detract from his bravery and other such heroic traits. Thus, his character provides viewers with exposure to a male with stereotypically feminine traits being taken seriously (Clark p.82). The show takes this a step further in an episode called “Sadie’s Song”, where Steven performs a song onstage, decked out in a dress, heels, and make-up. The event is not used to embarrass, emasculate, or punish his character, rather, the crowd supports him, not because the drag is funny, but because they genuinely enjoy the performance (Clark p.83). Continually throughout the series, Steven’s character is used to break and challenge gender roles and norms.

Midway through the first season of Steven Universe, viewers are introduced to the concept of fusion- when two (or more) gems become so in sync, they fuse together to become an entirely new gemstone. This is commonly done when one gem cannot complete a task by themselves, and enlists another to utilize both their strengths. Fusion can also happen when two gems form a strong bond and desire to be with the other, which will be discussed later. Steven, being half-human, half-gem, can fuse with both gems and other humans, which is how the character Stevonnie is created. Stevonnie is a being created from the fusion of Steven (male) and his friend Connie (female), and uses they/them pronouns. Since they are literally a combination of male and female, Stevonnie has an androgynous appearance, neither distinctly masculine or feminine. They are simply described as “an experience” (McDonnell p.78). Stevonnie can be viewed as a representation of a transgender character, intersex character, agender character, non-binary character, and/or a genderfluid character (Clark p.51). Again, Steven Universe is clearly displaying gender, gender presentation, and sex as separate concepts.

As stated in the previous paragraph, fusion is a strategy to make gems stronger, as well as a metaphor for a relationship. Garnet is a central character that is a permanent fusion between Ruby and Sapphire, two gems that are portrayed as having a romantic relationship. Since the gems use female pronouns, many interpret this relationship between Ruby and Sapphire as a lesbian relationship and see Garnet as a physical embodiment of a lesbian relationship (Clark p.54). She is portrayed as strong and level headed, formed out of Ruby and Sapphire’s strengths and often described as “better together”. This provides a positive representation of not only a same-sex relationship, but a healthy one as well.

Pearl and Rose Quartz are other primary characters that can be considered LGBT. In flashbacks and soliloquies, Pearl discusses her devotion, and almost obsession of Rose. She recounts how she risked her life to protect their leader, and how jealous she became when Rose began seeing Steven’s father. On multiple occassions, Pearl has even asked why Rose chose Steven’s father over her. Because of this, Pearl’s orientation is considered to be a lesbian due to her perceived romantic love and devotion for Rose Quartz (Clark p.45). This is further cemented, when she later develops a romantic crush on a pink haired mystery woman she meets at a party. On the other side of the equation is Rose Quartz, who conceivably had feelings for Pearl as well before she fell in love with a human man. From this perspective, it can be argued that Rose’s orientation is bisexual.

The inclusion of characters who are not cisgender or heteronormative not only provides a unique perspective in storytelling that is often left out, but also serves as a connection for LGBT+ youth. Steven Universe is obviously a show targeted towards the younger generation, and young people are becoming more familiar with queer identities as a result. It bridges the gap for children who are questioning their own identities, by providing them with characters they can relate to. It invades the darkness, breaks the silence, and tells them “you exist” (Dennis p.96). Such positive representation is critical in forming a healthy foundation for self discovery and acceptance. Steven Universe goes above and beyond what is expected of your average cartoon.

 

 

Bibliography

Clark, Heather. My Lesbian Space Rock Show”: Representations of Intersectional Identities in Steven Universe. Humboldt State University, May 2017. Document.

Dennis, Jeffery. “Queering Without Difference.” Journal of LGBT Youth 5.3 (2008): 96-98. Journal Article.

McDonnell, Chris. Steven Universe Art and Origins. New York: Abrams, 2017. Book.

Tishma, Mariel. Masculinity in Steven Universe. 8 November 2016. Web.

Ace of Hearts: Asexuality

Kayson Carlin

Bowling Green State University

August 5, 2017

 

Abstract

Asexuality is analyzed through a scientific and social lens to determine why it is so little known. Possible solutions are proposed to incorporate the asexual community into mainstream society with increased media visibility and education. The conclusion formed from various academic literature on asexuality, indicates a strong need for more attention from the general public.

Keywords: asexuality, sex, LGBT+, engagement

Ace of Hearts

In 2011, a coincidental Google search for funny YouTube videos resulted in one teenager’s self-discovery. For years, they felt somehow different from their peers, whose lives revolved around hook ups and break ups. Weren’t there more important things to worry about, like college admissions, refugees in the Middle East, or even alien life within our very own solar system? This teen felt like they were broken, physically, mentally, or both. They agonized over this, until the day they came across a term by pure chance; asexuality. It described someone who does not experience sexual attraction. There was even a community of these people whose experiences echoed the teen’s. Finally, they realized they weren’t broken, just different. And they were not alone. Only recently have sexologists begun to explore asexuality as an orientation. Had there been wider acknowledgement of such an orientation, perhaps the teen’s confusion could have been minimized. Unlike heterosexuality, which has major visibility, other orientations such as bisexuality, pansexuality, and especially asexuality, is scarcely known both to those who experience it, and those in the “outside”, sexual world. To have a more well-rounded and educated society, asexuality deserves the same attention from the public as other orientations.

 

The phenomenon of asexuality has been underreported for centuries. By default, a person is assumed to be heterosexual, believed to be “the norm”. Unless someone, like a historical figure, explicitly shows or states attraction to the same sex, they are often labeled by that default. This assumption however ignores other sexualities because they do not fit neatly into a binary of hetero/homo. With so little recognition, it’s no wonder why a majority of the public is unaware of the existence of asexuals. What’s more, it’s estimated only a small portion of the world’s population is asexual, much less than homosexuals, bisexuals, or pansexuals. As a result, asexuality does not garner attention from the general public because many believe it does not exist.

In 2004, psychologist Anthony Bogaert estimated that approximately 1% of the world’s population was asexual (Van Houdenhove, Gijs, T’Sjoen, & Enzlin, 2014 p.175). Compared to other sexual orientations, this is a minute number. But just because the prevelence is small, doesn’t mean that it is any less valid. While every other sexuality focuses on a certain type of sexual attraction as it’s main point, asexuality focuses on the lack thereof. For many sexual people, this is considered odd because sex is seen as an intristic part of life for all creatures. It’s believed that all animals have this innate urge to mate, including humans, as a way to keep the species alive. Some claim this is a basic desire dating back to our earliest ancestors. How could a human lack this primal instinct? As mentioned earlier, the occurance of asexuality is poorly recorded in history, which includes asexuality in animals. Until relatively recently, it was long thought that nearly all animals, especially mammals, were exclusively heterosexual. In a controlled experiment in 1997, researchers observed the sexual behavior of rams. “Most of the rams exhibit behaviors that evince heterosexual attraction. However, a significant minority of rams exhibit behaviors evincing marked attraction to the same sex (i.e., other rams) or both sexes (rams and ewes). There is also a significant minority of rams showing no interest or attraction for either rams or ewes” (Bogaert, 2015 p.363). This suggests that a small percentage indicate asexuality. Bogaert suggested “rams may provide an important animal model of human sexuality” (Bogaert, 2015 p.363). It can be concluded from such studies that asexuality has always existed in animals and humans, but is only now being discovered.

Another common misconception which leads to the invalidation of asexuality, is the idea that there must be something biologically wrong. Again, sex is considered a staple of life on earth and logically to not be interested signifies a possible medical problem. In fact, there is a term to describe such a medical abnormality; Hypoactive Sexual Desire Disorder, or HSDD. To test this theory, two Canadian researchers Brotto and Yule, conducted an experiment with women who self-identify as heterosexual and women who self-identify as asexual. Through genital sexual response testing the results showed that both groups of women had similar physical responses, however the asexual group reported no increased desire for sex (Brotto & Yule, 2015 p.621). This demonstrates that the body of an asexual, or at least the genitals, react appropriately to stimulation just as heterosexuals, potentially ruling out HSDD. Furthermore, “the distinction between asexuality and disorders of low sexual desire (as outlined in the DSM-5) hinges on clinically significant personal distress arising from the lack of sexual desire” (Cranny, 2017 p.638). For example, if you have a freckle or mole on your face, it’s only a problem if you feel self-conscious about it, or it’s interfering with daily life. Asexuals reported little to no distress in their daily lives over the lack of sex or attraction.

By making this information of the concept of asexuality available to the general public, the awareness of asexuals will increase, bringing attention to the community. And with proper scientific data of it’s validity, asexuality will have a place at the discussion table.

One proposed solution to this lack of visibility is more informative sexual education. In schools, some states only require a basic overview of heteronormative safe sex practices, while other teach complete abstinence to their students. To contribute to our changing society, education needs to address non-heteronormative sexual issues. This normally includes homosexuality, and sometimes bisexuality/pansexuality. It is through these classes that some youth discover who they are. But excluding the topic of asexuality can leave a gaping hole for some individuals who are not aware there is life without sex. This happens in not just sexual education settings in school, but in everyday life such as doctor’s offices, clinics, and counseling centers. By bringing asexuality into the limelight, it helps those who do not experience sexual attraction find themselves, and those in the sexual world to broaden their understanding of fellow humans.

Another solution proposed is the increase of positive asexual representation in media. It seems a staple of any television show, movie, or book nowadays is a romantic, sexual relationship. It pops up in romance novels such as Twilight (Meyer, 2005), and even super hero movies, like Deadpool (Miller, 2016). There has been an increase in non-heterosexual visibility in the most recent decade, however asexuals are widely underrepresented. In the comedy sitcom, The Big Bang Theory (Cendrowski, 2007), the character Sheldon displays explicit asexual characteristics. Yet his behavior is coined as neurotic and comical. “Apparent from such popular culture excerpts, however, is how mockery and humor are being used in ways that can derogate asexuals or those suspected of being asexual” (MacInnis & Hodson, 2012 p.725). As a result, those who come across asexual representation in this light, also view asexuals as neurotic. It becomes a dismissive topic. There is an advantage to media to paint asexuality in a positive light which will influence those who consume said media. As it becomes more prominent to have complex asexual characters, it will no longer be considered “crazy” or “weird” and will instead normalize the way people view actual asexuals.

General understanding reduces the alienation of asexuals in society. It may be difficult to plainly see, but those in the asexual community are indeed faced with prejudice . In a 2011 survey, participants were told to assign and rate positive and negative traits to certain sexual groups. Among those groups were heterosexuals, homosexuals, bisexuals, and asexuals. It was no surprise that heterosexuality received the most positive feedback. “Within sexual minorities, homosexuals were evaluated most positively, followed by bisexuals, with asexuals being evaluated most negatively of all groups” (MacInnis & Hodson, 2012 p.731). In this study, asexuals were commonly viewed as “inhuman, cold, and less valuable” than their counterparts. This of course is a misconception, because sexual orientation does not determine humanistic traits. But it does speak volumes about what others think of the community. Such negativities hurt the asexual community and makes it more difficult to be accepted. As stated above, education and positive representation can go far in making asexuals feel included, as well as teaching society acceptance and tolerance. People will begin to see that even though they do not experience sexual attraction, asexuals are just as human as everyone else, complete with emotions, dreams, and relationships.

There are many steps to be taken to ensure asexuality becomes viewed as normal in the spectrum of human sexuality. As many in the general public have misconceptions about asexuality, the first step may be to eradicate these notions that there is something wrong with asexuals. When doing research, it’s obvious that scientists, sexologists, and doctors have put a lot of thought into discussing asexuality from a non-biased standpoint. This research however, is not readily available to the average person. This is when accredited individuals in science-based fields need to come forward as one to properly address controversy. Without a public statement or stance by reliable sources, rumors will continue to leak into conversations and influence opinions, leaving asexuals to fend for themselves.

Support and education is also needed for those who identify as asexual. For so long, asexuals felt isolated and broken for simply being different. It’s time to support and encourage them in their lives, instead of ridiculing them. They need reassurance that there is nothing wrong with them and that they are not alone in their feelings. Education in daily life, whether it be a brochure or a poster, can help non-asexuals recognize and address the asexual community. They are going to always be around, they’re not going away. People need to understand this so they can work together to create a more diverse, accepting, and positive society.

Media is a major aspect of the modern world, influencing what we buy to even what we think of other groups of people. Such little asexual representation leaves so much room for stereotypes and falacies. There is a need for more representation in books, movies, and television to introduce people with differences. What people see reflects how they think, and their opinions of others. If all they know is distasteful jokes about asexuals, then those people in turn become a joke to them. By demonstrating the humanity and complexity that asexuals have, instead of misconceptions and character tropes, it spreads awareness that they too, are normal people. Incorporating positive portrayals of asexuality in the media, can go a long way in challanging misconstrued beliefs.

In conclusion, there is a serious lack of attention to people who do not experience sexual attraction. These people exist, and even though they are a minority, they deserve to be treated with respect. Misinformation of asexuality leads to prejiduce and confusion, creating a barrier between the asexual community and the sexual community. The ultimate goal is understanding between people with differences, which in turn will create a better world.

 

 

 

References

Bogaert, A. F. (2015). Asexuality: What it is and why it matters. Journal of Sex Research, 52(4), 362-379. doi:10.1080/00224499.2015.1015713

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627. doi:10.1007/s10508-016-0802-7

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

Cranny, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:doi:10.1007/s10508-016-0887-z

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

Keleman, E. (2007). Asexuality. Encyclopedia of Sex and Gender, 103.

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts, Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192. doi:10.1080/0092623X.2012.751073

 

Asexuality: Real or Fiction?

Asexuality: Real or Fiction?

Kayson Carlin

Bowling Green State University

 

 

Abstract

A look into asexuality through eight different articles, debating the validity of asexuality as a sexual orientation. Alternate theories and explanations are provided to argue against the legitimacy of asexuals, along with documented support in favor.

Keywords: asexuality, LGBT, orientation, sex, inquiry

 

 

Asexuality: Real or Fiction?

In the study of human sexuality, a new term has been presented to describe someone who lacks sexual attraction: asexual. Unlike other sexual orientation, the main component of asexuality is the lack of desire and/or sexual attraction to others. As discussed in previous papers, there is currently a debate regarding asexuality as a valid orientation or whether it is the result of some disorder. From this debate comes research that both supports and argues against asexuality as real.

For those who identify as asexual, the experience is very real. They do not feel sexual attraction or desire, which is greatly different from those who are celibate or chaste. “Celibacy and chastity describe acts and choices, whereas asexuality describes desire or, rather, indifference” (Keleman, 2007 p.103). This difference is made distinct in nearly every scholarly article, which is important to remember as it is an observed and documented difference that should not be easily confused.

Asexuality is not limited to humans, as observed by Anthony Bogaert in “Asexuality: What it is and why it matters.” For example, rams were observed displaying non-heterosexual behavior including asexual tendencies (Bogaert, 2015 p.363). Although a minority, the fact is that it still exists which suggests more needs to be studied in regards to this phenomenon occuring in multiple species. The presence of asexual behavior in animals, suggests similarity to human sexuality. However the difficulty of research lies in the definition of asexuality, since the experienced is described in a wide variety of ways by many different people. As stated by scientists in Sex Health Rep, “asexuality is not currently a well-defined construct, at least not from a standpoint of scientific rigor, and definitions vary” (Brotto, Gorzalka, & Yule, 2017 p.51). Due to this fact, asexuals are often met with confusion, uncertainty, and resistence from not just the outside world but within themselves. ‘The emergence of the asexual community, combined with a lack of empirical data on asexuality, has led to much discussion and speculation, both within academic and non-academic communities, on how asexuality should be conceptualized” (Brotto, Gorzalka, & Yule, 2017 p.51). This contributes to the topic of the legitimacy of this as an orientation.

An argument often presented by those who do not consider asexuality as real, is that there is some sort of disorder that “makes” one asexual. These range from mental disorders, to sexual disorders, and hormonal disorders. Observations and studies have included these possibilities and explored them to account for such a phenomenon. One such study observed that those who self-identify as asexual “found small but statistically significant higher rates of depression and self esteem problems among the asexuals compared to the other sexual orientation groups” (Brotto & Yule, 2015 p.620). Furthermore, researchers found “that asexual individuals were more likely to report symptoms of anxiety, and to endorse more symptoms of suicidality compared to sexual participants” (Brotto & Yule, 2015 p.620). These findings suggest that there is a correlation between mental illnesses and sexuality, specifically the lack of sexual attraction. In addition, the continuation of that study revealed that asexuals display more characteristics of autism and aspergers, than any other sexual group (Brotto & Yule, 2015 p.621). Likewise, people with autism or aspergers tend to identify as asexual as opposed to other sexual orientations (Brotto & Yule, 2015 p.621). Using this information, there is a possible correlation between abnormalities in the brain and lack of sexual attraction.

Another related aspect is the possibility of a sexual dysfunction which contributes to someone’s identity as asexual. To explore this, Lori Brotto, a researcher of Obstetrics and Gynaecology at the University of British Columbia, conducted an experiment in which women were exposed to erotic videos and their bodily response was recorded. “Although the asexual

women self-reported no increase in desire for sex after viewing the erotic films, their genital response, as measured with a vaginal photoplethysmograph, did not significantly differ from the other sexual orientation groups” (Brotto & Yule, 2015 p.622). In other words, the physical response of the asexual women did not lead researchers to believe there was a sexual dysfunction that attributed to lack of sexual desire.

Conversely, Steven Cranney argues that while asexuality does occur, the supposed “cause” is unlike other sexual orientations. “The latter orientations [homosexuality/heterosexuality] never arise out of unhealthy conditions, whereas lack of sex drive can be a characteristic that accompanies clearly unhealthy conditions, even if no personal distress is caused by the lack of sexual desire in itself” (Cranney, 2017 p.638). He claims that while asexuality exists, it may not be considered part of a healthy individual.

Asexuality, like other phenomenon, don’t exist soley in a vaccuum. A variety of factors contribute to the overall identity of an individual such as state of mind and past lived experiences. “However, these categories are not mutually exclusive, and even if asexuality were best placed within a sexual orientation classification, this does not exclude the possibility that it can also overlap with the other categories” (Brotto & Yule, 2015 p.625).

 

 

 

References

Bogaert, A. F. (2015). Asexuality: What it is and Why it matters. Journal of Sex Research, 52(4), 362-379. doi:10.1080/00224499.2015.1015713

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627. doi:10.1007/s10508-016-0802-7

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

Cranney, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:doi:10.1007/s10508-016-0887-z

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts, Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192. doi:10.1080/0092623X.2012.751073

 

 

Bogaert, A. F. (2015). Asexuality: What it is and why it matters. Journal of Sex Research, 52(4),  362-379. doi:10.1080/00224499.2015.1015713

Anthony Bogaert, a researcher at Brock University, inquires what the term “asexuality” means in social context, along with examining its validity, and issues that have arisen. Research was collected using the author’s past studies and papers, along with experiments conducted by scientists. Also included are very brief anecdotes from individual’s experience as an asexual. The conclusion was that despite being an underreported sexual minority, asexuality provided insight into the broad spectrum of human sexuality.

This sources uses a solid foundation of ethos, pathos and logos to get its point across, which was focused on earlier. It is most reliant on logos, or logic, to connect certain studies to asexuality. The author establishes a line of reasoning using past scientific observations to make conclusions as well. There is little room for an emotional argument however inclusion of more first-hand experience would help strengthen the article. The information in this source helps provide a foundation for asexuality as a concept, as well as prove its validity using experiments, both of which are needed in my thesis.

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual      attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Three researchers from the University of British Columbia, Brotto, Gorzalka, and Yule, review recent literature on the topic of asexuality in humans. They investigate if asexuality is a possible physiological disorder, drawing upon previously published papers in the fields of gynecology, and psychiatry. It also explores the relation of community and self- identity in development. In conclusion, they stated that asexuality was best described as a normal variant of human sexuality.

This source relies on solid scientific observations in multiple fields such as gynecology and psychiatry to synthesize their ideas. By combining information from different expert perspectives, the conclusions are strengthened. The data also demonstrates differences between biological processes and internal identity, an advantage over papers that rely solely on self-reported experiences. This is relevant in my thesis to help disprove common misconceptions about asexuality in terms of a physiological malfunctions. While this source in similar to others in addressing the science behind sexuality, it goes into more detail via observational data.

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual           Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627.         doi:10.1007/s10508-016-0802-7

Brotto, from the Department of Obstetrics and Gynecology at the University of British Columbia, and Yule, from the Department of Psychology, inquire if the phenomenon of asexuality is a mental disorder, sexual dysfunction, paraphilia, community trend, or sexual orientation. Through genital sexual response testing in groups who consider themselves heterosexuals versus those who consider themselves asexual, conclusions were formed based on physiological data that was observed. The results showed that both groups had similar physical responses, however the asexual group reported no increased desire for sex. Asexuals also reported little to no distress in their daily lives over the lack of sex or attraction. It was concluded that asexuality, as a heterogeneous group, can be considered a sexual orientation.

This text addresses the two main issues surrounding asexuality in a scientific and non-biased approach. By using data to present their findings, ideas and statements are strongly supported. Also addressed are two social issues of asexuality, which adds to the well-roundedness of the paper. The findings of their observational studies support asexuality as a sexual orientation, contributing fact to my thesis. Previous sources seem to agree with these results, confirming it as a legitimate orientation.

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

This text explores possible themes of asexuality and asexual identifying persons, to determine if this phenomenon is homogenous or heterogenous in nature. Information was collected via online surveys of 174 self-identified asexuals, and interviews of eight asexuals. While some aspects and experiences were reoccurring, there was insufficient data to link asexuality to religion, abuse, or health. The one significant find was that there was an increased correlation between people who reported having little to no sexual attraction and Aspergers.

Personal accounts of experiences concerning sexuality are useful but the authors rely a bit too much on this. Unlike previous sources, this one does not contribute its own experiments or observational data, making it a weakness. First-hand accounts do contribute though to my thesis in a social aspect, if not strictly scientific.

Cranny, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:10.1007/s10508-016-0887-z

Steven Cranney, a professor in the Department of Sociology at Baylor University discusses criteria that categorizes certain sexual attractions and behavior as an orientation. Asexuality is compared and contrasted against a “stability criteria” of verified sexual orientations in order to judge its legitimacy. Cranney concludes that some facets of asexuality or lack of sexual attraction do meet general criteria, however individual circumstances must be considered before making a definitive statement.

This text is only two pages which is extremely short compared to other previous sources. This can be considered both good and bad. The brevity makes it easier to read and digest but it’s also possible that there could be potential content missing that may have added to some ideas. Cranney provides counter-arguments to asexuality claims, pointing out potential fallacies which in turn help my thesis by addressing those issues. It is different in the tone of the text compared to other sources, as it almost seems like the author is against asexuality being considered a valid sexual orientation.

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual        Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

This article, published by CJ DeLuzio Chasin from the Department of Psychology at the University of Winsor, explores potential issues in the study of asexuality such as the inconsistencies reported among the self-identified. It also questions sexuality in relation to romantic attraction and gender. The author looks at a variety of past papers and articles to compile information and point out strengths and weaknesses and the overall consensus of scholars. In the conclusion, it was stated that self-identified asexuals display a spectrum of romantic attraction and gender identities that need to be taken seriously to investigate further. The author ends with a list of potential questions to help solidify future research.

This article does a good job at recognizing the diversity within the asexual community, including ideas of gender and romantic diversity. It acknowledges that while sexuality, romantic attraction, and gender are separate, they can and do often overlap and influence each other. The list of questions is helpful because they provide a step in the right direction moving forward and contributing to future studies. My thesis benefits from the inclusion of romantic/gender diversity and how it plays a part in sexuality or lack there-of. It includes those aspects which my other sources do not put much emphasis on.

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and          Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

MacInnis and Hodson, two researchers from Brock University, question if asexuals experience bias from heterosexuals, akin to homosexuals. The authors look at surveys and observations from two different studies, ruling out confounding variables. In the end, it was discovered that asexuals face similar prejudice as homosexuals, being viewed in a negative light as “inhuman, cold, and less valuable”.

Included in this paper are charts that demonstrate reactions to sexual minority groups, including asexuals, separated by attributes such as gender, religion, and political affiliation. This makes it easier to comprehend data. Also included is an anecdote from a popular television show which helps put bias into perspective for someone who is unfamiliar. The authors take a different view, using a social approach of the “sexual world” looking in, instead of the scientific world looking in like previous articles. This gives my thesis more validity by paralleling other sexual minority experiences to asexual experiences.

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts,    Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192.        doi:10.1080/0092623X.2012.751073

Three scholars from two Belgium universities discuss the foundations of asexuality such as history, prevalence, and definition. Asexuality is compared to hypoactive sexual desire disorder (HSDD) to examine the possibility that the two are the same. It also explores common characteristics in self-identifying asexuals. The authors then state that asexuality is distinct from a disorder and is a fascinating topic that warrants future research.

This source is similar to some of my other sources in that it covers the basics of asexuality. Unfortunately, it doesn’t have a specific in depth research question. But it does corroborate previous published papers which solidifies the basic findings even more. It can be a little redundant, but overall adds more foundation to my thesis to help prove validity to asexuality.