Swimming upstream in a sea of ageism

"We all swim in a sea of isms. They emerge as humans develop and apply stereotypes as shortcuts to avoid engagement with our fear of difference. Once they are widely accepted, stereotypes tend to become exaggerated and widely understood as objective descriptions of the way life is and was always meant to be. As Gordon Allport noted, at this point stereotypes pose a situational threat to the groups they target."
Amanda Barusch

photograph by Robbie McIntosh via

Boys & Girls & Reading

According to the Progress in International Reading Literacy Study, boys have lower reading skills than girls by the end of primary school. This gap has been reported for more than twenty years with "girls outperforming boys in 51 of the 57 participating education systems, with an average difference of 19 points". In addition, boys report less enjoyment of reading; 46% of girls say they like reading compared to only 37% of boys enjoying reading (via).

photogrpah by Vivian Maier via

One Every 11 Minutes

According to UN Women, in 2021 alone, about 45,000 women and girls were killed by a male relative, i.e., one every eleven minutes (via).

photograph by Weegee via

But Against the System

"I do not fight against men, but against the system that is sexist."

Elfriede Jelinek

photograph via

9 November 1938

"There was a lot of glass on the streets. We lived in the West End, surrounded by shops, many of them Jewish. This was late at night and it was dark; but we had no trouble in picking out the Jewish shops. They had been looted, the windows had been smashed, and there were ashes, rubble and debris outside some of the shops. We had not seen how our fellow Jews had been treated: beaten, taken to prison, some of them never to return. But in our hiding place, listening to our friends, we heard more and more of the story of Kristallnacht."

Albert Friedlander

photograph by John Offenbach (series "Jew") via

Because of and inspite of

“When people like me, they like me "in spite of my color." When they dislike me; they point out that it isn't because of my color. Either way, I am locked in to the infernal circle.”
Frantz Fanon

photograph by John H. White via

Associations with African American Vernacular English

Abstract: The current study examines the effect of dialect for a Black speaker, paying particular attention to the implications for criminal justice processing. Participants in this study heard an audio clip of a Black man describing his weekend and were randomly assigned to hear the account spoken in African American Vernacular English (AAVE) or Mainstream American English (MAE). For half of each sample, the audio clip was described as an alibi. Participants then evaluated the speaker across dimensions related to character and criminality, as well as his race (sic), education, and socio-economic status. 

Results indicate that the speaker was viewed as having worse character and a greater criminal propensity if he spoke using the AAVE guise rather than the MAE guise. Additionally, participants perceived the AAVE speaker to be more stereotypically Black, less educated, and lower socio-economic status. These findings raise questions about contemporary forms of bias in criminal justice processing. (Dunbar, King & Vaughn, 2024)

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- Dunbar, King & Vaughn (2024). Dialect on Trial: An Experimental Examination of Raciolinguistic Ideologies and Character Judgments. Sage Journals, link

- photograph by John H. White via

Internalising Ableism from a Young Age

Jóhannsdóttir et al. (2022) studied internalised ableism based on four focus-group sessions with young people (aged 18-35) who identified as disabled. The participants reflected on their childhood and adolescence and shared their experience that ableism made their impairment "a sensitive marker of something 'abnormal' and 'undesirable', which again made them even more aware of their (...) differences and negative portrayal in society". 

I understand it; I don’t know if I would date me, with everything that comes with it. So, I understand people, even if it is not the right attitude, or maybe not very modern. I cannot get frustrated or angry with people because I understand it 100%.

In fact, having to constantly fight notions of normality, abnormality, prejudice, and stigma, dealing with people's stares, patronising comments, aggression and micoraggression led to exhaustion, anxiety, depression and isolation. Adolescence was referred to as a particularly difficult time. Some participants mentioned isolation and disconnection to be everypresent. Being treated as inferior made them feel unworthy of both love and belonging, that again reinforced shame. And shame was strongly linked to mental health issues and negative body image. A few participants considered internalised ableism to be the main barrier to their wellbing in later life.

The extent to which internalised ableism developed was mediated by family support, peer interactions, networks and safer spaces. In line with prior findings, ableism started early ... sometimes even before birth when encountering doctors. Having a disabled child is often seen as a tragedy or a burden on the family. Some parents actively fought these notions, others identified with these ideas. One participant of the focus groups said:

It’s like if you are born disabled, your parents need education on everything their child can do. Not that the doctor comes and says, “This is what is wrong, and this … and this… and this.” Too often, a grim picture of the baby’s condition is painted. When rather someone should come and say, “These are the resources available for you …. Your child can do this … and this … and this.” The focus is too often on what is wrong with the baby but not what the baby is capable of.

Gender, ethnicity, social status and other intersections also had an impact on how strongly discrimination was felt.

For me, it is complicated to discuss relationships because I am a lesbian. (…) people connected that to my disability, saying that I just knew myself as a woman. And that I did not know men. That is why, according to them, I am attracted to women because it is the only thing I know! (everyone laughs)

The lack of socialising experiences with other disabled children was discussed in a controversial manner showing that this separation might hinder young people from identifying with other disabled people.

I had a very good paediatrician who fought for me to not associate with other disabled children, that is, I would not go to a special school, not go to the summer camps for disabled children, like my brothers. And yes, I spent much more time around non‐disabled children.

I started experiencing that when I was around disabled children. I did not understand what they were going through… I did… I disregarded my disability. Mine was not as important/valid as that of others.

Summer camps for disabled children, i.e., the forced segregation experienced, for many, were ...

Just really hard summers … where we, as young children, experienced the vulnerability of other children in this place. It kind of sticks with me, this vulnerability and aloneness of the other children. We were not experiencing one another’s strengths, you know. There is a huge difference between experiencing peer support through strength and empowerment and enduring what we experienced in that summer camp.

The feeling of disconnection, unlovability, and unworthiness can result in deep shame making people internalise ableism at a young age. There are other ways.

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- Ásta Jóhannsdóttir, Snæfríður Þóra Egilson & Freyja Haraldsdóttir (2022). Implications of internalised ableism for the health and wellbeing of disabled young people. Social Health Illn, 44(2), link
- photograph (Oksana with a leaf of cabbage from the garden of the Internat where she lives in isolation with more than 60 girls and women categorised as disabled. Pretrykhiv, Ternopil, Ukraine. 2016) by Carolyn Drake via

Escaramuza. By Constance Jaeggi.

"Historically Charrería, which is the national sport of Mexico, was predominantly male. Charrería emerged from early Mexican cattle ranching activities and was eventually refined and formalized during the post-revolutionary era as a romantic, nationalist expression of ‘lo mexicano’ (Mexicanness). It is similar in many ways to American rodeo in its variety of competitive equestrian activities. Women, however, were not seen participating on horseback until the 1950s when they were finally brought into the sport as riders.

A discipline was invented for female participants called ‘Escaramuza,’ consisting of all-female precision horse riding teams who execute exacting maneuvers while riding sidesaddle at high speed and wearing traditional Mexican attire. The costumes and synchronized patterns they perform were inspired by the Soldadera or Adelita, the women who fought in the Mexican Revolution between 1910-1920. To this day, the events within Charrería remain heavily gender segregated. A charreada lasts up to three hours but the portion dedicated to Escaramuza makes up for three to five minutes of those three hours, so there is still a large discrepancy between the representation of genders within the sport.

Escaramuza is wide-spread in Mexico of course, and becoming increasingly established in the United States as Charrería keeps growing. Initially, I was drawn to the visuals. The dresses are colorful and intricate, and the performance is elegant and powerful, like a ballet on horseback. But it is the stories of the women I met that really captivated me. The dedication that they have for the sport and their drive to uphold this tradition is admirable. In Mexico, Charrería tends to be a sport practiced by the wealthy, while many of the charros and charras in the US work hard to be able to afford the costs associated with owning and competing with horses. A lot of the women I met are full time students, or have full time jobs, sometimes multiple jobs and are raising children.

The sport is also dangerous. The women ride side saddle in heavy, hand-crafted dresses. A team consists of eight riders, and they perform patterns, criss-crossing each other at high speed. Riding side-saddle is extremely difficult as you only have good control over one side of the horse. There is a narrative around immigration and the role it plays in the development of the sport in the US, shaped by this feeling that many of the riders expressed to me of “not feeling Mexican enough when traveling to Mexico, but not feeling American enough at home either.” 

Then there are the gender relations. Many riders expressed frustration regarding their inability to vote within the Charrería governing association, and the strictness of the dress rules they are subjected to, which is not the case for the disciplines practiced by the men. And finally, the parallels with the women who fought in the Mexican Revolution, the lack of historical research on their role, how they were remembered through time. Essentially, it felt like such a richly layered story, there was so much unpacking to do that I couldn’t look away. 

The women I photographed are from all around the US. They are for the most part first, second, third, fourth and fifth generation Americans. As I got to know these women personally, I became aware of the importance of their oral histories. I needed to bring their voices back into the work somehow. I started interviewing teams as I went. I met teams from California, Texas, Washington, Illinois, Iowa and Colorado, recording their stories as I photographed them. I tried to understand how they thought of their position in Charrería, what Escaramuza meant to them and how they wanted to be seen, which influenced the way I photographed them. I am continuing the project as I expand the body of work for an upcoming book, and attempting to cover as many of the US states as possible. 

Escaramuza translates to ‘skirmish’ in English, inspired by the image of the soldaderas sent into battle before the men to kick up dust and distract the opposing side. Women of course played a much more significant role than simple distraction during this complex and destructive civil war. They were activists in feminist movements, but a much larger number of women of rural and lower urban classes found themselves caught up in the struggle and had no choice but to be actively involved, whether it was as camp followers and caretakers for the soldiers, or as women who took up arms. 

I see parallels between the soldaderas’ contribution to the advancement of women’s emancipation in Mexico and the Escaramuzas I met who are pushing back on the machismo in their sport. Especially for the US-based Escaramuzas growing up in blended cultures. The image of the soldadera is a powerful historical example and reference point. It means that Escaramuza is much more than a way to connect with contemporary Mexican traditions. It also connects these women to their history, the history of their people and of women in their culture. It gives women a certain image of strength to refer to.  

One of the riders told me that she wanted to inspire other young women by showing them that they too could ride horses, be fierce and competitive and that they too could have a place in Charreria. Soldaderas provide evidence of women defying social expectations, and that has an impact. 

(...) Escaramuza is an example of cultural preservation in an era where globalization often dilutes local traditions; a way of keeping customs and stories of past generations alive by passing down skills and technique from one generation to the next. It is a celebration of heritage. It is also a source of personal empowerment for many of the women involved, providing a strong sense of identity and pride and challenging traditional gender roles by showcasing women as skilled equestrians and leaders in their communities. This empowerment is not only personal but also communal, as it helps redefine gender norms within a cultural context."

Constance Jaeggi

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photographs by Constance Jaeggi via and via and via 

Men Untitled. By Carolyn Drake.

"I worked on the periphery of my subject for almost a year before turning to face it directly. Many months were spent scouting locations, arranging portrait sessions, searching for props, and hiring assistants before I decided that what I really needed was to get the men in front of me to take off their clothes. 

Despite having existed among them for half a century, I cannot claim to be comfortable around male bodies. The truth is, the male body is not a subject that I’ve ever been encouraged scrutinize the way we do women’s bodies. It’s as though the act of looking at men is inherently dangerous. Asking the men to remove their clothing introduced a degree of risk that propelled my fifty-year-old imagination even as sexual desire continued to elude it. 

Mostly, I photographed men who were older than me. Maybe I was more interested in seeing masculinity in decline than admiring male prowess. Or maybe older men are more visibly vulnerable, making me more empathetic towards them. Some of them unveiled their bodies with adventurous curiosity; others were willing to partly reveal themselves, letting go of their reservations as an act of generosity. Some got an erection and stood still in front of me, wondering where to direct their gaze. One person kept bending over to make sure I captured a view of his anus. 

Once I started stripping away the clothing and props and scenery, what I was left with was a body alive in time, like mine. Its authority dissolved when I took the liberty to look."

Carolyn Drake

"I really wanted to expose the body and demean it and play with the idea of seeing how far I could push men, even if they didn’t want to."

Carolyn Drake

"I realized that it was also a healing exercise for my psyche. I channeled a lot of pent-up anger to make the work, drawing from repeated dealings with misogyny in life and politics, including the restriction of women’s rights to abortion, over which I had no control."

Carolyn Drake

"I am a 52-year-old woman who has internalized a lot of personal and political rage over the years, most recently in response to the #MeToo movement and the U.S. Supreme Court decision on abortion rights. My hormonal impulses are also shifting. I wanted to channel all that onto the men: how can I subjugate the male body, and how will that look and feel to me? 

But on the other hand, photography for me is a way of connecting and empathizing with other people. So as I played with how it felt to look down on men and to mangle and twist and direct their bodies, I also found tenderness and began to see the ways they were fragile, and not at all fulfilling masculine stereotypes. 

I also wanted to look at the myths connected to masculine ideals, but without perpetuating them. The images are constructed, posed. I did not want to insinuate any of this as natural, so the feeling of staging and performance was important to me.

One of the main differences in the way I approached the men as photographic subjects is that I wanted to expose the vulnerability of their bodies and lay them bare. (...)

Wallace is a character I got to know pretty well over many photo shoots. Before he passed away in 2022, he ran a motorcycle club next to his house, and the inside, notably, was wallpapered floor to ceiling and all over the ceiling with centerfolds from Penthouse and Playboy magazines that he had collected over the years. This was always something on my mind when I visited his house to photograph him, so when one day he showed me an old picture he had taken of an ex-girlfriend, I knew I wanted to ask him if he would be willing to pose for me in the same position. He agreed to let me photograph him hanging upside down from a hook like a piece of meat only if I would also, and it felt natural for me to agree to it. What I chose not to do is publish the image he took of me. That final decision of what to show is where my power resides. This is about me authoring male bodies, not the reverse.

(...) The men weren’t all cis, actually, but I didn’t distinguish one way or another in the image titles. It’s not a project about youth culture and the diversification of gender identities. It’s about my feelings toward old guard gender structures whose power remains entrenched, and about how I too relate to individual people on that spectrum. Part of why I worked mostly with older men was that I wanted to see masculine strength in decline.

(...)

I had to let myself feel two things at once while making this project — anger I had boxed in and the empathy needed to make human portraits. One of the things they remind you in psychotherapy is that contradictory feelings can coexist. 

Regarding geography, the American South is where I began, but I eventually decided that the project is not about a particular region. It’s about an American brand of patriarchy and its strange attachment to white penises."

Carolyn Drake

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photographs via and via and via