Memorializing 20

A Creative Study and Reflection upon Gendered Cultural Norms and Female Maturation

Introduction

Shortly after I turned 20, I began thinking critically about the implications of this age in my own life and the lives of women around me. Motivated by a deep curiosity about the expectations and responsibilities of 20-year-old women, I chose to investigate norms of female maturation through an ethical lens and reflect upon this study creatively. I study this topic by evaluating the historical role of gender within social, academic, professional and familial spheres using both factual data and oral narratives. My creative reflection employs a specific medium and material that connects my research with my relationship to the topic as a 20-year-old woman. Before conducting my independent empirical research, I read about the following discourses to inform my research methodology and refine the lens of my reflection. These discourses include the preservation of oral narratives, the role of gender identity and expectations in young adulthood, the combination of wearable art and technology, and the use of sewing and embroidery to tell stories. By reading about how anthropologists approach oral narratives, I am more intentional about taking my interview responses at face value, avoiding generalizations, and using my creative study to simply “restore an occluded past to visibility” (Hershatter, 47). Pre-existing empirical research about the formation of gender identity has helped me contextualize how family, religion, social interaction, and the internet impact the way young adults form their gender identities (Young, Dickey, Shipley, 87 - 106). By studying past exhibitions of wearable art and technology, I saw the potential for multimedia art to engage an audience, inspiring my creative practice to communicate these stories in a compelling way. My discursive research surrounding the history of embroidery and sewing by women in different cultures exemplifies the power of embroidered art objects to be hopeful, nostalgic, thought-provoking, and critical. This medium adds nuance to my storytelling method and underscores my ethical imperative to represent and empower the women included in my research.

Ethical Factors

The following study aims to address the ethics of gendered cultural norms in American society over the past century, and the ways many of these norms manifest themselves as unfair expectations in women’s lives as they mature. Societies enforce a variety of unspoken norms that differ from culture to culture. These norms are ethically charged since they often impose uneven expectations upon individuals based on personal characteristics such as gender, race, and age. The pressures of social expectations regarding access to education, career mobility, leadership, marriage, and self-expression culminate in the maturation that occurs from one's teenage years to their 20s, since individuals are granted autonomy as adults. In the past century, this has been an ongoing ethical issue because women have been expected to fulfill a domestic role due to their gender, displacing them from both professional and academic spheres (Yellen, p. 3). This ethical issue has evolved, increasing female autonomy gradually, but gendered cultural norms still have a presence today. This project will take a closer look at how cultural norms throughout the past two generations have both restricted and permitted women in their 20s to be autonomous.

 

Research

Methodology

My body of research includes a technical investigation of factual data about gendered norms throughout history, and an empirical study of the lived experiences of women who have operated under these norms. My technical investigation questions the tangible roles women have played throughout history. I evaluate the discursive nature of gender roles by researching Census Bureau data and scholarly articles about gendered participation in the labor force and evolving familial structures. While this data demonstrates significant evolution of gender roles in the family and an increase in the number of women in jobs, academic spaces, and leadership positions, these spaces remain unequal for men and women. In the early 20th century, less than 20% of all women held positions that the Census Bureau qualified as “labor force participation outside of the home” (Yellen, p. 2). Of the few women in the workforce, many would leave their careers upon getting married to abide by the gendered cultural norm of married women becoming mothers and homemakers (Yellen, p. 3). The quality of jobs held by this small percentage of women reflected their lack of access to education during this time. Of the 2% of 18-24-year-olds enrolled in college-level institutions, one-third of this group were women (Yellen, p. 3). Over time, women were granted more autonomy as independent individuals capable of successful careers beyond homemaking (Hayghe, 16). Female participation in the labor force increased from 26% of all women in 1940 to 74% of all women in 1990, but has since plateaued, and has never reached the rate of male participation (Yellen, p. 6-11). In terms of familial structure, the last century has demonstrated a decrease in the role of women as stay-at-home mothers (Hayghe, p. 16). American women are choosing to bear fewer children, and are more likely to give birth later in their lives (Wetzel, 4). Since 1972, the United States fertility rate has been below the replacement level (Wetzel, 4). This data all points toward the reality that as time has gone on, women in previous generations slowly began to have more agency in spheres outside of their home. This being said, however, what these statistical figures lack is the thoughts and emotions of the women the data concerns. How much restriction did the women represented in this data feel in response to the gendered cultural norms of their time? To gain more insight into the narrative behind these facts, I interviewed a group of women 20 and older whom I have met throughout my life about their experience being 20 years old. When collecting these oral narratives, my methodology was to prioritize a sampling of perspectives from women who represent a diverse range of ages and backgrounds. I requested that each of my 8 interviewees answer a few guiding questions about their thoughts, experiences, and emotions being 20, and record their responses in the form of an audio file. The responses of my participants vary in length and topic, but upon listening to them, I found that several of the narratives detail shared experiences surrounding gendered struggles. My oldest interviewee, Grayson Cecil (86), who turned 20 in the 1950s, expressed that after getting a degree in economics, she struggled to find a job because of her gender. She also shared that later in her life after returning to school to pursue a second degree, the women in her community accused her of “abandoning her children.” She felt limited by the gendered cultural norms expected of her regarding her education and career choices during her 20s. Another interviewee, Nicole Nasi (25), who turned 20 in 2017, shared that when she was 20, she feared leaving college without having met the man she would marry. Though these two women were 20 in very different periods, they both felt pressure and discomfort due to the gendered cultural norms associated with being a young woman. In several of the recordings, the women I interviewed introduced observations about new gendered cultural norms brought by modern technology that are unique to the young women of today. These observations demonstrate how this ethical issue still asserts itself today and can be exacerbated by modern institutions such as social media. In interviewing these individuals, I am not aiming to form conclusions about the trials of all 20-year-old women throughout history, but rather to preserve, honor, and learn from the thoughts and emotions behind their lived experiences. These histories provide personal context about the limiting nature of gendered cultural norms in women’s lives.

Creative Contribution

While there is no concrete solution to alleviate the discomfort and pressure women feel in response to gendered expectations, I still choose to use my creative practice to contribute a reflection in response to my research. In the collection of my interviews, I opened a channel of communication between the women whom I interviewed and myself, creating an exchange for advice surrounding female maturation and dialogue about the shared struggles of women. The power of these recordings is that they physically encapsulate the thoughts, emotions, and experiences of women who have been silenced. I wanted to memorialize these oral narratives to empower and preserve the stories of my interviewees, offer a channel of communication to guide and inspire my female peers, and express my autonomy as a 20-year-old woman today capable of initiating this important dialogue. I edited the audio files sent to me by each interviewee to create a 12-minute recording that incorporates the offerings of each woman and effectively combines each recording to create a smooth-flowing narrative. When editing the recording, I found the uniting threads that connected the shared experiences of my interviewees and emphasized these details to make the final piece more powerful.

Alongside my audio file, I wanted to use my creative practice of sewing to produce an object that expresses my relationship with female maturation. My garment is meant to pay homage to the matriarchal figures in my life who have been instrumental in my journey from girlhood to womanhood. Each of the women I interviewed has been inspirational to my life in one way or another. One of the most inspirational figures in my maturation, however, is my grandmother who is no longer living. If alive today, I would have interviewed her during my empirical study. Since this wasn’t possible, I include her presence in my creative offering to empower her unspoken narrative. When I was 12 years old my grandmother taught me to sew. She was a seamstress all of her life, and over the years she accumulated an extensive collection of materials and knowledge surrounding the art of sewing. Sewing is a significant medium since it has a discursive history of being a domestic art mainly practiced by women. Whether or not women have historically chosen to sew or were expected to because of their gender is a complicated topic, however, for me, it has always been a way to express myself, reduce stress, give to others, cultivate skill, and honor my grandmother’s legacy. To do all of the above, I wanted to use sewing to create a wearable art piece that reflects upon my study of female maturation. I have constructed a blazer to reference the connotation of leadership and power often associated with this professional garment. I used toile fabric that my grandmother had collected throughout her life and later passed down to me as my material. This specific design and material physically preserve and empower my grandmother’s legacy, allowing me as the wearer to feel her history concretely. The blazer reinvents her fabric to become a powerful symbol, the same way my audio compilation thematically connects each interviewee’s offering to bring to light their shared experiences. The file shared alongside the blazer offers an audiovisual experience that brings to light and preserves underrepresented narratives of women, reclaims a historically gendered craft, and honors matriarchal figures significant to my own female maturation. My role as the creator of this piece also expresses my autonomy as a young woman initiating dialogue about a topic that I am passionate about.

Conclusion

Moving forward, it is important to acknowledge the limitations of my research given the narrow scope of my empirical interviews. The narratives of the women I interviewed do not represent an overarching experience of women. My project does not intend to formulate any kind of generalization about the status of 20-year-old women throughout history. Rather, I am comparing how lived experiences inform the concrete historical patterns of women in previous generations. The oral narratives shared in my interviews shed light on women's emotions, thoughts, and experiences operating under gendered cultural norms in the past century. My creative reflection represents a channel of communication to preserve these stories and empower the female storytellers. The piece itself is intended to provoke thought and initiate dialogue about the ethical issue I am addressing, and garner respect for the women whose voices are shared. In my empirical data, my interviewees’ observations unearthed how this ethical issue is ongoing, including how social media and modern technology create unnecessary pressure on the 20-year-old women of today. The next steps for my study and reflection would be to install my wearable art piece and audio file in a location occupied by women of all ages. I want my project to evolve into a physical space where people can observe, reflect upon, and learn from the experiences of different women throughout history, and go on to initiate conversations about the ethics of gendered cultural norms and the future of this issue.

Sources

Hagar Salamon. “Embroidered Palestine: A Stitched Narrative.” Narrative Culture, vol. 3, no. 1, Wayne State University Press, 2016, pp. 1–31, https://doi.org/10.13110/narrcult.3.1.0001.

Hayghe, Howard V. “Family Members in the Workforce - BLS.” Bureau of Labor Statistics , Monthly Labor Review, Mar. 1990, https://www.bls.gov/opub/mlr/1990/03/art2full.pdf.

Hershatter, Gail. “Oral Narratives and the Disappearing Past.” Bulletin of the American Academy of Arts and Sciences, vol. 69, no. 4, American Academy of Arts & Sciences, 2016, pp. 46–48, http://www.jstor.org/stable/26407272.

Ryan, Susan Elizabeth, et al. “Social Fabrics: Wearable + Media + Interconnectivity.” Leonardo, vol. 42, no. 2, [Leonardo, The MIT Press], 2009, pp. 114–23, http://www.jstor.org/stable/20532617.

Wetzel, James R. “American Families: 75 Years of Change - Bureau of Labor Statistics.” Bureau of Labor Statistics , Monthly Labor Review , Mar. 1990, https://www.bls.gov/mlr/1990/03/art1full.pdf.

Yellen, Janet L. “The History of Women's Work and Wages and How It Has Created Success for Us All.” Brookings, Brookings, 6 Jan. 2021, https://www.brookings.edu/essay/the-history-of-womens-work-and-wages-and-how-it-has-created-success-for-us-all/.

YOUNG, PAMELA DICKEY, and HEATHER SHIPLEY. “Gender Experience and Opinion.” Identities Under Construction: Religion Gender and Sexuality among Youth in Canada, McGill-Queen’s University Press, 2020, pp. 87–106, https://doi.org/10.2307/j.ctv153k6zq.10.

Previous
Previous

Independent Sewing Practice

Next
Next

Collaboration with Ouimillie