I’ve never seen the more recent musical film version because I love the original so much, but I’d be interested to hear what BadReppers think of it. If you’ve not seen the real thing, here’s the trailer:

Made in 1988 by the incomparable John Waters, it’s set in 1962 Baltimore. IMDb says:

‘Pleasantly Plump’ teenager Tracy Turnblad achieves her dream of becoming a regular on the Corny Collins Dance Show. Now a teen hero, she starts using her fame to speak out for the causes she believes in, most of all integration. In doing so, she earns the wrath of the show’s former star, Amber Von Tussle, as well as Amber’s manipulative, pro-segregation parents. The rivalry comes to a head as Amber and Tracy vie for the title of Miss Auto Show 1963.

But that doesn’t really cover it. It’s a delirious, high-camp, queer, irreverent and satirical version of the early 60s that shows Dirty Dancing up as the insipid whitewashed pap that it is. (Sorry, but you know I’m speaking the truth.) Tracy Turnblad, played by Ricki Lake, is a heroine and a half. Big, happy, confident, working class Tracy has a lot of soul and a keen sense of justice. She wins the day, the guy, and the hearts of the town because she can dance, because she’s nice and because she stands up for what she believes in. In this case: civil rights.

What is so refreshing to see even now (perhaps especially now) is a large teenage female character who radiates energy and self-confidence. She’s not a sidekick, she’s the star through and through, and the Elvis-a-like heartthrob falls head over heels for her, as does everyone else. When she dances in triumph with her chain of friends at the end of the film I DEFY YOU not to be cheering her on.

I love her for some of the same reasons I love Mae West in, well, all her films (she basically plays the same character every time). She’s larger and older than her counterpart spindly 1930s starlets, but in every film the men follow her around with their jaws bumping on the floor. It simultaneously surprises me and makes me think ‘why the hell not?’ She wrote the scripts, anyway – why not cast herself as a sex symbol? She was a sex symbol. We’re faced with such a tidal wave of body propaganda it’s easy to internalise it. Here’s a gratuitous embed of the trailer to West’s 1933 film I’m No Angel:

Anyway, back to the 80s/60s/whatever planet John Waters comes from. Another thing I love about Hairspray is the fabulous supporting cast of characters. Divine as Tracy’s mother Edna steals every scene she’s in, but I also love Tracy’s best friend Penny (Leslie Ann Powers) who seems pretty drippy until she meets kind, dishy Seaweed, son of local soul queen Motormouth Mabel. It’s actually quiet Penny Pingleton that starts shouting ‘segregation never, integration now!’ outside the Corny Collins Show. Penny and Tracy are touchingly devoted to each other too, encouraging each other and enjoying each other’s happiness. Plus bitchy Amber von Tussle and her snobbish, racist parents (her mother is played by Debbie Harry) are deliciously hateable.

The film is not without its flaws and it definitely won’t be everyone’s cup of tea, but I love it. It’s the only film (I think…) that I’ve ever watched and put on again straight away, though admittedly that’s partly because of the superb soundtrack, which features Lesley Gore’s irresistible anthem You Don’t Own Me. Here it is!

Comemmorative dollar for the Little Rock Nine, six of whom were women

Often women’s involvement in protest has drawn on their gendered role within families and communities. Women played a significant part, for instance, in the riots over food supply, quality and price which swept Europe during its transition to a capitalist market economy from the 16th century to the 19th. Historians like Temma Kaplan, E P Thompson and Natalie Zemon Davis (and, er, me) have seen female participation in these protests as an extension of their role in the sexual division of labour, including food procurement and preparation, which lent legitimacy and authority to their involvement. The prominence of women in local networks of communication, and their presence in social centres like market squares as part of their daily routine, also allowed them to collectively mobilise and organise – the equivalent, under agrarian capitalism, of creating a Facebook Events page.

There is, however, a myriad of other movements and moments in which women have taken part as workers, students, trade union organisers, family members, and consumers, as well as on grounds of class, race, sexuality, and political principle. There’s even a Wikipedia list of female rebel leaders dating from the 9th century BC to this year’s uprising in Ivory Coast, which, even though this series is concerned less with individuals and more with women’s mass participation in protest, is still pretty cool.

Just as their presence is still being obscured in reports of current events in the Middle East, so women have historically been absent from many popular and academic accounts of protest. The advent of feminist-influenced social history from the mid-20th century sought to correct masculine bias within traditional narratives of labour history or liberal teleologies, both of which had marginalised or misrepresented the involvement of women. Conversely, strictly purist or doctrinaire feminist narratives of history have also tended to ignore popular movements which did not advance a specifically feminist programme, regardless of how heavily women may have been involved. Both of these approaches resulted in the omission, until recently, of women from the histories of protest movements like Chartism in which they played a significant part.

The place and properness of women in protest has long been a bone of contention, with discourse surrounding their involvement portraying them as hysterical, unwomanly, deviant, or deranged. Sheila Rowbotham, in her historical study of women and protest, notes that:

It is at the point where the revolution starts to move women out of their passivity into the conscious and active role of militants that the mockery, the caricatures, the laughter with strong sexual undertones begin.

The vicious alarmism and mockery drawn by female involvement in politics, with which suffragists and civil rights agitators found themselves contending, is already evident in several cartoons on female Jacobins and campaigners for constitutional reform. Political cartoons of the 18th and 19th century were rarely noted for their subtlety, and caricaturists tended to focus upon the disorderly nature of political females, as well as imputing to them an ‘unwomanly’ loose or aggressive sexuality. Cruikshanks depicted ‘The Female Reformers of Blackburn’ as vulgarly outspoken and blowsily dressed, distastefully dominating their political platform, and J L Marks’ ‘Much Wanted: A Reform Among Females!!!’ gives its female protagonists suggestively brandished rolled-up papers, poles clutched between their knees, and – oh yes – hands clasped in their laps to form a gaping dark hole, setting out their desire to usurp male power as well as their own wantonness. As, perhaps, does the presence of all those upthrust pikes, swords and cannons in depictions of the women’s march to Versailles. And of course Cath Elliot’s recent piece on online harassment, by which politically uppity women are impugned as frigid, or sluts, or lesbians, provides a piquant reminder of this glorious tradition.

Women in protest don’t merely have attacks from the right to worry about. Their involvement does not take place in a vacuum – women protest not only as women but for multiple reasons of sectional interest, and the gender identification of protestors has historically generated conflict and tension with identities based on race, class, sexuality, and ideology. To take just one example, the involvement of women in 20th century industrial conflict, acting in support of or solidarity with male industrial workers, has been criticised by some feminists who view such conflict as manifestations of an unhelpfully macho patriarchal culture from which women should separate themselves.

Nor can it be assumed that female involvement in social protest will naturally result in an outcome which is cognisant of, sympathetic to, or even comfortable for women. After the Women’s March to Versailles, women as revolutionaries became a potent symbol of the power of the French Revolution, and the young Republic was eventually personified in the figure of Marianne. But, as Joan Landes has argued, Marianne’s visual prominence did not mean that women obtained significant political, social, or economic advantages during the French Revolution; the new Republic’s politics was one of laws and texts in which Marianne’s image bore no concrete significance. Similar tensions are apparent in the complex relationship of Iranian women with the after-effects of the 1979 revolution, and the contention that the presence of women in the current ‘Arab spring’ uprisings, when acknowledged at all, is being appropriated and used symbolically.

In addition to the examples given in links above, this series will look in greater detail at case-studies of women’s involvement in social, political, and economic protest, their motivations and methods, their successes and setbacks. It’s been a long, hot summer of discontent and it shouldn’t be any surprise to see women as well as men taking their place in the sun.

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• Rhian Jones also blogs at Velvet Coalmine.

Winning is great, sure, but if you are really going to do something in life, the secret is learning how to lose. Nobody goes undefeated all the time. If you can pick up after a crushing defeat, and go on to win again, you are going to be a champion someday.

– Wilma Rudolph

The 1960 Summer Olympics, the first to be broadcast internationally (the 1948 games had been aired by the BBC, but only in London), helped launch the fame of one of the world’s best known athletes, Cassius Clay. But this post is about someone else who competed that year: the woman who would become known as “the Tornado” and “La Gazella Negra”, Wilma Glodean Rudolph (June 23, 1940 – November 12 1994).

Rudolph was not the most likely choice to become one of the best runners of her generation. The 20th in a family of 22 children, she was a premature birth, weighing only 4.5lbs. Racial segregation in the US at the time prevented Wilma from being treated at the local hospital, and the poverty caused by the Great Depression made it financially difficult for her family to take her elsewhere. Throughout her childhood her mother had to nurse her through measles, mumps, scarlet fever, whooping cough, chickenpox, and pneumonia.

The disease that had the most impact on her chances of athletic stardom, however, was polio, which left her partially paralysed and with a twisted left leg. It seemed unlikely that she would be able to walk again, let alone run. Wilma, however, was far too tenacious to be slowed down by a little thing like polio and childhood paralysis. Through a combination of intense physical therapy, corrective shoes, and a metal leg brace, Wilma regained the ability to walk unaided by the age of twelve.

My doctor told me I would never walk again. My mother told me I would. I believed my mother.

– Wilma Rudolph

No stranger to physical training by this point, Wilma decided to follow in the path of one of her older sisters and take up basketball. She excelled at the sport, setting state records for scoring, and catching the attention of Edward Temple – the track and field coach for Tennessee State University. She had some track experience already from high school athletics classes, and by 1956, aged 16, she was running to a high enough standard to have a spot on the US Olympic team for the 1956 games in Melbourne, where she picked up a bronze medal.

Four years beforehand she’d been unable to walk unaided, and four years before that she was being told by doctors that she’d never walk at all. Now she was an Olympic medallist. Of course, someone who overcomes polio through sheer determination isn’t the sort of person who settles for a mere bronze medal. In 1960 Wilma returned to the Olympics for the Rome games and landed no less than three gold medals, the first American woman to do so. She set a world record for the 200m sprint at 23.2 seconds, and one for the 400m relay with her teammates Martha Hudson, Lucinda Williams, and Barbara Jones.

What made Wilma’s Olympic victory go from a regular badass achievement to a triple-decker pile of brilliance, however, was what she did afterwards. Upon returning to Clarksville, Tennessee, with her medals, a homecoming parade was arranged in her honour. She insisted the parade be an integrated event, where previous such occasions had always been segregated. Her banquet was the first time in the city’s history that a large meal was held without segregation. After this, Wilma joined the protests that took place in the city until segregation laws were struck down.

You want to hear about more awesomeness? Hopefully you do, because Wilma Rudolph still had plenty more of it to deliver. Her athletic excellence had earned her a full scholarship at Tennessee State University, you see, where she earned a bachelor’s degree in education. She taught for a while at her own former high school, followed by schools in Maine and Indiana. In 1967 she was asked by the then Vice President of the US, Hubert Humphrey, to take part in an athletic outreach programme aimed at underprivileged children living in housing projects in several major cities. When the programme ended she established her own non-profit organisation, the Wilma Rudolph Foundation, to continue the work. The foundation provided free coaching, academic assistance and personal support to kids in deprived areas.

The triumph can’t be had without the struggle. And I know what struggle is. I have spent a lifetime trying to share what it has meant to be a woman first in the world of sports so that other young women have a chance to reach their dreams.

– Wilma Rudolph

For more detailed discussion on Wilma Rudolph’s athletic achievements and work as an educator and civil rights campaigner, check out Wilma Rudolph: Athlete and Educator by Alice Flanagan, and the good but somewhat short Wilma Unlimited by Kathleen Krull. Wilma’s 1977 autobiography, Wilma, is also good, but a bit tricky to find.

• Unsung Heroes: spotlighting fascinating people we never learned about at school. Rob Mulligan also blogs at Stuttering Demagogue. Stay tuned for future Heroes, or send your own in to [email protected]!

Born Freda Josephine Mcdonald in St Louis, Missouri in 1906, Baker’s life got off to a rough start. As a child she worked as a cleaner and babysitter for a reportedly abusive wealthy woman – Baker later spoke of having her hands burnt for making a mistake, and of being told “not to kiss the baby”, presumably to avoid somehow “racially tainting” the child. By the age of 12 she had run away to live on the streets, surviving the East St Louis Riots of 1917, and working as a waitress and a street dancer. By the age of 15 she was onto her second marriage, where she picked up the Baker name she would keep through the rest of her career.

Around about 1921 things started to improve for Baker, as she moved to New York and began dancing in Broadway and vaudeville shows. Initially she was turned down as a vaudeville chorus dancer, described as “too skinny and too dark.” Not one to be put off, Baker worked as a dresser instead, learning all the dance moves from backstage. When a space came up for a chorus dancer she made herself the natural choice, knowing all the routines already, and put on an impressive performance. Before long she was one of the most successful chorus girls in vaudeville theatre.

Though successful, Baker found that continuing racial discrimination in the US led her to feel alienated and disrespected, and she moved to Paris in 1925. Here she quickly came to the attention of the director of the Folies Bergère, quickly climbing to stardom. She became one of the most talked about and photographed women in the world, and by 1927 was amongst the most highly paid entertainers alive (much of her pay being spent on pets. There’s something fantastic about having a pet snake, goat, pig, parakeet, several cats, dogs, fish, a chimpanzee and a leopard.) In 1927 she also appeared in  the silent film Siren of the Tropics, becoming the first African American woman to star in a major motion picture.

“She kissed babies in foundling homes, gave dolls to the young and soup to the aged, presided at the opening of the Tour de France, celebrated holidays, went to fairs, joked with workers and did charity benefits galore. She was all over Paris, always good-natured and exquisitely dressed.”

- Phyllis Rose, Jazz Cleopatra

Her return to America in 1936 did not go well. Audiences refused to accept the notion of a sophisticated black woman, and newspaper reviews tore her act apart, with the New York Times going so far as to refer to her as “a Negro wench”. She soon returned to France.

When war broke out, Baker did not sit idly by. In addition to playing up her role as an entertainer and boosting troops’ morale in Africa and Europe, she worked covertly for the French Resistance, smuggling secret messages on her sheet music and pinned to the inside of her clothing. This, and her wartime work with the Red Cross saw her awarded the Croix de guerre, making her the first American-born woman to achieve this.

Following the war Baker turned her attention to civil rights activism and unleashed a whole truckload of awesomeness. After her negative experiences performing in the US in the Thirties, Baker refused to perform at segregated clubs, and this insistence is credited with being influential in the integration of shows in Las Vegas. But that was only one tiny facet of her amazing actions in the Fifties and Sixties.

The most work-safe shot of that famous Banana Skirt

You see, Baker wanted to demonstrate that there was absolutely no reason why people of different races and faiths couldn’t live together just fine. So how did she set about proving this? By adopting a dozen children (whom she called her “Rainbow Tribe”), from places as far-flung as Cote D’Ivoire, Finland, Korea and Colombia, and raising them all together. Oh, and she raised them in a castle, the Chateau de Milandes, in Dordogne. Because if you’re going to go to the effort of doing something you might as well go all the way and do it in a castle.

In 1963 Baker stood alongside Martin Luther King Jr. at the March on Washington when he made his “I Have a Dream” speech. Baker was the only woman to deliver a speech at the rally, and was later offered a place at the head of the American Civil Rights Movement following King’s assassination, though she declined.

Over the space of her career Baker managed to be a hugely influential performer, to risk her life as a part of the French Resistance, and to take a major role in the civil rights movement. There’s just far too much kickassery in there to possibly sum up in the space of one post, so for more detailed looks at her life there’s Josephine: The Hungry Heart, by her adopted son Jean-Claude Baker, and Jazz Cleopatra: Josephine Baker in Her Time, by Phyllis Rose.

“Surely the day will come when color means nothing more than the skin tone, when religion is seen uniquely as a way to speak one’s soul; when birth places have the weight of a throw of the dice and all men are born free, when understanding breeds love and brotherhood.”
– Josephine Baker

• Unsung Heroes: spotlighting fascinating people we never learned about at school. Rob Mulligan also blogs at Stuttering Demagogue. Stay tuned for future Heroes, or send your own in to [email protected]!