With the runaway success of Marvel’s Black Panther movie, and the Women’s Center’s upcoming Knowledge Exchange about diversity in superhero media coming up this Thursday, we thought it might be nice to share this reflection by former Women’s Center staffer Prachi Kochar ’17, psychology, on her lifelong hobby of reading comic books and how how inclusive the comic book industry has been for women, particularly women of color. 

Originally posted on the Women’s Center blog.

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I have been a superhero comic book fan, on and off, for about 13 years – beginning with checking out Spider-Man and Fantastic Four comics from the public library in elementary. At that young age, it didn’t occur to me in explicit terms that comic books, their industry, and their fans often excluded or mistreated women, people of color, and LGBT people. Instead, I felt a sense of shame and guilt whenever someone commented on my comic book reading, feeling like something was not “right” with me for being a young girl that loved comic book superheroes.

Imagine my joy when, on a whim, I decided to check out Runaways from the library. Runaways follows the story of a group of teenagers who band together after finding out that their parents are part of an ancient evil conspiracy and details their struggles to survive, a typical over-the-top comic book plot, but an entertaining one. In its pages, I found a diverse cast of characters with girls like me. Girls who could be superheroes, but could also be fully-rounded, human characters that weren’t just valued for their bodies or used only to further the plot of their male love interest. For example, the de facto leader of the team was Nico Minoru, an Asian-American teenager, and she was portrayed as a three-dimensional character with strengths and weaknesses that I could relate to. Although Runaways was definitely not perfect (and is there such a thing as a perfect form of media?), it helped me to feel more included in the world of comic book superheroes.

Kamala Khan, the title character of Ms. Marvel is proof of how powerful representation in superhero comics can be.

Even though I have consumed too many comic books to count over the course of the last 13 years, I have found that the stories that I keep coming back to are the ones that recognize and promote diversity and representation of marginalized groups. My personal favorites have been Runaways(2005), Batwoman: Elegy (2011) Young Avengers (2013), Ms. Marvel (2014), Midnighter (2015), and Black Panther (2016); however, there are several great series out there. There are also a few series I am looking forward to like the Rebirth Batwoman series and the new America Chavez series.

Especially in this political climate, immersing myself in stories that help me escape from the world but are also representative of the diversity of the real world can be a form of self-care. Conversely, reading story after story that objectifies or “fridges” women, draws on racist tropes, and/or mistreats LGBT characters is the opposite of a break from the real world, and can make readers like me feel even more downtrodden. Even though issues like comic books or video games may seem trivial, media can be very significant in shaping the way that we perceive the world around us, other people, and ourselves.

“It’s important to remember that these comics don’t exist in a vacuum, that they are created by writers and artists who live in the same sexist social systems we all do and that’s reflected by the characters and the stories.” – Feminist Frequency

Media can also become a platform through which marginalized people can express our voices and experiences. The diversity of comic book creators is an integral part of any conversation about diversity in comic books. Although this does not hold true for every single series, I have found that the stories with the strongest emotional impact and most realistic representation have creators that have had experiences similar to the characters they are writing. For example, the first run of Ms. Marvel, a series about a Pakistani-American Muslim teenage girl becoming a superhero, was written by an American Muslim woman and edited by a Pakistani-American woman, and the 2015 Midnighterseries, a series about an openly gay superhero, was written by a bisexual man. This ties into my earlier point about how marginalized people must be a part of media representation at all stages in the process. Diversity of characters on the page is not enough; we must also have diversity of thought (warning for a lengthy video, but hey, it’s Idris Elba).

If you want to get into comics, it can be a daunting task, especially on a budget. Going to a comic book store for the first time can be a scary experience due to misogyny among comic book fans. This tumblr lists comic book stores across the United States (including Maryland) that are inclusive of women, LGBT, and people of color fans. Philadelphia also hosts the only shop on the East Coast owned by a Black woman, that has been praised for how welcoming it is to fans, both old and new. The public library is also a great place to get older comic books, so break out those library cards! Comic books can also be consumed from the comfort of your own home. Comixology and Marvel Unlimited are two digital services that offer access to digital copies of comics for a price, but often have sales. Alternatively, you can order print editions or buy ebook editions from Amazon, which often has discounts. It can be hard to know where to start with the tangled continuities and relaunches of superhero comic books, but my advice is to just pick up something that looks interesting to you and then use Google/Wikipedia to fill in any gaps.

I am hopeful that as we continue to support stories about and by people with marginalized identities, superhero comic books will continue to become more inclusive and accurately represent the people that they inspire. Somewhere out there, there’s a little brown girl picking up her first comic book, seeing herself in Riri Williams or Kamala Khan, and being proud of her love of superheroes. Everyone deserves that feeling.  

More Reading

• Who Gets to be a Superhero? Race and Identity in Comics
• Roundtable of Asian Creators: The State of Asian Representation in Comics
• What if the X-Men Were Black?
• Racebending and Representation in Comic Books
• Drawn to Comics: DC Comics Bombshells Brings Queer Women-Led History
• Comics and Human Rights: An Interview with G. Willow Wilson (creator of Kamala Khan)

Recently, the United States Army Field Band paid UMBC’s very own Linehan concert hall a visit to perform “A Recital of Epic Poetic Proportions.” UMBC’s campus was one of the many stops among their spring tour, which visits all over the Eastern United States.

The show featured a diverse selection of songs, as well as a wide array of vocal capabilities and instruments. Staff Sergeant Ian Bowling stole the show with his versatile voice that ranged from complex German pieces all the way to classic pieces of Americana music. The band showcased their musical ability through mastery of instruments including french horn, guitar and most notably, the eloquent piano play by Hui-Chuan Chen, which was featured in multiple songs and tastefully complemented Sgt. Bowling’s voice.

The show opened with two classical German songs written by George Frideric Handel, followed by three German duets, all of which were written by Robert Schumann. After intermission, the band opened up with “Light in the Hallway” by Pentatonix, a stark change from their opening pieces, which only further showcased the band’s abilities, as it was performed a cappella. Afterwards, the band stunned the crowd with a beautiful rendition of the patriotic classic “America the Beautiful” to which they gave a unique spin, unlike any version I have ever heard before. The show finished out with four more German songs by Franz Schubert and Carl Loewe, each telling a story important to the artists, as well as the performers.

The show was a hit to students in attendance as Bryan Hargraves, a senior acting major, said, “I very much liked (the performance), I really liked some of the solos as well as their rendition of America the Beautiful … I’m glad I came, I really wanted to support our military and the U.S. Army Field Band.”

After the show, I got a chance to speak to the star of the show, Sgt. Bowling, who hand-selected each song for the show and performed in all of the songs. He has been a part of the band for almost four years and goes into each performance with a common goal. “Our mission is to let America and its people know that their Army is here and it cares about them,” he said. “The two patriotic songs performed after intermission were the most emotional way I knew how to achieve that mission.”

As for the other songs selected, he went on to say, “I really enjoy (Franz) Schubert’s songs, as well as (Robert) Schumann’s duets, which played a large role in all the German songs performed.” The diversity in song choice came as a pleasant surprise, as our Army is typically known for mostly patriotic performances. The complex German pieces allowed the band to express their artistic passions and showcase their pure vocal excellence.

The U.S. Army Field Band displayed musical excellence during this performance, and they proved that there is more to our nation’s military than simply brawn. Furthermore, the band shed light on the creative and intellectual side of our soldiers — having their concert on campus was an honor.

REPLACEMENT AUDITIONS FOR IRON CROW THEATRE'S
CORPUS CHRISTI AND THE LARAMIE PROJECT.

It is uplifting to witness the strength of women as I did in the UMBC TheatreCOM production of the play Steel Magnolias in the Fine Arts Recital Hall. The play was directed by Ana Petricel, a senior biology and health administration and public policy double major. The screenwriting was developed by playwright Robert Harling and based on the true lives of the women in his life.

The story of the play has been on Broadway and the widescreen for 30 years. Even so, the TheatreCOM production breathes new life into the piece with their vigorous acting, tenacious chemistry, beautiful set design and fantastic lighting.

Steel Magnolias is centered on the lives of six Southern women, Truvy (Anna Courtade), Annelle (Victoria Graham), Clairee (Emma Gilligan), Shelby (Sophie Koch), M’lynn (Willa Murphy) and Ouiser (Sophie Shippe), who meet up in a beauty salon manned by Truvy and Annelle. The scenes we see mark momentous hallmarks for particularly the character Shelby and her mother M’lynn. Through Shelby’s wedding, pregnancy, dialysis and later death, the women all meet in the beauty salon for beauty, jokes, love and friendship. The play’s driving force is the friendship among the six women. The ties among them hold fast even in times of tragedy.

The play’s cast and production expertly emulated the emotions and themes that the story centers on. The lighting (by Corey Goulden Naitove and Natalie Matthews) of the production helped denote the motivations and dreams of the characters, such as when the spotlight shined on Shelby as she announced her pregnancy. The lighting on Shelby throughout the play demonstrated how treasured her presence and life is.

Although the audience sees her in nearly every scene, we get the feeling that it is occasional, thanks to the lighting. The set design (by Kirsten Jolly and Kaylee Arnold) of the play was beautiful, particularly the floral fence and vanity mirror. The set skillfully portrayed the close-knit environment of the beauty salon.

The costume design (by Megan Hromek) was particularly deft as well. You could tell the personalities of the characters by their attire. Notably, M’lynn often wore buttoned shirts to symbolize how closed off she can be concerning her home and work life. Annelle’s conservative clothes complemented her religious fervor and reserved demeanor as the new girl. Clairee’s classy wardrobe was well suited to her dignified way of speaking. Ouiser’s fashion told the audience of her often dour attitude before she even spoke, and Shelby’s attire helped implement her as the heart of the story with her tendency towards bright colors, like pink.

The acting by the six performers of the play was magnificent and electrifying. The chemistry among the six and between the pairs, Truvy and Annelle, M’lynn and Shelby and Clairee and Ouiser was immense and deftly drawn. The verbal battles between Clairee and Ouiser and notably M’lynn’s words after Shelby’s death were memorable and poignant moments of the play. Willa Murphy displayed the emotions of M’Lynn in a cathartic way, emotionally ending her character’s arc. The performances by these young actors playing characters at further stages in life were lively and skillful. The cast played characters who felt like real people.

As the director, Ana Petricel said, this is “a story about you and me.” This story portrays how ties with others can strengthen you even when it feels like all is lost. It is excellent to see a story like this represented by women.

JOB SUMMARY

Ticket Agents represent the face of the BSO and are responsible for all aspects of customer service, including but not limited to subscription sales, single ticket sales, exchanges and resolving customer issues by phone, e-mail/web, mail, fax and in person for all BSO venues, including the Joseph Meyerhoff Symphony Hall and the Music Center at Strathmore. Ticket Agents must possess a friendly, service oriented demeanor and be willing to go above and beyond to assist BSO patrons. Must be flexible and willing to work daytime, evening and weekend hours.