Tag Archives: violence against women

The Art of a Comic with a Cause: Interview with “BRANDED” Author Rodrigo Caballero

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Comics With a Cause co-founders Rodrigo Caballero and Babette Santos

Ad Astra: You’re in the final stretch of your Indiegogo campaign! How would you describe the experience so far?

Rodrigo: Running my first Indiegogo campaign has definitely been a huge learning curve, especially for someone like myself whose knowledge (not to mention enthusiasm!) for the ins and outs of social networking platforms is not always up to par. Definitely my eyes have been opened to the idea of crowd funding- there is so much potential for doing advocacy and charitable work on the Internet, but so much time and effort to be invested as well. The sheer diversity of initiatives and ideas being funded right now through crowd funding, however, is mind-blowing and it’s exciting times for people with new and innovative ideas. I very much see our indiegogo campaign as the humble first steps taken in a longer path of development.

AA: The concept of a web comic about a subject matter like domestic abuse must have been new for some people.

R: Yes, definitely new, although it seems that’s been a positive thing for most people learning about the project, especially for those already working in the field of violence against women in a supportive capacity. There seems to be a thirst for new approaches to raising awareness of the topic. Violence against women is a very difficult subject to broach because it makes most people uncomfortable and it’s not the sort of thing one hears brought up in day-to-day conversations. For the most part, there’s been an unwritten code of silence that underlies the topic of violence against women in society. I think comics and graphic novels have a lot of potential, because if you can’t confront people directly about it at first, you can at least have them read about it in a format other than news reporting or statistics and if the story is compelling enough, they can and hopefully will talk about it with others. Expressing the subject in the form of a story allows for discussion in a manner that’ s a little less direct but hopefully still engaging. That’s the theory anyway!

AA: And what kind of spectrum of feedback have you gotten?

R: The feedback I’ve received on through our CWAC campaign has been overwhelmingly positive and for the most part people (including individuals working for organizations) have demonstrated a lot of enthusiasm for the idea. There seems to be a notion that a comic series addressing violence against women has a lot of educative potential as well (i.e. lots of comments about using this in the classroom and with younger audiences). I’m flattered by this sentiment and indeed part of me hopes “BRANDED” does one day make it to classrooms but admittedly there is also a small part of me that is wary of it. And that’s because there may be an assumption underlying this that comics/graphic novels is something for kids. Of course, audiences already familiar with the medium know that this limiting stereotype was broken a long time ago and that many of the most successful graphic novels have handled very serious or political subjects in  very unconventional yet compelling ways and in a manner that is unique to the medium. The other thing is that when we slap the word ‘education’ on something, it can carry a lot of baggage with it, just as the term ‘entertainment’ can. This comes from outmoded ways of thinking that equate learning with textbooks and grading and entertainment with passive consumption. I think there’s a lot of room for unpacking these terms and exploring comics as more of a liminal space.

AA: Let’s go back a bit. Where did the idea of “BRANDED” originate from? Were you inspired by other comic books already out there? What about the subject matter?

R: Like many others, the clincher for me in terms of what comics are capable of accomplishing was reading Art Spiegelman’s Maus and works by Alan Moore and Marjane Satrapi. Regrettably, in terms of raising awareness of violence against women, my familiarity with the phenomenon (also like many others) comes from knowing someone who has experienced sexual assault and having an intimate understanding of the traumatic and dispiriting effects that accompany it.

My idea for writing “BRANDED” in particular came from attending a panel on National Day of Remembrance and Action on Violence Against Women last December. Part of the event featured an installation where about a hundred black cut-out silhouettes of women were positioned everywhere and each one featured a short real-life account of a woman’s experience with male violence. These were collected by crisis line workers over the period of a single month. There was something about the immediacy of these stories that I found staggering and that spoke to just how obscured the phenomenon of violence against women is– here were all of these horrendous real-life accounts of violence against women, and the majority of them never reach public consciousness. During the subsequent panel discussion, the question was also raised, “What is the role of men in ending violence against women?” That was very much my own personal call to action and for whatever reason, the idea entered my mind– I’m going to make a comic series addressing violence against women–and I just knew from that point onwards this was something that I was going to have to do. From there, the premise and most of the characters basically spilled out of me in one brainstorming session shortly afterwards.

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AA: “BRANDED” includes a figure known as “The Brander”. Comics have expanded so much since the first
days of caped crusaders. What inspires you to continue on with the inclusion of a ‘caped’ hero–someone with a secret identity and extraordinary abilities?

womeninrefrigeratorsR: Well, the first thing is that I don’t really consider “BRANDED” to be a superhero story per se, nor will The Brander have any extraordinary abilities (although the secret identity trope is very much a part of the character). That’s because she or he is very peripheral to the story and only gets minimal page time. Instead, most of the story centers on a group of characters whose lives are impacted in different ways by The Brander’s actions, which are at best controversial and morally not so easy to justify. Readers familiar with the “women in refrigerators” phenomenon (sparked by Gail Simone a number of years ago) will be familiar with the argument that too often in comics, we see female characters maimed, raped, incapacitated or killed off ruthlessly and abruptly, usually in order to provide a motivation for the protagonist/superhero. “BRANDED” eschews such shock-value devices and instead depicts women as survivors (not just victims) of male violence and its consequences. The presence of The Brander–a vigilante who has decided to seek redress for women survivors of male violence because the law has been deemed incapable of providing this-is meant to provoke readers into thinking about what sort of factors would actually drive somebody to adopt such a role. In real life, it’s estimated that only a fraction of sexual assault incidents are reported to the police by survivors and of these statistically only a fraction result in a conviction or imprisonment, so I think this theme of absence of redress or lack of justice is a very real one for many survivors of violence. My idea was to have a vigilante who went around branding the faces of perpetrators of sexual violence in order to expose them and place the burden of shame and stigma on them rather than the survivor, which is what we tend to see too often in real life. The Brander, despite only having a minor role in the story, is meant to embody the response (albeit a dramatic one) to this absence of redress and there’s a certain inevitability to the character’s appearance that I hope comes across when we bear the statistics in mind. When we recall the example of the vigilante group “Anonymous” and their intervention in the recent Rataeh Parsons case, The Brander isn’t too far a stretching of reality.

AA: What advice would you have for others fundraising for projects with a similar interest?

R: It’s important to build a community around your cause or project. For me, even though I decided to go ahead and launch an Indiegogo campaign for “BRANDED,” I’m still very much in the formative stages of building a community or audience for the comic. This can only happen over time but I think when it does, the comic will really start to take on a life of its own. Also, for any men becoming involved with speaking up on violence against women, such as myself, it’s important to inform yourself to the best of your ability and remain ever sensitive to your position relative to the phenomenon of violence against women while not adopting the role of someone speaking on behalf of survivors. Too often in so many spheres the voice of women is marginalized and the last thing we need is for this to happen in raising awareness of violence against women. I can’t pretend to have fully learned how to negotiate this dynamic, but I can certainly
remain cognizant of it.

AA: After your Indiegogo drive is over, what can supporters expect to see from Comics with a Cause in the months ahead? 

R: The if-everything-goes-according-to-plan picture is: We will finish finding the funding to produce about 85 pages of script to be illustrated by Reetta Linjama, our current illustrator, and hopefully hire somebody who can colour all the pages too. Our aim is to start releasing the comic series episodically (perhaps weekly) beginning early September and I would like to take it right up to December 6 which is the National Day of Remembrance and Action on Violence Against Women. This will depend though on how much funds we can raise for the project. Right now the best way to help out is through our Indiegogo campaign which ends June 22, but we may try and figure out a way to allow people to keep donating after that, ideally on a new website dedicated to the comic series. In the meanwhile, any news and updates can be found on our Facebook Page.

Of course, the other question people always bring up is, when do we see the printed or graphic novel edition? Like most comic artists/writers, I’m all for that! But let’s get the thing made first…

AA: Thanks, Rodrigo! Best of luck as these final days!

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Who is Ana Mandietta? by Christine Redfern and Caro Caron

Title: Who is Ana Mandietta?
Author: Christine Redfern
Illustrator: Caro Caron
Got my copy: from creators @ TCAF  (2012)
Published: 2011 by Feminist Press (originally published in French in Montreal – now also available in English and Spanish)

It seems like the life of Ana Mandietta was social commentary from start to finish.

Although born in Cuba, she was brought to the United States as a child, one of thousands under the CIA campaign Operation Peter Pan in the early 1960’s. Over the next decade, like Ana, the world around her was coming of age: U.S. political movements, Latin American revolutions, as well as the cultural worlds of music and art. She began a rise of notoriety in the U.S. as a new kind of modern artist (a feminist), where she embraced and confronted tumultuous times, applauding the opening of minds while pointing out the hypocrisy of where they stayed closed. This was especially the case around the question of women–our rights as well as our popular representation.

In the 1980’s, just as Ana’s work was gaining exciting new attention, she died under mysterious circumstances–having apparently jumped out of her apartment window while arguing with her husband.

This book is not only the story of Ana’s life, but a histroy of the dismissal of women in the art world, as well as the scene’s suspicious apologism for domestic violence at the hands of male artists.

Even as a 27-year-old enthusiast for a lot of art, music, and political movements that arose in the 1960’s and 70’s, a lot of what is in this book is new to me. Even though I’d read William S. Burroughs and Henry Miller, I didn’t know that they both had serious histories of violence against women (Burroughs killed his wife by accidentally shooting her in the face, Miller stabbed his wife in the back; she survived, and tried to cover it up.) I first read it months ago, right after I picked it up at the Toronto Comic Arts Festival. I finished it over the course of an evening (it’s relatively short, at 84 pages), but found it too overwhelming in the first read to really get out a notebook and jot down my ideas. It’s amazing, intense, angering, saddening…

Christine Redfern and Caro Caron are both hard at work here, emersing you into another world–the world of American art and politics of the era. I really appreciate a lot of the imagery here, seeing as I wasn’t around to witness any of these iconic events first-hand. Pages are densely packed with information that isn’t always explained, (faces, sayings, music lyrics, historical venues) and I like being given the space to explore, wonder, and look things up (I will add, to their credit, that Christine and Caro did do a lot of work for the reader: the inside cover of the book is a portrait gallery of “who’s who’s” of the contemporary scene, as well as a glossary in the back).

The style of the art itself, although not Ana’s style necessarily, is nonetheless a nod to her ethos and carries a lot of feminist undertones–there is a lot of symbolism mixed with a lot of reality, if that makes any sense. For example, her body is shown being figuratively impaled by tree roots in one scene, to describe a deep emotional connection with nature–but the illustration of her dead body after she, according to her husband, jumped out of her apartment window, is so sadly realistic. Her face is crushed, her underwear is wrinkled, her body is contorted.

Unlike many comic book artists, who strive to make a woman to look perfectly beautiful even after a violent death, Who is Ana Mandietta?  is a continuation of one of the legacies of feminist art: to diametrically portray more of how women [really] feel inside, hand-in-hand with with how things [really] are on the outside… a magical realism of sorts.

This is one of my favorite political comics yet, and one that I highly recommend, but readers should be warned: you need an open mind in order to appreciate the full power of Ana’s artwork, as well as this monumental book.