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Cuties and the Sexualization of Young Girls
If one outrage has managed to unite both liberals and conservatives in the past week, it’s the Netflix movie Cuties (original French title Mignonnes). Although Maïmouna Doucouré’s debut nabbed the Director Award at the 2020 Sundance Film Festival, viewers and non-viewers alike (I suspect more of the latter) seem to share a range of common opinions. The film ‘normalizes sexualization of young girls,’ is a ‘vehicle for pedophilia,’ and ‘exploits child actors.’ In other words, it should not have been made, let alone distributed on a streaming channel. Cuties is an evil, lascivious movie — not to be watched or commended by anyone.
Naturally, I had to see for myself.
Full disclosure here: this film is a provocative work. It’s meant to provoke. That is its purpose. But provocation in art is not an end in itself. Films like Cuties push the envelope on acceptability to make a point, shed new light on reality, and cause the viewer to think — and perhaps to effect change.
Does Cuties succeed in its goal? I think so — it certainly made me look at the real-life dance competition culture differently. Unfortunately, stating this simple opinion caused one angry Twitter user to call me a name I’ve never been called before: a pedophile. (I’d sue for libel, but I don’t think it’s worth my time.)
Our task now is to concern ourselves with the real-life problems of child sexualization, poor parenting, and social media influence — not the work of art that has illuminated these problems.
“Amy, an 11-year-old girl, joins a group of dancers named ‘the cuties’ at school, and rapidly grows aware of her burgeoning femininity — upsetting her mother and her values in the process.”
That’s the tagline of Cuties. What the blurb fails to mention is that Amy’s awareness “of her burgeoning femininity” will be visually realized through a few scenes in which eleven-year-old star Fathia Youssouf exhibits sexual behavior far beyond her years (as do the other girls in the cast). Are these scenes disturbing? Yes. Are they horrifying? Maybe. Do they endorse or promote the premature sexualization of young girls? Absolutely not. Nor do I think Cuties is what one Twitter user labeled a “wank job for pedos.” How many of us truly believe the average pedophile is going to sit through ninety minutes of an English-subtitled French and Wolof indie film just to view a few seconds worth of prurience? Kiddie porn, sadly, is freely available on the Internet — Netflix subscription or not.
Speaking to Zora here on Medium, director Doucouré states:
Now I realize that the people who have started this controversy haven’t yet seen the film. Netflix has apologized to the public and to myself [for its early marketing efforts]. I’m hoping that these people will watch the movie now that it’s out. I’m eager to see their reaction when they realize that we’re both on the same side of this fight against young children’s hypersexualization.
“Cuties” Filmmaker Maïmouna Doucouré talks about the poster controversy and the global sexualization of our girls
I don’t think such a statement will soothe the outraged — responses on social media tend to follow a certain pattern: Doucouré did not need to put her actresses into obscene positions to make her point. She crossed a line.
I beg to differ. Why? Because far too many parents and dance schools have already shown their willingness to encourage underage sexuality for both fame and profit. The line we’re talking about has already been crossed, not on the silver screen, but in reality.
This, as I see it, is the heart of the problem. The issue isn’t the movie, but what the movie reveals.
When I was a pre-teen and a teenager growing up in Northern New Jersey, there were two major dance studios in my area. One was run by Irene Fokine (classical ballet fans will recognize her as the niece of choreographer Michel Fokine and the goddaughter of Anna Pavlova). Miss Fokine was a strict and single-minded woman: her students learned to dance by sweating in an unairconditioned studio. Aside from the annual Nutcracker performance at Christmastime, we gave no recitals, and we wore no costumes other than bland pink tights and black leotards. Our toes bled after every pointe class, and they bled some more after the second pointe class. Looking back, there was nothing sexy about my six hours per week of studio work. It was just pure pain and the constant threat of Miss Fokine’s cane rapping hard on the floor next to my feet when I messed up.
In a neighboring town was a different kind of dance school: The King Centre for the Performing Arts. My young friends who attended this studio had an experience utterly unlike mine. They gave recitals and won trophies in competitions. They wore spangly, revealing outfits, and makeup (makeup!). They learned to do the shimmy. In other words, they danced ‘sexy.’
My experience happened in the early 1980s. From what I’ve seen and read of present-day dance competition culture, things have only deteriorated.
My strong disinclination to have further lewd and inaccurate epithets lobbed at me took my attention away from Twitter and toward the academic. It was an important turn, as satisfying as it was discomforting. I found a 2018 master’s thesis written by a woman whose dance experience in her youth very much mirrored mine.
Author(s): Schultz, Elizabeth Gough | Advisor(s): Corey, Mary | Abstract: The sexualization of girls in dance…
I didn’t remain in the dance world after high school — I was neither tall nor flexible enough to succeed in the field. Elizabeth Gough Schultz, the author of the aforementioned thesis, made a career out of dance. Her paper is the outcome of first-hand research into the culture of dance competitions, particularly those involving girls between four and ten years old.
If you’re outraged at Cuties, I encourage you to read Schultz’s work. The message? Contemporary dance culture, unlike Cuties, doesn’t depict child sexualization; it promotes it.
Schultz examines how sexed-up commercial dance has become by examining three elements: costumes, choice of music, and choreography. The following YouTube video of seven-year-old girls performing to Beyoncé’s ‘Single Ladies’ exemplifies all three at work — from red spandex ‘booty shorts,’ to lyrics about a woman reclaiming “her right to flirt, have fun, and find a lover who is more devoted than the previous one,” (surely an unrelatable experience for the average seven-year-old), to a fair amount of shimmying and twerking. Note the video has had over ten million views in the past decade. Also note, I’m not promoting. I’m depicting.
I hope you’re as taken aback as I was on seeing this. In fact, I hope you’re a little bit angry — perhaps even angry enough to do something.
Through numerous questionnaires with competition judges and choreographers, Schultz shows us the ugly side of dance culture, using the above video as one of many sources. In her conclusion, she tells us:
The conversation of sexualized girls in dance competition is fraught with the possibility of having both heated and uncomfortable discussions. However, at a time in our society where women are sharing their experiences with sexual discrimination, assault, and abuse in public spheres, there has never been a better time to address how this impacts girls in our culture.
You may watch Cuties and decide it’s either brilliant or awful. You may choose not to watch it, having already judged its awfulness. Whichever camp you fall into really doesn’t matter to me. The brilliance of this film is that it has sparked a discussion about something real. In addition, it does a more than fair job of portraying a child’s struggle with innocence, acceptance, and religion. Writing her review on RogerEbert.com, Monica Castillo says:
Doucouré uses these uncomfortable images to provoke a serious conversation about the sexualization of girls — especially regarding girls of color, the policing of a girl’s sexuality, double standards, the effect of social media on kids, and how children learn these behaviors. To do this, the director shows what it looks like for young girls to emulate what they see in music videos and grown-up dance routines
Our task now is to concern ourselves with the real-life problems of child sexualization, poor parenting, and social media influence — not the work of art that has illuminated these problems.
Castillo, M. (2020). Reviews: Cuties. Retrieved September 11, 2020 from https://www.rogerebert.com/reviews/cuties-movie-review-2020
Schultz, E. G. (2018). The Sexualization of Girls in Dance Competitions. UC Irvine. Retrieved September 11, 2020 from https://escholarship.org/uc/item/1zk1g4wt
Christina Dalcher made the switch from academic to novelist six years ago and never looked back. She’s the international bestselling author of VOX. Her second novel, Master Class (Q in the UK), was published in April 2020.
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Author of VOX & MASTER CLASS, (Berkley/Penguin Random House). Doctorate in theoretical linguistics from Georgetown University. www.christinadalcher.com
Author of VOX & MASTER CLASS, (Berkley/Penguin Random House). Doctorate in theoretical linguistics from Georgetown University. www.christinadalcher.com
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