Digital Creative Photo Essay: An Average Day With Your Daily Dose of Pop Culture
While getting ready for the day, you decide to watch “Jane the Virgin”. This television show discusses virginity and the practice of abstinence for Jane, the main character who has had a child without having sexual intercourse. Jane was accidentally artificially inseminated during a doctor’s checkup and is essentially called the ‘virgin mom’. You think about the ‘no sex before marriage’ statement that you have heard in the discourses surrounding sex within the social sphere. These discussions are usually made in the context of religion. In the context of “Jane the Virgin”, sexual intercourse has not been experienced, and yet she has a child, so where does this leave Jane?
This show is put on television to be viewed by the eyes of millions. As Bruce David Forbes noted in “Religion and Popular Culture in America”, people make something popular “when it touches a chord within us, perhaps expressing our assumptions and values” (Forbes, 5). It is not a foreign sight to see pop culture presenting sexual activity as an interaction that is basically part of most social interactions. We can see proof to this statement through the various sexualized music videos (i.e. videos that take place in clubs), that are centered around body movements and physical features that eventually lead to a more intimate scene at the end of the music video, seemingly portraying the accomplished ‘goal’ related to sexual activity. The portrayal of a Catholic woman going through this conundrum of having a child without having had sexual intercourse whilst practicing abstinence challenges the general assumption of the Christian notions of ‘sex before marriage’ and it being sinful. “Jane the Virgin” combines religious thought with pop culture aspects. Though this is evidently an entertaining and interesting story line, it is much deeper than that. Embedded in this television show are aspects of religion’s evidently predominant effect in shaping the opinion of sexual intercourse, while pop culture’s take on ‘virginity’ is displayed through Jane’s mother, who is less inclined to suggest ‘waiting until marriage’.
Even the act of watching “Jane the Virgin” ‘religiously’ is essentially a type of action that mirrors those who religiously attend mass. Not only are you watching a television show that highlights Christianity as one of the essential parts to the storyline, you are already contributing to the act of devoting your time and attention to this show whilst growing a connection and interest that makes you want to view it again.
You close your laptop as the episode is over, and you leave for your destination, a destination that you identify with and visit religiously.
You have gotten off the subway and are en route to your destination. You turn to your right, and you see a young adult wearing what seems to be an outfit that one can find off a mannequin in a popularized store. She is posing for a picture with an all too familiar Tumblr-esque pose. You are interested in the jewellery she is wearing. Similar outfits are all over social media, with Tumblr pages and Pinterest accounts devoted to sharing the seemingly extremely important task of wearing the ‘right’ outfit. This allows you to find where you can get this similar peace of jewellery. You search “cross fashion” on Tumblr, and you are given an abundance of photos centered around wearing crosses in various ways. Appropriating religions is an act that can be seen through the clothes individuals wear to the advertising of the brands of makeup they put on their face. It seems as though religion is embedded in society, but for reasons that deviate from the traditional purpose of religion within a society. One can see a cross on an article of clothing, on rugs sold at Urban Outfitters, on peoples’ bodies in the form of tattoos. There is a culture of wearing crosses that is seen within the social sphere of the North American society, almost like a ‘Christian-cross fashion’, except one may not wear it with the intention of proclaiming their devotion and belief in Christianity. Some may say this is a mockery of the cross, but Robert Orsi and Meredith McGuire allow us to possibly see differently with the “lived religion” approach they suggest. This approach focuses on the everyday and notes that there are not clearly defined categories of behaviour that portrays one’s religious beliefs (Klassen, 17). Orsi and McGuire noted that those with no religious affiliation can practice or profess beliefs. This provokes the question of the common disdain for those who are not religious but wear symbols that represent the Christian religion. However, if we were to take the approach of “lived religion”, it is possible that such feelings of disrespect may be addressed differently when being open to the idea that wearing such accessories or clothing may be to accomplish a desired end, and this desired end is to feel confident and powerful, and possibly wearing the crosses fulfills this in a non-traditional way. It is possible that this ‘cross fashion’ culture is a group of its own, with its own distinctions and own personal connections to what the cross on their clothing signifies in their personal lives.
You reach your destination-Sephora Cosmetics store-where many who would not expect to find implicit or explicit religion here can be challenged. The makeup and cosmetic industry has been known to be a form of artwork for decades. One could imagine their face as a canvas, with endless creative possibilities. It is in this creativity that themes central to religion can be intertwined.
When visiting Sephora, one could find hundreds of cosmetic products at the fingertips of makeup artists worldwide. These products create a unification of a diverse range of people. Different races, genders, and ages of people unite around one thing: makeup. We can see how this artistry has allowed for unification, just as religion can unite individuals all for a common good. On the contrary, it can be said that religion causes disconnect just as much as it creates unification. Regardless, religion, or a hobby/interest like makeup, can make someone feel like they are apart of something. Just like sports can create a “popular religion” of gathering and worship, that effects ones’ life to a great extent (Price). The devotion to obtaining new products and trying new makeup trends allows everyone interested in beauty culture to work towards a common goal: looking good and feeling good.
Interestingly enough, the artists and brands that create these products have a place to express their own creativity. Kat Von D, a famous tattoo, artwork, and makeup artist is a creative mogul in artistic industries. She recently launched her eyeshadow palette, “Shade and Light”, which provides a range of colours suitable for all skin types. All of the colours have one thing in common: they are all named after demons. Here, makeup artists are symbolically placing these demon-named eye shadows on their eyes, whether they are aware or not. While some people are extremely offended by this, others seem to overcome it for the art, or simply do not know or care. This is an example of what Forbes describes as finding religion in unexpected places, where instead of a church you find these implications in a cosmetic store. Regardless, it is no doubt that Kat’s inspiration stemmed from the darker spectrum of religion, the dark and evil side that is feared by many. One thing is for sure, despite utilizing religious allegorical names for her eyeshadows, it is clear how religion and popular culture can be in dialogue in so many unique and fluid ways (Forbes).
The application brush that accompanies the set is black, and stored in a mini black coffin case. Once again, a feared aspect of religion inspires Kat: death. Kat feels no shame in designing this mini symbol of death, that is both morbid and an unconventionally celebrated aspect of religious concern. We can understand Kat as holding power in representation, but in a mutual relationship with her supporters, or even non-supporters (Hall, 52–55). Similarly to Lawson’s chapter, it is clear that the meaning of Kat’s coffin brush set is negotiated, as recipients of popular culture are not passive (Lawson, 55). The brush/mini coffin holder can be interpreted as the tool of access symbolizing death that can introduce you to the eyeshadows, which represent demons. Some may be “creeped out” by having this on their armoire, while others will not pay much mind to it. Some may even enjoy this design. This can relate to Stuart Hall’s understanding of representation as non-fixed, and can be controversial in its extension of events it can be portraying (Hall, 52–55). Just like when individuals are thinking of the afterlife, despite the common understanding of the afterlife, some fear death while others do not. But at some point, every religiously inclined or atheist being will question death.
The ambiguity of the afterlife parallels with Kat’s creative shadow palette. While she has a large following, her look allows for creativity to take its course and many different looks can be imagined and created. One could see her “cult” online with images of their work using her “demonic” palette. Although it is without institution, all of the conventions, art, and more allows Kat’s following to be an implicit religion that cult fandom holds as significant to their lives, as would any institutional religion. Just like the cult following of other mediums of popular culture, it is these levels of emotional investment that allowed her franchise and television show of tattoo artistry to expand and continue. The cult fandom surrounding her, which can be found online, portrays the idea of “intensive concern with extensive effects” as discussed by Porter, by allowing individuals to hold the show accountable in other areas of their lives. Needless to say, narratives of the afterlife vary tremendously, as does the possible makeup artistry with Kat’s palette. Kat has also incorporated many aspects surrounding explicit religious assumptions and beliefs in her palette, and has created a culture and vision that allows for endless imagination.
After purchasing the “Shade and Light” eyeshadow palette that evoked many questions of the interrelationship between makeup, pop culture and implicit religion, you embark on your journey home. On your way home, you see this billboard on the wall of the building of C3 Church in Toronto. Yet again you see just how intertwined religion and pop culture is. This is a reference to Drake, a popular Toronto rapper, and the ‘6’ is a reference to Toronto. The believers, the consumers, the ones that make Drake’s music ‘popular’ have used it in a way to connect to a deeper, more religious existence. Does posting this reference to ‘God’ and loving the ‘6’ essentially represent the belief that music and religion can work together to create this all encompassing existence of an essence that is religion and music? You think about the concerns you have heard over young people finding tranquility and purpose with a religiosity that has been supposedly appropriated and fabricated to fit pop culture demands, to add to the consumption of religion. In a study of the “hidden religious dimensions of popular music”, Robin Sylvan noted that “music functions in the same way as religion and the musical subculture operates in the same way as a religious community, ableit in an unconscious way” (Kommers 16). Does this apply to the C3 Church in Toronto? They are consciously incorporating pop culture music and associating it with their church. Kommers noted the ‘religiosity’ experienced by those at music festivals is usually observed through an outsider’s perspective, through an individual who merely ‘studies’ the music festivals rather than immersing themselves and experiencing the “multi-sensory” experience (Kommers 19). Seeing the connection being made with the music through body movements and hearing people sing along to the music in unison are all “senses of understanding” that are relevant to this experience of religiosity displayed in and through music.
Bibliography
“C3 Church Toronto”. Instagram. https://instagram.com/c3toronto/. Accessed November 19, 2015
“Cross fashion”. Tumblr. https://www.tumblr.com/tagged/cross-fashion. Accessed November 19, 2015
Forbes, Bruce David. “Introduction: Finding Religion in Unexpected Places.” In Religion and Popular Culture in America. Ed. B. D. Forbes and Jeffrey H. Mahan, 1–20. Berkeley: University of California Press, 2000.
“Kat Von D Shade and Light Pallette Images”. Instagram. https://www.instagram.com/explore/tags/katvondshadelight/ Accessed November 19, 2015
Klassen, Chris. Religion and Popular Culture: A Cultural Studies Approach (Ontario: Oxford University Press 2014), 7–28.
Kommers, Heleen. “Hidden in Music: Religious Experience and Pop Festivals.” Journal of Religion and Popular Culture 23, no. 1 (04, 2011): 14–26. http://search.proquest.com/docview/874655855?accountid=14771.
Price, Joseph L. “An American Apotheosis: Sports as Popular Religion.” In Religion and Popular Culture in America. 180–200. Berkeley: University of California Press, 2000.
Porter, Jennifer. “Implicit Religion in Popular Culture: the Religion Dimensions of Fan Communities,” Implicit Religion 12.3 (2009): 271–290;
White, Gayle. “The New Christian Culture-There’s Plenty of Money to be made in the Christian Retail Industry, but is this just another Way to make Faith Relevant, Or is it a Surrender to the Rampant Materialism of Mainstream Culture? Mass-Marketing Christianity.” The Atlanta Journal the Atlanta Constitution (Pre-1997 Fulltext), Nov 24, 1996. http://search.proquest.com/docview/293347175?accountid=14771.