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Assistant professor of art history and coordinator of the museum studies minor Alla Myzelev spoke about current Russia gender roles in the Berth V.B. Gallery on Wednesday Sept. 27.  Myzelev’s lecture—part of the fall 2017 Art History Faculty Lecture Series—was aptly titled “When Balaklava Goes Orange: Pussy Riot and the Fashion of Protest.” It was a detailed study in masculinity and the conservative values of Russia, which intrigued the audience full of students and professors through its examination of modern fashion designs and Pussy Riot, a female protest punk rock group based in Moscow.  Myzelev began her lecture with a discussion of Pussy Riot. She explained that the group is best known for busting into the Cathedral of Christ the Savior in Moscow to sing in protest of homophobia and sexism present in Orthodox Christianity, as well as the corrupt political linkage between church and state.  Members of this group were arrested and sentenced to two years in prison for what was described by the Russian government as “hooliganism motivated by religious hatred,” and were assailed for bringing a “previously unspoken taboo” into focus and “[revealing] its existence.” Myzelev used this protest to pose her central question: what invisible cultural line had these women crossed during their performance? Myzelev’s answer looked at the open distaste with which the left, right and center of the Russian political spectrum regarded the actions of Pussy Riot. Angry men on every side voiced their desires to “spank” the women and “strip them naked” or to “tar and feather” them—sexual threats that would reinstate the men’s control over these “wild” females. Myzelev suggested that the hostility was rooted in a strong nostalgia for past values. Russian society, she claimed, wants traditional values to exist in the same way that they once did—women subordinate to men in every way and masculinity as an ideal defined by strength and power. Myzelev highlighted Denis Simachev and Gosha Rubchinskiy, two male Russian fashion designers, as proof of the development of a softer type of masculinity in the modern age. Their designs for men effectively mix traditional Russian styles and values with newer, more Western styled clothing.  This in and of itself is a type of protest against the rigid conception of masculinity held by conservative Russians.

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