Missouri State University

Dr. Billie Follensbee

  • Springfield, MO

Past, present and power

When we browse works of art, it's easy to forget many of the pieces depict real people from the past - people with specific experiences and identities.

Dr. Billie Follensbee, an art historian and archaeologist who specializes in ancient Mesoamerica, has spent years illuminating a fundamental aspect of humanity in artifacts from the Olmec civilization, which once thrived along the Gulf Coast of present-day Mexico.

Olmec civilization is famous for dramatic, blocky sculptures that often appear androgynous.

Follensbee says, “The faces are often very naturalistic, but the bodies tend to be very stylized. Because of that, it’s difficult to tell whether a figure is male or female.”

She set out to catalog Olmec sculptures by sex and gender, but she struggled to find consistent guideposts in the existing scholarship.

“The only pattern was that if it was large and important-looking, it had been classified as male. And if it was small and unimportant-looking, it was assumed to be female. Basically, indications of power were automatically considered male.”

Patterns

This paradigm, Follensbee believes, reveals more about those who first chronicled the Olmec than about the Olmec themselves.

“There was a great deal of gender fluidity in Native American cultures, which was originally left out of history books because the people who recorded it were from Western cultures, where gender roles are traditionally rigid,” she says. “They were uncomfortable with this fluidity, or they just didn’t understand it.”

To avoid making similar assumptions, Follensbee needed a Rosetta stone, a way of decoding the sculptures that wouldn’t perpetuate biases of pre-existing research.

She turned to Olmec ceramic figurines, which she says, “are much more clearly sexed than the sculptures.” By carefully cataloging body forms, jewelry and clothing associations, she created a lexicon of male and female characteristics. Since these associations remained roughly consistent over several centuries, they could reasonably be assumed to appear in Olmec sculptures, too.

And, Follensbee found, they did. Many were subtle, but straightforward. For example, identifiers included: pinched waists and wide hips for women; straight-sided waists for men; high-waisted, wide belts and skirts for males; low-slung skirts and thin, beaded hip-hugger belts for females.

Follensbee’s lexicon provides a clear methodology for identifying gender in Olmec sculptures, one that isn’t influenced by an artifact’s size or apparent importance. She published these findings in a series of articles, the latest as a chapter in the volume “Dressing the Part: Power, Dress, Gender, and Representation in the Pre-Columbian Americas,” which she co-edited with Dr. Sarahh E. M. Scher.

Of course, it sometimes gets complicated. A figure with anatomically female features might wear clothing associated with males, or a figure might have male features and female paraphernalia.

“The conclusion I came to,” she says, “was that they were appropriating the power of the other gender. A man might be appropriating the idea of motherhood, or a woman might be assuming hereditary power from her father. Or she could be fulfilling a role that may have traditionally been male — such as a ruler — but was in this instance taken on by a woman.”

And sometimes gendered characteristics were intended to convey a completely different meaning. “For example,” she says, “one male figure wore a weaving tool that is typically associated with females. But this was a man outside of the Olmec area, and he was likely adopting this to show that he was associating himself with the Olmec, rather than as a feminine symbol.”

Altogether, it points to a complex understanding of men and women within Olmec society, one that resonates today.