Three or four years ago, the Spanish psychologist Jesús Moreno began to notice a difference in the drawings that the young participants in his workshops on masculinity produced when asked to sketch out their idea of what a man looks like.
The figures they drew were no longer merely the muscular and bizarrely well-endowed drug dealers, etched with prison tattoos and surrounded by guns, knives, cars, sex workers and bundles of cash, to which Moreno and his colleagues had long grown accustomed.
