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Category Archives: racism

Kenya’s Workspace

You need to watch this. Some of the videos are chilling, others are funny. (And maybe chillingly funny?) You can even create your own online art gallery experience and play a few of them at the same time to find out what the viral expressions of female identity look and sound like in unison.

(thank me later)

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Teaching White Boys to Dance and Other Solutions to the Black Marriage Crisis (repost)

This was, hands down, one of the most brilliant, spot-on, and engaging pieces I’ve seen on a topic that happens to be the flavor of the moment. (Quickly being surpassed by the Sh*t _______ Say explosion) Read on and check out the Crunk Feminist Collective’s site.

This morning, while reading Kate Weigand’s 2001 book Red Feminism in preparation for a book I’m writing, I ran across a fascinating story in her chapter on Black women’s participation in the Communist Party.

In 1934, Black female communist organizers asked the Party leadership to outlaw interracial marriages in the Party ranks. Many of the Black men in the Party had married or begun dating white women, and white men were not showing comparable interest in Black women, which severely restricted Black women’s dating options.

In response, the Party asked a Black leader named Abner Berry to deal “with the problem.” Berry, himself married to a white woman, was staunchly opposed to outlawing interracial marriages on the grounds that this move would be “counterrevolutionary,” but he did institute some sessions on Black women’s triple oppression of race, class, and gender. Apparently, they also tried to teach some of the white male communists how to dance so they would be more comfortable approaching Black women at parties. Seriously. Lol.

There are a few morals in this somewhat comic story:

At least the CP had enough sense to talk about the social causes of Black women’s singleness, rather than blaming the sisters for being loud, attitudinal, too independent and unattractive. (Perhaps some preachers, comedians, and alleged scholars could get a clue; and perhaps some sisters should stop blaming themselves for a problem that began before we got here and will probably outlast us all.)

Continue reading at Crunk Feminist Collective

 

On John Mayer (And Apologies That Don’t Really Offer Clarity)

Upon a few hours of trying to process reports of offensive remarks that popular musician John Mayer made in the current issue of Playboy magazine, I tried coming up with a few clever Facebook status-updates, my favorite being that Mayer sorely needed a Racism and Sexism course. (I didn’t publish that, but I still think it’s true) Though a pornographic magazine is the (very overlooked) context for all of his statements about who he’s had sex with, how it was, and who he won’t–there remain key issues in this media event.

Jessica Simpson

Superficially, it’s another example of a celebrity making a “gaffe” on race, (which never gets old) getting caught up in it, “apologizing” for it, melting down, having a moment of “clarity“.

But on another level, it’s a particularly vivid example of the freedom, if you will, afforded him, as young, white, heterosexual, and male, to freely espouse his sexual proclivities, debase women period, race be damned, claim identification with black people, promptly get hated on, have a breakdown, and in the end, remind us that he “just wants to play his guitar.” And in a span of 48 hours, no less.

Kerry Washington

The racism of his sexual aversion to black women, I’d argue, is coupled with the sexist entitlement abound in his retelling of the sexual details of his relationships with Jessica Simpson and Jennifer Aniston, who as blonde-haired white women, already receive a particularly stifling type of media treatment. That entitlement helps explain why he was able to candidly explain the types of black women he’s attracted to, and even debase women, like actor Kerry Washington, whom he’s never had a sexual relationship with.

Without even reading his entire Playboy interview, the widely-publicized excerpts are textbook examples of intersections of racism, sexism and male domination–comparing his penis to white supremacist David Duke, crude as it is, is simultaneously as clear as many of Mayer’s most popular songs.

Global media culture has long thrived off of narrowly defined notions of who’s racist (white men only) and who’s sexist (black men only) vis a vis characters like a Don Imus or Ludacris. So when Mayer, someone outside of those types, who has built a career and image solidly as a non-threatening and introspective artist, acts out, we take notice. For those paying any attention, it’s an important moment that should have us recognize the myriad of ways that domination can be made visible.

Part of what’s critical about Mayer’s moment is that even after speaking as he did, he will be allowed to use that image as his cover. This is where nearly all public “apologies” are rendered useless–as a comedian once remarked, “He’s just sorry he got caught.” What’s really evident is that the entitlement of racism and sexism will enable John Mayer to “breakdown”, come to “terms” with his transgressions and return to modest guitar-playing.

But will Jessica Simpson, Jennifer Aniston, and Kerry Washington be allowed a (public) breakdown? I doubt it.

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the female experience of racism


I was intrigued when I heard another Black woman use the phrase that is the headline of this article. It sounded different from sexism. And it could just be all words at this point, but whenever I see the larger-than-life ads for Eddie Murphy’s new movie “Norbit,” the phrase rises to the surface again. The ad features two images of Murphy — one as a meek, glasses-donning version of himself and the other as a severely overweight Black woman who’s pinning him down. This particular image of a Black woman is where I have to acknowledge the female experience of racism.

She is the fat, dark-skinned, loud and unattractive bitch. She is positioned in “real” life and in the movie as the opposite of the Thandie Newton-ish slimmer, lighter and sweeter Black woman. She is comic relief. She is who no one, even those of us who are, wants to be. She is undesirable. She has her historical predecessors, from early American television and cinema.

She ain’t new.

Her image, however, consistently gets green-lighted as an appropriate form of comedy for the masses. Comedian Mo’Nique, bless her soul, had a popular television show in which she essentially was that woman — fat, loud and undesirable to the desired man of the show. She has one foot in those old Tom & Jerry cartoons — she’s always screaming. She’s been the character of countless comedic routines for an easy and reliable laugh.

This version of oppression is completely de-politicized, as is anything once you bring being female into the conversation, particularly when it has to do with looks. Be assured though, that if the traditional experience — the male one — of racism were displayed on billboards as if it were comic, the usual suspects would raise hell. When Jesse, Al, and some women, begin marching and addressing a movie like “Norbit,” I’ll believe that we’re getting somewhere.

I don’t know if I can wait for a march though. The mainstream representation, if there ever was one, of the female experience of racism is limited to trite debates where light-skinned and dark-skinned Black women are positioned against each other — à la India Arie/Alicia Keys of a few Grammys past, or Jennifer Hudson/Beyoncé of “Dreamgirls,” or, hell — and this one probably slipped past the radar of most — Angela Bassett/Halle Berry when Bassett explained that she passed on Berry’s “Monster’s Ball” role because she felt it was one of a prostitute.

With these instances as the context, is it any wonder that people might scoff at the notion of “the female experience of racism”? It has been the challenge of Black feminists galore to take on something people don’t realize exists. How do you explain the irony of “Norbit” opening to the number one spot on its first weekend while “Dreamgirls,” a movie that at least attempts to consider different versions of Black womanhood, stood at number 10? Or that “Dreamgirls” has helped restart Murphy’s career, and he follows with “Norbit”? We barely have the tools to consider that, once they are absorbed into the mass media marketplace, there is not much difference between Mo’Nique, Big Momma from the Martin Lawrence movies and Nell Carter from the ’80s sitcom “Gimme a Break.”

It doesn’t make a difference if it’s an actual woman, or men performing in suits, it doesn’t matter if a white person produced the image or not. The totality of these images reaching our eyes and minds via Viacom, GE or Disney all have racist and sexist implications.

It is political. Don’t be fooled by the fact that it seems like this is about looks. It’s not. It’s about humanity and economics, as racism has always been. I know Black women who look like Murphy’s female character Rasputia in “Norbit.” They are all beautiful, complex women who, as a result of real conditions in this world brought on by racism and capitalism, are overweight.

To repeatedly exaggerate us on the big screen as if it were reality and just to entertain everyone is wrong. As is being told in a multitude of ways that being Black, female and overweight is synonymous with being loud, unattractive and undesirable. It is not merely a matter of depoliticized self-esteem. It is an unacceptable, systematic practice of disregarding and disrespecting a significant and specific part of the population.

With the limits that this notion of Black womanhood imposes, everyone misses out. We narrow who we consider for a number of roles, from who we can date to who can lead all of us. So, while a number of us fixate on whether a black or a woman has a shot at the White House, I refuse to act as if we, or our experiences, don’t exist or matter.

tokumbo bodunde
03.08.07