Showing posts with label diversity. Show all posts
Showing posts with label diversity. Show all posts

Friday, May 8, 2009

What is Social Justice to a Slave?

"For those living with some comfort in the First World, the future no longer exists as a common reference point. Yet for human beings, being sane depends on the acknowledgment of a continuity between the long since dead and those waiting to be born. The richer societies are being increasingly deprived of a temporal dimension essential to any spiritual life." --John Berger, “Foreword: To Try and Understand,” in The Algebra of Infinite Justice, by Arundhati Roy (London: Flamingo, 2002), xvii
In the U.S., we've fallen into the dangerous habit of speaking of slavery and segregation as though the words represent some Time Long Past. Slavery as that Troubling Matter of whips and cotton and bent backs and Roots which is thankfully behind us now. Segregation as those hoses, dogs and embarrassing Southern ignorance we finally got rid of (as though Jim Crow was purely a Mississippi Delta phenomenon and racism existed solely below the Mason-Dixon line).

We hardly speak of chattel slavery as the foundation of our economic system, social inequalities, and political radicalism. Of slaves as the first freedom fighters, activists, and community organizers. Of Freedom Riders as part of the legacy of that activism. Of Rosa and Coretta, Etta and Fannie. And these are the well-known names.

We've moved on to More Important Things. Our histories have become stories have become myths mumbled out of obligation to our predecessors instead of out of a recognition that the ghost of the plantation (and the workshop, and the mill, and the kitchen) sits right over our shoulder. We invoke Ann Nixon Cooper as a symbol of a life lived and then ignore those who question the very role and relevance of what that life might mean. We seat a Sojourner in our Capital and celebrate our journey from slaves to citizens, but ask the welfare queen to put her tiara back on because this stimulus is only for "those who did everything right" and you ran your credit card balance just a little too high.

As the recession deepens, words and statues should accompany public policies that consider a legacy of unequal distribution of resources and acknowledge a history of violence and of resilience. But few economists extend their analysis of the current crisis further back than the last decade. Which means the importance of houses--of land itself--to a long since distressed African-American community is dismissed in the scramble for better credit plans and harder stress tests. Which means that black farmers--yes there are still black farmers--continue to clamor for change they can believe in.

Our forgetting extends with each monument and each moment because we desperately want to believe a page has turned and the past is finally presenting us with a clean slate.

But even our blank sheets of paper are bloodstained.

In the meantime, the past roars in the silence.

....

The UN Special Focus Report on the demolition of Palestian neighborhoods in East Jersualem begins simply:
"In 1967, Israel occupied the West Bank and unilaterally
annexed to its territory 70.5 km2 of the occupied area, which
were subsequently integrated within the Jersualem municipality. This annexation contravenes international law..."
Appropriation of land for "green areas," exorbitant legal fees and fines on Palestinan men and women attempting to block the demolition of their homes or plan construction of new ones, and re-re-zonings of pre-1967 neighborhoods all amount to a systematic effort to displace Palestinan landowners.

The report reads like a lesson in 1930s urban redlining. (Or perhaps "predatory lending in reverse").

...
"In 1979, after the Soviet invasion of Afghanistan, the CIA and Pakistan's ISI (Inter Services Intelligence) launched the largest covert operation in the history of the CIA. Their purpose was to harness the energy of Afghan resistance to the Soviets and expand it into a holy war, an Islamic jihad, which would turn Muslim countries within the Soviet Union against the communist regime and eventually destabilise it."

The birth of the Taliban as we know it today.

...

On June 12, 1967, Chief Justice Warren delivered the opinion of the Supreme Court in Loving v. Virginia:
"This case presents a constitutional question never addressed by this Court: whether a statutory scheme adopted by the State of Virginia to prevent marriages between persons solely on the basis of racial classifications violates the Equal Protection and Due Process Clauses of the Fourteenth Amendment. For reasons which seem to us to reflect the central meaning of those constitutional commands, we conclude that these statutes cannot stand consistently with the Fourteenth Amendment."
Overturning the original trial judge's contention that:
"Almight God created the races white, black, yellow, malay and red, and he placed them on separate continents. And, but for the interference with this arrangement, there would be no cause for such marriage. The fact that he separated the races shows that he did not intend for the races to mix."
An uncomfortably familiar argument. And yes...he said malay.


...

This should not even be up for debate (you're a Jack Bauer kind of girl?)

....

It is our responsibility to remember, to research, to honor and re-honor our own dead. But the forgetting? That part isn't entirely our fault. Revisionist history is as American as fried chicken and apple pie. Black people in the U.S. manifest the best and worst of what this country has to offer. Its determined hope, drive and ambition for the future. Its self-centered and viral xenophobia. Its radical love and sense of global citizenship. And its selective amnesia to any and all facts that might restate, reshape, reimagine the case--whatever the case of the moment might be.

This existence, with all of its contradictions, has galvanized us but also threaten to tear us apart by blinding us to the truth.

And what is the truth?

What is social justice to a slave?

To struggle on a daily basis--

to love who we wanted when we wanted, to claim family despite the caprice of market prices, to love the land and hate the lash, to love our children and hate their father, to worship fire-breathing gods and goddesses whose power screamed through our skin that we were the chosen ones

--to live "while we are alive" not after we are dead.

It is our responsibility to remember our dead and to shape a politics that honors the struggles
of our ancestors. Only we can teach our children how to move forward because only we best recognize the potholes our labor pains left behind.

We can't learn from our experience if we are consistently forgetting it.

We can move forward human, sane and full-bodied if instead of relying on ideology or the caprice of this theoryexpertcounselorpoliticianacademic who happens to be center stage right now (yes, even Barack; yes, even little ole me) we rely on the whole of our experience in the modern world. All fraught and fragile 400+ years and of it. And conduct ourselves accordingly.

Saturday, May 31, 2008

Race, "the Sexies," and Sex in the City

The "Sexies" (as opposed to Trekkies) saw and participated in Sex in the City Premier Fab. We gabbed. We ate yummy chicken alfredo ziti and drank Kendall Jax. We wore beautiful dresses and stilettos to the movie theater

I LOVED the movie. I will probably go see it again.

Still, to LOVE it, I had to do a willing suspension of disbelief that the following could occur.

I think the Diva will be writing an extensive post on this subject. So I'm just going to list the things I happened to catch.

(In order, from most obvious to least.  ***SPOILER ALERT***)

1. Definitely most obvious: Jennifer Hudson's entire role. Purpose? Oh right, to uplift Carrie the White Woman as "Saint Louise." There's much more (Your sole purpose in going to New York is to fall in love but you rent Louis Vutton hand bags? Can your purpose be to find a career beyond personal assistant?) but her character deserves its own essay--I'll leave it to the Diva)

2. You can't drink the water Charlotte? Really? What do you think the locals drink?

3. Miranda: "This is the up and coming neighborhood" (Read: Gentrificaiton) "Follow the White Man with the Baby!" (Read: White men are safe, Asian men and women are not -or- Read: Gentrifiers travel in packs.)

4. Charlotte's Cambodian daughter Lily says one word the whole movie: "Sex." Miranda's son Grady says much more, and, yeah, he's a little older, but they aren't that far apart in age for one to be/appear so much more engaged with the world.

5. Charlotte gives birth to her own baby. Yes, I am very excited about it and cried like anyone else. But, hmm, what DOES that mean for Lily who is not only not her daughter but not white? Not discussed. Charlotte, happy "every day" doesn't even bring it up. (But I betcha her daughter will in a few years....)

6. Props: Charlotte the mom putting Lily to bed with an Asian girl doll. Semi-conscious activity that I did appreciate.

7. UnProps: The Honeymoon in "Mexico." Also known as the Universal Rich White Girl resort available for purchase in "tropical" and "exotic" (and *gasp* Third World) venues all around the globe. Super!

8. Props: Interesting diversity on the runway during fashion week. (I'm trying to resist giving this "UnProps" because of the different way fashion was represented on different women. I don't do fashion enough to know if my instincts are right on this....)

9. Anti-fur activists who look decidedly UN fab. Reminds me of posts on various blogs (and the Diva's whole motto) which question why activists, particularly female activists, always get portrayed as granola, grimy, tangle haired crones. Not that they, we, aren't. But we are also divafied, casual, sporty, laidback, jazzy, sexy, and a range of races and ethnicities.

Hmm....any that you caught?

Saturday, April 26, 2008

Sing a Black Girl's Song: Body Image

For the last few weeks I've been working with fifth and sixth grade girls of African descent making collages, scrapbook pages, and whatever else you can imagine doing with magazines, glue sticks, and some poetry.

The first week or two the girls were pretty creative, but notice anything?



You guessed it. Light skin, long hair, slim to skinny figures. Yes, there are women of color in the last collage. But put in context with the other two (which are representative of the whole) it is both the exception and blatantly unexceptional. At the end of the day, all of the women look very much the same. When I took my girls work home and took a look, the glaring truth was disturbing and painfully obvious. Asked to find "positive" images, and when given no other guidance, they unerringly choose women who looked nothing like them.

But I took the responsibility on myself. After all, it was my mistake to give them mainstream magazines like Lucky and InStyle to choose their images from. So I went on a metaphoric dumpster dive for positive images and I gave them more specific instructions. On a canvas of pre-selected images of women obviously of African descent--with dark skin, kinky hair, and some with a little more bump to their rump, although that last was hard to find even in an Essence--the girls would add positive words from the same magazines, little pictures, and words/phrases from the poem "Phenomenal Woman" by Maya Angelou and "Let it Go" by Keyisha Cole.

I rubber cemented their images on cardstock and in class this week I passed them around.

Initial reaction --> "Uh UH! I don't want that one!"

Now, I let that slide. Normally I do let them choose their own images so it seemed logical that they would cry foul when I gave them what would be their main image. And, accordingly, when I made it clear that this was what they had to work with, most settled in.

But a couple of students were adamant. "I DON'T want that one. I don't want those!"

These were students with the images of the darkest women. One was what I thought was a shadowed image of a long, lanky woman with dark, velvety skin in an ad Johnson's Baby Oil. The other was an editorial page but the featured image was Angie Stone.

So I tried diplomacy. "Well, what's wrong with those images?"

"I don't want them. What about this one?" The one with Angie Stone flipped it over. Hers was one I'd forgotten to glue to cardstock. On the back was an ad with Beyonce Knowles at her tragic mulatta loveliest for American Express. I rolled my eyes inside. Jeez.

"No, not that one. In fact, here." I corrected my mistake, glued her image down, leaving her with Angie's dark eyes smiling at her. "Here you go."

"No!"

Meanwhile, across the table, the student with the Johnson's ad was cutting out a full page Herbal Essences ad prominently featuring an ambiguous Latina. "What are you going to do with that?," I ask. Diplomacy.

"I'm going to cover it," she smiled. And proceeded to place the ad, the entire full page, on top of the darker woman.

No way. Diplomacy, I saw, was going to have to go out the window. Not that I am one to crush creative impulses, but this was getting ridiculous. In actuality, I was beginning to feel a little helpless and frustrated.

I shook my head. "Nope. You have to use the image I gave you. You can add around it if you want."

She glared at me. When I looked up again, she'd cut out some words like "Beautiful" and "Feel Good."

And she'd placed them on top of the dark woman's face and thighs in preparation for gluing them down.

I moved quickly. "Whoa, buddy. Now what are you doing?"

The girl wrinkled her nose. "I'm trying to cover her! She's naked!"

"She's not naked. You can't even see anything. Just that beautiful brown skin." I said it deliberately. And she and her partner jumped right to the bait.

"Uh uh! She's not brown--she's CRISPY!"

"Yeah! She's BLACK!"

I smiled. "Oh yeah? You're right. And that's a Johnson ad, so she's all oiled up and beautiful. Something wrong with that?"

The girls blushed, smiling, shaking their head, shrugging--didn't know what to say. And I was thanking God that at least they didn't immediately respond that, "Yes, there IS something wrong with that." Because I don't know what I would have done.

So I tapped the image, deliberately moving the words out of the way. "She's got beautiful skin, don't you think? You should move the words around it to highlight that. And highlight her face."

Groans. Aww mans. Ahh, c'mons. But they moved the words around so that Beautiful floated (just below the face, dangerously close) gently along the woman's arm and Feel Good was tattooed on her thigh.



Meanwhile, the girl with Angie Stone was busy cutting out Beyonce and placing her beside Angie on her picture.



I watched warily, but decided there was only so much I could do with their creative license. I'd at least succeeded in stopping both of them enacting internalized oppression violence on the women's faces.

I spoke too soon.

One of my more promising students, a serious, creative girl who'd actually taken herself away from the group into the corner to work, came over with a smile. "I'm done!" I smiled back. I'd given her a fashion couture shot of a dark brown woman with braids coiled in a sophisticated coif around her head. I was excited to see what she came up with.



Beautiful. And violent. "This is really great--but why did you write across her face? And put "Rise" across her nose?"

This student had the presence of mind to blush. She shrugged. "I dunno. I messed up."

I was grinding my teeth inside, because I didn't want her to think she messed up! Darn it self-denigrating-youth-of-color!

"No, just think about it for next time. Try to find images that would frame her beautiful face. Especially the contrast with her clothes, how it highlights that lovely brown." Word choice deliberate. But she still looked a little flustered so I pointed out that the strawberries were a nice, clever touch. She went back to her seat smiling.

The rest of class was uneventful, or at least the events ran along similar lines. But by the end I was exhausted. I'd thought by giving them images of black women with no option to skate around them that they would simply transfer the positive from the white/mixed race to the dark. I thought it was an issue of lack of option.

But it was much more complicated than that. From outright erasure to discrete vandalizing, these girls did their best to remove themselves from identification with the images, to deny the beauty and humanity of the photos, and to replace/rewrite/retain the stereotypes of beauty/good/healthy/nice as white/light that they'd been socialized into. And they were prepared to argue with me on the matter! Although, like I said, at least they weren't so bold as to say directly to me, "Kinky hair is ugly and black skin is too."

Man. Kenneth Clark would have a field day.

And I won't lie--I felt personally attacked. Although I know they didn't mean it, here I sit, in solidarity with them, dark brown just like they are dark brown, kinky haired just like they are kinky haired (albeit some with relaxers) and the first image they reach for is lighter skinned, long haired Beyonce or Christina Milian. And, even more frightening, the first image they reject is dark skinned, curly haired Angie Stone. Where then does that leave us, my darlings? What do we think of ourselves if we are ready to paste newspaper over own arms and thighs to cover up the color, if we are ready to scrawl permanent marker across our faces, slam white paper over our flat noses to mask the sight, if we are read to tear out an image of a white woman and glue it wholescale over our entire SELVES because we don't like what we see?

The choosing of one the white image I was prepared for. The absolute rejection of the black one I was not.

And I'm not prepared, at all, to deal with this. How do I approach this issue in a way that is not going to squish their creative juices but is also going to challenge them on a deeper level to CRITIQUE these ideas of beauty that they are already indoctrinated into?

Any ideas? Comments welcome, necessary. Help me sing a black girl's song....

Friday, April 18, 2008

The Questions: White Women, White Feminists

Via the Jaded Hippy:

And it is this jolt, not of racism, but of misorientation, that drives the
boundless rage. Because the misorientation is not just morally wrong, but it's
crazy-making. It's a rage that white feminists don't understand partly because
you don't see it as much between women of color and white men who don't
self-consciously identify as feminists. I'm not saying it's all good between
these groups either (!), but, you see, the boundaries are clear, and therefore
there is never a real chance for misorientation. One is never pulled in b/c one
knows what to expect. But if you have a group of white people who say, "Hey
we're feminists and that means we're all in this together and we call this
togetherness 'sisterhood' b/c we're supposed to have each other's backs" and so
on, but then you get stabbed in that very back that they were supposed to have
b/c, oh wait, they be white and you be not, then it's really fucking
startling.

Plus, b/c we have this wrong idea that the trajectory of history is that
things are getting better so surely white women will figure it out one of these
decades, but then they don't, you start feeling a little like, goddammit, you're
getting stabbed A LOT. For a really long time. Like, for hundreds of years, the
stabbings.

And the now classic (I am late on posting this) BFP Final Words.

If the question is why do women of color have issues with white women and/or white feminists....

Above is the answer. Read both in their entirety. Misorientation is a b*tch. Betrayal is a b*tch. And if you're a white woman, you probably never had to deal with either as they are conceived of in those two friggin brilliant posts.

If the question (continues to be) why do women of color have issues with Mrs. Clinton....

Above is the answer. And yeah I'm posting this again (because I just can't seem to get enough)

"But Kismet," you ask, "aren't you a woman of color?"

*

*

*

*cricket, cricket*

Let's be clear, Kismet has white female friends that she is proud to claim as friends, confidants, comrades. That she considers sisters in the struggle. The fact that, few as they are, they continue to rise above and beyond the boundaries of race, class and sexual orientation is what makes them allies.

But....well....
Don't think that a part of me isn't still watching my back...just in case.

"this past was waiting for me
when i came"

How to turn this around? Take a step, ally-to-be. Try this one.

Friday, December 21, 2007

My Righteous Mind (Great Debaters Post #1)

I feel as though I need to see the movie twice to really comment on it. But, in the meantime, I have nothing bad to say about the four young actors who played the "great debaters:" Jurnee Smollett (who made me want a daughter like her when I saw Eve's Bayou), Denzel Whitaker, Nate Parker (who may replace my current crush, Derek Luke, especially after watching the video below), and Jermaine Williams.

Anyway, below is an interview with Jamaal Finkley of BlackTree TV below. Not sure how I feel about young Whitaker's comment that smart isn't "cool" for young people today. But I adore what Smollett has to say about strong women of color, wearing a skirt by choice, and being comfortable in the good ole (black) boys club.

Bonus: It is incomplete in this clip but my FAVORITE part of the movie begins @ 6:33...

Wednesday, December 19, 2007

Thoroughly Amused...

...at how black/African/Afro history gets "discovered" every few years "as a way to engage black students who feel detached from mainstream curriculum."


They have learned how long it would take a runaway slave to walk to freedom from deep in the south.

A year.

"Now think how much longer it would take if you had children with you," prods the teacher. "Or if you lost your shoes wading through the river to throw bloodhounds off your scent."

Not a paper rustles; even the girl eating lunch at the back is fixed on the front.

In this unusual new "sold-out" class at a Scarborough high school, students are learning a new kind of history: African history.

As the Toronto District School Board debates trying an "African-centred" alternative grade school next year to battle the high black dropout rate, this course – and a dozen like it sprinkled through Toronto's 150 public high schools – provide a glimpse of how such a school might work.

"This is my history, miss. The first university in the world was in Timbuktu – in Africa!" gushes Karar Jafar, 18, who moved to Canada five years ago from Libya.
(Quote Courtesy: HNN Roundup; Full Article: The Toronto Star)

And I completely approve. It kept my butt in my seat in high school AND college and now I'm trying to make a living with it. Whodathunk?

But now we are back to the conflict that we saw with the AP African American history issue. Does an "African-centered" curriculum also translate into hiring more African American (or African, Afro-Caribbean, etc.) scholars and teachers to create curriculum, teach the classes, write the books that will be read, craft exercises, build the museums the kids will visit, design the websites they can use.....you catch my drift? Does it even translate into hiring competent, enthusiastic and interested teachers of ANY color who will give the history its due attention?

Although I will take an L on it if the coursework translates into those young people making those demands for themselves.

(*sigh and relevant sidenote: Saw a NAACP preview of the Great Debaters. Interesting night, interesting movie. A blog post is in the queue....)

Monday, December 10, 2007

Howard U., U-PR and Diversity in the Academy

PhDinHistory compiled stats on where Ph.Ds got their B.A.s with an eye to where history departments should go to recruit students of color. Howard ranks top for African American women and men. University of PR-Rio Piedras ranks top for Puerto Rican men and women.

Click Here for the list