By Guest Contributor Spectra; originally published at Spectra Speaks [View the story “Dear White…
by Guest Contributor Shane Thomas, originally published at Media Diversity UK
There are few names as globally recognisable as Nelson Mandela. And likely even fewer whose name generally invokes strong feelings of warmth and goodwill.
Mandela was recently in the news as a result of his ill health, with elements of the online world and news networks partaking in an emetic game of “Nelson Mandela death watch”. Mercifully, at the time of writing, Madiba is still with us, and he has become a talking point again by proxy, due to the release of the trailer for Mandela: Long Walk to Freedom.
The aforementioned is a movie biopic, traversing Nelson Mandela’s life. Early indications suggest that it is being positioned as strong contender for the 2014 Academy Awards. If the release date of January 3rd next year isn’t a sign to this effect, then the fact that the film’s production company is The Weinstein Company certainly is.
On face value, this would seem to be a positive sign for diversity in Hollywood. After all, it’s a film where black characters are front and centre, without – as Jamilah King succinctly put it – needing a “white co-pilot”. And if you don’t think that this is an issue, more often than not, when films are made about communities of colour, the proviso is that a white character is a key cast member. Read the Post Idris Elba is Hollywood’s Troublemaker
By Guest Contributor T. F. Charlton; originally published as Grace is Human A couple nights…
By Andrea Plaid This photo of literary/cultural African American female icons got lots of love…
By Guest Contributor Rama Musa
The legendary Vogue editor Diana Vreeland once wrote, “Have I ever showed you my little blackamoor heads from Cartier with their enameled turbans? I’m told it’s not in good taste to wear blackamoors anymore, but I think I’ll revive them.”
A blackamoor head is a bejeweled bust of a dark-skinned African wearing a pseudo-Oriental turban. Italian designers Dolce & Gabbana recently caused a firestorm for featuring blackamoor imagery in their spring 2013 runway collection. Rapper Azealia Banks went on Twitter to boycott the brand. In its defense, D&G claims that the collection is inspired by Moorish imagery on Sicilian majolica ceramics. That’s a plausible rebuttal. The 9th-century Moorish invasion of southern Italy was so cataclysmic that it’s immortalized in Sicilian arts. But, the ornamental use of blacks in European luxury culture has a more complex history.
Read the Post Foreign Tokens: The Blackamoor Brooch
By Guest Contributor Sayantani DasGupta
I just saw the most problematic image on Facebook. It was a photo of four blonde female pilots in combat gear with the caption, Hey Taliban, look up in the sky! Your women can’t drive, but ours CAN!
Despite the issues I have with militarism, or this country’s campaigns in Iraq and Afghanistan, I’m all for cheering for female pilots (yea, bada&& flying ladies!). What I can’t just can’t stand by and let slide is this “your women are oppressed, but ours are awesome” rhetoric, a rhetoric which only illuminates how–both actually and metaphorically–racism, xenophobia, and imperialism so often play out on women’s bodies around the world.
To me, this photo represents how blithely and blindly women from the Global North allow ourselves to be used as (actual and metaphorical) weapons of war against women from the Global South. In fact, that offensive caption isn’t significantly different from comments I’ve been hearing this week like, “These are countries where women have very little value.”
Sadly, the place where I’ve been hearing such phrases isn’t on some conservative TV program or website (where I think that all-woman pilot photo originated), but rather, on the PBS film Half the Sky: Turning Oppression into Opportunity for Women, a well-publicized neo-liberal “odyssey through Asia and Africa” hosted by everyone’s favorite white savior New York Times reporter, Nikolas Kristof.
Read the Post “Your Women Are Oppressed, But Ours Are Awesome”: How Nicholas Kristof And Half The Sky Use Women Against Each Other