By Arturo R. García
While San Diego Comic-Con has become linked with the city’s economy, it’s worth pointing out that one reason other cities probably feel they have a shot at wresting it from San Diego’s grasp is, there’s very little inside the event that actually reflects the city.
Over the weekend, the Chicano-Con exhibit began putting more of the “San Diego” back into this sphere. The event, a pair of two-day art exhibitions inside Barrio Logan, a neighborhood less than a mile from the convention’s high-rent district that formed its identity in the early 1900s with the infusion of refugees from the Mexican Revolution. Brent E. Beltrán, highlighted this disparity in the San Diego Free Press:
Comic-Con International recently bought a building at 16th and National in Barrio Logan. Yet no official events are scheduled to take place here.
There’s not even a shuttle bus stop yet there will be Comic-Con buses running every twenty minutes down Cesar Chavez Parkway heading towards the freeway. And there will also be countless attendees using this community as a parking lot to escape the outrageous parking fees.
Yet no official activities take place here. No outreach has been done to incorporate a low income, mostly Latino community impacted every year by Comic-Con. And that is unfortunate.
We love comics and the popular arts as well. We’re even known for our art. Yet, Comic-Con ignores us.
There are more events on tap in the area during SDCC weekend, which we’ll highlight in our upcoming convention preview. But this past Saturday, we went to Border X Brewing for the Chicano-Con exhibition, and you can see most of the artwork on display under the cut.
One of my favorite talks given this year at TED was by Sarah Jones. The self-described “polymorphic playwright” inhabits her characters, often inspired by people on the streets of New York. Check it out:
Full transcript at the TED Site.
Guernica, the magazine of arts and culture, dedicated their latest special issue to the class divide. But, as most of us reading this blog know, race and class are not so easily separated. And in spite people online and in activist circles arguing that the social issue of our time is no longer race, only looking at one issue in a vacuum means that our proposed solutions to societal ills will always feel incomplete.
Two essays in the issue beautifully and painfully explain the paradigm Patricia Hill Collins outlined in Black Feminist Thought. Race, class, and gender are interlocking systems of oppression:
Viewing relations of domination for Black women for any given sociohistorical context as being structured via a system of interlocking race, class, and gender oppression expands the focus of analysis from merely describing the similarities and differences distinguishing these systems of oppression and focuses greater attention on how they interconnect. Assuming that each system needs the others in order to function creates a distinct theoretical stance that stimulates the rethinking of basic social science concepts.
The first piece is Margo Jefferson’s “Scenes from a Life in Negroland.” A sample:
We thought of ourselves as the Third Race, poised between the masses of Negroes and all classes of Caucasians. Like the Third Eye, the Third Race possessed a wisdom, intuition, and enlightened knowledge the other two races lacked. Its members had education, ambition, sophistication, and standardized verbal dexterity.
—If, as was said, too many of us ached, longed, strove to be be be be White White White White WHITE;
—If (as was said) many us boasted overmuch of the blood des blancs which for centuries had found blatant or surreptitious ways to flow, course, and trickle tepidly through our veins;
—If we placed too high a value on the looks, manners, and morals of the Anglo-Saxon…
…White people did too. They wanted to believe they were the best any civilization could produce. They wanted to be white just as much as we did. They worked just as hard at it. They failed just as often. But they could pass so no one objected.
By Arturo R. García
As a supplement to our two-part San Diego Comic-Con preview, enjoy this look at some of the creators of color who’ll be at the convention — some in panels, some on the floor, but all should be on your radar after the weekend.
We’re just over a week away from the pop-culture experience that is San Diego Comic-Con, and while Arturo and Kendra pore over the event schedule to prepare their preview, we’d like to ask your help in finding some people who might be flying under the radar.
If you or somebody you know is a POC creator at the show, drop us a line at firstname.lastname@example.org — use the subject line Racialicious SDCC — or in the comment thread here and let people know about your project. We’ll give you a signal boost in not only our two-part SDCC preview next week, but on social media, as well.
Just like last year, both Kendra and Arturo will be live-tweeting panels and posting during the event, on their respective Twitter accounts and the official Racialicious feed. Do let us know, Racializens, if you’ll be around as well. We’d love to see you there!
By Kevin Wong, cross-posted from Salon
I can’t speak for all Asian Americans, but personally, whenever I see a new Asian face on television, I panic. My blood pressure goes through the roof. There’s a vague unease and anxiety, even before the character opens his or her mouth. Because I’m ready to see yet another shticky Asian stereotype.
Some of the questions running through my mind: Is this Asian a main character? Does this Asian character have an arc? If the Asian character is a woman, does she have an Asian significant other? If the Asian character is a man, does he even have a significant other? Does this Asian man have sex, in a non-comedic fashion?
Or I worry that the Asian character is “too good” – an overcorrection for political correctness. There’s an ironic flaw to perfection – it doesn’t allow for the quirks that make a character compelling. Every American minority group has this stock, “perfect” caricature: for Asian Americans, it’s the Model Minority – the hardworking, emasculated genius. He’s the support for the protagonist, but never the protagonist himself.
We wanted to save this video for Friday, but in light of Macklemore winning Best Rap Album and then tweeting his apologies to Kendrick Lamar, this video exploring white privilege in the hip hop community is worth a listen. Longtime community member El Guante is joined by The Big Cats, Rapper Hooks, and Chantz Erolin break down why Macklemore’s race isn’t the problem, but how defenses designed to ignore racism continue to harm the community. Lyrics after the jump.