Yeah, that’s a wild-eyed tomahawk wielding Indian holding the SKIN of the Arizona Wildcat. Right, this is honoring, this is showing pride in Native peoples and traditions. I felt sick to my stomach as I took the picture. She was babbling on and on about the mascot back in the day, and honestly, my ears were roaring with shame and rage, and I missed the majority of what she said. I caught the end though; “We always said, when they got rid of the Indian, ‘well, that’s just another Indian out of a job!'” I looked at her with a blank face and turned my back.
– From Native Appropriations
For the United States of America to have a federal holiday in honor of that particular moment of “discovery” in 1492, is unconscionable on many levels.
To celebrate that moment is to celebrate the expulsion of Jews and Muslims from Spain.
To cheer about Columbus is to cheer the coming of the first European slave trader to the Americas.
To praise what happened in 1492 is to implicitly praise the very real and very terrible results of that contact between peoples.
– Jessica Luther, Speaker’s Corner in the ATX
Pan-Africanism has such a hold on quite a few progressive people’s imaginations, but why and, more specifically, how did it play out in the 2008 election of where that philosophy originated, Ghana, as captured in Jarreth Merz’s documentary, An African Election?
Racialicious and the National Black Programming Consortium touched on it in our last tweet-up with Temple University’s Dr. Benjamin Talton. This week, we’ll do an extended tweetersation about Pan-Africanism and Ghana with Dr. James Peterson, who’s the director of Africana Studies and is an associate professor of English at Lehigh University (and a friend of the R).
So, check us out out on Twitter tomorrow night at 9PM ET and join the conversation!
By Guest Contributor Lamont Lilly
Marco Polo Hernández-Cuevas is the Interim Chair of the Department of Modern Foreign Languages at North Carolina Central University, where his interests lie in Transatlantic and Diaspora Studies. He is the author of five books, including The Africanization of Mexico from the Sixteenth Century Onward (2010) and Africa in Mexico: A Repudiated Heritage (2007). He is the founder and director of the Mexican Institute of Africana Studies. Read along as we discuss: Colonialism, Gaspar Yanga, Ivan Van Sertima and Mexico’s Little Black Sambo.
Lamont Lilly: Dr. Cuevas, as only the second individual I know to describe themselves as Afro-Mexican can you share some insight on the cultural connections that exist within such a powerful ethic mix? And why have figures such as Gaspar Yanga and Emiliano Zapata been omitted from history’s reference of heralded freedom fighters?
Marco Polo Hernández-Cuevas: Well, the reason you haven’t heard many refer to themselves as Afro-Mexican is because this is a relatively new term that was first coined by Eurocentric scholars like Melville Herskovits. It was Gonzalo Aguirre Beltrán who coined it in 1945 in Mexico City, during the foundational meeting of the Institute for African American Studies. However, that doesn’t mean that a color consciousness didn’t exist in Mexico. Prior to that, we had a host of names such as “Casta,” “Chilango,” “Jarocho,” and “Boshito,” all terms that refer to the lack of blood cleanliness of non-white persons. That would explain why many people in Mexico do not identify themselves as Afro-Mexican. They refer to themselves as Casta, or any of the other names previously mentioned. Recently however, there’s been a movement in the South Pacific side of Mexico whereby Afro-Mexicans do not want to be called Afro-Mexican. They just want to be called Nĕgro — Black. It erases the science and intellectuality of such embedded complexities.
By Andrea Plaid
If Arundhati Roy was a rock star and I was at her concert, I’d be that fool who’d shout, “I LOVE YOOOUUU!” from the cheap seats while she was doing her between-song banter.
Well, Roy is a literary rock star. I fell for her writerly riffs when I caught up with her 1997 semi-autobiographical debut novel, The God Of Small Things, a couple of years ago:
May in Ayemenen is a hot, brooding month. The days are long and humid. The rivers shrinks and black crows gorge on bright mangoes in still dustgreen trees. Red bananas ripen. Jackfruits burst. Dissolute bluebottles hum vacuously in the fruity air. Then they stun themselves against clear windowpanes and die, fatly baffled in the sun.
The nights are clear , but suffused with sloth and sullen expectations.
But by early June the southwest monsoon breaks and there are three months of wind and water with short spells of sharp, glittering sunshine that thrilled children snatch to play with. The countryside turns an immodest green. Boundaries blur as tapioca fences take root and bloom. Brick walls turn mossgreen. Pepper vines snake up electric poles. Wild creepers burst through laterite banks and spill across the flooded roads. Boats ply in the baazars. And small fish appear in the puddles that fill PWD potholes on the highways.
The God Of Small Things brought Roy, who previously worked on screenplays and movie criticism and trained as an architect, incredible acclaim in the US. She also won the Booker Prize for Fiction in 1997 for the book, though some folks threw serious shade about it. However–perhaps presciently–she had to answer for obscenity charges back in Kerala, where she grew up, for the book’s descriptions of sexuality.
by Guest Contributor Leanne Betasamosake Simpson, originally published at Leanne Betasamosake Simpson
I’m not going to lie. I’m not a big fan of the Olympics and in fact every four years I think I hate them more, for all of the obvious reasons. Vancouver 2012 I disliked the most because when watching the opening ceremonies with my then eight year old insomniac, in what must have been the middle of the night, he looked at me and said “When is Team Anishinaabeg going to be entering the stadium? Probably before Team Haudenosaunee, right, because Anishinaabeg begins with A?” As all Native parents know, the colonialism talk makes the sex talk look a lot like a platter of cupcakes with a chaser of ice cream cones.
This year, I’ve been lucky and I’ve mostly been able to ignore the whole conspicuous spectacle, except that during the opening ceremonies I had to unfollow Billy Bragg on Twitter because he was so enamored with Danny Boyle’s lefty take on the ceremony, that he failed to notice Boyle skipping over the four hundred years of colonialism, genocide and occupation England’s heaped on Indigenous nations globally. And yes, this year my entire Olympic experience is mitigated through my Twitter feed which is made up almost exclusively of Indigenous artists, academics and writers. Which means in addition to the Billy Bragg incident, the only Olympic related news I’ve heard is confined to the two racist athletes expelled from the games, the four Indigenous athletes from North America including Anishinaabekwe Mary Spence and today, Damien Hooper. Continue reading
By Andrea Plaid
Reading that wordsmith/musician/teacher Joy Harjo’s memoir just dropped brought back that crush with capital-L life I had in my undergrad days : all dewy-new to the adult world, pretty effin’ cocky about what I thought I already knew and wanting to gooble up more ideas from new books and new people, and seeing middle age as sunset-colored horizon meeting the ocean, all lovely and over there.
Harjo was one of the writers in my 4-year degree days who, if you didn’t read her, you knew of her because her name and/or the titles of her writing dropped from almost every Women’s Studies major’s mouth, cropped up in anthologies by feminist writers of color, and compiled by professors in (what the folks at my university) called their “Kinko’s books.” (“Kinko’s books” were copies of individual articles, poems, essays, analyses, etc. college profs compiled and constructed with bookbinding famously associated with mega-copy shop Kinko’s, now known as FedEx Office. The compilations have been since ruled to infringe on authors’ intellectual property.)
Now that I over here in the beginnings of my middle age–realizing that I don’t know everything and being pretty OK with that, still trying to navigate Life’s waters, and seeing my youth as storm-clouds of not-so-lovely and quite happy that it’s back there–I revisited Harjo’s most famous work, “She Had Some Horses.” Her poem does what quite a bit of literature does well: it navigates life with you, sometimes as compass, sometimes as lodestar, sometimes as anchor. An excerpt after the jump; the rest of the poem is here.
Ruth Vanita and Saleem Kidwai published Queering India: Same-sex love and eroticism in Indian society and culture wherein they read many “key ancient texts” against the grain to state that they’re texts that challenge the assumed heterosexism of our “ancient Indian society”; Kamasutra, they said, was one such text. Burton’s translations (along with a few other Orientalist scholars like Max Muller, Clarrise Bader, etc.) saw “Indian sexuality” as effeminate, and predictably justified its colonization, whereas Upadhayaya writing in the post-Independence era, washed away any queerness the text may possibly have suggested and re-framed it to fit the needs of the Hindu nationalist agenda. Vanita and Kidwai use all these texts to illustrate how pain and sexual pleasure can coincide and how there is plenty same-sex action going on, enough to say that Kamasutra is a queer and therefore, a liberatory text. On close inspection, the incidences where BDSM seems to be evoked, it is mostly practiced on bodies of Dasis—the slaves in the Vedic age—sometimes by the wives, usually by the husband/master. Again, most queer instances happen under the surveillance and force of the husband/master. The question here isn’t whether people then were “really” queer, nor am I concerned with the politics of BDSM and consent within this particular text (not sure if consent can even exist, if one cannot say “no”). This is where I want to inspect the politics of feminism itself, if slavery is seen as liberatory simply because there are events where the boundaries of “accepted sexuality” are pushed.
Studies like Queering India create a frame that suggests Indian culture is “inherently radical” because “see queerness has always existed here too!” frames that are produced and upheld within Subaltern historiography departments, the very academic disciplines that critique and challenge the colonialism within academia! They tend to equate queerness with progress, backed with Vedic texts like Kamasutra and Manusmriti—both of which mention queerness only within the contexts of slavery and caste/skin-color based sexual domination—and the conversation is limited to “We have always been queer, because our heritage (the texts) say so.” Don’t think I need to point out the dangers of such a limited conversation again.
However, I do want to ask why talking queerness is inherently political, revolutionary, and radical, given that many of these conversations happen at the cost of erasing slavery in ancient India (books like The Palace of Illusions, The Pregnant King come to mind here). Talking sex—especially about the Kamasutra—is progressive, but discussions of the political economy of the text don’t get the same pedestal. How can I claim and embrace queer liberation (as much as I may want to), when it silences someone else?
—Battameez in “Kamasutra and the Indian Feminists,” published at Bitch Media.