Good post today over at Muslimah Media Watch: Ramadan Mubarak everyone! For many years now, Muslimah…
By Guest Contributor Sarah Neal, cross-posted from Sociological Images
Earlier on SocImages, Lisa Wade drew attention to the tourism industry’s commodification of Polynesian women and their dancing. She mentioned, briefly, how the hula was made more tourist-friendly (what most tourists see when they attend one of the many hotel-based luaus throughout the islands is not traditional hula). In this post, I want to offer more details on the history and the differences between the tourist and the traditional hula.
First, Wade states that, while female dancers take center stage for tourists, the traditional hula was “mostly” a men’s dance. While it has not been determined for certain if women were ever proscribed from performing the hula during the time of the Ali’i (chiefs), it seems unlikely that women would have been prevented from performing the hula when the deity associated with the hula is Pele, a goddess. Furthermore, there is evidence that women were performing the dance at the time of Captain James Cook’s arrival in Hawai’i.
By Guest Contributor Helen McDonald; originally published at Elixher When I was a child, it…
Hosted by Tami Winfrey Harris and Andrea Plaid with featured guest, Sikivu Hutchinson, author of “Moral Combat: Black Atheists, Gender Politics, and the Values Wars”
Tami: Kumaré follows a filmmaker, Vikram Gandhi, who transforms himself into a fake guru to explore the concepts of blind religious faith and devotion to spiritual figures. It is interesting that Vikram and his assistants–all American-born and -raised–adopted accents in the subterfuge, playing off the magical brown person/foreigner trope.
Andrea: Would he be believable if he didn’t take on the accent?
Sikivu: Channeling the authentic brown magical mystery tour exotic (and I’m thinking specifically here of the sixties cult of the Maharishi Mahesh Yogi legitimized in the West by mega-celebs like the Beatles) wouldn’t be complete without the right “Orientalist” lilt.
Tami: There are plenty of American religious/spiritual figures who inspire a devotion similar to that demonstrated by Kumaré’s followers. But I also think his race and faux accent provided a short cut of sorts.
Andrea: And I think that shortcut allowed the subterfuge to be more successful. Deepak Chopra wouldn’t be where he is if he didn’t have his accent.
Tami: …or if he were named Bob Henderson. It’s the otherness that adds credibility.
Andrea: Great minds, sis! That’s why I see some white people adopt “exotic” names when they become gurus or get deep into yoga.
Sikivu: Yes, and the drooling idolatry of Kumaré’s mostly-white female acolytes underscores this—I know a number of lib/progressive white women who have adopted trendy “yogic” names to buttress their devoutness and confer them with the Eastern mystic equivalent of “street” cred.
Tami: This ties into the biased belief that brown people (and I say that meaning all brown peoples–black folks, Native Americans, etc.) are inherently plugged into something
beyond the physical world…some magic. And that “magic” can be positioned positively or negatively, but it is part of the mantle of “other.” By adopting guru “drag,” the filmmaker successfully plugs into that idea. A brown guy with short hair and a clean-shaven face in jeans and a button down, may be too Americanized (read: normal) to work his magical mojo.
We went to see this awful movie, The Last Exorcism II, and at some point (of course) the protag goes to visit a black roots woman in New Orleans. I commented to my husband about the character’s vaguely African headwrap and her exaggerated accent. But the viewer would likely not have accepted that part if she had a Queen Bey lace-front and sounded like a black Brooklynite or had my Midwestern twang. We like our magical brown people unassimilated.
Sikivu: And the noble savage sexuality of Kumaré goes hand-in-hand with the way the film trots out and parodies the West’s eternal fascination with the Magical Negro/Indian/Asian (take your pick) other. The blond woman gushing in her living room about how Kumaré has “touched her life” looks practically orgasmic. So much of this guru shtick is tied up with the charade of liberating the repressed uptight “rationalist” white folk from their shackles a la Norman Mailer’s “White Negro” paradigm pimping “black soul” as antidote to all that ails the modern white man. A brilliant send-up on this theme is “The Couple in a Cage,” by Guillermo Gomez Pena and Coco Fusco—they mounted a performance piece where they pretended to be indigenous primitives displayed in their “native habitat” for the delectation of mostly white museum-goers seeking authentic savage artifacts. While there was no overtly religious element to it, the Western impulse to gain validation through the body/essence and “shamanic” wisdom of the other is similar.
By Guest Contributor Chris MacDonald-Dennis
I had promised myself months ago that I would not comment on your movies anymore because it was only serving to raise my blood pressure. Like the Serenity Prayer says, I was going to accept the things I cannot change. It worked for a while, too. But then you released Temptation, and I had to say something.
For years, I have believed that Black folks deserve better than you. I realize that this can be seen as patronizing. You see, I am not Black. Some may say that I do not have a right to comment on you and Black communities. I would actually agree with them. I may have my opinions about your “artistry” and the impact of your movies on Black communities but that is an intra-community discussion for Black folks to have. This will certainly not stop me from holding my opinions and sometimes sharing them; however, I do believe that it is Black folks who need to begin that particular conversation.
However, this time you decided to talk about my community: those of us living with HIV/AIDS.
By Arturo R. García
A deeply religious man who worked tirelessly to help the less fortunate was publicly acknowledged by Google on Easter Sunday. And a bunch of self-described Christians had a problem with this.
I’m referring, of course, to César Chávez.
Read the Post Google’s Cesar Chavez Tribute Draws Fools Out One Day Early
By Guest Contributor Philip N. Cohen, PhD; originally published at Sociological Images
Trying to summarize a few historical trends for the last half century, I thought of framing them in terms of diversity.
Diversity is often an unsatisfying concept, used to describe hierarchical inequality as mere difference. But inequality is a form of diversity–a kind of difference. And further, not all social diversity is inequality. When people belong to categories and the categories are not ranked hierarchically (or you’re not interested in the ranking for whatever reason), the concept of diversity is useful.
There are various ways of constructing a diversity index, but I use the one sometimes called the Blau index, which is easy to calculate and has a nice interpretation: the probability that two randomly selected individuals are from different groups.
Take religion. According to the 2001 census of India, this was the religious breakdown of the population:
Diversity is calculated by summing the squares of the proportions in each category, and subtracting the sum from 1. So in India in 2001, if you picked two people at random, you had a 1/3 chance of getting people with different religions (as measured by the census).
Is .33 a lot of religious diversity? Not really, it turns out. I was surprised to read on the cover of this book by a Harvard professor that the United States is “the world’s most religiously diverse nation.” When I flipped through the book, though, I was disappointed to see it doesn’t actually talk much about other countries, and does not seem to offer the systematic comparison necessary to make such a claim.
With our diversity index, it’s not hard to compare religious diversity across 52 countries using data from World Values Survey, with this result:
The U.S. is quite diverse–.66–but a number of countries rank higher.
By Guest Contributor Sikivu Hutchinson; originally published at Feminist Wire