If you’ve watched by now (which you should, it’s a pretty awesome four minutes) you could imagine that this stirring piece, well, stirred a lot of people. Since this viral video’s posting on YouTube it’s started an ongoing discussion- not only of representation of people of color in media, but PoC representation in her piece as well.
For Rostad’s video response to the comments on her poem, continue under the cut.
Brown Girls Burlesque performs at the New York Burlesque Festival in 2010. Image by CreatixTiara/Flickr
Perle Noire takes the stage at the New Orleans Burlesque Festival. Her costume: brilliant orange silk against brown skin. She glides, shimmies, and beams. To the sound of an urgent drum beat, her skirt falls, revealing silvery fringe swinging across a bared bottom. Horns. She thrusts and dances. A turned back. Full breasts and glittering pasties. The crowd whoops as she leaps and cartwheels. She beams: the performance is magnetic and joyous. It is burlesque.
A variety performance traditionally featuring striptease, burlesque has seen a resurgence in popularity over the last two decades. A bared shoulder or the shake of a hip can be sexy, sensual, and funny. But the art form is also a means of resistance. Undulating bodies can uncover histories, challenge biases and defy stereotypes. And when politicized bodies move this way–bodies still straining under the weight of racial stereotypes that stretch back to the era of slavery–it is even more insubordinate.
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.
From Maurice Broaddus’ King’s Justice. Cover art by Steven Stone. Via yetistomper.blogspot.com.
Come on, y’all…if you write a story and set it in a place like Broaddus’ Indianapolis, Chicago, Atlanta, London, or Las Vegas, basic demographic research will indicate the presence of people of color. To read and enjoy Urban Fantasy, I am expected to just accept that Black people don’t exist? You get the side-eye for that one.
Whether or not you like Urban Fantasy, the fact of the matter is that this subgenre of Fantasy has had an immense and global impact on people through literature, television and film.
It is because of this impact that we cannot ignore the messages that Urban Fantasy brings. Each time an author of this subgenre decides to tell a story, instead of working so hard to erase people of color out of existence, they should work just as hard to erase the problems that plague our society. And fanboys…do not say that writers should not have to be political; that they should be free to write merely to entertain. Every statement we make is political. Every sentence we write is potentially life-changing for someone. Such is the power of the word.
You cannot truly change culture without literature. We can pass a thousand laws saying that racism and sexism are wrong. We can make a thousand impassioned speeches to rouse the marginalized masses; but if everyone returns home after those speeches and sits down to read the latest installment of Twilight, or watch the next episode of The Vampire Diaries and their fictional worlds in which those same marginalized masses barely even exist – then how much change can truly be affected?
I find myself increasingly defending someone whom I otherwise wouldn’t look around at or wouldn’t listen to: Beyoncé.
I haven’t converted to listening to her discography: To me, she sounds like every other Black female soloist in a Black church choir, so her voice–her timbre and melisma–isn’t unicorn-unique to my ears. In fact, I find it gratingly common because I heard so many women with her voice every Sunday from the age of five to my late twenties; Beyoncé just has a better production team.
[S]ome of folks who see Bey as “girl power” may have never heard of Valenti or may even want to be bothered with her writings or what they perceive to be “white feminism” that she embodies. Bey is their feminist text and their idea–and ideal. And whatnot…On the real though, Bey is not my sort of feminism–and that’s not blasphemous to say. Then again, neither were the Spice Girls…or the Riot Grrls, for that matter. And I remember folks tripped on each of those pop-cultural “generations” of feminist representations, too, trying to figure out their effects on younger people.
Feminism is rather malleable as each generation figures out what it means to them, even when we’re fighting the same old battles. Or because of them.
I am still at Stanford (and will be until June.) But I am bringing back an old tradition of doing class notes on some of these ideas.
Joan Morgan, hip-hop feminism pioneer, has been moving her work into conversations around pleasure and sexual politics. Jeff Chang, hip-hopper-about-town and the head of Stanford’s Institue for Diversity in the Arts, asked Joan if she’d like the be the artist in residence for WinterQuarter. Joan agreed and then developed a class called “The Pleasure Principle: A Post-Hip Hop Search for a Black Feminist Politics of Pleasure.”
“The Pleasure Principle: A Post-Hip Hop Search for a Black Feminist Politics of Power” (CSRE127B) will explore the various articulations of a politics of pleasure in black feminist thought. We will examine classic black feminist texts on respectability politics, the erotic, hip-hop feminism, and dancehall culture, geared toward helping students develop a critical lens for interrogating depictions of black female sexuality and articulations of pleasure in popular culture. Examples include “The Cosby Show,” “Sex in the City,” “Girlfriends,” “Basketball Wives,” “Real Housewives of Atlanta,” “Pariah,” as well as the works of Beyonce, Rihanna, Nicki Minaj, Tanya Stephens, and Lady Saw. Continue reading →
RuPaul is a Black gay man, not a transperson, and the trans community is beyond sick and tired of being sick and tired of him being elevated by cis and gay people to some nebulous ‘trans expert’ level..
As a matter of fact, one of the reasons I became a trans activist in 1998 was because of a Transgender Tapestry magazine article in the 90’s that ignorantly considered RuPaul and Dennis Rodman as Black transwomen juxtaposed against other accomplished white trans people despite both Ru and Dennis Rodman emphatically saying they weren’t trans and didn’t want to transition.
It was the epiphany that made me realize just how invisible Black transwomen were in the trans human rights movement and gave me the impetus to get involved and change that dynamic.