By Andrea Plaid
Stumbling back from the back-end blue field called Tumblr, I can say that a whole lot of you Racializens seriously enjoyed what we posted this week–like hundreds of you! So let me say for the record that, to borrow from our current president, we love y’all right back, and we hope to keep posting people and things you love…
…like this bit of magnificence that has the late Eartha Kitt reclaiming her signature role as Catwoman! Comic Book Sources reports:
Eartha Kitt, Femme Fatale #1. Cover art: Felipe Montecinos. Via Comic Book Sources
Eartha Kitt is on holiday, searching for the purrfect wave. When suddenly??? Well we won’t spoil the surprise. But in the tradition of DC Nation and all good things for all ages comes Eartha Meets The Gorgon, the first in a series of advemtires done with the blessing of the legendary actress/singer’s estate.
The comic book dropped yesterday!
by Guest Contributor Mimi, originally published at Threadbared
Because this is a fashion plus politics blog, I want to post some very brief thoughts about the protests rocking Iran after what some observers are calling a fraudulent election, reinstalling President Mahmoud Ahmadinejad against his main opposition, moderate reformer Mir Hossein Mousavi. (For news about the election and protests, The New York Times’ The Lede News Blog is frequently updated. For more analysis, check out Juan Cole.)
A glance at the Western media coverage from before and after the election reveals an overwhelming visual trope — the color photograph of a young and often beautiful Iranian woman wearing a colorful headscarf, usually pinned far back from her forehead to frame a sweep of dark hair. Such an image condenses a wealth of historical references, political struggles, and aesthetic judgments, because the hijab does. As Minoo Moallem argues in her book Between Warrior Brother and Veiled Sister: Islamic Fundamentalism and the Politics of Patriarchy in Iran, both pre- and postrevolutionary discourses commemorate specific bodies –whose clothing practices play a large part— to create forms and norms of gendered citizenship, both national and transnational. What Moallem calls the civic body becomes the site of political performances in the particular contexts of modern nationalist and fundamentalist movements.
This particular image being disseminated throughout the Western press right now is no exception — we are meant to understand the looseness of the scarf, the amount of hair she shows, as political acts, manifesting a desire for Western-style democracy. But this shorthand is too simplistic, too easy. As Moallem argues, Islamic nationalism and fundamentalism are not premodern remnants but themselves “by-products of modernity.” As such, the image of the Iranian woman in her loose headscarf is not a straightforward arrow from Islamic backwardness to liberal progress, but a nuanced and multi-dimensional map of political discourse and struggle. Continue reading