I love supporting women focused films.
I like historical dramas.
I like stories about women kicking ass.
So, by all rights, I should love (and want to see) Suffragette. But I didn’t go to the free screening at ONA and the more I see from the marketing of this film, the more I wince. It’s pretty clear from the trailer that the film is about white women. Since anyone who studies history for more than 15 minutes knows history never fits neatly into a little box, where are the suffragettes of color? If they weren’t in the movement, where were they? What were they doing?
A Women & Hollywood piece stumping for the film tries to answer these questions, but in the worst way possible (emphasis mine):
3. It’s got (almost) all the other feminist bona fides on its side. The film is led not only by a woman helmer and writer, but has been guided by two female producers (Alison Owen and Faye Ward). It passes the Bechdel test with flying colors and has at its emotional core a political speech by Emmeline Pankhurst. Yes, the “whitewashing” concerns are real and the film’s promotional t-shirt campaign was poorly conceived, but Gavron isn’t blind to intersectionality. In an upcoming podcast with Women and Hollywood, she’ll discuss how most of the suffragettes of color she found in her historical research were of noble birth, and they unfortunately had to be waylaid because her intent was to focus on the working-class women who were the unknown soldiers of the movement. (There are well-to-do but no aristocratic women in the film.) We hope another film in the future will give suffragettes of color their due.
As usual, the inclusivity of the film lies in the hands of the storyteller – there are always hard cuts to be made in any creative work, but why do the stories of women of color always pull the short end of the stick? Here’s to hoping Amma Asante takes a look at this next – somehow, she always finds a way to look at history through an inclusive lens. That tiny disclosure prompts so many more questions: what was happening to working class WoC in that era? Which nobles were involved? Where white suffragettes racist and/or violent toward their WOC counterparts? It’s tough to want to be transported by a film to another era, knowing you’ll be left unsatisfied in the end.
I understand that for some people, erasing women of color from historical narratives is simply an unfortunate oversight. But for those of us who continually see our stories erased from historical record, whitewashed depictions of history aren’t so easy to swallow.
[O]ur conversation shouldn’t be consumed with what he’s not doing or what they don’t value. We value us. We build our village. We grow stronger. We testify in commissions, and we write our own op-eds, and we push at every turn that’s necessary. We also blossom because we nourish one another. We focus on her—the woman sitting right next to you. We focus on us. It’s equally as important. If we don’t do both, I think we lose. Toni Morrison, a prophet that I really admire, said the function of racism is distraction to keep you from doing your work. It keeps you explaining your reason for being. I think sexism is the same. Patriarchy is the same thing—constantly having to justify our very presence. It’s something to think about. I believe that there are multiple ways we can attack the problems that we face as women in this industry. And fortifying one another and being food and fuel and fire for one another is one of those things.
– Ava DuVernay, speaking at the Elle Women in Hollywood Awards
By creating digital representations of people who aren’t white, it indicates a culture and industry who view us as people. It counters the status quo that dehumanizes us by erasing us or casting us as a non-human. We want to be seen as people, too. There’s little more to it, for me.
But seeing angry responses to this simple request speaks volumes about the kind of culture we’re creating by not diversifying races, genders and so on. Consider: In Witcher 3, all humans are white and every other being is non-human. That’s not exactly friendly or inclusive of people of color. A game can include diverse number of monsters, but not a diverse number of skin colours or races for humans?
And then we see panic and anger when white gamers may be asked to play as people of color in Rust. The double standard is rarely addressed. Being white is apolitical, being a person of color, even simply by existing, is threatening to some players.
Read the rest at Polygon.
by Guest Contributor Luso Mnthali, originally published at AfriPop
I was on radio the other day, trying to explain to Shado Twala, well-known radio and television personality here in South Africa, how racism personally affects me. I had this great chance to finally tell a wider audience what it feels like to live in a city that denies you so much because you’re black. But I focused too much on how I’d been getting hostile looks from strangers, and being shoved and bumped into a couple of times while walking in my predominantly white neighbourhood.
I felt like I blew it.
Gone was the experience I had on my first date with the man who would later become my boyfriend. It was here in Cape Town, years ago, when another white man lunged at me and spat out some ugly racist words at me. I won’t say publicly what they are, not now anyway. Because he wasn’t aware of it at the time, I only told my man this had happened years later. It’s not something I want to remember, or talk about, but it’s been on my mind a lot lately. Possibly because there have been so many incidents of racism in the Cape in recent months. And it’s happened not only when the tourists flood in during the month we all lovingly call Dezemba. Even though, during my conversation with uMam’Shado, we were slightly glib about how the tourists from other provinces annually bring with them a spate of complaints about the ‘Mother City’ as it is known to some. My black South African friends have asked: “Mother to whom, this city? Who does it mother and who is the mother?”
So I felt that, during that conversation, gone were the experiences of friends trying to rent apartments, but being disappointed because of race-based selection or denial. Of friends leaving their jobs and packing up to go back to Joburg after a year or two. Gone were the stories of how even academia works to keep black people out. Gone were the myriad instances of microagression and hostility in a place that renders you both visible and invisible. You’re visible when you’ve clearly transgressed – how dare you walk around with a white man who clearly adores you? What are you doing with him? Or, as some women from a white-owned mainly white-staffed media house asked my friend about me – “How did she get a white guy?” Continue reading
MTV’s Look Different campaign is doing a full multiscreen take over for Martin Luther King Jr. Day,
According to a 2014 MTV study*, 73% of Millennials believe having more open constructive conversations about bias would help people become less prejudiced.
“Millennials believe strongly in fairness, but they can also find it difficult to talk openly about race – to be not simply ‘color blind’ but ‘color brave,’ said Stephen Friedman, President of MTV. “Our audience is looking for a way to bring the national conversation on race into their homes and this campaign will give them a forum to express true color bravery.”
#TheTalk will begin at 9:00 a.m. ET/PT on Martin Luther King, Jr. Day when MTV will kick off a 12-hour period in which all programming will air in black and white for the first time in the network’s history. Every commercial block will begin with personal reflections on race from luminaries including Kendrick Lamar, Common, Big Sean, Ava DuVernay, David Oyelowo, Penn Badgley, Jordin Sparks, Pete Wentz, Sen. Rand Paul, Rep. John Lewis, Sen. Cory Booker and more.
One of the ideas they referenced, “color brave,” is from Melody Hobson’s TED Talk:
Read MTV’s study on Millennials and Bias here.
Share your experiences with #TheTalk here.
(Easter Egg: I’m in the “activist” video on the site.)
“Color is not a human or a personal reality, it is a political reality.” – James Baldwin
This is not a book review, because Who We Be isn’t really a book. It’s more of a thoughtful examination of how the United States arrived at this point in racial history.
Long time friend of the blog Jeff Chang is the author of the American Book award winning Can’t Stop, Won’t Stop: A History of the Hip Hop Generation and editor of the anthology Total Chaos: The Art and Aesthetics of Hip Hop. To say we’ve been waiting for Who We Be is an understatement.
But in the introduction, Chang frames the core of the most recent case of racial backlash. Explaining the outsized reaction by some whites to President Obama, Chang notes:
In the 1830s white minstrels had put on blackface, creating space for the white working class to challenge the elite, while keeping Blacks locked into their racial place. Obama now appeared as a dual symbol of oppression. Because of his Blackness, he was even more of an outsider—and in that sense, even more American—than them. But he was also the president. His Blackness did not just confer moral and existential claims, it was backed by the power of the state.
And there went everything.
As much as we like to talk about the inevitability of America being majority-minority in 2042, the events playing out across the nation show that most places are outright hostile to the idea that people of color are equal Americans, with the same rights, privileges, representation, and agenda setting power bestowed to whites. Chang turns his critical eye to shifts in culture which becomes documentation of rise (and fall?) of multiculturalism. Continue reading
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.