by Kendra James There was a lot of good discussion on racial comedy at last…
by Racialicious special correspondent Wendi Muse Author’s note: Before anyone jumps all over me, I…
By Kendra James
Please excuse me while I take the same route as every other media outlet and enter into our Sochi ’14 discussion via ladies figure skating, ne Apparently The Only Winter Olympic Sport That Matters. Read the Post Skating Through A Rink Of Frozen White Tears: An Olympics Recap
Pitbull hosted, 39 year old rap star of my childhood Nelly proclaimed his love for…
by Guest Contributor Jacqui Germain
On Sunday night, four of my friends and I—all people of color—watched a YouTube clip of Miley Cyrus’ performance completely prepared to laugh and joke about it by its conclusion. We were expecting something that would fit neatly in the long line of ridiculous and yet mostly entertaining awards show performances. Instead, as the YouTube clip reached its end, the room fell completely silent. Even as a writer, I don’t quite have words to describe what that moment felt like. Using academic lingo to explain why cultural appropriation is problematic is one thing; the feeling in your gut when you actually watch parts of your identity being used as props is another. As is true with so many shockingly specific traumatic black experiences, this is a feeling we all recognize immediately, and a feeling we all have no words to describe. In the hours and days following, the critical feminist response was, yet again, a reminder of the ways in which my blackness—even as it exists in concurrence with my femininity—is still actively being othered.
A few weeks have passed since the #SolidarityIsForWhiteWomen hashtag first surfaced on Twitter. The subsequent conversation about the lack of representation and further marginalization of women of color by white women in the feminist movement (not at all a new conversation) seemed suddenly reenergized. Women of color have always talked about the subtle racism that happens within the feminist movement; just because you haven’t heard it, doesn’t mean it hasn’t been said—especially considering which narratives are allowed space and which ones aren’t. But with this hashtag, their voices suddenly had a stage. And some white women listened. Some critiqued their own privilege and pointed out the ways the feminist movement has historically dismissed women of color and their experiences. But now, it seems that even those well-meaning white feminists have yet to turn their articles into actual actions.
Most of the responses following Cyrus’ performance have been a conversation of the unconventional way in which she expressed her sexuality on the VMAs stage and the slut-shaming that ensued. Many feminists have since rushed to her defense and appropriately prompted us all to question our immediate negative response to Cyrus’ choice sexual presentation. And don’t get me wrong, it’s a valid stance—in the sense that slut-shaming is certainly a habit that supports rape culture and demanding that society recognizes a woman’s sexual autonomy is hard and necessary work. Back when Cyrus was being sexual without involving the appropriation of my blackness, I was totally on board. Now? Not so much.
Here’s where the racial fissures in feminism come out: by all means, defend a woman’s right to govern her own body; it’s great that white feminists have that goal at the top of their lists. But meanwhile, as a woman of color, I’m still defending my right to actually be considered a body at all and not decoration. Expressing your sexuality at my expense isn’t okay. You don’t get to claim sexual freedom while simultaneously perpetuating the oppression of another body. When you feel the need to express your sexuality by turning my body into an accessory, the black feminist in me—two identities which I refuse to separate—can’t have your back anymore. The feminist struggle is a struggle for autonomy. It’s a fight for recognition and full-body respect. But in Cyrus’ search for and exploration of her sexual identity, she limits my autonomy as a woman of color. She appropriates it. She cheapens it. She effectively uses the identity and lived experiences of so many women of color as a crutch for her career. Read the Post Miley Cyrus, Feminism and The Struggle for Black Recognition
by Guest Contributor Lakshmi Gandhi, originally published at The Aerogram
As you’ve probably noticed, much of the media’s focus in its coverage of the current Anthony Weiner scandal has been on the candidate’s wife Huma Abedin. Over the past few weeks, it’s seemed like the media just doesn’t know how to cover the Michigan-born, Saudi Arabia-raised, South Asian former aide to Hillary Clinton. Each day brings another story full of assumptions about Abedin’s background and upbringing and endless speculation about how those biographical details have affected her personal choices.
Without further ado, here are the top 5 worst of the worst.
Pulitzer Prize winning New York Times columnist Maureen Dowd:
When you puzzle over why the elegant Huma Abedin is propping up the eel-like Anthony Weiner, you must remember one thing: Huma was raised in Saudi Arabia, where women are treated worse by men than anywhere else on the planet.
Radio host Rush Limbaugh:
Huma is a Muslim. In that regard, Weiner ought to be able to get away with anything. Muslim women don’t have any power, right? Muslim women are beheaded, stoned, whatever if they drive, have affairs. In certain countries, Muslim women, if they’re raped, are killed — it’s their fault.
By Joseph Lamour
My other gig, Upworthy, had a discussion last week on twitter about race and racism in the wake of the George Zimmerman trial that I would like to share. Feel free to check it out, under the jump.