Search results for racism

The always-awesome Miguel, of El Forastero, sent in an interesting image and post from Puente Aéreo about an article in El Correo ridiculing a Peruvian congressional representative , Hilaria Supa, for her language skills. Supa represents the district of Cusco, an area where the majority of residents speak Quechua as a native language, not Spanish. The magazine ran an image on the cover that shows notes she was taking during a legislative session.

Just a disclaimer, the translations below are mine, not Miguel’s, so if they’re incorrect it’s my fault, not his; I read Spanish decently well and I gave it my best shot, but if you think I misinterpreted the meaning of something, by all means let me know. Nicely.

The caption under the photo on the El Correo website says, “Según la hoja de vida de Hilaria Supa, en 1991 impulsó la alfabetización de mujeres campesinas a través de la Federación de Mujeres de Anta (FEMCA),” which translates as, more or less, “According to the bio of Hilaria Supa, in 1991 she began a literacy campaign for rural women as part of the Women’s Federation of Anta”). Clearly the idea is to ridicule her–this woman claims to have worked on literacy issues for rural woman?

Some quotes from the online article:

… lo que descubrió una reveladora foto de Correo, sus limitaciones en cuanto a ortografía y sintaxis dejan mucho que desear. [“As shown in a revelatory photo by Correo, her orthography and syntax leave much to be desired.”]

Muchos años antes de ser elegida congresista, Hilaria Supa se desempeñó como empleada del hogar en el Cusco, Arequipa y Lima. [“Many years before her election to congress, Hilaria Supa  was a house servant in Cusco, Arequipa, and Lima.”]

…su colega Martha Hildebrandt se quejó de sus destempladas protestas sobre un proyecto para declarar oficiales las lenguas aborígenes. “Miren los modales de estas niñas quechuahablantes”, comentó. [“Her colleague Martha Hildebrandta complained about her acrimonious (inharmonious?) protests about a project to declare indigenous languages official*. ‘Look at the manners of these childish Quechua-speakers,’ she said.”] *Apparently this refers to the fact that Supa and another indigenous representative spoke their swearing-in oath in Quechua instead of Spanish, the first officials in Peru ever to do so. Apparently this pissed people off even though Quechua is one of Peru’s two official languagues, along with Spanish.

The article also clearly implies that she doesn’t deserve to be in Congress, interviewing people about how political parties are supposed to serve as a filter to be sure that not just “anyone” can be elected.

Miguel says,

This picture is a clear statement of the white, Spanish-speaking (and male) [establishment] that opposes the participation of indigenous people (and women) in the government.

Indeed. Although Quechua is an official language of Peru, and even though large segments of the population do not speak Spanish as their native language and there is no requirement that they do so, the message here is clear: attempts to redefine the political establishment in Peru so that indigenous communities can participate more fully on their own terms (as opposed to being forced to completely assimilate to non-indigenous, Spanish-speaking Peruvian culture as a requirement for respect) do not deserve a place in public life.

NOTE: Sigh. After reading everything in Spanish and translating the above sections into English, both of which made my brain hurt, it finally occurred to me to see if any English-language blogs or media outlets have discussed the article and provided translations. Yes, they have. Google “Hilaria Supa Peru” and several items will come up. Then I just felt dumb, but since I have papers to grade and no time to redo it, I’m just leaving my translations and hoping for the best. You might want to check out some other English-language sites for more discussion.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Emily K. sent in a link to the Southern Poverty Law Center’s 2009 report on hate groups in the U.S. Here’s a map (larger, not-stretched-out version available as a pdf here):

The site also has an interactive map where you can select individual states and get more info on the hate groups that are active there, and another where “hate incidents” are marked.

Sorry for the sporadic posting lately–it’s the last week of the semester and I’m grading constantly.

UPDATE: One of my best friends just informed me that when investigating the SPLC hate incidents map, he realized he knew one of the people listed as a perpetrator in an incident in a certain Southern state; I promised to give no more details than that. This led to a discussion of the weirdness of some of the folks we grew up with, including a guy I went to school with who washed his head in gasoline to try to kill lice and ended up setting his entire head on fire. And no, I don’t know why a person would decide to use gasoline to kill lice. I also don’t know how one of my uncles managed to shoot himself in the foot while elk hunting, why that didn’t deter another uncle from going, falling down a mountain slope, and cracking his ribs, or why my mom married an evangelical Christian who didn’t like women to wear pants eight weeks after she met him on the internet. These are some of the many mysteries of life.

ANOTHER UPDATE: Commenter OP Minded says,

Kind of outrageous that the SPLC has “Concerned Citizens and Friends of Illegal Immigration Law Enforcement” in Framingham, MA listed as a hate group. There is no doubt that they are in favor of enforcing immigration law (after all, it is the law) but they don’t fall anywhere near a “hate group”. Calls into question this entire list.

Another commenter says,

To follow up on opminded@2: It’s too bad the Southern Poverty Law Center also uses these trumped-up threats to pad its already-deep coffers. Less than 70 percent of its expenses go toward its programs; the rest is for administration and fundraising.  Any human rights organization with almost $220 million in net assets isn’t doing its job.

The anonymous commenter suggests going to Charity Navigator to get more information.

I did not know about these criticisms (a problem in general about charities is not knowing for sure how the money is spent). My experience with the SPLC relates to their work with African American farmers in the South, a group that has experienced major land loss due to various factors largely involving racism and unscrupulous land developers. Their work on that particular issue was considered pretty solid. But of course there aren’t all that many organizations working on that problem, so any efforts were greatly appreciated.

Thanks for the additional info!

ANOTHER UPDATE: Commenter CLL says,

Over the years, SPLC has done terrific work helping people with little access to power receive the justice they deserve. Groups the SPLC has identified as “hate” groups have gone beyond simply disagreeing with policy (or lack of enforcement), and have instead encouraged their adherents to express discontent in more direct attacks on the object(s) of their scorn — thus qualifying as “hate” groups.

Spending 69.6% of income on programs remains a pretty normal ratio for not-for-profits that rely heavily on professional staff. Some organizations play fast and loose with their Fundraising allocations to cook the percentages down to numbers that look better on sites like Charity Navigator — but the proof of effectiveness is in accomplishment of mission.

In this cartoon, titled “Plane Dumb” (1932), Van Beuren’s Tom and Jerry put on black face in order to disguise themselves in Africa.  Putting on black face affects their intelligence as they go from being smart to dumb. Idoicy ensues. The “natives” come out at the very end:

Thanks to Steve W. for the link!

For more vintage racist cartoons, see these clips from Fantasia, these Bugs Bunny stills, this racist reinterpretation of Snow White, and this Bugs Bunny cartoon that caricatures the Japanese.

And this one’s just for fun.

This post is dedicated to Frankie Manning.  Frankie died this morning of complications related to pneumonia   He was one month shy of his 95th birthday.  I will really miss him.  Frankie is a lindy hop legend.  He choreographed the clip below and is the dancer in the overalls.

In the 1980s, there was a lindy hop revival.  Lindy hop is a partner dance invented by African American youth in Harlem dancing to swing music in the early 1930s. Named after the “hopping” of the Atlantic by Charles Lindbergh Jr., it became wildly popular in the 1930s and ‘40s, traveling from the East to the West Coast and from black to white youth. Since its resurgence, Lindy Hoppers have enjoyed a national scene with websites, workshops, competitions, and city-wide social events that draw national and international crowds.

Though lindy hop was invented by African Americans, lindy hoppers today are primarily white.  These contemporary dancers look to old movie clips of famous black dancers as inspiration.  And this is where things get interesting:  The old clips feature profoundly talented black dancers, but the context in which they are dancing is important. Professional black musicians, choreographers, and dancers had to make the same concessions that other black entertainers at the time made. That is, they were required to capitulate to white producers and directors who presented black people to white audiences. These movies portrayed black people in ways that white people were comfortable with: blacks were musical, entertaining, athletic (even animalistic), outrageous (even wild), not-so-smart, happy-go-lucky, etc.

So what we see in the old clips that contemporary lindy hoppers idolize is not a pure manifestation of lindy hop, but a manifestation of the dance infused by racism. While lindy hoppers today look at those old clips with nothing short of reverance, they are mostly naive to the fact that the dancing they are emulating was a product made to confirm white people’s beliefs about black people.  Let’s look at how this plays out:

This clip, from the movie Hellzapoppin’ (1941) is perhaps the most inspirational clip in the contemporary lindy hopper’s arsenal:

By the way, the dancers are in “service” outfits because of the way lindy hop scenes featuring black dancers were included in movies.   Typically they would have no relationship to the plot; they would occur out of nowhere and then disappear.  This was so that the movie studios could edit out the scene when the movie was going to be shown to those white audiences that were hostile to seeing any positive representation of black people at all.  If you want to see how the scene above emerged (black “help” suddenly discovering musical instruments and spontaneously congregating), you can watch the extended clip here.

The clip features a dance troop called Whitey’s Lindy Hoppers. You can see other famous dance segments in Boy! What A Girl! and Day At The Races.

The clip below, from the Ultimate Lindy Hop Showdown (2006), reveals how powerfully contemporary lindy hoppers have been influenced by clips like the ones above.  Watch for how the styling, moves, and trick reflects the clips above:

Another good example can be found here (but the angle, audio, and visual quality are not very good).

So we have a set of (mostly) white dancers who naively and wholeheartedly emulate a set of black dancers whose performances, now 70 to 80 years old, were produced for mostly white audiences and adjusted according to the racial ethos of the time.  On the one hand, it’s neat that the dance is still alive; it’s wonderful to see it embodied, and with so much enthusiasm, so many years later.  And certainly no ill will can be fairly attributed to today’s dancers.  On the other hand, it’s troubling that the dance was appropriated then (for white audiences) and that it is that appropriation that lives on (for mostly white dancers).  Then again, without those dancers, there would likely be no revival at all.  And without those clips, however imperfect, the dance might have remained in obscurity, lost with the bodies of the original dancers.

As a white lindy hopper myself, for over ten years now, who desperately loves this dance, I find this to be a deep conundrum.

I don’t know what Frankie would have had to say about this critique.  But I do know that he loved lindy hop to his last days and he was grateful for the revival.  Here he is dancing with Dawn Hampton, another legend of lindy hop, at the age of 94:

I’lll miss you, Frankie. And I’ll keep on dancing, embodying, with ambivalence, all the great contradictions of the dance and the history of this country.

UPDATE: A couple commenters asked how, exactly, the dance was changed in order to appeal to white audiences.  This is actually really difficult to say, since few films of social dancing (black dancers dancing only for other black dancers) exist.  But we have some theories.  Evan, in the comments, had this suggestion:

For white audiences of the time, Jazz was Hot Black jungle music – Black people were sex crazy hedonists, and you can see it in the moves, the exaggerated body undulation. the speed. the sweat. the rhythmical drum.

It was like watching a tribe around a fire.

I’m with Evan.  I’d like to also add that, as a person with a trained eye for lindy hop, I see two things in those clips:

(1) I see incredibly effective technique. Unbelievable strength and precision. It’s fantastic.  (By the way, Frankie explained that, by the time they got to the take you see in the Hellzapoppin’ clip, they’d performed that routine more than 20 times in a row… they were amazing athletes.)

(2) But I also see, layered onto and facilitated by that technique, an effort to make the dance appear more out-of-control than it is. They are wild-ing the dance.

At least, that’s how it looks to me.

More than that, though.  As a dancer who has also been inspired by those clips, I know how to do that.  I know how to exaggerate the out-of-control look.  I won’t go into the technical details (I did, and then deleted!), but it’s do-able.  And it’s not that it’s not cool… adding the drama is fun and exciting to watch… but there’s a historical reason why lindy hop has that dimension and that is worth thinking about.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Ryan sent in a story about the video game Border Patrol, in which you try to keep three types of Mexicans from crossing the border: drug dealers, Mexican nationalists, and “breeders,” who are of course pregnant women on their way to the welfare office:

According to Kotaku,  a city representative in Georgia emailed it to colleagues with the following note:

THIS IS WAY TOO MUCH FUN!!!!!!!!!!!! Makes you feel better anyway, I did my part today, I kept a few from coming over!!! GET READY —- THEY ARE FAAAST! ! !

Classy.

And the Star of David on the American flag is a nice touch.

NOTE: A number of commenters have made various suggestions about what the Star of David might mean–support for Israel, a conflation of Jewish and Christian values as “American,” etc. I don’t know for sure, but my best guess is that it’s an added little bit of racism. If a few of my relatives are any indication, anti-immigrant and anti-Semitic sentiments often seem to go well together. One of my relatives who is virulently anti-immigrant also once gave my mom a video to watch and when she turned it on she realized it was this anti-Semitic thing about how Jews are trying to institute a New World Order. So I tend to think it’s supposed to indicate, as one commenter said, that the U.S. has been weakened and taken over by ineffectual liberalized Jews who are letting all the immigrants in as part of their master plan to….well, I don’t really know what the master plan is. I will see if I can find out when I visit my family members and let you know so we can all prepare. Or, for our Jewish readers, take part, I guess. Oh, wait, duh. Our Jewish readers already know. I forgot. One of my long-lost relatives from Arkansas explained to my mom how Jews communicate through all the symbols on packaging (you know, like TM, (R), and so on) to spread instructions for…well, again, since I don’t know the Mysterious Master Plan, I don’t know what the instructions are about. My poor mother has asked me on multiple occasions why people seem to think she’d want to hear bad things about Jewish people. My mother has her faults, but anti-Semitism isn’t one of them, so I’m going to have to chalk it up to the bad luck of being related to a lot of crazy racist people.

Anyway, that was my rambling way of saying I don’t think the Star of David on the flag is a pro-Israel thing.

NEW! (Oct. ’09) Katie J. sent us a link to the video game El Emigrante, in which you (in sombrero) ride a bike and try to avoid the police after you jump the border wall:

ABC News has a segment where they recreated the famous 1940s experiment by Mamie and Kenneth Clark, in which African American children overwhelmingly preferred to play with a lighter-skinned doll than a darker-skinned one, saying the white doll was prettier. The ABC News experiment results were very different, with the vast majority of African American kids preferring the darker-skinned doll.

On the other hand, in Kiri Davis’s 2006 documentary “A Girl Like Me,” Black teen girls indicate that they still feel that “White” features (such as straight hair) are seen as more attractive and that even other African Americans reinforce the idea that lighter skin and straight hair are preferable (notice the girl talking about her mom’s comments about her hair starting at about a minute in):

[youtube]https://youtu.be/YWyI77Yh1Gg[/youtube]

This might lead to an interesting discussion about beauty standards and the idea of internalized racism–that is, that minority groups in the U.S. (as well as many other nations) are socialized into a set of cultural beauty standards that often depict their physical features as unattractive, or at least less attractive, than Whites, and that non-Whites may apply those beauty standards among themselves (for example, see this post about an African American club promoter who planned a party to which light-skinned girls would get in free).

Of course, there is also evidence that beauty standards among some U.S. racial and ethnic groups may differ from the general standard seen in fashion magazines, on TV, etc. So that brings up an interesting inconsistency: how do we explain the existence of different beauty standards (such as less emphasis on women being very thin) and internal racism? It would be a great topic to open up for discussion–how can both co-exist at the same time? Is it that different sub-groups hold each of those positions, with some groups having more varied beauty standards and others upholding mainstream standards? Or do individuals often express both positions at various times, perhaps finding a wider range of body sizes attractive but also preferring “White” hair and facial features? If you know of scholars that have specifically tried to explain this, I’d love to know about them.

UPDATE: Commenter Dubi adds,

In addition, it should be noted that the two dolls in the experiment were identical in all but skin colour, so things like hairstyle or facial features don’t get factored it. It is wholly possible that people do not judge people anymore by the colour of their skin, but things that are more “changeable” like hair colour and style are still seen as indicative of other qualities. This, of course, requires further study.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Women of color rarely grace the covers of fashion magazines like Vogue.  And yet, for the second time this year, the Vogue cover features a woman of color, Beyonce.  Unfortunately, in line with cultural stereotypes, the issue is the “Shape Issue,” contributing to the stereotype of Black women, and Latina women too, as especially “curvy.”  We document the fetishization of black women’s behinds here.

This month, Beyonce’s cover includes stories entitled:

Fashion for Every Figure: Size 0 to Size 20

Real Women Have Curves: Beyonce at Her Best

NIP/TUCK: Designing a Perfect Body

WORK IT! Longer Legs, Leaner Lines, Sexier Silhouette

THE RIGHT SWIMSUIT FOR YOUR BODY TYPE

WEIGHT OBSESSION: One Woman Conquers Her Diet Demons

The magazine sets up, essentially, an impossibility:  “Have curves, but by curves we mean something very specific: boobs and an ass.  You know, like Black women’ve got.  See Beyonce? She’s Black. So she’s got curves.  No matter that she’s extremely thin.  You should be extremely thin, too (‘WORK IT!’); eh em, we mean, ‘conquer your demons,’ we love you ‘from size zero to size 20.’  Just kidding!  We totally don’t.  Design ‘your perfect body’ with cosmetic surgery!  Then you’ll really love yourself… and we will find you acceptable… it’s win win!!!!”

Racism and sexism.  Nice work, Vogue.

(Via Jezebel.)

Racism is ingrained in the Midwest; we’ve normalized it. Take, for example, my earlier post on Tony Zirkle, the Hoosier Republican congressional candidate who spoke at a dinner honoring Hitler’s birthday. (He also publicly advocated for racial segregation.) Zirkle lost, of course, but the fact that he had no problem publicly stating his racism – without thinking that others would object – shows just how commonplace overt racism can be here.

One of the best examples is the “U-Washee” in Richmond, Indiana. The laundromat is, literally, built on racist stereotypes of Chinese people and no one gives it a passing glance. It’s 1940’s era cartoon stereotype mascot, what Margaret Cho calls “feng shui hong kong fooey font,” and the extra “ee”s at the end of words in the business’s name and posted notices all combine to form one hellish timewarp into a past America most areas have forgotten but we tend to accept as typical – and no one utters a peep.