nation: United States

An infographic accompanying an article at the New York Times reveals how “advanced economies” compare on various measures of equality, well-being, educational attainment, and more.  To illustrate this, for each measure countries that rank well are coded tan, countries that rank poorly and very poorly are coded orange and red respectively, and countries that are in the middle are grey.  The countries are then ranked from best to worst overall, with Australia coming in #1 and the United States coming in last.  You might be surprised how some of these countries measure up.

Thanks to Dmitriy T.M. for the link.

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.

We’ve posted previously on the tendency of the U.S. media to ignore the rest of the world (in favor of Britney Spears), even changing the cover of magazines sold in the U.S., but not elsewhere, in ways that coddle our ethnocentrism.

Given this phenomenon, this four-minute clip from a Russia Today news program (in English) is particularly striking.  The reporter notes that the U.S. media is covering the ongoing foreign political protests more thoroughly, and with more positive enthusiasm, than it has the protests in Wisconsin.

Thanks to Abby Kinchy, fellow UW-Madison alum and Assistant Professor of Science and Technology Studies at Rensselaer Polytechnic Institute, for the tip.

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.

Most of the men and women who were brought from Africa by slave traders to the U.S. lost track of what part of Africa they came from.  Africa, don’t forget, is a giant continent, comprising about 25% of the entire global dry land and including six different climate zones.  Pre-colonial Africa consisted of over 10,000 meaningful social tribes and polities.  So while we talk about “Africa” as if it’s a meaningful word, we’re describing a land mass at best and, at worst, erasing the complexity of 15% of the world’s people.  For more, see our post featuring Chimamanda Adichie on the “single story of Africa.”

Meanwhile, American Blacks — slaves and descendants of slaves — had the children of everyone from their white friends and lovers (beginning with indentured servants in early America) to the very men and women who enslaved them.  Many American blacks, then, are often perceived as essentially white when they visit Africa because their skin color is much less black those of “African” groups who never left Africa.

Enter Beyoncé.

Carly M. sent along a story about a fashion shoot for a French fashion magazine, L’Officiel Paris, in which she has her face blackened and wears a dress inspired by her “African roots.”

Beyoncé is born to an African-American father and a Creole mother; though this is not something I can confirm, her specific connection to Africa was likely cut by slave traders.  So, to refer to her African roots is to fetishize this thing-called-Africa that Americans recognize, but is a fiction in our imaginations.  And indeed, while some sort of African roots are no fiction for Beyoncé, her light skin and mixed history (Creole refers to someone of mixed African, Native American, and French ancestry) is far more American than African.

Which makes the blackening of her skin all the more interesting.  In the U.S., blackface has an ugly racist history featuring white men mocking black people, but it’s recently enjoyed a supposedly “edgy” resurgence in the fashion industry.  Yet, Beyoncé is famous in part because U.S. audiences are more tolerant of light-skinned Blacks than dark-skinned Blacks.  So what does it mean that she is appearing in blackface?

Dodai Stewart, at Jezebel, notes:

…Beyoncé’s skin looked a lot lighter in L’Oréal ads, and women like Aishwarya Rai Bachchan and Gabourey Sidibe had their faces lightened for magazine covers, and black models are so rarely seen on designers’ runways, the message we’re getting from the fashionistas is that it’s bad to actually have dark skin, but totally cool to pretend you have it.

So we have a situation in which slave traders ripped African people from their homes, landed them in the U.S., and erased their personal origins.  Then these individuals were mixed (voluntarily and not) with non-Africans, struggling to build a culture unique to American Blacks (one that the rest of us have happily appropriated again and again).  And then, in the year 2011, they appear in “African” garb and painted faces, because they’re just black enough/not black enough?*  I don’t even know.

Coverage of the photoshoot:

* Language changed from “they are dressed in”, in response to commenters, so as to not erase Beyonce’s agency here.

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.

“What’s the deal with all those songs in Bollywood?”

I’ve found that the most consistently misunderstood aspect of Bollywood (and, indeed, all popular Indian cinema) is the way lip-synced songs are used within the narrative of the film. American viewers in particular tend to find this an almost insurmountable obstacle to appreciating Bollywood films on their own merits. Why might Bollywood be ignored by the Western film community even as mass entertainment from places like China (kung fuand wuxia films) and Japan (anime) have been embraced?

I think the problem may lie in an association of Bollywood with Broadway-style American musicals and their sugar happy appropriate-for-all-ages content (due to heavy censorship during the heyday of the American musical). Bollywood films are not appropriate-for-all-ages. While they do have to pass through a Censor Board and explicit references to things like sex are going to be snipped if a film is to have an all-ages certificate, films can and do discuss a wide variety of serious issues using lip-synced songs. For example, the film Roti Kapada aur Makaan (Food, Clothes, and Shelter, 1974) is, among other things, a tough look at how the drive to stay out of poverty can lead a person to an immoral life. It has songs in which the actors lip sync and it also has a really disturbing rape scene and a bittersweet ending. Dil Se (From the Heart, 2000) is an intense film about terrorism. It has songs where the actors lip sync; it also has explosions and tough social commentary.

This clip from Dil Se, for example, shows how Amar is romanticizing the war zone he has been sent to cover as a reporter. We see his inner thoughts expressed through song in a way that couldn’t be easily duplicated in a Hollywood film (please forgive the advertisement):

So, Bollywood films are not all cheerful or what we might consider ‘family-friendly’ and the endings to the films are sometimes really unpleasant. Still, I still hear Western film buffs argue that lip-synced songs somehow make a film unrealistic. Let’s get one thing straight — the use of music in Western films is no more realistic than in Bollywood films.

Bollywood songs usually function like a soliloquy out of a Shakespeare play. The songs are designed to express a character’s inner feelings in a metaphorical way. A couple, for example, might be shown singing a duet in a lush meadow in Europe. Indian audiences implicitly understand that the couple has not actually been teleported to Switzerland or The Netherlands. The fantasy location and the song are designed to show how that first blush of love feels to the people involved. In another examples of a fantasy teleport song, in Kabhi Kushi Kabhie Gham (2001) you clearly see Rahul in a shop in India and then suddenly he and Anjali are cavorting around the pyramids in Egypt:

This, however, is no less realistic than your classic Hollywood movie song montage that features a couple falling in love using a series of different scenes set to “I Can’t Help Falling in Love With You.” Likewise, previously recorded songs used as part of a background score are an accepted convention in Western film. We don’t walk around hearing music matched to our mood in real life, but Westerners accept the fantasy in movies because it’s familiar.

Soundtracks and falling-in-love montages do not happen in real life but we have learned to ignore the artifice of the tools to appreciate the stories told. The only difference between those things and Bollywood songs is that is that Western viewers have no experience with the Bollywood song form.

———————————

About 15 years ago, a friend gave Filmi Girl a cassette tape with the soundtrack from the 1980s hit Bollywood film Maine Pyaar Kiye and she was hooked. A few years later, she began watching the films the songs were centered around, and after realizing that her real life friends were uninterested in hearing her gush about Aamir, Preity and Rani, she started a blog.  The 31-year-old librarian now spends her limited free time reading about her latest interest and watching large amounts of deliciously, over-the-top Indian films. Read more Bollywood for Beginner posts at Filmi Girl.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

We’ve discussed American Indian mascots, advertising featuring anachronistic caricatures of American Indians, the ice skater who appropriated aboriginal culture, the lie at the heart of the famous crying Indian PSA, and the stunning irony that is Avatar, but we’ve never directly addressed the use and appropriation of the idea of the Eskimo.  The term refers to the Inuit and Yupik people in Eastern Russia, Alaska, Canada, and Greenland.

Russell Potter, a professor of English at Rhode Island College, collected a few vintage advertisements featuring the idea of the Eskimo.  He argues that they fall roughly into two camps: cheerful adorable Eskimo and the Eskimo as primitive and backwards.

These first two for apples and ginger ale fall into the first category:

But this ad presents the “Esquimaux” as “dull” and Grape Nuts as civilized:

Building on Potter’s collection, Adrienne at Native Appropriations posted some more contemporary uses of the Eskimo.

Eskimo Joe’s (Stillwater, OK) uses an image of an Eskimo looking downright ridiculous and very much like his dog:

Any child of the ’80s probably remembers the Lisa Frank Eskimo girl (which Adrienne points out looks decidely anglo):

And this ad seems to suggest that even decapitated walruses speak better English than Eskimos:

Here’s another example of the childlike Eskimo, tweeted to us by @Matthew_Kneale:

All of these ads turn Eskimos into (cute but inferior) childlike figures or (deficient and inferior) backwards adults, or some combination of the two.  For a population with essentially no contact with the Inuit or the Yupik, the idea that they are real human beings can become lost.  When real members of a group are invisible, imaginary representatives can be demonized or romanticized as we see fit.

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.

The figure below contrasts the average U.S. response to various questions measuring perceptions of mobility and inequality with the average response of 27 comparison countries (from the International Social Survey Programme).  In other words, how far from the mean are U.S. citizens’ beliefs about life chances and the value of social inequality?  The pink triangle is the U.S. and the orange line is everyone else.  It’s a bit difficult to read (click to enlarge), so I’ll describe the data below.

• About 62% of Americans think that “people get rewarded for their effort,” compared to about 35% of citizens in our national comparison group.
• About 70% of Americans think that “people get rewarded for their intelligence and skills,” compared to about 40% of citizens in our national comparison group.
• About 19% of Americans think that “coming from a wealthy family is essential/very important to getting ahead,” compared to about 29% of citizens in our national comparison group.
• About 62% of Americans think that “differences in income in their country are too large,” compared to about 87% of citizens in our national comparison group.
• And about 33% of Americans think that “it is the responsibility of the government to reduce the differences in income,” compared to about 69% of citizens in our national comparison group.

Americans, then, are much more likely than the average citizen in our comparison countries to believe that individual characteristics determine success, wide gaps in income are acceptable, and the government should let them be.   No wonder Americans tend to vote to cut taxes and services, tolerate unequal educational opportunity, and resist top-down solutions to inequality.  They think inequality is good and that individuals will always get what they deserve.

Like I said, “stunning,” given the depth of our income inequality and the data on class mobility.  Though it makes perfect sense in light of our deep and abiding patriotism.

Via the MontClair SocioBlog.

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.

In the last few hundred years, dark-skinned peoples have been likened to apes in an effort to dehumanize them and justify their oppression and exploitation.  This is familiar to most Americans as something that is done peculiarly to Black people (as examples, see  here, here, and here).  The history of U.S. discrimination against the Irish, however, offers an interesting comparative data point.  The Irish, too, have been compared to apes, suggesting that this comparison is a generalizable tactic of oppression, not one inspired by the color of the skin of Africans.

Irish woman, “Bridget McBruiser,” contrasted with Florence Nightengale:

(source)

A similar contrasting of the English woman (left) and the Irish woman (right):

(source)

Cartoon facing off “the British Lion” and “the Irish monkey”:

(source)

An Irishman, looking decidedly simian, in the left of this cartoon:

(source)

The Irish and the Black are compared as equally problematic to the North and the South respectively.  Notice how both are drawn to look less human:

(source)

A depiction of an Irish riot (1867):

(source)

An Irishman, depicted as drunk, sits atop a powderkeg threatening to destroy the U.S.:

(source)

Two similar cartoons from the same source:

About this cartoon, Michael O’Malley at George Mason University writes:

In this cartoon, captioned “A King of -Shanty,” the comparison becomes explicit. The “Ashantee” were a well known African tribe; “shanty” was the Irish word for a shack or poor man’s house. The cartoon mocks Irish poverty, caricatures irish people as ape like and primitive, and suggests they are little different from Africans, who the cartoonists seems to see the same way. This cartroon irishman has, again, the outhrust mouth, sloping forehead, and flat wide nose of the standard Irish caricature.

(source)

So, there you have it.  Being compared to apes is tactic of oppression totally unrelated to skin color — that is, it has nothing to do with Black people and everything to do with the effort to exert control and power.

For more on anti-Irish discrimination, see our post on Gingerism.  And see our earlier post on anti-Irish caricaturein which we touched on this before.

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.

Many Americans are familiar with “female genital mutilation.”  The term is typically applied to practices occurring in some parts of Africa, Asia, and the Middle East, but not to genital cutting practices that happen in the U.S. and other Western societies (including cosmetic surgeries on the genitals, surgeries on children with ambiguous genitalia, and transsexual surgery) and, by definition, not to genital cutting practices that happen to men in both Western and non-Western countries (male circumcision and other rare but more extreme practices).  “Female genital mutilation” elsewhere, then, is widely condemned by Americans, but rarely condemned in light of these other genital cutting practices, nor America’s own history of genital cutting.  In fact, it was not unusual to subject women in the U.S. to proper circumcision (removal of the clitoral prepuce, or foreskin) until the 1960s and these procedures remained legal until 1996 (though, as far as I’m concerned, their legality is still up in the air).

In any case, RabbitWrite gives us a glimpse into this era in American history. Reading from a Playgirl published in 1973, she recounts the confessions of a woman who chose to be circumcised and offers a short critique.

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.