race/ethnicity: Blacks/Africans

We’ve posted a number of times on the use of non-Western locations, and their residents, as background props in ads, catalogs, and fashion spreads, and the examples keep coming. A while back, Rebecca Smith-Mandin sent in this ad for Conrad hotels, in which the implicitly wealthy, White audience is invited to indulge in “the luxury of being yourself,” which includes the ability to have authentic, off-the-beaten-path experiences in far-flung locales, while remaining clearly distinct from them:

Similarly, last year Anna-Sara H. found this image in the German women’s magazine Freundin:

Anna-Sarah’s translation (which she says loses some of the poetic intent of the original):

We are playing mermaid. And wrap ourselves in light-bright outfits now, adorned with large-sized ethnic accessories. The only things missing are an innocent gaze and hair being played with by the wind.

In both cases, we see a very common trend in ads or photo shoots for fashion and luxury services: non-White individuals may be included in the photo shoot, but they are not used to model the use of the product or service itself. As Ashley Mears argues in her ethnography of modeling, Pricing Beauty: The Making of a Fashion Model, non-White bodies are generally seen as incompatible with the idealized fantasy of inaccessibility and sophistication that is the guiding aesthetic for fashion mag editorials and advertisements for luxury goods. In these images, we see that non-Whites are included in a way that superficially increases diversity in a magazine’s pages, without disrupting the assumption that the imagined consumer — the subject of these images — is White.

Jay Smooth — always insightful and earnest — praises the movement for justice in the Trayvon Martin case, and points us forward to what’s next:

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 in the past about stereotypes about Africa. For instance, Binyavanga Wainaina’s video describes common tropes used when non-Africans write about Africa, while Chimamanda Adichie discusses the problem with the limited narratives we hear about African people and nations.

In another great example of challenging such stereotypes, Dolores sent us a video in which four young men highlight common portrayals of Africans — and specifically, African men — in movies. It’s really great:

Via Colorlines.

Erin Hatton sent in a 1937 redlining map of Philadelphia, so I decided to update our earlier post on segregation and redlining in the city.

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One historical cause of residential segregation was redlining. Lenders would color-code different neighborhoods on residential maps; red was generally the color used to designate a neighborhood as “dangerous,” meaning mortgages would not be approved in those areas, since they were considered to be high-risk areas for mortgage defaults. This was generally a blanket rule: people found themselves unable to get mortgages to buy property in redlined areas, regardless of their income or the value of the particular house they wanted to buy. And a high proportion of Black (and sometimes White immigrant) residents generally meant that a neighborhood would be automatically tagged as a high-risk area.

The University of Pennsylvania Redlining in Philadelphia project provides an example of a map created to guide lending in Philadelphia. The map was created in 1934 by J.M. Brewer, who owned a real estate consulting company and later was chief appraiser for Metropolitan Life Insurance.

This legend was adapted from the original for the U. of Pennsylvania website:

The legend looks like the “colored” areas are coded yellow, but it’s actually red on the map. Brewer created another map in 1935 and helped draw the federal Home Owners’ Loan Corporation (HOLC) map of Philadelphia in 1937.

Erin Hatton sent a link to that 1937 HOLC map, which reflects the governmental institutionalization of racism, marking some groups as inherently undesirable:

If you go to Redlining Philadelphia and click on areas of the map, it links to the survey sheets used to rate each neighborhood. All include a section on detrimental elements and a demographics breakdown, with areas to note the presence of immigrants, African Americans, poor families, and so on, such as this section of a survey sheet for area 22, giving a security grade of D:

African Americans were not the only group targeted by redlining. For instance, the survey sheet for area 5 mentions the “danger of Jewish encroachment”:

Redlining made it difficult for Blacks (and some White ethnics) to buy homes. Racial discrimination meant Blacks often couldn’t buy homes outside Black neighborhoods, but Black neighborhoods were often redlined by lenders, meaning Blacks couldn’t get mortgages to buy houses inside them, either. As a result, African Americans were disproportionately barred from one of the major avenues to acquiring wealth (building equity through home ownership), leading to increasing racial disparities in wealth and home ownership over time.

Also check out our post on segregated Durham.

Last fall I posted about the continued use of race/ethnicity as a basis for decisions about hiring when casting roles in Hollywood. Though using race or color as a qualification for a job is illegal in the U.S., it is still widely, and openly, practiced when choosing actors for movies and TV.

Dolores R. sent in an example of a casting call for an Acura commercial that shows how race and skin color requirements are explicitly stated. The role is for an African American car dealer; however, the description calls for someone who is “not too dark”:

The casting document was posted by Oh No They Didn’t! after an African-American actor who didn’t fit the profile passed it on to them. Someone at the casting agency claimed that the reason they didn’t want an actor who was “too dark” was that it would make lighting and special effects more difficult.

Seriously.

Acura has apologized, though as Forbes points out, they probably had little to do with the actual casting process; the casting call was mostly likely written within the casting agency.

As I pointed out in my earlier post, within the industry roles are generally understood to be for non-Hispanic Whites unless specifically stated otherwise. However, as this casting call shows, even when a role is open to racial/ethnic minorities, additional restrictions related to skin color or other features may still severely limit the pool of actors who have a legitimate chance at winning the role.

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

April 15th was World Art Day.  A museum in Stockholm, the Moderna Museet, celebrated with what appears to be a chocolate and red velvet cake in the likeness of a caricature of member of a generic African tribe.  The cake was designed by an artist, Makode Aj Linde, who wanted to draw attention to the practice of female genital cutting, which occurs in parts of Africa (and elsewhere).  Accordingly, the cake was in the shape of a woman’s shoulders, breasts, belly, and genitals; it was covered in black fondant.  The head was the artist himself, painted black with cartoon-ish eyes and mouth reminiscent of American minstrelsy. Neck coils tied it all together.

The Swedish minister of culture, Adelsohn Liljeroth, was asked to cut the cake.  Playing along with the “art,” she began at the clitoris.  After slicing herself a piece, she fed it to the artist (it’s unclear if that was planned or improvised).  Each reveler carved out more and more of the genitals, revealing brown and then red cake inside.  With each cut, the artist let out a yell and cried.  People attending the exhibit reportedly gawked and generally went along having a good time.

Kitimbwa Sabuni, a spokesperson for the National Afro-Swedish Association, called the cake a “racist caricature of a black woman” and criticized the event, writing:

The “participation [of the minister of culture], as she laughs, drinks, and eats cake, merely adds to the insult against people who suffer from racist taunts and against women affected by circumcision.”

The minister shrugged rhetorically, saying  “Art needs to be provocative.”  On his Facebook page, the artist was nonchalant, writing about the above photo: “This is After getting my vagaga mutilated by the minister of culture…”

I will go on the record saying that this is obviously racist, trivializes genital cutting, is wildly insensitive to women who have experienced cutting, and fails to accord any respect to members of communities that practice genital cutting.  It’s a shameful mockery.

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UPDATE: It occurred to me that it’s possible that the artist intended to trap a mostly white audience into participating in this obviously racist game, all with the intention of revealing that they would.  Sort of like Spike Lee’s Bamboozled, where the fictional African American tv writer, asked by his White boss to write something “Black,” wrote the most racist thing he could think of… only to discover that audiences loved it.  So perhaps the artist meant to provoke the same sort of horror that Bamboozled provokes in its real audience.  And that is provocative indeed.  But I’m guessing that this message will be lost on the vast majority of people at the same time it provides a satisfying opportunity to object to something obviously racist (as I did); meanwhile, more subtle discrimination and institutionalized racism remains un-examined.

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One of my main areas of serious academic research involves trying to understand how Westerners think about female genital cutting, and what motivates them to understand it in the way they do.  I must say, though, that I am at a loss to explain this.  My research on American perceptions of the practice (not Swedish, notably) suggests that we take the practice extremely seriously, framing it as (one of) the worst human rights abuses imaginable.  From this perspective, this approach to raising awareness — from the party-atmosphere symbolized by the cake to the almost comical and obviously fake protestations from the artist/actor — takes the issue far too frivolously for comfort.

Caricaturing Africans, however, and seeing them as lesser humans is also part of what drives American condemnation of genital cutting.  U.S. discourses often frame Africans as either ignorant or cruel.  We routinely dehumanize both women and men in these discourses.  They are seen more as objects of intervention than human beings.  Accordingly, it doesn’t surprise me too much that the (mostly White, Swedish) people viewing the performance felt enough distance from the practice of genital cutting to enjoy their cake.  Nor does it surprise me to hear at least some of them dismiss the concerns of the spokesperson for the National Afro-Swedish Association.

The video, in all its glory:

Thanks to Sharla F., Samira A., and an anonymous reader for sending in the tip to this story!

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.

Cross-posted from cyborgology.

On February 26, 2012, Trayvon Martin, an unarmed Black high school student, was shot and killed by George Zimmerman, a White Hispanic neighborhood watch captain. The case has become a symbolic battleground. Artist Israel McCloud was inspired to paint a mural in his honor in Houston.

As Jessie Daniels points out at Racism Review, battles over racism have shifted into the realm of social media, where digital and physical race relations persist in an augmented relationship. We see this in both anti-racist discourses and the racial smear campaigns surrounding the Martin/Zimmerman case.

Although it is important to expose the overtly racist tactics utilized by some of Zimmerman’s defenders, I want to talk about a more subtle, and so perhaps more problematic, form of racial discourse. A prominent strategy of protest arising from the left may inadvertently perpetuate, rather than challenge, racial hierarchies in their most dehumanizing form.

This tactic has made the rounds on my own Facebook Newsfeed, and is one in which I, prior to more critical thought, actively participated:  the creation of images and texts that couple Black bodies with prestigious social positions and ask viewers to problematize racialized assumptions that often lead to faulty first impressions—which in turn lead to physical danger for the racialized subject. This tactic comes in two forms: political memes and case examples.

The memes, such as the one pictured below, are direct and general. They argue that Black bodies are assumed dangerous unless proven otherwise. This meme warns us that we might treat a doctor as a criminal purely based on skin color:

 I (regretfully) posted this meme to my own Facebook wall. Rather than delete the meme, I added this post to the comment thread as a public declaration of my error.

The case examples are more in depth, but accomplish a similar task. They picture a clean-cut, Black male body. They list his credentials, and then tell of his physical abuse at the hands of scared, racist White authority figures:

Copied from my Facebook Newsfeed.

 Activists strategically link these memes and cases to Trayvon Martin’s story, highlighting his clean record and child-like face. This protest tactic honors Martin (and other Black boys and men who have been hurt because of a racist culture) and spotlights the problematic racialized lens within which Americans largely operate.

Both forms of this protest tactic tell an empirically accurate story. Simultaneously, however, they are gross oversimplifications that perpetuate oppressive hierarchies that lie at the intersection of race and class. They work to differentiate the “good” from the “bad” kind of racial minority—and imply that the life of the former is more valuable.

We are warned that our racial assumptions may lead to the wrongful and tragic harm of a “good” racial minority—reinforcing the devaluation of poor, under-educated, over-policed and under-protected people of color. Indeed, as the left fights accusations that Trayvon Martin sold drugs, we forget to ask: “SO WHAT IF HE DID?!” Would he somehow be less human? Would his murder be less atrocious? As the left justifiably decries the accusative investigations into Trayvon’s life, some protest tactics effectively present the opposite side of the same coin.

The empirical reality of Blackness in America is that it often intersects with poverty, which in turn, intersects with crime. A poor Black man with a criminal record is an artifact of a deeply embedded racial system. The memes and case examples discussed above perpetuate the devaluation of the Poor Black subject, marginalizing him against those who are upwardly mobile. In utilizing this protest tactic we fail to address the grittier realities of race in America that led George Zimmerman to perceive an anonymous, unarmed Black boy as a threat. We not only ignore these realities, but become naively complicit in their reproduction.

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Jenny Davis is a doctoral candidate in the Department of Sociology at Texas A&M University. She studies self, identity, and human-technology interaction. She blogs for cyborgology.org. Follow Jenny on Twitter @Jup83

Anderson Cooper 360 posted a video based on a study they sponsored of kids’ perceptions of race and friendships. The results are not surprising: kids pick up on larger social patterns, such as the fact that the adults around them often have few significant friendships across racial lines, and struggle to make sense of what they see. By age 6 they are highly aware of race and have formed clear ideas about how adults feel about people of other races than their own. Moreover, they’ve internalized cultural messages about race. As the clip shows, the race of the children themselves, as well as the race of children in images they are shown, impacts how they interpret the events in the pictures, with White children attributing more negative behaviors to African Americans in the photos:

Also check out Anderson Cooper’s earlier segments on children’s attitudes about skin color.