race/ethnicity: Blacks/Africans

Cross-posted at Caroline Heldman’s Blog.

Essence Music Festival, the “party with a purpose,” is a three-day event in New Orleans, featuring speakers during the day and musical performances at night.  It also caters to an almost exclusively black audience, bringing 400,000 people to the Crescent City each year.  Their sheer presence challenges informal systems of segregation in New Orleans.

After the show, I walked through the French Quarter with a few friends and noted how unusual it is to see so many black people in this part of town. Despite losing 118,000 black residents after Katrina, New Orleans is still a majority-black city, but highly segregated and even more so after Katrina.   Formal and informal “policing” generally keeps black locals out of the touristy French Quarter, with the exception of Black residents who work/entertain there.

You can see just how segregated in this map by Eric Fischer (each dot is 25 people; red = White residents, blue = Black residents, and Green = Asian residents):

I first learned about this informal segregation a few years ago when I convinced my reluctant friend, Earl, to go to the Cat’s Meow on Bourbon Street for karaoke. A few blocks from our destination, Earl lagged behind for a moment, distracted by a cat painting, and a group of white locals “warned” me that I was about to “get jumped” by the black guy behind me. Once on Bourbon, we were there for less than a minute before a police officer approached us, questioned Earl’s reason for being there, and told us both to leave.

Policing also occurs in “black neighborhoods” in New Orleans. Working and living in the Seventh, Eighth, and Ninth Wards, my white students and I have been stopped more times than I can count by NOPD, other law enforcement, and “friendly” white people who question why we are in these neighborhoods (or as one member of the National Guard called the Seventh Ward, “Ghettoville USA”).

With the Essence Festival in town, it was refreshing to see many black faces around the French Quarter over the weekend, enjoying the most enriching nightlife in the country. But not everyone saw it this way.

An acquaintance told me her white roommate stayed in all weekend because the Essence Festival was in town and she didn’t want to “get shot.” A white friend who works as a server in the French Quarter told me she was happy when the Essence Festival was over because she wouldn’t have to hear all the racist comments from her fellow servers and her boss. While these white residents live in a majority-black city, they feel threatened when black people come from out of town and don’t follow the rules that keep local blacks in “black neighborhoods.”

Then came the news that a New Orleans Police Department Commander was reassigned pending an investigation of instructions he gave to officers on Friday night when deploying them into areas catering to Essence Festival visitors. He allegedly instructed them to single out young, black men, although the exact language he used has not been released. It’s worth mentioning that Essence has never had an incident of violent crime during its seventeen years, and (now former) Mayor Ray Nagin reported that there is less crime in the city during the festival.

The presence of hundreds of thousands of black people from other parts of the county who don’t know the unspoken rules of racial segregation in New Orleans exposes both these rules and the pernicious racism that undergirds them.

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More maps from Eric Fischer.

Also on residential segregation, see our posts on how it leads to uneven rates of asthma, lead poisoning, and exposure to toxic release facilities.  But we blame poor people anyway.

Lindy hopper Jerry Almonte sent along a clip of the first place-winning routine in a division at the European Swing Dance Championships.  Lindy hop is a partner dance invented by African American youth in Harlem dancing to swing music in the early 1930s.  It’s near and dear to my heart; I’ve been a lindy hopper for 13 years (minus that year with a broken leg).

Modern day lindy hop raises difficult questions.  In a post I wrote when the beloved Frankie Manning died, titled Race, Entertainment, and Historical Borrowing, I tried to capture the conundrum. I’m going to quote myself extensively, only because this is a tricky issue that deserves real discussion:

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.

…

So we have a set of (mostly) white dancers who (mostly) naively and (always) 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.

It is this paradox that stirred Jerry to send along the clip of Dax Hock and Sarah Breck performing a routine that was an homage to a famous clip from the movie Day at the Races, featuring Whitey’s Lindy Hoppers. Here’s the original clip from 1937:

And here’s Dax and Sarah’s routine (Dax, btw, is in a fat suit; an entirely different and equally troublesome issue):

To be as clear as possible, I do believe 100% that Dax and Sarah have no intention to mock and, as essentially professional lindy hoppers, I doubt very much that they’ve never considered the ideas I’ve explained above.

Dax and Sarah are not my target here and, besides, they’re just two people.  All conscious lindy hoppers struggle with these issues.  My target, and my own personal struggle, is the entire endeavor.

I leave this as an open question for discussion, and one that extends far beyond lindy hop to jazz, blues, rap, and  hip hop music; other forms of dance, like break dancing and pop and locking; and even the American obsession with spectating sports that are currently dominated by black athletes.  It also extends far past the relationship between blacks and whites, as Adrienne Keene well illustrates in her blog, Native Appropriations.

How do white people, especially when they’re more or less on their racial own, honor art forms invented by oppressed racial groups without “stealing” them from those that invented them, misrepresenting them, or honoring them in ways that reproduce racism?  You tell me… ’cause I’d like to know.

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For more, I’d be thrilled if you read my original post, inspired by the passing of Frankie Manning.

Also worth considering is this beautiful music video (Slow Club, Two Cousins) featuring lindy hoppers Ryan Francoise and Remy Kouakou Kouame performing vintage jazz movement. Is it different? What makes it so (other than production value and the race of the dancers)? Can you articulate it? Or is it tacit knowledge?

Inspired in part by The Spirit Moves?

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.

Renée Yoxon sent along a performance by Patina Miller singing Random Black Girl.  It’s about how new musicals all just so happen to include a soulful, sassy, big-voiced, big-bottomed black girl in the ensemble (I’m looking at you, Glee).

My favorite part is at 3:45.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

I argued earlier that Avatar was not a story about a heroic people, the Na’vi, but a white savior.  I summarized:

Sully is not only a superior human being, he is also a superior Na’vi. After being briefly ostracized for his participation in the land grab, he tames the most violent creature in the sky, thereby proving himself to be the highest quality warrior imaginable per the Na’vi mythology.  He gives them hope, works out their strategy, and is their most-valuable-weapon in the war. In the end, with all Na’vi contenders for leadership conveniently dead, he assumes the role of chief… and gets the-most-valuable-girl for good measure. Throngs of Na’vi bow to him.

Avatar was heralded as a break-through movie for its technological achievements, but its theme is tired.  With the aim of pointing to how Avatar simply regurgitated a strong history of white, Western self-congratulation, Craig Saddlemire and Ryan Conrad re-mixed the movie with other similar movies, including Blind Side, Dancing with Wolves, Blood Diamond, The Last Samurai, Out of Africa, Stargate, and Indiana Jones and the Temple of Doom.

They go through several features of these narratives: awe at the “native” landanimalspeople, the decision that they are helpless and doomed without White, Western intervention, the designation of a White savior who devotes him or herself to their rescue, native self-subordination, and more.  It’s pretty powerful. Thanks to Lizzy Furth for sending the video along!

See also: Formula for a successful American movie.

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.

A few months ago Lisa wrote about bulletin boards posted in New York City that racialize the abortion debate by presenting it as a particular danger to African American children. The new anti-abortion film Gates of Hell takes this racialization a step further, presenting a future world in which the Black Power movement has begun a domestic terrorist movement against providers of abortion services for what they see as genocide against African Americans. Here’s the trailer, sent in by Dolores R.:

Partial transcript available at Feministing.

The official description, from the film’s website:

Black power. Abortion. Terrorism. “Prophetic fiction”. Three years in the making, “Gates of Hell” is a documentary from the year 2016 that chronicles the crimes of a band of domestic terrorists known as the Zulu 9. Finnish filmmaker Ani Juva travels to the United States to better understand the mysterious black power assassins, the bizarre eugenics conspiracy theory that drove them to commit extreme acts of violence and how America’s political landscape was transformed forever. Blending real history and real public figures with a fictitious (yet plausible) future, it is safe to say that you have never seen a film like “Gates of Hell”.

As yet, the film doesn’t have a distributor; they have an online call for funding to help screen the film. The production company behind it, Illuminati Pictures, is headed by Molotov Mitchell, a contributor to popular conservative website World Net Daily, which posted a promotional video about the movie.

In her earlier post, Lisa questions the apparent concern for African Americans expressed in this framing of the abortion debate, pointing out that in some cases they seem to blame Black women for having abortions and totally ignore the structural factors at play. In a similar vein, this anti-abortion film, while ostensibly sympathetic to the idea of African Americans fighting what they see as genocide, draws on the stereotype of African American men as particularly violent and willing to kill, even while presenting them as possibly justified in this case.

And over at Feministing, Vanessa pointed out that we might question Molotov Mitchell’s genuine concern for oppressed groups given a video he appeared in back in 2009 supported Uganda’s anti-gay bill, which allowed the death penalty for repeat offenders:

As Lisa pointed out, there are very good reasons to be concerned about African American women’s reproductive freedom and the structural inequalities that might push them into making decisions about whether or not to end a pregnancy regardless of their personal preferences. But some of these anti-abortion messages presenting abortion as genocide seem to use racialization as a convenient tool that has little to do with more widespread concern about racial (or other forms of) inequality, discrimination, and even violence more broadly.

Dolores R. sent in a story at about a recently-released internet campaign ad in the CA-36 special election that Talking Points Memo has called “Willie Horton on steroids,” referring to the infamous racial-fear-mongering ad released by George H.W. Bush in the 1988 presidential campaign. The CA-36 ad was released by a new super-PAC (able to raise unlimited funds), Turn Right USA. (The guy who produced it also produced a striking ad for a candidate for Alabama Agriculture Commissioner in 2010.) It attacks Democratic candidate Janice Hahn over her support for gang intervention programs. And it’s a doozy. It is definitely NSFW:

Aside from the just over-the-top racist and sexist nature of the ad, it’s also interesting because of the issues it brings up about technology and democratization of ad campaign materials. Turn Right USA isn’t directly linked to or affiliated with the campaign of Hahn’s Republican rival in the race, Craig Huey. Huey’s campaign has reacted with dismay, condemning the content and distancing themselves from it. They clearly fear a backlash that will hurt Huey’s chances (and he’s already the underdog in the race). And yet, they didn’t create the ad, there’s no evidence that I’ve seen that they worked with Turn Right USA, and they don’t have any ability to take it down or symbolically fire the producer to show how little they think of it. We saw a similar situation recently in Florida, with a mailer apparently intended to discredit a candidate who had nothing to do with it.

While non-campaign-funded attack ads clearly helps candidates in a lot of situations (for instance, the Swift Boat Veterans for Truth ads against John Kerry in 2004), they can also hurt the candidate they’re meant to help. Campaigns can’t control their content and they can’t retract them if they sense a public backlash. Voters may blame candidates for content they didn’t approve and can’t fix. And the increasing number of third-party advocacy groups, combined with the ability to distribute materials widely over the internet instead of buying TV time, seems likely to increase the danger to campaigns of these types of ads ostensibly meant to “support” them.

A few weeks back, Forbes named Pittsburgh as the most livable city in the U.S. The description of the city talks about its “art scene, job prospects, safety and affordability,” and presents a picture of Pittsburgh as a city that has rebounded from both its industrial past and the current economic crisis to become a cultural and intellectual hotspot:

Forbes ranked cities based on unemployment, rates of income growth in the past 5 years, crime rates, cost of living, and cultural/artistic opportunities (according to Sperling’s Best Places Arts & Leisure Index). The final score is an average of the different elements, each of which are weighted equally, though I can’t help but think a lot of people might think some of those factors are more important in how they evaluate a location than others. Also, I have some reservations about rankings from Sperling’s Best Places, as they have a “manliest cities” ranking commissioned by Combos snacks that includes “sales of salty snacks/crackers” and deductions for “emasculating” criteria like sushi restaurants.

But I digress. As it turns out, this glowing report is only part of the story of Pittsburgh. The city also tops the charts in terms of African American poverty. African Americans in the region haven’t benefited from the economic turnaround Forbes discussed.

In light of this fact, Jasiri X, a rapper from Pittsburgh, wrote “America’s Most Livable City.” In the song (lyrics here) and video he questions who, exactly, the city is livable for, contrasting the image portrayed in the Forbes article with the region’s neglected and under-developed African American neighborhoods:

There are also three videos featuring Jasiri X interviewing residents of poor neighborhoods. All are worth a watch, but I think the best is the 2nd segment. A local resident discusses how what he sees as exaggerated media reports of the crime and danger in some areas — some created by well-meaning people trying to bring attention to the needs of the community by, he believes, playing up the bad aspects — served to justify abandoning Black neighborhoods in desperate need of economic opportunities:

For another discussion of very different experiences of economic crisis and recovery, see our guest post about Forbes ranking Stockton, CA, as the most miserable city in the U.S.

Thanks to Abby Kinchy for the link.

In response to my post yesterday about tourism ads presenting local (often, though not always, non-White) residents of vacation hotspots as tourist attractions and amenities for relatively privileged travelers to enjoy, Lauren J. sent in a Heineken ad that pokes fun at the expectations visitors to Jamaica often have about how Jamaicans would act, and how local residents may feel obliged to play along and give tourists (with their cash) the “authentic” experience they desire: