race/ethnicity: Blacks/Africans

Nationalist white supremacy organizations, and their gentler counterparts in the U.S., sometimes argue that non-white women are having more children than white women.  The result is a shift in the national demographic (that they don’t like).

This month the Pew Research Center released a report on the changing demographics of American motherhood (discovered thanks to a tip by Michael Kimmel).  Under “Mother’s Race,” we see that there has been a 12 percentage point decrease in the share of births to white women between 1990 and 2008.  In contrast, births to Asian and, especially, Hispanic women have increased (a combined 13 percentage points):

The share of births to native versus foreign born women has also shifted, with a quarter of births now to women who have immigrated to the U.S.:

They summarize:

White women made up 53% of mothers of newborns in 2008, down from 65% in 1990. The share of births to Hispanic women has grown dramatically, to one-in-four.

So, whether you agree with the national white supremacists’ evaluation of the data or not (I assume you do not), they’re right about the data.

UPDATE: Sabrina, in the comments, rightly points out that my comments assume that the father’s race matches the mother’s.

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.

Michelle R. sent in a segment from CNN that asks children to associate positive or negative attributes with various skin tones, much like a famous 1940s experiment that asked children which doll they preferred. The original experiment, and recreations since then, have found that children of all races tend to view lighter-skinned dolls or images more positively (prettier, smarter, more desirable as a classmate) than darker-skinned ones, and to believe that adults do so as well (sorry for the ads before each segment).

Anderson Cooper then talks to some of the children about their answers:

It’s fascinating that kids pick up on competing cultural themes and use them in their answers — that is, skin color isn’t supposed to matter and you judge people as individuals, but people still do care about skin color. And they all agree that the “good” skin color (from their own perspective or what they think adults prefer) is lighter. And to hear a girl refer to her own skin color as “nasty”…heartbreaking.

NEW! (May ’10): Alex P., Dimitriy T.M., and Abeer K. sent in a final segment, in which a parent reacts to her child’s preferences:

Related posts: another recreation, and the original study.

After reading my recent post on how Gypsy jazz guitarist Django Reinhardt survived World War II (hint: rank-and-file Nazis loved jazz!), Dmitriy T.M. sent me a link to a fascinating account of a German jazz band, called Charlie and His Orchestra, that was put together by Joseph Goebbels, a Nazi propaganda guy.

To recap, jazz music was labeled “Neggernmusik.”  Attributed (rightly) to blacks and Jews, it was considered pollution to German sensibilities.  Jazz lovers, jazz musicians, and swing dancers were all sent to concentration camps.

Nevertheless, Undercover Black Man describes how Goebbels saw potential in the music and, so, “weaponized” it to “screw with British and American minds.”

Charlie and His Orchestra recorded jazz standards, but changed the lyrics to “anti-British, anti-American, anti-Communist or antisemitic messages.”

The songs were broadcast via medium-wave and short-wave radio to Great Britain and North America. It was all about taunting and demoralizing the Allies… and trash-talking Winston Churchill and F.D.R. by name.

In this clip, the Orchestra, covering Goody Goody, is accompanied by WWII photographs. The propaganda starts at 1:04:

For more, check out the Charlie and His Orchestra versions of You Can’t Stop Me From Dreaming, You’re Driving Me Crazy, and Makin’ Whoopee.

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.

Leah S. asked us to talk about Beyoncé’s new video, Why Don’t You Love Me, and I think Ann at Feministing had some interesting things to say, so I’m going to borrow her insights.

Noting both Beyoncé’s video and the recently released video for Babyfather by Sade, Ann observes:

…both Sade and Beyonce are cast as “traditional” homemakers in retro-styled videos. Beyonce’s retro romp seemed (at least to me) a bit tongue-in-cheek, whereas Sade pretty earnestly makes Jell-O and keeps house. But regardless, they’re both wearing vintage-looking sexy slips, making dinner, hanging out at home during the day, etc.

But they’re not simply nods to the ’50s.  Because both women are black, the videos also potentially subvert the idea of the perfect housewife of that era.  Ann continues:

I know there were certainly upper-middle-class women of color in the ’50s and ’60s, but this image of the happy-but-secretly-unhappy housewife is stereotypically white. By virtue of race, Beyonce and Sade are twisting that stereotype.

And that twist is very political.  Consider this: In American politics today, the “perfect” mother is one who does not work and stays home with her children.  Unless she’s poor.  Poor women who want to stay home with their children are called lazy, welfare cheats.  If you’re poor, you can only be a good mother by working.

Because race and class are correlated in U.S. society, and the “welfare queen” is a race-specific trope that usually refers to poor, black women, these videos might very well challenge the white-middle/upper-class-homemaker conflation.

Beyoncé, Why Don’t You Love Me:

Sade, Babyfather:

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.

Yael S. sent along a 10-minute educational video by FilmFixation. In it, she asks viewers to consider the conditions in which historical photographs came to be.  “Why was it created,” she asks, “by whom, and for what purpose?”  It starts off a bit slow, but picks up with voiceover.  Please be alerted that there are images of racialized violence:

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.

Breastfeeding is widely believed to carry significant health advantages for infants and the American Academy of Pediatrics (AAP) would like to see all mothers breastfeed their children for at least 12 months, with no supplemental food for the first six.

Breastfeeding, however, is a big job.  Even if a newborn takes to breastfeeding without any problems (some mothers struggle mightily with less-than-cooperative infants), mothers must feed their children around the clock (they now recommend every two hours, 24-hours a day for newborns).  If it takes a half hour to settle the baby down and fill it up, you’ve got an hour and a half before the next feeding time.

Mothers who have the privilege to stay home with their babies — for three, six, or even twelve months — then, are going to find it much easier to follow the AAP guidelines.  For mothers who return to work, those who work in flexible positions that award some degree of autonomy and respect will also be more likely to continue breastfeeding.   In other words, a lawyer with a private office and a work schedule under her own control can stop several times a day and express milk to bring home to her child; in contrast, a woman working the cash register at McDonald’s with a boss hovering over her doesn’t have the same autonomy or privacy and may be forced to give up breastfeeding.

It shouldn’t be surprising, then, that breastfeeding rates are higher among more educated women and White and Asian women.  Both of these variables tend to correlate with class privilege:

There are some interesting things, however, that don’t correlate with this class thesis.  First Hispanic women are more likely to breastfeed than White women and people with less than a high school education are more likely to breastfeed, especially at six and 12 months, than people with a high school education.

I can think of some reasons why… I’ll let you discuss it in the comments.

Borrowed from Philip Cohen’s Family Inequality Blog.  For more data on rates of breastfeeding, including U.S. state comparisons and changes in rates over time, see 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.

Orion submitted this gorgeous music video for the song, Tightrope, by Janelle Monae, featuring Big Boi. It’s a great example of how dancing doesn’t have to be sexualized or gendered by movement or attire. It’s just creative and interesting and mesmerizing!

On a completely different note: Any dance historians out there? To me this looks to be inspired by the adaptations of Charleston in Black America (Trankey Doo, Shim Sham, etc), like in this clip featuring Al Minns and Leon James (it’s filmed in 1961, but these dances emerged in the ’30s and ’40s):

I’d love to hear more about the evolution of this kind of movement.

UPDATE!  Thank you so much to our Reader, Anna, who is also a dance scholar and was able to give us some history in the comments thread:

Dance scholar here! I really enjoyed the dancing in the Janelle video. It should be read as an homage to rhythm dancing of African-descent from the 1920s through new Jack Swing (kidding, not sure there is a cut off date). The historical footage is in fact cited in Janelle’s video and as one poster pointed out, the dancing in her video is stylized as if it were being done on a tight rope… In my opinion (cause other scholars might see different things based on their training) her dance has some Camel Walkin’ mixed in with some dancehall hip articulation and a big dose of James brown, to be sure.

As for the claim that you cannot get from Al Minns and Leon James to 2010, that is shortsighted, very short! We get James and poppin and lockin and jazz itself from a peculiar mix of Bambara ethnic dances (modern-day Senegal, The Gambia, & Mali) and dance cultures of the people of the Kongo region (Angola, DRC, Congo among others) that intersected in New Orleans during the slaving period. You can also add in there “shipping music,” hybridized forms of music that emerged on slave ships with their transnational crews drawn from Europe, Africa, and the Mediterranean.

The hips and 6/8 syncopated shenanigans come to us from Kongo culture (but the Irish had some there, too). The Charleston, jitterbug and other high kicking dances come from the Senegal region and still reflected patterns from mandjiani in particular. Origins are always tricky, I try to avoid staking big claims based on them, but this conversation string was peculiar in that discussions of ethnic origin were not possible because race and gender were eliding the historical work done in Jenelle’s video. Yes I know the question was about gendered movement. And like a lot of the other folks, I am wondering while a male normative is held as neutral.

That said, from a dance perspective, the moves in Janelle’s video are without gender assignment, but there is an expectation that one’s gendered identity will be, must be expressed through the execution of the moves. That is the evolution of these forms which still have strong gender-based repertoire in Senegal. The Congo, people tend to do the same moves. The men MOVE their hips. It is de rigeur in pop as well as “traditional” dance music.

The last bit of the two guys dancing together was a comedy routine, a send up of a very famous dance riff from a couple in Harlem. I think that original “duet” appears in “Stormy Weather,” but I am not sure.

Thank you for putting up the two videos!

Thank YOU for your insight Anna!

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 photo below was submitted to Fail Blog as a failure of communication:

In English adjectives come after before the noun that they modify such that, the way this is written, it reads as if there is a “big black reward” for the finder of the “lost dog” instead of a “reward” for the finder of the “big black dog.”

So this is funny, right?

It’s not simply funny because of the grammar mix up, it’s funny because “big” and “black,” when put together, have a particular connotation. We live in a society in which those words often go together because we stereotype black men as having large penises and being, generally, large.

The fact that the grammar mistake is humorous, then, relies specifically on this stereotype… so it’s nice evidence that the stereotype is real. The sign simply would not have the same impact if it read “Lost Dog Big White Reward” or “Lost Dog Big Yellow Reward.”

Fail Blog, via Dr. Grumpy.

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.