race/ethnicity: Blacks/Africans

A month or two ago I commented on the New York Times Upfront magazine for high school kids. I recently came across their latest, which features a cover story titled “What We Eat.” The story is really just an interesting collection of photographs of families from nations all over the world, but with each family sitting with all the food in their house.

However, although the title of the article inside the magazine is “What We Eat,” the title listed on the cover of the magazine is “What They Eat.” The picture selected for the cover is not one of the family photos, but is, instead, a photo apparently selected to elicit the maximum negative visceral response possible from American kids:

So the cover separates an “us” and a “them,” and shows the American high school students how gross and weird “they” are.

Check out the issue that preceded this one by just two or three weeks:

Here American high school students learn that people around the world with dark skin are violent, dirty, and poorly dressed.

No wonder American kids grow up to be American adults whose voting habits reflect the view that American foreign policy should be paternalistic.

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Missives from Marx is an Assistant Professor of Religious Studies.

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

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.

Toban B. sent in a link to a set of photos from the 1970s gay rights movement. Given that since the anti-gay-marriage Prop 8 passed in California in November, many people have argued that a) the African American community is particularly homophobic and voted against the bill (so it’s Black people’s fault Prop 8 passed) or b) gay rights organizations have failed to reach out to the African American community and win their support (so it’s elitist gay people’s fault Prop 8 passed), both positions that imply that gay rights and African Americans are at odds, I found this photo from Philadelphia (in 1972) particularly striking as a reminder that African Americans often did and do support gay rights, and the gay rights movement has often actively included them…oh yeah, and also there are gay Black people:

Here’s an image of people picketing the White House in the 1960s in support of legislation to ban discrimination against gays and lesbians in federal employment:

There are also quite a few vintage gay movement images mixed in to this set of photos. Thanks, Toban!

Some ecards via Feministe.

Kelly Zen-Tie Tsai asks Obama to include the even-less-visible minorities (by which she doesn’t mean the purple, blue, and green):

Via Stuff White People Do, where there is also a nice discussion.

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.)

Will M. sent us this fascinating clip of Lil’ Wayne on Jimmy Kimmel Live. In the clip, Kimmel asks Wayne about losing his virginity at age 11. Wayne reveals that he did, indeed, lose his virginity at 11. He lost it to a 14-year-old girl who turned out the lights and surprised Wayne into participating, even as he had not intended doing so. What is fascinating is, were Wayne a white female, this narrative would have been considered molestation or rape. As a black male, doubly hypersexualized as a man (who always wants sex) and a black man (who really always wants sex), it’s just considered a joke. This is really nice evidence of the social construction of men, especially Black and Latino men, as hypersexual and, therefore, incapable of being sexually assaulted.

The discussion of his virginity loss begins at about 2:40.

Just one excerpt:

White guy: I didn’t know you could lose your viriginity at 11-years-old.

Other white guy: Well, we can’t, but he did.

Bri a sent in this ad, found in Interview Magazine, and we’d like to know what you think of it:

It reminds me, somewhat, of this post featuring a billboard for Playstation with a black and white woman fighting.