race/ethnicity

Thus far in this series I have offered five explanations of why people of color are included in advertising: (1) to associate the product with a racial stereotype, (2) give a product “color” or “flavor,” (3) invoke ideas of “hipness” or “modernity,” (4) trigger the idea of human variation itself, or (5) suggest that the company cares about racial equality.

With this post, I begin illustrating how they are included. Here I show that, in many cases, people of color are included, but they are made to blend in with whiteness such that they vary only by the color of their skin.  This is related to two things (at least).

First, beauty is racialized such that what makes some darker-skinned women distinctive from some lighter-skinned women ( e.g., hair texture, nose shape, skin color) also makes them less beautiful according to mainstream cultural standards in the U.S.  When women of color are included in advertising, then, they often look very similar to the White women they are with, varying only by a few degrees (eg., straightened hair [sometimes lightened], slightly darker skin, slightly wider nose).  Check out these terrific examples.

Second, when women of color don’t conform to white standards of beauty, it is often interpreted as resistance to assimilation to whiteness and, thus, threatening.  For example, when The New Yorker wanted to parody the rumor that the Obamas were Muslim terrorists, they put an afro on Michelle.  So an advertiser will often choose women of color who look more-or-less white because to do otherwise is to send a message of non-conformity or resistance.  This is often done strategically, but if they don’t want to send this message, they will include a woman of color who look assimilated.

Here are some examples:

Next up: Chaperoning.

Also in this series:
(1) Including people of color so as to associate the product with the racial stereotype.
(2) Including people of color to invoke (literally) the idea of “color” or “flavor.”
(3) To suggest ideas like “hipness,” “modernity,” and “progress.”
(4) To trigger the idea of human diversity.
(5) To suggest that the company cares about diversity.

Via Slate.

I just discovered the entirely excellent website Asian Nation, run by C.N. Le and full of great information about the Asian American community. Here are some tables showing what percent of various Asian American groups are married to spouses of the same or other groups, updated as of October 2007 using Census data (an explanation of the three columns follows):

Ok, now to explain the three columns of numbers. The first one presents data for all marriages that include at least one Asian American spouse–this will include large numbers of immigrants who were married before they moved to the U.S. The second column includes only those marriages where at least one spouse was raised in the U.S., defined as either born here or moved here by age 13. The third column includes only those marriages where both spouses were raised in the U.S. According to Le, this group represents less than 25% of all marriages including an Asian partner, but “…has the advantage of including only those who were raised and socialized within American society and its racial dynamics. It is this U.S.-raised population that best represents young Asian Americans, since they are the ones who have the most exposure to prevailing American cultural images and media.”

Not surprisingly, endogamous (in-group) marriage rates drop off significantly among U.S.-raised Asian Americans. There are other interesting gender patterns as well. Notice, for instance, that Chinese, Vietnamese, Korean, and Filipina women are quite a bit more likely to be married to a White partner (the most common out-group spouses) than are men, and for the remaining groups, women are slightly more likely to be married to a White spouse. You might discuss the social and historical factors that might cause that pattern, and compare it to the trend in marriages with a Black and a White spouse, in which the gender pattern is usually reversed–Black men are more likely to be married to Whites than are Black women. It might also be worth noting that Korean and Filipina women are significantly less likely to marry endogamously than the other Asian American ethnic groups.

Kona Grill specializes in “imaginative meals.”  In their ad campaign (discovered here), they sexualize their mixing of usually segregated culinary traditions (“East meets West”).  Here they put a fork and chopsticks in bed together:

Their food, apparently, is like interracial sex.  This is interesting in itself, but the copy goes further.  It reads:

A restuarant.  A bar.  A place where opposites attract.  Visit konagrill.com for a little taste.

So not only are East and West (or Asians and Americans) different, they’re “opposites.”  Such advertising not only fetishizes interracial relationships, but it reinforces the idea that race and culture are such powerful and defining characteristics that people from the East and the West could not possibly have anything in common (except sex, of course).

Here are some great World War II-era comic book (graphic novels! Whatever!) covers and/or posters (all found at Superdickery’s Propaganda Extravaganza page, thanks to Krystal-lynn M.). They all combine patriotism, pro-war sentiment, and racist images:

The Black kid on this next cover is named Whitewash:

Thanks, Krystal-lynn!

Blanca and Stephanie brought this video, called “The Race Flag,” to my attention. In it, a referee penalizes African Americans who use “the race card” too eagerly (go here if the video doesn’t show up right):

It’s an interesting clip that plays on the idea of African Americans as over-sensitive, bitter whiners who see racial insult (or at least claim to) where none was intended. It might be useful for sparking a discussion about what we mean by “playing the race card.” For instance, what’s the difference between playing the race card…and pointing out actual incidents of discrimination? Obviously the difference, based on this video, is that playing the race card means the person is over-reacting and making ridiculous accusations. But “over-reacting” is a subjective term, and the idea of playing the race card assumes that there wasn’t any actual discrimination or prejudice. But most of the time we don’t have video cameras that can clearly catch everyone’s intentions and actions on tape for review. Concerns about playing the race card tend to ignore the very real fact that minorities often do face discrimination and prejudice (as well as backhanded compliments like “You’re so articulate!”) in the workplace. While I’m sure there are African American workers who make unwarranted accusations of racism (just as there are examples of almost any behavior you can think of), I’m also quite certain that there are employers and coworkers who engage in discriminatory actions but then deny any racist intent and accuse anyone who complains of playing the race card.

I’d also point out that Whites use the race card, too: I cannot tell you how many of my White students have told me that they did not get a job, into a particular college, etc., because they are White. Sometimes they say a manager/friend/etc. told them the company “had” to hire a minority “to meet quota.” Other times they’ve simply inferred, from the fact that they can see no other possible explanation for not getting said job/college acceptance letter/etc., that it must have been because they are White.

You might pair this with the chapter “‘Racing for Innocence’: Whiteness, Corporate Culture, and the Backlash against Affirmative Action,” by Jennifer L. Pierce, from White Out: The Continuing Significance of Racism (2003).

Apparently the same people who made that video made this one, which laughs at the idea of the Republican Party trying to woo African Americans (found here):

I’ll leave the commentary on that one to our readers, if they feel so inclined.

Thanks, Blanca and Stephanie!

Vintage Ads posted these three ads–one for an electric refrigerator and two for Gold Dust Cleaner–that compare the product to a Black servant. 

The copy in the refrigerator ad reads: “And So Electricity Is Made The Willing Servant.”  The accompanying image includes three white women looking leisurely and a Black servant. 

Similarly, these two Gold Dust ads personify the product as Black twin babies. The motto is: “Let the GOLD DUST TWINS do your work.”
 

I think these are fascinating in that they draw our attention to whose work technology is designed to replace. Earlier on this blog we’ve talked about how ads have offered to replace women’s work with the market and with technology.  In these cases, the market and technology were needed to ease women’s workload (they certainly couldn’t expect their husbands to do it).  In this case, Black servants serve to take women one step further from “women’s work.”  Instead of replacing women themselves, the product replace the servants who replaced women, making the comparison of the product to Black servants completely sensical at the time.

Breck C. sent us this link to a collection of photographs of Harajuku Girls.  Harajuku is a style for teenagers in a region of Japan (here is the wikipedia entry).  I can’t think of a way to describe them that does them justice, so here are some pictures (found here, here, here and here):

In 2004, Gwen Stefani began touring with four women posing as Japanese Harajuku girls.  Stefani’s Harajuku Girls serve as her entourage and back-up dancers. Here she is with four (Japanese?) women that she hires to be her Harajuku Girls (found here and here):

In the comments, Inky points out that Stefani says this about them in her song, Rich Girl:

I’d get me four Harajuku girls to
Inspire me and they’d come to my rescue
I’d dress them wicked, I’d give them names
Love, Angel, Music, Baby
Hurry up and come and save me

Stefani also has a Harajuku Lovers clothing line and a series of perfumes, one for her, and one for each Harajuku Girl:

I think that Stefani’s use of Asian women as props (they may or may not be Japanese) fetishizes Asian women and reinforces white privilege.  The Harajuku Girls serve as contrast to Stefani’s performance of ideal white femininity.  It makes me think of both this poster on colonial-era travel and this fashion spread.

Yet, Stefani’s been at this for four years and I can’t remember hearing any objections to her Harajuku Girls, even in feminist and anti-racist alternative media.  Further, if her fashion line, perfume, and continued employment of the Harajuku Girls are any indication, people seem to think the whole thing is awesome.  In the meantime, I bet she’s making bank on her clothing line and perfume.  Where’s that money going?

Do you think my reading is fair?

And, if so, why do you think there’s been so little outcry?

For good measure, here she is performing with her “Girls”:

In our comments, SG asks that we include the following clarification:

This article is really misrepresenting a whole fashion scene and I would like to ask that you correct it- It is just perpetuating the idiocy and ignorance surrounding these styles. “Harajuku is a style for teenagers in a region of Japan”. “Harajuku style” Is a term coined by western media because they are too ignorant to actually research the names of these actual styles. Harajuku is not a style. It is a location. The females you have pictured are in Decora (and two in Visual Kei). The only “harajuku style” that exists is the fictional one made up by Gwen Stefani and the western media.

Thanks SG.

See also our post featuring other examples of ads and artists using Asians as props.