race/ethnicity

Last week I went to see the last Harry Potter movie. I was a bit startled that the pre-movie commercials included this ad (thanks to Melissa H.-J., Tom Megginson, and carlafrantastic for the link!):

I was startled both because I hadn’t expected a Summer’s Eve ad at a Harry Potter showing (the 14-year-old boy I had taken with me seemed to desperately wish he could disapparate on out of there) and by the idea that the most powerful thing in the entire world is women’s vaginas — or, as Melissa points out, men’s desperate desire to get access to them through violence toward one another, with women passively waiting around to see who wins so they know who to have sex with.

And as Tom (who blogs at Work that Matters) says, if someone is going to show their vagina “a little love,” perhaps they would best do so by avoiding irritating, unnecessary products that can actually exacerbate problems like yeast infections.

Summer’s Eve also released several more “Hail to the V” ads (all posted at Gawker), sent in by Leila R., Jamie D., Joel T., YetAnotherGirl, Maeghan D., and Finette. The ads inform women that they need to carry wipes for their genitals with them at all times, because you need to clean yourself down there multiple times a day to avoid being gross; Summer’s Eve helpfully created ads targeting different ethnic groups to be sure everyone understands how important this issue is:

Here’s the African-American version:
[Video removed]
This Latina version:
[Video removed]
And the White version:
[Video removed]
Vertical smile? Are they serious with this? And as Finette says, “They’ve managed to combine ‘less than fresh down there’ vagina-shaming [omg, what subtle hints has your vagina been trying to get your attention with?!] with ethnic stereotypes! Awesome!”

UPDATE: After a lot of criticism, Summer’s Eve has pulled the ads and seems to have gotten them removed from YouTube, so none of the videos we initially posted are available any more. However, Laura S. found a clip from TYT Network discussing the ad campaign, so you can get an idea of what they were like. Thanks, Laura!

Cross-posted at Love Isn’t Enough.

The West has a long history in which Black and African people were stereotyped as more in touch with nature and more like animals than White and European people.  This elision still haunts us, and Sasha H. sent in a link to an example. To be fair, I went through several pages of Google search results and found only two instances of this particular mistake, but I thought it was worth pointing out as a cautionary tale.

Sasha’s link was to an amusement-focused website called Silly Village.  They posted a series of photographs of a little girl, named Tippi Degré, who was born to wildlife photographers in Namibia, where she grew up. The photos are of her with lots of animals and the set of photos is titled “Young Girl Life with Wild Animals.”  The thing is, though, two of the photos do not include animals, but include only her and local Africans, no animals at all.

I found this same mistake at a more serious source, one that should have editors who are more careful than this, The Telegraph.  The story, titled “The Real-Life Mowgli who Grew Up with Africa’s Wild Animals,” includes a slideshow introduced with this language:

A remarkable range of pictures in a new book show Tippi Degre — a French girl labelled the ‘real-life Mowgli’ — growing up with wild animals.

But the slideshow includes three images, again conflating African animals with African people.

If this happened rarely, it could be chocked up to a random mistake, but this conflation is actually rather ubiquitous.  We’ve posted on this many times. Here are three choice posts: animalizing women of color, Africa is wild and you can be too, and choosing girls of color for animal costumes.

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.

After the tsunami in March, we featured a series of hateful Facebook updates suggesting that the Japanese deserved the devastation. Yesterday Japan won the women’s World Cup against the U.S. and we’re seeing the same rhetoric.  The collection below, and more, was up on Buzzfeed as of yesterday night.

Interestingly, in addition to the now familiar racism and jingoism, some of the updates suggest that the gods were smiling on Japan in the aftermath of the tsunami, allowing them to win because they’ve had such a rough time of it lately. Of course, this nicely erases the athletic ability of the Japanese team and the possibility that they were actually just better than the U.S. team.

Trigger warning:

Thanks to Who, Harmony for the heads up on Twitter, a new distraction that I’m enjoyingsuper much!

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.

Rising Immigration and Intermarriage

Today we see both increased immigration and rising rates of intermarriage. In 1960, less than 1% of U.S. marriages were interracial, but by 2008, this figure rose to 7.6%, meaning that 1 out of every 13 U.S. marriages was interracial. If we look at only new marriages that took place in 2008, the figure rises to 14.6%, translating to 1 out of every 7 American marriages.

The rising trend in intermarriage has resulted in a growing multiracial population. In 2010, 2.9% of Americans identified as multiracial. Demographers project that the multiracial population will continue to grow so that by 2050, 1 in 5 Americans could claim a multiracial background, and by 2100, the ratio could soar to 1 in three.

At first glance, these trends appear to signal that we’re moving into a “post-racial” era, in which race is declining in significance for all Americans. However, if we take a closer look at these trends, we find that they mask vast inter-group differences.

For instance, Asians and Latinos intermarry at much higher rates than blacks. About 30% of Asian and Latino marriages are interracial, but the corresponding figure for blacks is only 17%. However, if we include only U.S.-born Asians and Latinos, we find that intermarriage rates are much higher. Nearly, three-quarters (72%) of married, U.S.-born Asians, and over half (52%) of U.S.-born Latinos are interracially married, and most often, the intermarriage is with a white partner. While the intermarriage rate for blacks has risen steadily in the past five decades, it is still far below that of Asians and Latinos, especially those born in the United States.

The pattern of multiracial identification is similar to that of intermarriage: Asians and Latinos report much higher rates of multiracial identification than blacks. In 2010, 15% of Asians and 12% of Latinos reported a multiracial identification. The corresponding figure for blacks is only 7 percent. Although the rate of multiracial reporting among blacks has risen since 2000, it increased from a very small base of only 4.2 percent.

The U.S. Census estimates that about 75-90% of black Americans are ancestrally multiracial, so it is perplexing that only 7% choose to identify as such. Clearly, genealogy alone does not dictate racial identification. Given that the “one-drop rule” of hypodescent* is no longer legally codified, why does the rate of multiracial reporting among blacks remain relatively low?

Patterns in Racial/Ethnic Identity

These are some of the vexing questions that we tackle in our book, The Diversity Paradox, drawing on analyses of 2000 Census data, 2007-2008 American Community Survey, as well as 82 in-depth interviews: 46 with multiracial adults and 36 with interracial couples with children.

Turning to the in-depth interviews with the interracial couples, we found that while all acknowledged their children’s multiracial or multiethnic backgrounds, the meaning of multiraciality differs remarkably for the children of Asian-white and Latino-white couples on the one hand, and the children of black-white couples on the other. For the Asian-white and Latino-white couples, they may go to great lengths to maintain distinctive elements of their Asian or Latino ethnic and cultural backgrounds, but they believe that as their children grow up, they will simply identify, and be identified as “American” or as “white,” using these terms interchangeably, and consequently conflating a national origin identity with a racial identity.

The Asian-white and Latino-white respondents also revealed that they can turn their ethnicities on and off whenever they choose, and, importantly, their choices are not contested by others. Our interview data reveal that the Asian and Latino ethnicities for multiracial Americans are what Herbert Gans and Mary Waters would describe as “symbolic”—meaning that they are voluntary, optional, and costless, as European ethnicity is for white Americans.

By contrast, none of the black-white couples identified their children as just white or American, nor did they claim that their children identify as such. While these couples recognize and celebrate the racial mixture of their children’s backgrounds, they unequivocally identify their children as black. When we asked why, they pointed out that nobody would take them seriously if they tried to identify their children as white, reflecting the constraints that black interracial couples feel when identifying their children. Moreover, black interracial couples do not identify their children as simply “American” because as native-born Americans, they feel that American is an implicit part of their identity.

The legacy of the one-drop-rule remains culturally intact, explaining why 75-90% of black Americans are ancestrally multiracial, yet only 7% choose to identify as such. It also explains why we, as Americans, are so attuned to identifying black ancestry in a way that we are not similarly attuned to identifying and constraining Asian and Latino ancestries.

On this note, it is also critical to underscore that a black racial identification also reflects agency and choice on the part of interracial couples and multiracial blacks. Given the legacy behind the one-drop rule and the meaning and consequences behind the historical practice of “passing as white,” choosing to identify one’s children as white may not only signify a rejection of the black community, but also a desire to be accepted by a group that has legally excluded and oppressed them in the past, a point underscored by Randall Kennedy.

Black Exceptionalism

But regardless of choice or constraint, the patterns of intermarriage and multiracial identification point to a pattern of “black exceptionalism.” Why does black exceptionalism persist, even amidst the country’s new racial/ethnic diversity? It persists because the legacy of slavery and the legacy of immigration are two competing yet strangely symbiotic legacies on which the United States was founded. If immigration represents the optimistic side of the country’s past and future, slavery and its aftermath is an indelible stain in our nation’s collective memory. The desire to overlook the legacy and slavery becomes a reason to reinforce the country’s immigrant origins.

That Asians and Latinos are largely immigrants (or the children of immigrants) means that their understanding of race and the color line are born out of an entirely different experience and narrative than that of African Americans. Hence, despite the increased diversity, race is not declining in significance, and we are far from a “post-racial” society. That we continue to find a pattern of black exceptionalism—even amidst the country’s new racial/ethnic diversity—points to the paradox of diversity in the 21st century.

——————-

* The one-drop rule was first implemented during the era of slavery so that any children born to a white male slaver owner and a black female slave would be legally identified as black, and, as a result, have no rights to property and other wealth holdings of their white father.

———————

Jennifer Lee is a sociologist at the University of California, Irvine, specializing in intersection of immigration and race and ethnicity. She wrote, with Frank Bean, a book called The Diversity Paradox, that examines patterns of intermarriage and multiracial identification among Asians, Latinos, and African Americans.  Lee wrote the following analysis of her research for Russell Sage. And we’re happy to post it here.

Comedians exercise a curious privilege, which allows them to peddle controversial conclusions and uncomfortable insights without suffering the usual scorn and admonishment that comes with challenging systems of power or bringing indelicate knowledge about the world to the surface. For instance, the suggestion that Americans are deeply divided by race and class usually causes people to fidget, yet Chris Rock was greeted with laughter and applause when he unabashedly criticized the racialized wealth gap in the United States. Similarly, Louis C.K. received a rousing applause when he discussed his privilege as a white male, and Hari Kondabolu made an entire room burst into laughter by exposing the nonsensical logic underlying stereotypes aimed at Mexican immigrants.

But comedy is just as likely to reinforce stereotypes as it is to criticize them. Consider Jeff Dunham’s act featuring his popular dummy, “Achmed the Dead Terrorist.” In the clip below, from a 2007 performance, Dunham draws upon a number of stereotypes of Arabs and Muslims, many of which have been around since well before the attacks on September 11th, 2001:

Dunham is not deploying social criticism, but is instead uncritically drawing on racist representations for laughs. Arabs and Muslims, like the Achmed character, are typically portrayed as religious fanatics. They are often depicted as irrationally angry, even as self-proclaimed terrorists. But if they are dangerous, they are dangerous buffoons and are often too incompetent to pull off their own deadly plots.

Comedians can be understood as articulators of knowledge about the world. They contribute to the persistence of stereotypes at times, but can also articulate convincing arguments against them. This holds for other types of comedic performance as well. Political cartoons, comedy sketches, and even situation comedies all peddle indelicate knowledge about the racialized Other. For instance, in “Ali-Baba Bound,” a Looney Tunes cartoon from 1940, Porky Pig runs up against Ali-Baba and his “Dirty Sleeves.” The humor is constructed around a basic scaffolding of the Arab as dirty and sneaky. They are too primitive to competently use rockets and must strap explosives to their heads:

The sneak attack on Pearl Harbor the following year ignited a discursive explosion surrounding the Japanese, those living in America and abroad; for a time Arabs and Muslims occupied a relatively small sliver of American concern. It is striking how eerily similar representations of Japanese persons were to those of Arabs and Muslims. However, fed by photographic evidence of the destruction of Pearl Harbor and the tangible realities associated with the American war machine, dominant representations of the treacherous Japanese Other went further and faster. Each representation of the “Jap” became more and more fanciful, each illustration seemingly emboldened by the last to push the caricature even further.

Celebrated children’s author Dr. Seuss published a cartoon only weeks before the United States would forcibly relocate 120,000 ethnic Japanese persons living in the United States to internment camps. The cartoon depicts a buck-toothed, fifth column of Japanese Americans lining up from Washington to California for their very own box of TNT. A man scales the rooftop of the explosives depot “waiting for the signal from home.”

Or consider a Looney Tunes cartoon from the period, “Tokio Jokio,” which similarly presents Japanese people with buck teeth and buffoonish behavior:

Whereas the Seuss cartoon presents extant fears about a treacherous Japanese enemy living among us, the Looney Tunes cartoon lampoons them as bumbling idiots. In the Seuss cartoon, their tribal-like loyalties to the Emperor mean they are capable of doing just about anything, but in the Looney Tunes cartoon they are too incompetent to prevent their own Fire Prevention Headquarters from burning to the ground. Such seemingly contradictory representations permeated the American imagination of the time, alternately stoking anxieties while assuring Americans of their national and even racial superiority.

These racist representations aimed at the Japanese were not buried by the detonation of two atomic bombs over Japanese cities; they have proven to be free-floating and transferable to our emergent enemies. Today, Arabs and Muslims are routinely depicted in comedy as incompetent. They are again the bumbling idiots, simultaneously too stupid to successfully perpetrate an attack and just stupid enough to commit truly heinous crimes. The imagined fifth column has become the terrorist sleeper cell. In 1942 we feared Japanese Americans were blindly loyal to “their” Emperor. Today we are bombarded with ideas about the tribal loyalties of American Muslims. So powerful are these loyalties, it is often suggested, Muslims would happily kill themselves to bring about the demise of Western civilization. The fanatical Middle Eastern suicide bomber is the new banzai charger and Japanese Kamikazi pilot.

A joke making the rounds of the internet goes something like this: “A friend of mine has started a new business. He’s manufacturing land mines that look like prayer mats. It’s doing well. He says prophets are going through the roof.” This joke, Dunham’s comedy sketch, and the Looney Tunes cartoons all mark historical moments when the racialized Other became so thoroughly demonized and devalued in the public consciousness, our undifferentiated “enemies” became so feared for their treachery and immorality, that it became possible to make light of hypothetical and real violence perpetrated against them. One might speculate that it is strangely intoxicating to spot the boogieman tripping on his shoelaces, embarrassing himself, or dying by his own venom. The Achmed character’s tired threat, “I kill you!” is funny, perhaps, because his voice cracks like a thirteen-year-old boy, and we are entertained by the irony that someone so evil could appear so weak.

This comedy, which uncritically trades in the negative stereotypes aimed at Arabs and Muslims and is able to make an audience laugh at references to suicide bombing, is only possible because Arabs and Muslims have been successfully demonized and devalued. Comedians write jokes to get laughs, but they also operate from a space which grants them temporary license to openly discuss controversial ideas. Comedians contribute to the discourse, just as readily they respond to it, and their sets are just as capable of exposing hidden discrimination as reinforcing it.

Lester Andrist is a Ph.D. candidate at the University of Maryland, College Park, specializing in the role of social capital and personal networks in finding jobs in India and Taiwan and cultural representations of groups in indefinite detention. He is a co-editor of the website The Sociological Cinema, where a longer version of this post first appeared.

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

Adrienne K., from the excellent blog Native Appropriations, recently appeared on the Al Jazeera English show The Stream to discuss issues of cultural appropriation of Native American cultures in fashion and home decor, sports mascots, and so on. It’s a great segment about Native American concerns specifically, and the broader issues of appropriation, respecting different cultures, and how responsible different groups are for educating themselves and others about cultural traditions:

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.

————————

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.

———————

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.