race/ethnicity

One of my former students, Janel B., sent me to this post called “Don’t Sleep on Africa” on the fashionable Livejournal community called black cigarette, and thereby introducing me to the South African photographer Nontsikelelo Veleko and her amazing portraits of Johannesburg stylish street denizens.

The entire post at black cigarette begins with this brief intervention into the problematically differential distribution of “style:”

Stockholm. Paris. London. New York. Helsinki. Milan. Tokyo.

These seem to be to go-to places when it comes to “street-style” and what’s hot in general on most fashion blogs, but I just wanted to share some of the street-style you’ll find on the African continent…. South African street style is rarely sleek and chic – it’s irreverent, vibrant and daring. It mixes patterns and textures, with echoes of mid 70s style (and just a splash of “geek chic”).

(Consider too the fact that Feedshion, which collects “the best street fashion photos from all the greatest street style blogs for your viewing pleasure,” happens to feature only street style blogs from the usual suspects and none from South America or Africa.)

The photo-heavy post is a wonderful contrast to those editorials in American and European fashion magazines whose visual vocabularies for “Africa” are unbelievably narrow and alienating (Galliano, I’m looking at you and your “tribal” fetish figure shoes). The continued refusal to see the African other as coeval (that is, contemporaneous) with the so-called modern observer, most obviously manifested in the classification of “tribal chic,” betrays the still-haunting presence of colonial aesthetics in Western art and design.

I wish I could repost all the photographs, but I will settle for a handful from Veleko.

Edited to add additional links supplied by Sociological Images and Racialicious, by way of the LJ community Debunking White.

Gorgeous photos from South African photographer Nontsikelelo Veleko.

———————————

Based outside of Chicago, Mimi Thi Nguyen scours thrift and vintage stores with reckless abandon. She writes about neoliberalism and humanitarianism from a transnational feminist analytic, which includes the “management” of refugee crises but also beauty as a civilizing project.  She blogs at Threadbared.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Mary M. of Cooking with the Junior League sent me a link to amalah.com, where you will find images from a 1962 textbook titled When You Marry (you can find the full text of the 1953 edition without photos here, and Larry found a full pdf of the 1962 edition here):

The book covers many aspects of dating and marriage and provides some fascinating insights into gender roles and social assumptions of the time. Here are some useful facts about social classes and families that you might like to know:

Working class people go to work sooner? Wow. Weird. But at least they have fewer troubles than the middle class. There are so many irritations you have to face when you aren’t poor, but at least you “weather” them well.

I may use this as an example of pointless graphs:

Here we have a list of some factors that are favorable, unfavorable, or unimportant for marital success; I’ve circled some of the more noteworthy items in red:

Text I highlighted:

[favorable]

Happiness of parents’ marriage —both (Not true for Negro couples)

[unfavorable]

Combinations where man feels inferior and woman does not

Prone to argue points–wife

Determination to get own way–wife

Wife’s cultural background higher than husband’s

Residence in the city during childhood

So you’re sure to have marital problems if the wife won’t give in on things and instead keeps being all argumentative and wanting her own way. I’m not sure what defines a cultural background as “higher” than others, but we see here the same pattern as we do with social class (which I presume is related to cultural background): it’s ok for men to “marry down,” but women aren’t supposed to.

The textbook provides a pretty grim depiction of sex for a newly-married couple:

I found this little gem in on a page from the section on how ideals of marital life often don’t fit with reality:

It’s so widespread to think of marketing and advertising as manipulative today (even among those who like at least some ads or don’t see a real problem with them) that it’s striking to see such a sincerely  positive portrayal of it as a helpful, even “kind” industry.

It is noteworthy that the textbook, used during the height of the “Leave it to Beaver” “traditional” family era, depicts the male-breadwinner/female-homemaker family form as a recent creation, as wives became “expensive luxuries”:

This section describing which women should work doesn’t seem to speak highly of women overall, since just a “few” of us have “special talents and skills.” However, it does make the point (in #5) that “a woman is not unemployed because she is not paid for her work,” an effort to bring attention to the value of women’s unpaid labor (in this instance, community/volunteer work):

And then there is a helpful discussion of eugenics and good breeding :

There’s a lot to ponder there. I think it’s fascinating the way that it illustrates some of our stereotypes about the 1950s/60s (women are supposed to be mothers, sex outside of marriage is bad, etc.) but contradicts others (the male-breadwinner family isn’t a long-standing “traditional” family but rather one they can clearly trace to the recent past, and which even then seemed like it might not last).

UDPATE: Larry looked through the pdf version of the whole book and found this nice cartoon:

Jessica G. drew our attention to the promotional material of Panty Raid.  Panty Raid is two guys, Josh Mayer and Marty Folb, who produce dance music.  As you might guess from their name, their materials include a dismissal of women as fans and an endorsement of men’s entitlement to sexual access to women.  Their slogan for their album, Marine Parade, is: “Audio fondling your girlfriend.”

So, “you” are a straight guy.  And, like it or not, these guys are such hegemons that they are makin’ it with your girl, whether she likes it or not.

There is more of this typical misogyny at their website (you can google it), but it was the promo shot below that Jessica felt compelled to send in.

This is a great illustration of what it looks like to embrace both white and male privilege.  We see the bottom half of a black woman sitting with her legs apart and her underwear at her ankles.  Were it not dark between her legs,  you could see her vulva.  Mayer and Folb, both white men, sit in front of her and look at the camera.  Their expression and posture suggest utter disinterest.

This is where I think the privilege is revealed, and embraced, loud and clear.  She is not a human being, she is a vagina and, even as a vagina, she is uninteresting.  She is nothing, really.  Like their sneakers, their trucker hats, and their hoodies, she is only a prop.  What does a sexually available black woman signify?  Urban cred?  Masculine domination of women?  High status in a hierarchy of men?  All of the above?  Congratulations dudes: racist and sexist message sent and received.

—————————

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

Citizen Parables and Dmitriy T.M. alerted us to this month’s French Vogue.  According to Jezebel, it features exactly zero black models.  It does, however, contain several images of Dutch model Lara Stone painted so as to look black.

The photos are being condemned as contemporary blackface.  I’d like to open it up to discussion:

1.  Is painting a white model so as to look black the same thing (in some important and significant way) as the derogatory minstrelsy with which blackface (with white mouths and red lips) is associated?  Is the intent (dehumanization) the same?  Is the effect the same?   Why or why not?  If not, could it be that we are as inured to racism now as they were then?

2.  Is the real (or part of the) problem the lack of actual black models?  That is, if there were black models in the magazine, would we read these images differently?

3.  If we saw models of different races being painted various colors, would the white model painted black cease to be significant?  Or, because of history, should this always (for the foreseeable future) be off limits?

4.  Is this “edgy” (and, therefore, fashion forward) exactly because it references historical blackface?  In that case, should fashion play with such topics?  Can people in the fashion industry do so responsibly?  And, if so, what would that look like?

More examples and discussion of contemporary “blackface” here, here, here, here, and here.  Also, Bugs Bunny.

—————————

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

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 1926 eugenics poster (from autistics.org):

From left to right the boxes say (and the left two are what we need less of, the right two what it says we need mroe of):

This light flashes every 48 seconds. Every 48 seconds a person is born in the United States who will never grow up mentally beyond that stage of a normal 8 year old boy or girl.

This light flashes every 50 seconds. Every 50 seconds a person is committed to jail in the United States. Very few normal persons ever go to jail.

This light flashes every 16 seconds. Every 16 seconds a person is born in the United States.

This light flashes every 7 1/2 minutes. Every 7 1/2 minutes a high grade person is born in the United States who will have ability to do creative work and be fit for leadership. About 4% of all Americans come within this class.

Here’s another example of the use of pseudoscience to make racial arguments (via):

Notice that the “woman mulatto” is draw to appear extremely unattractive, and that while the white man and mulatto woman have a “pass-for-white” daughter, the son on the far left isn’t “pass-for-black”–he really is black. The idea of “passing for black” made no sense at the time, while “passing for white” was a major concern. I am surprised to see here, though, that the baby of the pass-for-white woman and the white man is defined as entirely white.

Of course, none of this makes any logical sense at all, but lots of supposedly scientific studies at the time applied many statistical and other methods to prove various racial arguments.

In the U.S. today, men enroll in college at a lower rate and drop out at a higher rate. In 2005, there were 57 women on campus for every 43 men.

This is such a significant problem, that college admissions officers are letting in a larger percentage of male applicants, even sometimes admitting less qualified men over more qualified women.

But this isn’t just a gender story.

A USA Today story offered this data from the ACE Center for Policy and Analysis:

Looking at the very bottom line of the table (and just at 2003/2004), you can see that the gender gap is largest among lower income students.  Men make up 40% of undergraduates 18-24 when you consider low-income students only, and 49% when you look at upper income students.

The gender gap also correlates with race.  Asian students show the smallest gender gap, whites the next smallest, with Hispanics and blacks trailing.

You might notice that the correlation of the gender gap with race mirrors the class correlation.  That is, income and wealth data for racial categories follows the same pattern with Asians out earning whites (categorically speaking) and whites out earning Hispanics and blacks.  So there may be an interesting exacerbation effect here.

The gender gaps for each racial/ethnic group, however, decreases as the students’ families get richer.  And, among the upper income groups, the racial difference shrinks to only three percentage points (from 11 among low- and middle-income kids).

So, it’s not just about race, it’s not just about class, and it’s not just about gender.  Then, what is it about being poor, black or Hispanic, andmale that results in low male enrollment in college and a higher drop out rate?

—————————

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

A gallery at Time Magazine offered a set of photographs that counter the frequent representations of Saudi women as (veiled) and downtrodden.  The slide show features professional women at work.

Daneh Abuahmed, Rotana’s head of information technology:

Dr. Maha Al Muneef, Executive Director of the National Family Safety Program:

Sultana al Rowaili, the head of human resources at Rotana:

Members of the National Family Safety Program:

Norah Al Malhooq, administrator King Faisal Specialist Hospital and Research Centre:

—————————

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

As a fan of both sci fi and pre-WWII pop culture, I naturally have a lot of affection for Alex Raymond’s Flash Gordon. There’s much to be enjoyed about the original comic strip (which basically invented the style that led to the creation of super-hero comics), the 1936 serial starring Buster Crabbe, and even the 1980 movie, which I’ve mentioned before.  The 1970’s softcore porn version, Flesh Gordon, is also a lot of fun.  Although the various incarnations get pretty complicated, the basic story is of a regular guy from Earth who ends up on a bizarre alien planet, where he inadvertently becomes a hero in the struggle against Emperor Ming, the tyrant who has been keeping the whole planet under his thumb.  With the recent rebirth of big budget sci fi and comic book adaptations, the time almost seems perfect for a new Flash Gordon movie.  It’s never quite been done cinematic justice, and the basic story would hold up well to a modern interpretation.

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.