Senator Ludlam schooling Tony Abbott on WA [x]
Pretty heartbreaking. These beautiful and bright students deserve so much better. Above I included some of the photographs (there’s many more) of Black women who are students there because I think it’s important to point out how racism is not only impacting Whites’ perception of their intelligence but also how White people approach their appearance as well, in gender-specific ways. This is heartbreaking to me albeit not surprising. The myth that working hard = happy payoff is a fairy tale. Racism is ubiquitous.
I really wish them the best with their education and the ability to navigate these microaggressions and overt acts of racism. This stuff increases stereotype threat and impacts mental health and health which impacts performance. I want the best for them. Much love. ❤
“In Bangladesh, I used to work at the World Health Organisation but there’s no system here to get me a job like that so here I am.
I live here with my wife and kids but this isn’t just for them, I have to work to support those back home too. I’ve come here and there’s no turning back.
This in itself is a kind of war. I’ve come and I’m working but back home, I wouldn’t have even thought of this kind of work. But I’m doing it and it’s getting me by.”
Her stance on clothing and perceptions of sexuality and objectification in the music industry. The fact that people continue to try to use her wardrobe choices—ones she CLEARLY stated are not about the politics of respectability—as some sort of faulty comparison to shame other Black women who CHOOSE to show more skin and are in control of their bodies, means that people really are willfully ignorant and are not engaging her words (and I know they aren’t; they think her music has no erotic power, for example) nor the words of the Black women that they choose to shame. By not engaging her actual message and using her as an object to shame other Black women, they objectify her and them.
This is misogynoir. It’s not what she’s about. It’s other people’s projection onto Black women through a very Patriarchal and White Gaze. Every time they use the word “classy” for her and immediately degrade another Black woman they juxtapose, they seek to degrade all Black women by denying our choices and agency and demanding we prove “acceptable” in the patriarchal gaze made of binaries, especially the cishet Black male gaze, for Black women. It’s tired.(via gradientlair)
Lupita Nyong’o covers DuJour Magazine photographed by Stephen Pan Styled by David Vandewal
You cannot say that you like Pocahontas. The genocide of my people is turned into a cartoon musical with a singing raccoon? I mean, think about it, dawg, the real story of Pocahontas is about a bunch of white boys who come to my land, bribe the corrupt indian chief, kill off all the warriors and fuck the indian princess silly.
“I don’t think of architectural language as just a metaphor about space, but about spaces of power, about ideas of power.”
Julie Mehretu is an artist born in Ethiopia, raised in Michigan, educated in Senegal and Rhode Island and currently residing in New York. Mehretu’s complex pieces feature architectural forms, fictional landscapes, and grids layered with scribbles, smudges and shapes of different size and colors. Her paintings are more than just assemblage of random colors and lines. The underlying structure of her work consists of socially charged spaces such as government buildings, museums, stadiums, schools, and airports.
“I think architecture reflects the machinations of politics, and that’s why I am interest in it as a metaphor for those institutions.”
Julie Mehretu has received numerous awards including The MacArthur Award in 2005, often referred to as the “genius grant.” The American Art Award granted by The Whitney Museum of American Art (2005,) and the Berlin Prize: Guna S. Mundheim Fellowship at The American Academy in Berlin (2007).
On the super cute video that I just posted of the BLACK mother and BLACK daughter dancing to Beyoncé’s song, part of my blurb read:
This is so great. Super adorable Black mommy and her two year old daughter’s great choreography to Beyoncé’s song “End of Time.”
poppedamail-imsweatin decided to post this comment:
Wait, why did it need to be pointed out that she’s black…?
Because she is. Because the sheer act of mentioning a person’s race is not “racism.” Because the myth of “colourblindness" is racist within itself. Because it matters that Black mothers and their children are portrayed in ways that subvert common stereotypes of Black mothers (uncaring, irresponsible, cold, always strong and unfeeling, lazy, doesn’t exercise, abusive to children) and controlling images (loyal "mammy" but only for White children, "lazy welfare mother," "uncaring ‘ball-busting’ matriarch"). Because the entire mainstream media is dedicated to White supremacy and preserving Whiteness, which is a construct and social position of power, not the same as individual countries’ cultures of White people.
Because I am a Black woman who’s entire PERSONAL blog, which is not a mainstream media outlet, is dedicated to dynamic and diverse presentations of Black girls and Black women in addition to womanist, agnostic atheist, radical humanist and anti-oppression discourse. It’s a personal blog. It cannot even compare in scope to multi-billion dollar media conglomerates’ support of the status quo that I reject.
Because the words “mother” and “woman” are defaulted to “White” via the media, Hollywood, and the government.
Race is removed from stories of excellence while stories of pathology will make sure we know if someone Black is involved. You know how I know someone White did something wrong? When their race is not mentioned until the absolute last moment in the news.
As Kimberlé Crenshaw wrote about using the label “Black”
We all can recognize the distinction between the claims ‘I am Black’ and the claim ‘I am a person who happens to be Black.’ ‘I am Black’ takes the socially imposed identity and empowers it as an anchor of subjectivity. ‘I am Black’ becomes not simply a statement of resistance, but also a positive discourse of self-identification, intimately linked to celebratory statements like the Black nationalist ‘Black is beautiful.’ ‘I am a person who happens to be Black,’ on the other hand, achieves self-identification by straining for a certain universality (in effect, ‘I am first a person’) and for a concomitant dismissal of the imposed category (‘Black’) as contingent, circumstantial, non-determinant. There is truth in both characterizations, of course, but they function, quite differently depending on the political context. At this point in history, a strong case can be made that the most critical resistance strategy for dis-empowered groups is to occupy and defend a politics of social location rather than to vacate and destroy it.
Because there is a history and legacy associated with being Black. One that interrupted African history. One we now subvert and create with and celebrate and experience pain because of and are oppressed because of and are beautiful because of.
The connections are all around us. You just aren’t yet willing to accept them.
#DecolonizeHistory is about interrupting space, addressing colonial roots and undoing processes of white supremacy.
Historical narratives are most often presented without the context of colonization, slavery and imperialism despite the huge role they play on all aspects of life.
Hoping this project raises awareness about the injustices towards Trayvon Martin, subject to a system of racism that never served to protect his life, Omar Khadr, a Canadian citizen arrested and detained in Guantanamo Bay when he was only 15 years old, and Assata Shakur & Huey Newton, labelled “terrorists” for actively resisting systemic racism.
#DecolonizeHistory aims to illuminate the role that processes of colonialism continue to play out in society.
Not your exotic…
Miss. Nina Davuluri, Miss America 2014