Welcome to winter! I know, according to the calendar winter doesn’t start for another week and a half, but the weather says it’s winter. So let’s curl up by the fire, roast some chestnuts, and talk diversity.
There’s been a lot of back-and-forth on some new films depicting African Americans. We start out with Precious: is it a harsh but realistic portrayal of issues too-often found in poor black communities, or is it a racist depiction of black Americans, relying on stale clichés and taking advantage of the people and situations it pretends to help? David Schmader explains why he likes it and then highlights the arguments of those who don’t.
I hope everyone had as good a Thanksgiving as I did! Now, we’re back with another batch of diversity-related links.
Last month’s job report was an improvement, but the recession is still keeping employment just a dream for many. Also keeping dreams of employment from becoming reality? Race, even now. The New York Times brings us an exploration of the difficulties faced by even college educated African Americans. Postbourgie responds with some points on the issues faced by college educated professional black women, and the unfortunate tendency to assume that black men’s experiences are representative of all black people.
First, celebrations are in order for both Soichiro Honda and Isamu Noguchi, who share a November 17th birthday. It’s a nice little coincidence that two very different creative minds from Japan should share the same birthday.
A peek at the calendar reveals all sorts of other special days and notable celebrations this month: It’s National Alzheimer’s Awareness Month, National Novel Writing Month (NaNoWriMo, for short) and of course, National American Indian Heritage Month. But looking at the calendar always brings up the same question: are special months a double-edged sword?
Friday afternoon: time to read up on diversity around the web! This week we have a rather miscellaneous batch of links for you, so dig in.
Ah, Hollywood, will you never stop provoking discussion on race in casting? Not this week, certainly. Racialicious looks at the Screen Actor’s Guild’s annual diversity research and explains why the state of minorities in major acting roles is worse than the numbers suggest.
It should come as no surprise that we here at LEE & LOW BOOKS are rather fond of the written word. A lot.
But we also like the spoken word, so in addition to great posts and articles on race and diversity, we’re going to be sharing some great videos we’ve found around the web.
Like this one, from Ill Doctrine:
This week, we’re looking at the idea—the fallacy—of purity: racial purity, national purity, and cultural purity.
Let’s start with South Korea, which is experiencing a clash between its historical ideas of ethnic homogeneity and its increasing immigrant population. A New York Times article draws attention to both the prevalence of racism in South Korea and the new efforts that are being made to stem it. It also highlights how closely ideas of racial purity are tied to sexism.
England and the US have their own issues of purity, some of which Andrew Sullivan explores in Scratch white America and beneath it is black. As a born Englishman who moved to the United States decades ago, Sullivan shares how, to an outsider, the black influences on American culture are apparent in everything from music to books.
It’s Halloween and the costumes are out! No zombies or vampires here, but we do have some serious masquerading to share when it comes to race.
To start us off we go to Germany, where a journalist is investigating the treatment of black people in Germany—by donning blackface and going undercover. Sure enough, he uncovers a lot of racism—but he does it without showcasing the experiences of actual black Germans.
Closer to home, this week’s America’s Next Top Model featured the competitors being dolled up as biracial: makeup, often darkening their skin; wigs; clothes that are a “fashion interpretation” of their cultures’ historical clothing. Dodai at Jezebel looks at it suspiciously, pointing out that “the problem, of course, is that race is not silver eyeshadow, a bubble skirt or couture gown. It’s not something you put on for a photo shoot to seem ‘edgy.’ Race is not trendy.” Still, she has mixed feelings: “Her intent was probably to showcase bi-racial beauty. Is this a case in which the action can be forgiven if the motive comes from a good place?” Thea at Racialicious, on the other hand, has no mixed feelings: she’s just angry.
OK, tell me that this CNN promo does not sound just a little bit like the trailer for a horror movie:
[vodpod id=Groupvideo.3810859&w=425&h=350&fv=affiliateSiteId%3D18188%26amp%3BwidgetId%3D27552%26amp%3Bwidth%3D420%26amp%3Bheight%3D338%26amp%3BkaShare%3D1%26amp%3BautoPlay%3D0%26amp%3BmediaType_mediaID%3Dvideo_807910] If the video does not appear, you may need to download the latest version of Adobe Flash Player.
The first time I saw this ad, I was sitting on the couch with my roomate. “Oh my God,” she said, “I can’t believe how racist that sounded.”
We’ll start things out with the bad news: a justice of the peace in Louisiana refused to issue a marriage license to an interracial couple. His justification? That any children the couple had might suffer discrimination. A quick history review: it was 1967 when the U.S. Supreme court ruled in the case Loving v. Virginia that race-based legal restrictions on marriage are unconstitutional. In other marriage-relate news, same-sex couples can still only get married in six states.
Riding on the subway over the past few weeks, I kept coming across ads for ABC’s new “Comedy Wednesday” sitcom lineup: Hank, The Middle, Modern Family, and Cougartown. Now, aside from my personal feelings about some of these shows (Courtney Cox, what happened to you?) what struck me was how white–and I mean WHITE–the lineup looked, at least from the ads.
The lack of diversity in network programming isn’t anything new, but this fall it really bothered me, especially after reading this great article over at Movieline called “Who Is Killing the African American Sitcom?” Why is a comedy labeled as an “African American sitcom” as soon as it includes more than one black person in the cast? And why don’t sitcoms about people of color make the lineups of major networks anymore?