Rhetorics and Ambiguity

Fictional book titles
Johan Deckmann (graphic artist)

As a black woman I rarely have the privilege of perceiving nakedness and lack of direction as “freeing”—quite the opposite. The point is not to evoke an essentialist stance, but to caution against the potential for a type of solipsism born of white heteronormative neoliberal paradigms. There’s good reason as to why black churchgoing women’s unique testimony involves being “clothed and in our right minds.”

Directionless-ness

Compelled to respond in the mode of cyberflâneus—as opposed to the flâneur, her masculine counterpart—the creative and critical endeavors I pursue seek and receive pleasure from visual, spatial, and tactile sensations, as the deliberate fashioning of online and real world personas across the darker parts of the rainbow. The constraints of respectability politics, of course, compel the performance of citizenship of the industrious and productive variety—in other words, that of a crafty black woman whose labor constantly threatens cooptation. Dwelling in this space as a woman otherwise, risks the designation of “digital streetwalker.” Feminine bodies, we’re told, must caution against following blind wanderlust, whether virtual or real.

Smart ways to use poetry in a street fight
Johan Deckmann (graphic artist)

Rhetoric is the battleground of ideas and budding composition teachers should be encouraged to recognize the stakes in such battles. Intradisciplinary contests between cultural studies and technical writing, now being fought over critical approaches to highly politicized issues, are actually a strong sign of the intellectual vitality of rhetoric and composition education. On either end of the spectrum, digital humanities needs to be applied creatively, as foundational to academic inquiry. 

I guess this is why I insist on playing with elements of rhetoric to resist, even antagonize, systemic instances of neoliberal misogynoir at times. At the same time I acknowledge my habits/impulses to respond productively in online spaces. A digital libertine, I am not for being rotten with the Protestant work ethic… and so I think of haiku headlines as another digital composing strategy.

Doodling To Keep From Crying

While Ben Carson rambled about Hillary Clinton being a disciple of Lucifer, I decided to make some digital art that focuses on bridging a progressive Democratic coalition that will defeat Donald Trump in November. I call her Viva Negrita Rosita. It’s a remix from the  NORML Women’s Alliance Foundation web page.

And since weed advocacy isn’t exactly my ministry, I added a top portion to her ‘fro and replaced a #BLM logo instead of the original cannabis leaf… Decriminalization of marijuana will be part of the DNC platform this election cycle. I’m looking forward to seeing how partisan Democrats will present their case next week. Anything has got to be better than this #RNCinCLE sh!tshow.

Whatevs. To each their own. In the meantime, I’m just doing what I can to keep up morale for the cause.

You’re welcome!

si se puede afro chicana rosie

#Grateful for the Life of Maya Angelou

Through this richly textured account of Angelou’s decade of wanderlust against the backdrop of mid-twentieth century Africa’s global decolonization movements, All God’s Children proved to be an indispensable companion during my sojourn year following the 9-11 attacks leading up to the wars in Iraq and Afghanistan.

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Portrait d’une negresse: Artfully Remixed?

benoist-louboutin-obamaThe painting furthest to the left is called Portrait d’une négresse by Marie-Guillemine Benoist. The artist, a daughter born in 1768 to Parisian civil servants in 1768, created this painting in 1800 — only six years after the French ended their part in the African slave trade. Now housed in the Louvre, Portrait d’une négresse has since become a symbol of women’s rights and freedom for black people.

This iconic image has inspired countless imitations. A notable example is the Christian Louboutin 2011 Fall Lookbook based on several classic portraits photographed by Peter Lippmann. More recently there’s been the cover of Magazine Fuera de Serie (a lifestyle supplement to Spanish newspaper, Expansión) featuring a composite image of Benoist’s young slave girl, re-imagined as America’s first lady seated on the stars and stripes.

The reference is easily recognized by anyone who’s even vaguely familiar with the canon of fine art. Unfortunately, given the impoverished state of humanities education in America, the iconic meaning of this image has gone completely missed in the popular blogosphere.

The message, as Benoist originally intended it, represents the black woman as a figure of innocence and mercy. For the Hispanic world, deeply influenced by Catholicism, this representation of Michelle Obama inserts itself within the richly historical iconography of Our Lady of Guadalupe (or the Virgin Mary). The Spanish magazine article speaks of the first lady in glowing terms through the use of descriptive language like “intelligent, strong and classy” in order to convey the idea that Michelle functions as the president’s political backbone and social conscious.

Recent viewings of the magazine’s cover image have been mis-recognized by the American media. This, I think, is related to America’s cultural puritanism, which assigns any display of black female nudity to the field of anthropological curiosity or places it strictly within the domain of the pornographic. This point is aroused (all puns intended) whenever the subject of the black female nude is raised. Most American media outlets have obscured the offending nipple with strategic pixel placement or otherwise subjected the chocolate-colored areola to some other arbitrary redaction method. (Coverage of Mrs. Obama’s breast with a huge red star is among the most curious editorial objects noticed.)

This latest media dust-up reminds me of Janet Jackson’s Superbowl “wardrobe malfunction” controversy and demonstrates, by extension, America’s cultural fascination with the black breast — brown nipples, in particular — and highlights the racist American obsession with the sexual commodification of black women. Clearly, we can look at America’s antebellum exploitative labor practices of “employing” black women as wet-nurses for the children of white slave holders and understand this as a profound historical example. More generally, the cultural denial of breasts’ primary function for purposes of basic nutritional sustenance and the sexual fixation on this particular part of the human anatomy as an erotic object, when juxtaposed with the Eurocentric fixation on the gradient of colors from brown to black as signifying dirt or evil, might explain why this paradox still persists. Reactions to this Michelle Obama composite image easily call to mind a host of racist discourses surrounding black bodily hygiene.

What I find most interesting is related to the dismal state of visual literacy among Americans, which proves that critical approaches to reading images are so badly needed today. Alongside the nipple being perceived as indecent and improper, there is the problem of an overemphasis on appearance and form over contexts and content. (One gets the distinct sense that the same folk who can’t hold it together over a few misplaced commas and semicolons are the same individuals who are losing their minds over the sight of a little brown areola.)

As previously mentioned, so much ado surrounding the Spanish magazine’s supposed bad form has the unfortunate effect of overtaking the particular logos of the article and the collective ethos of Spanish religio-cultural aesthetic sense, in general. Moreover, and most egregiously, it seems to ignore the artistic pathos of Karine Percheron-Daniels who is known for her nude figure celebrity mash-ups. In fact, not only does the online version of the magazine article feature a nude likeness of Michelle Obama, but also featured are those of Princess Diana, Kate Middleton, and (yes!) Barack Obama too — all portrayed as classical nudes in repose.

Legacy: Alligator Bait, Civil Rights, and Art

For most African Americans – whether child or adult – not even the cuteness of a cherubic face and genuine innocence could provide refuge from the legal persecution or casual viciousness of white racism. The Florida Tourism Board’s practice of distributing these “alligator bait” postcards (well into the 20th century) speaks to this issue most profoundly. It is probably fair to argue that these images would have never been interrogated up until this point if it had not been for the intervention of African American visual rhetors who sought to reverse the inhumane effects of American US racism.

By the time the United States was founded, Africans enslaved in America were forced by physical and legal sanction to watch their every word and action for fear of punishment or death. This is important to contrast this with the fact that whites, on the other hand, had complete freedom – were actually encouraged – to reveal their vilest racial feelings. The need to express the slightest decorum for the expression of racist opinions was non-existent – least of all in the public square. During slavery and Jim Crow it was a commonplace assumption made by many whites that no black could be trusted – not even with the knowledge of the alphabet. Therefore, it should come as no surprise that anyone who was considered black, no matter what, was subject to being demonized and treated accordingly. As a matter of basic everyday existence, blacks were to be denied the fundamental virtue of innocence from the cradle to the grave. Any public injunction by American courts for the forthright expressions of racist behaviors and practices was not to occur for many decades. This issue continues to haunt black existence.

Fast forward to June 1964, when a group of black and white protesters sought to integrate a public recreational space by jumping into the swimming pool at the Monson Motel in St. Augustine, Florida. As difficult as it may be to imagine today, the owner responded by pouring muriatic acid into the pool, endangering the lives of peacefully frolicking demonstrators. Luckily, a photograph of this heinous incident was captured and broadcasted around the world.This photo has since become among the most famous images from the Civil Rights Movement.

A few years ago Brian Owens, an Orlando based sculptor, was commissioned to commemorate the historic event and pay homage to the brave citizens who risked their lives for equality and a refreshing swim on a hot Florida day. Entitled, “St. Augustine Foot Soldiers,” here is a picture of the memorial sculpture, which rests today in the heart of the town square.

Carrying on a proud legacy is something Owens knows a lot about, as he is the son of the late African American graphic illustrator and portraitist, Carl Owens.  Here is a link to Brian Owens’s flicker stream showing the process behind his painstaking craft.

African American Fabrics

SlaveryMASK is a lavender batik featuring a motif of shackles and a slave wearing a bit-mask.

With all the technological breakthroughs in digital textile design, so much is available nowadays to fabric enthusiasts.  Formal artistic training is optional, while creativity and imagination are key. And though the skills and expertise involved in textile design are usually relegated to the domestic sphere of “crafts,” I believe the special body of knowledge that is derived from this area of creative expression truly reflects our humanity in a very real and profound sense.

Of course, black people have been deeply connected to the material history of textiles in this country and were involved in every aspect of the industry from the cultivation and harvesting of the cotton fiber, to the innovation and manufacture of finished goods. Needless to say, American slavery and the triangular trade that generated it was a brutalizing and dehumanizing process and yet, somehow, African Americans understood that even the most mundane and routine design interventions were necessary to help counter the highly organized systems of power and exploitation they faced. Without question, through the refashioning of a fundamental notion of what it means to be a US citizen, African American influence in the textile technologies (along with their inestimable impact in the areas of music, storytelling, and metalwork) was critical. African enslaved persons deliberately and methodically invented and arranged ingenious networks of emancipatory codes and sign systems into their day-to-day rhetoric of American civic life even as they employed the very technologies that helped to enslave them.

 Adam Banks points this out brilliantly when he writes about Ozella McDaniel Williams who, until her death in 1998, carried with her the knowledge of how to painstakingly place different color knots on quiltwork in order to direct freedom seekers out of slavery and towards a mnemonic path to freedom through the Underground Railroad.  And even  David Walker, who composed the seminal “Appeal, in Four Articles: Together with a Preamble, to the Coloured Citizens of the World, but in Particular, and Very Expressly, to Those of the United States of America,” purposely designed the document at a size that could be easily concealed once sewn into the fashions Walker sold at his early 19th century clothing store. This way the idea of freedom and emancipation could spread without risking detection by those who would rather thwart liberty.

For all these reasons and more (namely, the fact that my sewing pastime has had me on the lookout for all sorts of cute new materials), I am so digging what Kweli Kitwana is doing with fabrics. Based on her keen awareness of African American history and cultural signifiers, she is designing fabric with some of the most unusual prints I’ve seen in a while. Scenes from the Middle Passage and the Civil Rights era (as well as some traditional West African motifs) are reinterpreted with fresh, contemporary colors — not the same old primaries and earth tones. Kitwana also has a very clever sense of irony in her designs. With her occasional selections of gothic slavery scenes juxtaposed against pastel backgrounds or arranged as flower petals, her fabric prints display a thematic gravitas that is hard to deny, despite their distinctively attractive character.

Here are some of my favorites:

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Differend Strokes

Oh where to start? I can’t say that I have any answers to the very complicated issue of transnational and trans-racial adoptions. Nor can I claim to know what it’s like to long for a child that I’m unable to conceive through ordinary means. I won’t pretend to understand. I’m sure it can be a painful situation and I imagine opening one’s life and home to a child in need of one must surely constitute an act of great love and generosity for the most part. It is also true that there are thousands of American couples who are altruistically willing to adopt children regardless of their ethnicity or nationality.

That being said, there yet remains the problem of a premium still being placed on the value of white adopted infants over that of African Americans, for instance. Adding to this is the fact that many white couples would rather go to another country to adopt babies who conform with certain racialized ideals about European heritage and/or other exoticizing stereotypes about Asians supposedly being smarter and cuter than other kinds of children. Of course, many have raised the objection about concerns surrounding minority children being forced into racial assimilation without any alternatives of cultural exposure to their own ethnic groupings, possibly resulting in a sense of identity confusion. Additionally, there’s all types of controversy surrounding an [un]ethics of first world guilt bent on saving the poor, pitiful orphans of the global South — one child at a time (as opposed to global policy change). This has been addressed by the legal scholar Patricia Williams, who makes the argument that the practice of transnational adoption is tantamount to a form of human trafficking.

It goes without saying that I have no legal expertise about the ins and outs of how such determinations can possibly be made and I’ve only heard of these stories anecdotally — though I have met one biracial adoptee back while I was an undergraduate who often complained bitterly about her “racist white parents” to anyone who would listen. I don’t know if that was really true. They were after all paying her way through college.  I mean, how could such an accusation be fully believed?

In effect, here we have the Lyotardian issue of the differend — an event that gives rise to a situation in which an injustice is clearly perceived, but cannot be fully known because the person communicating the complaint lacks the power or credibility to communicate said injury. Alas, the problem of adjudication and resolution persists as there is no way to step outside the predominating paradigm in order to ascertain the common good. Like I said, I am not trained in the law. However, there is the problem of this woman.

      Vanessa Beecroft: an exercise in colonial narcissism, white privilege, and frivolity.

If you don’t recognize her image, chances are you’re familiar with Vanessa Beecroft’s work. She was art director for Kanye West’s long video, “Runaway”  and the 2008 film, The Art Star and the Sudanese Twins, documents the spectacle behind this photo. In it, Beecroft openly discusses wanting what Angelina Jolie has as she attempts to adopt the twins without informing her husband, while also knowing full well that the twins already have living relatives who are more than willing to care for them.

Anyway, I can’t help but think there must be other Beecrofts out there who regard the adoption of non-white or international children as the latest must-have accessory. Jeez Louise. Kanye really knows how to pick ’em, don’t he???

“Race” and “Beauty”

Few research studies have filtered into the mainstream discourse of race rhetorics more than the social psychology experiments of Kenneth and Mamie Clark. Their famous series of doll experiments beginning in the late 1930s have offered a particularly acute angle through which the dynamics of aesthetic ideology play out in the field of critical race studies. It was partly through their groundbreaking research (not to mention the brilliant legal minds of the day, under the leadership of Thurgood Marshall) that persuaded the US Supreme Court to abolish school segregation. Thus,  changing the law of the land that separate commercial facilities and public spaces constitute a fundamental social wrong, no longer to be tolerated.

The Clark doll experiments, as they are now referred to, demonstrate the twin phenomena of “in-group derogation” and “out-group elevation” among African American children and show that children of all races have internalized the racism and stigma caused by the legacy of colonization, slavery, and Jim Crow apartheid. Aside from the politics of color, the doll experiments become foundationally important in light of the empirical contributions made by more recent social psychology experiments demonstrating the ways people interpret facial appearance and intelligence.

You might think this issue would be put to rest, but then along comes Sutoshi Kanazawa who recently published a blog entry on a popular science website purporting to uncover a scientifically objective answer as to why black women are supposedly so damned ugly. Though, if you’re a regular reader of my blog, chances are you already know that is a false precept and notions of beauty are social constructions based on cultural biases.

According to the The History of White People by Nell Irvin Painter, these racial tropes and commonplaces are based on a history of discourses that have thoroughly entangled what it means to be associated with the human categories of “white” and “nonwhite” and is predicated on an Enlightenment doxa that racializes the word “black” by changing it from an adjective to a noun that is synonymous with “slave.”

As Painter demonstrates, we can thank Emanuel Kant for this unfortunate patrimony. Kant believed that there was a singular standard for human beauty and spent a good bit of his intellectual energy attacking the idea that such standards could differ by culture. Indeed, compounded by a popular and longstanding misunderstanding of Darwinian evolution rooted in nineteenth-century pseudoscience, a dialectic of race has emerged which holds the view that “blackness” equals ugliness and stupidity. Because of this combination of white Western thinking that equates racist stereotypes of blackness with that which is primitive and uncouth, a hegemonic standpoint continues to uphold whiteness as signifying purity and neutrality while blackness has come to represent stigma and provocation.

Don’t just blame the Western heritage of philosophy and science for this latest racial debacle. What many consider “beauty” has also been passed down to us through the disciplinary lens of art history.

The founder of the discipline, Johann Joachim Winckelmann, championed the idealization of ancient Greek beauty because of his inability to interpret ancient Egyptian and Greek art through anything other than his German-Italian aesthetic that was centered around the white marble statues replicating the aesthetic glories of antiquity, which he studied in Rome. As Painter explains, Winckelmann’s appreciation for whiteness qua whiteness initially developed as a result of his geographic distance from Greece.  From Rome, Winckelmann only had physical access to Roman copies of ancient Greek statues as they were translated into Italian marble. Unaware that the Greek originals were often dark in color, Winckelmann failed to understand – or simply ignored – the fact that the Greeks routinely painted their sculptures. Winckelmann, only having seen Roman versions of beautiful young men carved from gleaming white Italian marble, either knowingly or unknowingly, elevated sculptural copies of Greek statues into racial emblems of beauty – literally creating a new white aesthetic. For Winckelmann and his art history disciples, colorful sculpture was thought of as barbaric and unsophisticated, for they believed the ancient Greeks to be too refined to color their art. Painter (her name sounds funny in this context) goes on to conclude that the Western classical tradition has since adapted this preference for non-color, thus employing white plaster as the most common medium for the purposes of sculptural art education.

All of this explains just a little bit about how our cultural perceptions of beauty have come to be and why we cannot allow Sutoshi Kanazawa’s brand of pseudoscience to go unchallenged. Here is a link to the ColorOfChange.org website featuring the latest action campaign protesting the popular science journal’s editorial decision to publish Kanazawa’s racist canard. Tell the editors of Psychology Today to get a late pass; black been beautiful and the editors ought to apologize for circulating such flawed science.