A Canadian’s View On Our Disrespect Of President Obama’s Presidency

I think this reblogged post speaks to the idea of “American Exceptionalism” in regards to its relationship to black people — even among our North American neighbors above the 49th parallel.

 

The Fifth Column

EgbertoWillies.com

America – He’s Your President for Goodness Sake!

By William Thomas

There was a time not so long ago when Americans, regardless of their political stripes, rallied round their president. Once elected, the man who won the White House was no longer viewed as a republican or democrat, but the President of the United States. The oath of office was taken, the wagons were circled around the country’s borders and it was America versus the rest of the world with the president of all the people at the helm.

Suddenly President Barack Obama, with the potential to become an exceptional president has become the glaring exception to that unwritten, patriotic rule.

Four days before President Obama’s inauguration, before he officially took charge of the American government, Rush Limbaugh boasted publicly that he hoped the president would fail. Of course, when the president fails the country flounders. Wishing harm upon…

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November 9, 2014. Barack, Barack Obama, civic culture, Obama, politics, rhetorics. Leave a comment.

Women’s Health: Team Pink v. Team Purple?

I’ve always thought it strange how Breast Cancer Awareness takes place during the same month as Domestic Violence Awareness — both in October, signified by pink and purple ribbons, respectively. Aside from the feminized color palette (pink and purple = “girly” colors), it’s also unfortunate because this timing seems to pit one vitally important women’s health issues against the other. Make no mistake about domestic violence being as much a health issue as breast cancer; up until the Affordable Care Act was passed, both were considered pre-existing conditions for which women were routinely denied health insurance!

IMG_0776-1.JPGIndeed, the concurrent timing of these awareness campaigns almost seems to suggest that no more than one month can be devoted to women’s health at a time. The manner in which we talk about cancer and abuse differ considerably. Breast cancer’s impact on the women and loved ones of those afflicted by the disease tends to be viewed far more sympathetically than matters affecting women dealing with physical and emotional violence at the hands of their romantic partners. Women who’ve overcome cancer are rightfully called “survivors,” whereas women who have triumphed over the tolls of physical and emotional battery are more often than not referred to as mere “victims,” at best. Worse yet, society often holds domestic abuse survivors in disdain and personally blames them for their situations. In terms of which of these two awareness campaigns receives the most media attention and fundraising dollars, unfortunately, it’s pretty clear: boobies trump bruises every time.

These are among just a few of the reasons why I decided to take up the cause of domestic violence by spearheading and organizing the English Matters Colloquium (EMC) Town Square this evening. Finally, after months of planning, the EMC Town Square culminates our months-long cell phone donation drive in partnership with the Fayetteville alumni and Fayetteville State University’s undergraduate chapters of the Kappa Alpha Psi fraternity in hosting a forum with local area activists and experts in the area of domestic violence.

I’m especially delighted because this is the largest community outreach event the FSU Department of English has ever sponsored. For me, it’s important that humanities departments assume a leadership role in shaping conversations of this magnitude and scope. I think it’s crucial that cultural studies help society rethink the discourses of domestic abuse in terms of the way the media singles out communities of color. It’s valuable work for English departments to help in removing the shame and stigma associated with domestic violence.

Because of the particular circumstances faced by our campus community, topics we’ll be discussing include:

* issues in HBCU and African American contexts
* military families and wartime environments
* cyberstalking and computer safety
* gender stereotypes (e.g., same/opposite sex couples)
* support and understanding for victims (not judgment)
* local advocacy programs and intervention opportunities

And, since it’s homecoming week, we’re looking forward to a major turnout tonight too.

#FSUNOHOE

October 30, 2014. Tags: , , , , , , . African Americans, children, colors, education, family, feminism, gender, higher education, media, parenting, politics, rhetorics, sexual politics, time, visual literacy, visual rhetoric. Leave a comment.

Middle Passenger Seating?

What does one do with this kind of ignorance? Sometimes all we have left is poetry.

Robert Hayden, “Middle Passage” from Collected Poems. Copyright © 1962, 1966 by Robert Hayden. Copyright © 1985 by Emma Hayden. Reprinted with the permission of Liveright Publishing Corporation.
Source: Collected Poems (Liveright Publishing Corporation, 1985)

September 17, 2014. African Americans, cartoons, history, politics, race, slavery, visual literacy, visual rhetoric. Leave a comment.

#Grateful for the Life of Maya Angelou

Last week we lost another great one: Maya Angelou. Or, rather, Dr. Angelou, as she preferred to be called. When it came to addressing her by her honorific/title, nobody got a pass — not even Oprah.

Maya Angelou was awarded an honorary doctorate from Wake Forest University where she was Professor Emeritus and resided in Winston-Salem, North Carolina from her latter years up until her final passing. As a longtime North Carolinian, it seemed I was never more than one degree of separation from the artist-activist and attended several of her lectures and guest appearances over the years.As a public figure, Angelou was a towering presence — a descriptor that goes far beyond her once elegant frame. In her role as private citizen, apart form her public persona, I had a few occasions to partake of her charm and wit, though I also gleaned how Angelou could pose a rather intimidating — and at times downright disagreeable — presence.

It didn’t take much to note that Dr. Angelou would have no truck with any type of behavior she viewed as disrespectful or inappropriate. She had no problem whatsoever with instructing those around her in the correct manner by which they should conduct themselves in her company if they ever found themselves in the unfavorable position of not living up to her exceedingly high standards. Like all of us, she was a work in progress and maintained her strong ideals as something she expected herself and those around her to be continuously striving toward. Angelou was perfectly transparent regarding her own struggles to become a good Christian and decent human being.

The rhetorician in me is the part that will miss her most. As a scholar interested in the power of public address, it is her voice and the historical moment it represents that fascinates. Hearing the sonorous tones in her speech will always recall for me memories of the elderly church mothers I grew up listening to and imitating. The first row of churchgoing women took a special liking to me because of my ability to emulate their speaking when it was my turn to read the Sunday School card-class lessons, making me the happy recipient of whatever butterscotch or peppermint hard candies their patent-leather clutch handbags held. The way these white-gloved church mothers pronounced their words with such precision sharply contrasted with the staccato short-hand of my hip-hop contemporaries. Their earnestly delivered announcements of the weekly “sick and shut-in” list and hyper-proper recitations of Sunday scripture were uttered as if each syllable was deserving of its own special pew.

Maya Angelou’s high African American rhetoric, I believe, held audiences with rapt attention in a similar way. The expressivity of Angelou’s speech embodied sonic vestiges of late-Victorian epistolary inflections no longer found in most African American communities. The radical eloquence demonstrated by Maya Angelou’s speaking style effectively operated to appropriate the “master’s language” and audibly articulate black agency in order to subvert de jure segregation and race-based educational discrimination. Her manner of speaking was meant to celebrate the tenacity of African Americans’ collective will not to merely survive, but indeed thrive — and with a flair for the erudite, to boot. With Maya Angelou’s passing this covertly political style of black speech will be missed in mainstream American media. Regretfully, for many, a pithy soundbite and a Hallmark card aphorism is all that is left.

picture of Mahogany greeting card with Maya Angelou quote: "Do not reject. Do not demand. You can have life in the palm of your hand."

Maya Angelou’s “Mahogany” line of Hallmark greeting cards.

Though in my mind — as an African American mother, and a scholar of writing and rhetoric — Maya Angelou posed much too significant a figure for the occasion of her death to be marked with nothing more than a social media hashtag or image file of her glamorous, youthful heyday, accompanied by little else beyond one of her many well-turned phrases. Whereas she was most popularly known for her short poems, I don’t think a cut-paste of “Phenomenal Woman” will do her justice. As Angelou herself often noted, she was clever with words. The subject of her attention to craft was at times a topic of great debate among other African American poets. Whether this is fair to Angelou’s literary contributions, I cannot say. Although I have studied and thought about poetry slightly more than the average American reader, I don’t fancy myself an expert on what constitutes “serious poetry,” nor do I necessarily assume expertise about assessing one poem as “good” and another as “bad.”

As a casual reader of memoirs, however, I most value Angelou’s talent as a writer of the autobiographical form. Of course, her first autobiography is also her most celebrated work.  I Know Why the Caged Bird Sings powerfully conveys Angelou’s gift for personal narrative. Her socio-historical account of individual capacity for greatness and resilience in spite of childhood trauma is rightfully recognized as a well-crafted memoir. It is through this genre of her writing that Angelou’s prose emerges with a special resonance. She shows herself to be a foremost chronicler of the latter part of the Jim Crow era in her story of growing up in Arkansas. Her rich anecdotes beautifully capture the turbulent times that led toward her fulfilling her unique cultural niche, and prepared her for the space she would eventually find herself occupying in the singular role of vernacular dance performer, civil rights activist, political fundraiser, and occasional agent provacatuer.

Maya Angelou as vernacular artist or self-described "shake dancer"

Maya Angelou as vernacular artist or self-described “shake dancer”

Perhaps because of my own experience as an expat and having once been a young, single mother living in Accra, Ghana, All God’s Children Need Traveling Shoes is by far my favorite of all her autobiographical works. In this book, she describes how she took on the role of personal host and special consort to the likes of James Baldwin, Malcolm X, Kwame Nkrumah, among many other literary, political, and diplomatic luminaries of the Black Power and African Independence movements — all too numerous to name in this short reflection. 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. Angleou’s writing helped me better contextualize what I was encountering in the social and political turmoil I personally experienced while toggling between West African airports, local guesthouses, and gated estate communities. Fed up with stateside jingoism and hawkishness, reading Angelou’s prose provided me with meaning and gave context to the social and historical forces I saw in play. Her writing gave me the much needed explanatory power I sought for a better understanding of the cultural dynamics that I was seeing and experiencing first-hand: the coup d’etat in Ivory Coast, Liberian living conditions at UN refugee camps, and Ghana’s Truth and Reconciliation hearings, to name just a few of these life-changing events. Reading All God’s Children offers the perfect vantage point for understanding the ground that was laid by her generation of black woman cultural workers and gave me the strength to return home to North Carolina and assume my local share of the work required for bringing about a more expansive vision of global ethics as a black woman and as an American. Yes. This is what Angelou’s gift was to me, and to us all. She showed us how to strive to become better, more responsive Americans and citizens of the world.

June 3, 2014. Tags: , , , , , , , , , , , , . African Americans, art, children, Civil Rights Movement, economics, feminism, gender, history, poetry, politics, race, rhetorics, sex & sexuality, style. Leave a comment.

Hold Paula Deen Accountable If You Care About Justice

Clarence "Sunshine" Thomas
Clarence “Long-Dong” Thomas

In my last post I made an appeal to forgive Paula Deenfor her use of the word “nigger” because I was feeling a sense of charity given that my general attitude toward her was already one of low expectations. I glossed over key points also due, in part, to generate a post with brevity and levity. The mild sense of sympathy I felt, however, was countered by a generalized snark and outright cynicism that comes from living as an African American woman living in the South and being a frequent observer (and occasional target) of some individuals behaving like rude, misanthropes all up, in, and through the public sphere. Granted, Southerners are generally very polite people — profusely so, in fact. Southern hospitality is an ethos that most strive to uphold. Though let us not forget, by its very definition, hospitality is a stance that is meant for dealing with strangers or outsiders. Southern hospitality is only an outward appearance; something I call, bless your heart and watch your back. Therefore, for the most part, feelings of snark overtook charity — Christian charity — Southern style.

At any rate, it’s the thing I’ve learned to cope with, dealing with all the craziness of living and working in the South. My first instinct to blow off the gravity of Deen’s actions is the result that comes from years of battle fatigue while trying to avoid bitterness, hypertension, and the gout. For years, I’ve been teaching, learning, working, and living with folk who are oblivious to the privileges and luxuries they derive from inadvertently creating the range of minor inconveniences and insurmountable disasters in the lives of the people of color surrounding them. It happens regularly, without thought, as a simple matter of routine habit. It’s something you simply become accustomed to when you’ve been living in the Carolinas for as long as I have. But of course, as we all know, feelings are emotions. And emotions have a tendency to distort clear thinking. So I write this post to say that my last post (June 25, 2013) is wrong… or at least not entirely correct. That’s right. McFarlane was wrong.

Forgiveness is a good thing, but redress is too. The reason my earlier post missed the mark is because I, like most others, was focused on the media hype. Whereas attention to the more sensational aspects of Paula Deen being politically incorrect and quite possibly rude is one thing, the fact of the matter still remains that Deen was engaging in flat out employment discrimination, which far exceeds the problem of poor interpersonal skills or bad manners. The deposition that brought Deen’s behavior to light involves sworn testimony about Deen using the power of her corporation to place white employees in the front of her business while keeping black employees in the back. In other words, Deen practiced racially discriminatory institutional policies as a matter of workplace procedure. What this means is that Paula Deen actively assigned people to differential labor categories on the basis of race — if not soley, at least partially. In so doing, Deen actively made the decision to foreclose on people’s lives, thereby limiting individual employees’ economic and social chances in life — both long and short term — including (and by no means limited to) their ability to secure reasonable housing, attain decent educational opportunities for themselves and their children, as well as achieve dignified retirements free from poverty. This is the significant issue at hand and flaws in Deen’s individual personality are only tip of the ice burg.

To look at the case of the Paula Deen, here is racism and this is how it works. It works through the material benefits and tangible privileges received by one phenotypical group at the expense of another, wherein you work other folk to death and hurt their children and their children’s children into perpetuity . However, the claim of employment discrimination is seen as altogether different from proving it, says the U.S. Supreme Court. We can thank Clarence Thomas for this little nugget of injustice. Back before Thomas was on the Supreme Court, he headed the Equal Employment Opportunity Commission (through the auspices of a Ronald Reagan affirmative action appointment, no less) it became federal policy to disregard claims of racial discrimination based solely on outcome. Merely demonstrating (statistically, or otherwise) that all the employees who happen to be African American get assigned to the back kitchen is irrelevant. The burden of proof demands more than that. Recent politicization of the judicial branch has resulted in numerous close split decisions. This was the EEOC policy that was legitimized once Bush 40 appointed Clarence Thomas to the high court. From the SCOTUS bench, Thomas continues to rule with other conservatives. Thomas’ record of decisions for key racial discrimination cases tends to favor the accused/offending parties. Burden of proof  rest with victims. The plaintiff/victim must not only show damages or unfavorable outcomes, but must prove it’s being done on purpose. Paula Deen’s funny little nigger jokes show how she intentionally disqualified black employees from receiving fair labor compensation. The point is this: it does matter that Deen used the n-word, but not for the reasons the media would have us believe. The outcomes of personal and symbolic racism, such as the derogatory language used by Deen in the institutional context of a public, corporate establishment effectively translates into actual and real institutional racism and substantively proves intent to discriminate. In this particular context, Deen’s use of the word “nigger” equals the kind of racism that causes infant mortality and malnutrition, premature death from stress and overwork, destroys families, shatters dreams, perpetuates intergenerational poverty and social unrest, and fundamentally undermines what it means to live in a civil society based on democratic values. Therefore, if we really care about what we allege America to be, then we have no choice but to hold Paula Deen accountable for saying nigger— even if it was in the context of telling stupid jokes.

When all is said and done (and I think we can all agree at this point that a lot was said and even more was done), the bottom basic point is that Paula Deen ought not be allowed to use the power and wealth of corporate systems to institutionalize social caste groups—not if we are to live in an ethical, fair, and meritocratic society.

June 28, 2013. Tags: , , , , , , . African Americans, civic culture, Civil Rights Movement, communication, communication, persuasion, politics, teaching, professional writing, discrimination, economics, ethos, history, information design, media, persuasion, politics, race, racism, religion, rhetorics, SCOTUS, Southeners, space, space & spatiality, spatial rhetorics, Uncategorized, White Studies. 1 comment.

Quvenzhané Wallis and the Sad Truth

If you’re like me, the way you watch tv has shifted and your consumption of movies and television is now heavily mediated through social networks like Twitter and Facebook. More and more of us are likely to be in the know about the latest infotainment buzz through trending tweets and the latest status feeds. In fact, since I haven’t been too gung-ho about pricey visits to movie theaters these days,  I hadn’t even heard of Quvenzhané Wallis until last week. I learned of the precocious child actor like most others when she became the youngest person ever to earn an Oscar nomination for her lead acting role in the critically acclaimed fantasy drama, Beasts of the Southern Wild.

Image

In a ceremony on the night of November 14, 2012, Quvenzhané was acknowledged and honored with the key to her hometown, Houma in Terrebonne Parish, Louisiana, for her work in Beasts of the Southern Wild.

Of course, though not too surprisingly, the media commentary that followed in regards to the young actor’s breakthrough film performance was heavily burdened by the usual laziness of poorly thought-out racist mainstream media tropes in the form of celebrity gossip, ignorance, and out-and-out refusal to pronounce Wallis’s first name correctly. No surprises there. This sort of thing happens like clockwork and is understood as par for the course among even the most casual African American media watchers. http://www.youtube.com/watch?v=YB8CGNbrI4c But I admit that I was taken aback and was quite unprepared for the social media firestorm that ensued on Oscar night when the satirical news organization, The Onion, issued a tweet referring to this little girl as a cu*t. Now let’s get this straight: that’s the “c” word that rhymes with “hunt” and not “hoot” and is definitely not the type of descriptive one would normally expect a decent human being to use in the labeling of a small child, not even in the most extreme circumstances. Likewise, the Onion tweet was not a hoot – wasn’t in the least bit funny. And as though on the hunt, the Onion’s slur of choice (along with the fake news organization’s snide and snarky follow up apology) was issued in the same mean spirit as the sexually predatory racial politics that black women in this country have faced for centuries. Though unlike the verbal attacks that many black women have come to expect and subsequently learn to live with, few of us were ready for this particular incident because… well… because Wallis is a child. And children, we thought (hoped?), are supposed to be off limits when it comes to show-business’ usual racism and misogynistic feeding frenzies. But then again, she is a girl…  and a black girl at that. Unfortunately, violence against women is normal in our culture and youth exploitation is ordinary. It continues to be the case that for most African Americans – whether child or adult – neither cuteness nor the genuine innocence of childhood will fully provide our folk refuge from the casual viciousness of racism. The basic ideas of merit and the routine presumption of innocence in the case of black folk hold little sway in the history of US politics and culture. Because the fact still remains, no matter how smart, how talented, or how earnest you are or strive to be, in the eyes of far too many white adults, if you are both female and black you can only ever be nothing but a c-word(even if you’re an adorable, Academy Award nominated prodigy). And that’s the sad truth.

April 3, 2013. Tags: , , , , , , , , , . African Americans, age, children, cute, family, feminism, film, gender, history, parenting, politics, race, racism, rhetorics, sex & sexuality, toys, TV, YouTube. Leave a comment.

Cute No More?

Barack Obama started 2013 off with a new swagger. It began with the Fox News generated “Benghazi-Gate” and all the hullabaloo surrounding the non-nomination of Susan Rice for Secretary of State. From that moment, it seemed like he was down for a brawl with congressional Republicans during the first press conference after his reelection win, saying if the GOP’s leadership didn’t like the ambassador’s handling oobama-shoot_2469253bf things, “… then they’ve got a problem with [him].”

Then there’s the issue of Obama’s continued defiance in the face of House GOP members’ budget demands, which stands in clear contrast to his demeanor after the last fiscal crisis. And now with Obama’s more strident approach to gun control legislation following theNewton school massacre and other shooting incidents, there’s this recent revelation that he’s a skeet-shooting enthusiast…?

Dad jeans notwithstanding, it seems the world’s about to witness a gruffer, rougher, less cute second-term Obama. I also think the POTUS now feels less need to traffic in racial cuteness and is more comfortable moving toward a more formidable leadership image — and this could be a good thing on some level. (Not that I’m thrilled about gun sports or drone attacks or extra-legal assassinations or that sort of thing.)

April 2, 2013. African Americans, Barack Obama, civic culture, cute, Obama, political campaign, politics, rhetorics, Uncategorized, visual rhetoric. Leave a comment.

Galvanizing Cuteness

Facebook MLK gun control meme

Facebook MLK gun control meme

Much has been made about the president publicly shedding tears in response to the latest spate of horrific gun violence, especially since many of the victims were such small children. Because my scholarship deals with the centrality of cuteness in the shaping of public and institutional policies concerning race, I make a critique about visual culture operating at the very nexus of American public race policy. As a critical race theory, the rhetorics of cute have the power to galvanize the public. I believe the persuasive effects of cuteness are deployed for the political contexts of commerce and energize Derrick Bell’s notion of  “racial interest convergence.” Whether framing public debates about Civil Rights legislation through the outrage generated by the church bombing of four little girls, the heinous lynching of Emmett Till, and underlying the logos of Norman Rockwell’s portrayal of Ruby Bridges in “The Problem We All Live,”  cute shapes public policy.

Cute is a longstanding strategy for winning over the dominant interests in public debates and motivates white economic investments to push for substantive political changes. Interestingly enough, the decades-apart public anger precipitated by the killings of Emmett Till and Trayvon Martin was not necessarily amplified by the visuality of cuteness, but was more about the gestures of cuteness as a performative act reflecting childish (and legal) innocence. Till and Martin, after all, were both going about the normal business of adolescence and visiting the candy store. The sheer cuteness of behaving as any child is expected to, at least in the cases of Till and Martin, provides a posthumous racial pass of sorts. Dominant perceptions of African American masculinity in the white public sphere are not so readily second-guessed, especially by the ordinary television media.

 "The Problem We All Live With," Norman Rockwell, 1963. Oil on canvas, 36” x 58”. Illustration for "Look," January 14, 1964. Norman Rockwell Museum Collections. ©NRELC, Niles, IL.

“The Problem We All Live With,” Norman Rockwell, 1963. Oil on canvas, 36” x 58”. Illustration for “Look,” January 14, 1964. Norman Rockwell Museum Collections. ©NRELC, Niles, IL.

Or consider the groundswell of public sentiment in support of stricter gun control laws (as in the case of the Trayvon Martin killing).  And, as alluded to at the beginning of this post, the heartbreak surrounding the tiny victims of the Sandy Hook elementary school is sobering. The media tributes honoring the mostly white classroom of innocent first-graders and educators in the small Connecticut town has been relentless. All this is to say, that I’m just as moved by this recent gun massacre as anyone else and wish that  color were not a part of this discussion. Though unfortunately, the rhetorical power wielded by the ongoing tributes to this group of slain youngsters does speak to dominant sentiments and racial perceptions regarding cuteness.

I’ve even heard some people personally criticize Obama for supposedly not demonstrating enough grief over the epidemic of gun violence prematurely snatching the lives of hundreds of Chicago’s mostly brown and black children. But how would we even know this to be true? It could be that Obama has publicly demonstrated pain over the deaths of this particular group of kids, but it simply eludes coverage. And what about in his private moments with Michelle and his daughters? From all accounts, the loved ones of many of these children were personally known to the first family. Some of the more extreme online memes claim that Obama actually delights in the drone attacks by  Afghan children have been killed as opposed to American kids tragically cut down by gunfire. This latter idea is utterly ridiculous as it commits the logical fallacy of moral equivalency in a most reprehensible fashion. On the other hand, the issue of Chicago gun violence is valid. Not because of Obama’s supposed lack of personal grief, but for how it calls attention to the lopsided racial narratives of commercial “news” coverage.

This racial rhetoric of cuteness continues to operate in surprising ways and draws focus to matters of racial discrimination and privilege. This is why I believe the materiality of cuteness is racially determinative of people’s life chances and helps us better understand the technological and ethical interplay of aesthetic judgements of human worth.

December 23, 2012. babies, Barack, Barack Obama, children, cute, family, gesture, history, media, Obama, parenting, photography, political campaign, politics, psychology, race, rhetorics, sentiment, visual literacy. Leave a comment.

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.

August 31, 2012. Tags: , , , , , , . African Americans, art, Barack, Barack Obama, beauty, design, Karine Percheron-Daniels, politics, Portrait d’une négresse, rhetorics, sexual politics, sexual politics, visual literacy, visual rhetoric. Leave a comment.

Obama Roasts Trump

I made this video-audio mash-up during my dissertation defense back in March 2012 to serve as an example of Obama’s “cute” rhetoric in his roasting of Donald Trump at the White House Press Correspondents Dinner.  Obama demonstrates an uncanny sense of aptum with a  barrage of zingers to appropriately encompass the ridiculousness of Trump’s demands that he produce a long-form birth certificate to prove the merit of his national leadership. Given just hours prior to the announcement of the death of Osama bin Laden, we can retrospectively realize Obama was concurrently orchestrating the mission to kill bin Laden. His dissembling jeers are performed not more than 24 hours later after announcing bin Laden’s death.Obama delivers the news of bin Laden’s assassination in a tone that is somber yet resolved. When viewed in conjunction, these two oratorical performances demonstrate unequivocally Obama’s ability to rhetorically balance pop-cultural frivolity with the ceremonial tones of wartime speech — whether gauging his language when speaking about matters of urgent import or fleeting absurdity.

April 12, 2012. Barack Obama, cute, play, politics, race, rhetorics, time, time & temporality, TV, YouTube. Leave a comment.

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