not so mainstream… mainstream media

Glamour Magazine, a relatively mainstream women’s publication recently published an article on the experiences of one transgender person… Just Another Girl (Who Used to Be a Boy) http://www.glamour.com/sex-love-life/2010/04/just-another-girl-who-used-to-be-a-boy. While the article offers a rather positive perspective on the struggles of transgender people, it is nonetheless a step that at least some in the transgender community appreciated, when the level of violence and discrimination against transgender people remains high, and sometimes seems to be increasing.

For something far more lighthearted, an interview with Ellen Page about abortion, roller-derby and many things in between. http://www.guardian.co.uk/theobserver/2010/apr/04/ellen-page-interview

when female nudity and sexist tropes do NOT coincide…

rarely does it become apparent that things are more complicated than “naked female body” = sexism, but it should be quite recognizable when you see it [text under “later edit”] just like it is obvious when it’s the common variety of misogynist imagery; it has to do with the way the gaze is engaged, with context and attitude and agency and message and history:

So I finally got around to seeing the much-discussed music video for Erykah Badu’s single “Window Seat,” from her new album New Amerykah Part Two (Return of the Ankh), which came out yesterday. In it, she is featured walking around a Dallas street, stripping before a gaggle of pedestrians before being shot. The video concludes with the word “GROUPTHINK” oozing in blue letters from her head and a spoken outro. I’ve since seen it several times and can now trail behind the tweets. If you haven’t seen it already, you can check it out here.

First off, I’ll come out and say that I like this music video. I’ve liked the song since I heard Badu perform it with longtime collaborators The Roots on Jimmy Fallon a few weeks back. I’m also really glad people are talking about it. As a long-time fan of her work, it’s about time people acknowledge that she has consistently been at the center of some of the most interesting, challenging, and readable music videos since the start of her career. “Honey” (which she co-directed) is my favorite video of the past few years — it’s overtly political, visually compelling, dense with references, takes a revisionist’s attitude toward music history, and is funny as hell. But she’s had me as a supporter since the first time I saw “On & On” back in 1997.

It’s a little disheartening that people are only now starting to talk about one of her music videos, as I think some of why Badu has been overlooked has to do with our culture’s racialized conceptions of how female musicians are supposed to comport themselves as video subjects across musical genres. White ladies like Björk or Madonna can “elevate” the medium to ”art,” but black women — usually packaged as R&B, hip hop, or pop stars — need to be commercially viable. If they’re down with glamour, spectacle, and easy objectification, so much the better.

Badu’s never played that game, and has perhaps been under the radar as a result. …

from “My thoughts on Erykah Badu’s “Window Seat”” @ Feminist Music Geek
(read the whole thing)

also read: “Freeing the Black Woman’s Body” @ The Root

and “Erykah Badu ‘Window Seat’: What Do Nude Bodies Mean?” @ Womanist Musings

new report: The Endless Ordeal of Women Migrants

The Endless Ordeal of Women Migrants

by EveryOne Group

Milan, March 26th, 2010. Women fleeing from countries where humanitarian crises are underway often fall victim to physical assault, violence and rape. Today, thanks to a report by Médecins Sans Frontiéres, numerous case have come to light of women being raped during their “journeys of hope”, on their way to Morocco, and sometimes on Moroccan soil. “They are horrifying figures,” say MSF, “because 59% of the women interviewed say they have suffered sexual assault”. In Libya (the country Italy has signed anti-immigration agreements with) the situation is even worse and should be the subject of indignation for all those who believe in civil values. There is much talk (in Italy and throughout the world) of the protection of women and children, but then – through irresponsible xenophobic policies – the authorities contribute to the ordeals that women, children and vulnerable citizens are going through. In Italy too, female “illegal” immigrants regularly fall victim to blackmail and violent treatment. Women who are “legally” here are often subjected to the same treatment and forced to provide “services” outside their normal work duties (under blackmail from employers or landlords) due to the difficulty of holding on to their residence permits, essential for remaining in Italy. This fear of becoming “clandestine” leaves them vulnerable to persecution and blackmail. Not to mention the women interned in the Centres of Identification and Expulsion. The Bossi-Fini law, the “security package”, the anti-immigrant measures are – there is no point in denying it – racial laws, and responsible for an endless ordeal for thousands of women and marginalized and destitute human beings. If only the institutions (both in Italy and in other EU countries, seeing xenophobia is now rife all over Europe) were to listen to the appeals and proposals of civil society and stop being blinded by racial hatred and a fear of refugees and minorities! We would then live in a proud and just Europe – not a continent where human rights are a “privilege” for the few, while the more vulnerable human beings are treated as slaves or pushed back as though they were filthy animals.

via C.

“MSF denounces the sexual violence against migrants on their way to Europe”
— For further information, see MSF document: Sexual Violence and Migration. The hidden reality of Sub-Saharan women trapped in Morocco en route to Europe

GRITtv: Kathleen Hanna: Three-Dimensional Role Model


Kathleen Hanna came into a music scene in the 90s that was angry, violent, and full of men. She and her bandmates in Bikini Kill, along with the rest of the riot grrrl movement, pushed back against that culture and helped usher in a new “wave” of feminism. After Bikini Kill, Hanna went on to make feminist dance music with Le Tigre and has kept pushing boundaries ever since. Recently, she donated her zine archive to NYU’s Fales Library as part of its new Riot Grrrl collection. She joins Laura (GRITtv) in studio to talk feminism, rock’n’roll, and why she’s hopeful for the future.

And for those who want to find out more about what Kathleen Hanna is up to, her blog is here!!!

de-ale romanticizarii si exotizarii prea des intilnite

“Ce misto e viata de tigan” la un beso

[…] Si ma tot gandesc, ca intr-o tara in care “Inima de tigan” bate toate ratingurile, “tiganca imputita” e atat de acceptat….

Si ca tot scriam aici de minoritati, un articol interesant pe tema romi si vizunea romantic-idioata asupra lor (si nu numai) de g.m.tamas.

referinte recomandate de asemenea:

“Sexy-minoritati” @ un beso

“Hei, ţigane!” de G.M. Tamás in Observator Cultural

[…] Cînd cei care se află sus le recunosc celor de jos meritele care n-au de-a face cu Raţiunea, atunci este vorba întotdeauna de subjugare.

Nu a fost oare lăudată timp de milenii frumuseţea femeilor, disponibilitatea lor amoroasă, cuvioşia, smerenia lor, dragostea de mamă, în timp ce li se negau capacităţile raţionale şi chiar sufletul uman? Oare nu e ilustrată şi astăzi, în revistele onorabile, orice temă despre femei cu imagini seminude ale unor fete frumoase? Oare nu apreciază orice idiot homofob meritele designerilor de interior, ale creatorilor de modă, coaforilor sau cîntăreţilor de operă homosexuali? (Care sînt conotaţiile? Senzual, alunecos, frivol, fapt divers, secundar.)

Nu sînt oare emoţionaţi adepţii romantici şi conservatori ai ierarhiei şi ai sistemului de caste de truda agricultorului, care lucrează din zori pînă la apus? Ei sînt de fapt emoţionaţi de hărnicia lor simplă, de „frăţia cu natura“, de umilinţa lor superstiţioasă şi de supunerea faţă de preoţi şi stăpîni. Oare nu se înduioşează şi jurnalismul burghez de disciplina şi rezistenţa celui ce lucrează din greu?

Poporul este, precum ştim, o adunătură de fraieri de bună credinţă, atîta timp cît agitatori nemiloşi, pe ungureşte lelketlen izgatók („subversivi fără suflet“ – expresie minunată de pe vremea monarhiei cezaro-crăieşti), nu îi îndeamnă la grevă.

De minte, raţiune şi de aripile imaginaţiei conceptuale cei asupriţi şi prigoniţi nu au parte. (Critica intimă nazistă a „hiper-raţionalităţii“ evreilor nu este nici ea altceva decît mirarea că cei condamnaţi îşi permit să gîndescă – chiar mai mult, îşi permit să gîndească conceptual.)

Susţinătorii romilor văd foarte des în aceştia (la fel ca în indienii americani sau în eschimoşi) o enclavă premodernă, precapitalistă, şi astfel găsesc în ei pretextul pentru exprimarea antimodernismului şi a anticapitalismul lor romantic. Evident, după părerea lor, acest lucru nu e valabil în privinţa noastră, a albilor. Albii sînt, desigur, moderni şi raţionali. Ce putem asculta la întruniri antirasiste? Muzică ţigănească, folclor. Ce iubesc la romi cei care pretind că îi iubesc? Obiceiurile poetice, credinţa, legendele, melodiile, muzicalitatea religioasă. Inima, nu mintea. Romul (precum şi femeia, indigenul sau cel cu pielea colorată) este ori infantil, ori de o „sălbăticie nobilă“. Este nestricat, nereglementat, spontan, needucat, instinctiv. Într-un cuvînt, iraţional.

Convieţuirea cu romii (a se înţelege: siguranţa albilor alături de romi) trebuie să fie un compromis între indivizii raţionali (cei care respectă regulile juridice şi sociale) şi protejaţii lor iraţionali şi infantili. Evident, conform „elitei“ albe. Conflictul milenar dintre sedentari şi nomazi colorează acest lucru. Limba străină, predominarea oralităţii, portul tradiţional, călăritul – lucruri cunoscute din mitul nobilului beduin şi din povestea despre ultimul mohican, precum şi din dulcea şi nostalgica complezenţă a westernului în privinţa genocidului. […]

o resursa: Dosta! / Is this a stereotype?, Stereotye n° 10: Women

not cruelty but compassion, sacrifice, courage, kindness

apropos de istorie:
——
“To be hopeful in bad times is not just foolishly romantic. It is based on the fact that human history is a history not only of cruelty, but also of compassion, sacrifice, courage, kindness. What we choose to emphasize in this complex history will determine our lives. If we see only the worst, it destroys our capacity to do something. If we remember those times and places–and there are so many–where people have behaved magnificently, this gives us the energy to act, and at least the possibility of sending this spinning top of a world in a different direction. And if we do act, in however small a way, we don’t have to wait for some grand utopian future. The future is an infinite succession of presents, and to live now as we think human beings should live, in defiance of all that is bad around us, is itself a marvelous victory.”–Howard Zinn, from “The Optimism of Uncertainty” (2004)

A-ti pastra speranta in timpuri grele nu este doar romantic si nesabuit. Se bazeaza pe faptul ca istoria omenirii nu este doar o istorie a cruzimilor, ci si o istorie a compasiunii, sacrificiilor, curajului, bunatatii. Ceea ce alegem noi sa scoatem in evidenta din aceasta istorie complexa ne va determina vietile. Daca vedem numai ce e mai rau, asta ne distruge orice capacitate de a face ceva. Daca ne amintim acele situatii si locuri – si sunt atat de multe – cand oamenii s-au comportat magnific, aceasta ne da energia sa actionam, sau cel putin posibilitatea sa trimitem acest titirez care e Pamantul intr-o directie diferita. Si daca actionam cumva, chiar intr-o mica masura, nu trebuie sa mai asteptam un mare viitor utopic. Viitorul este o succesiune infinita de prezenturi, si a trai acum asa cum consideram ca ar trebui sa traiasca oamenii, sfidand ceea ce e rau in jurul nostru, este in sine o minunata victorie.”

For more on Zinn’s life, see his obituary from the Boston Globe
——
via ak press

Myriam Merlet


Haitian Feminist Leader Myriam Merlet (1953-2010)
… the passing of Haitian political activist Myriam Merlet. She died under the rubble of her home after it collapsed on her last week. Myriam Merlet was the Chief of Staff of the Haitian Ministry of Women and an outspoken feminist who helped draw international attention to the use of rape as a political weapon. We speak with playwright and activist Eve Ensler, who knew Myriam very well, and air video of Myriam speaking in 2008 at V-Day. [includes rush transcript]

The Mongoose Chronicles: Myriam Merlet; more about her