Today’s Weekends With a Sociologist lunges us into the heart of Australian suburbia. There’s revelry in Australiania, a notion that I’ve never been especially comforable with, but we’re plunging in all the same! You’ll see there is much to cringe about, and more delights in store, in Jon Campbell’sWord. The Irish-Australian migrant artist lives in Coburg, an inner Northern suburb of Melbourne. The exhibitionis based on his artworks that use numerous light boxes to emphasise the language of the working class in the inner Northern and Western suburbs of Melbourne, the typical signage seen along country roads, and Anglo-Aussie surf culture. Banners host Aussie venacular, pub menu items, live music posters, and peculiar messages familiar to locals.
This exhibition includes Stacks On (2010) and the 65 metre mural commissioned by the Museum of Contemporary Art.
My Weekends With A Sociologist series is going to start coming to you more frequently and completely out of sequence. I will share with you my visual sociology adventures from different places, at different points in time, showing you what has captivated my sociological imagination most recently, through to what has lingered with me over time. The purpose of this series is to showcase what it is to see the world through a sociological lens. (For visually impaired readers, descriptions in the alt.) So let’s get started!
What better way to restart our journey, than with the enduring legacy of a strong Aboriginal woman, Barangaroo.
Beginning in the first week of January, Sydney annually hosts the Sydney Festival, with various sites around town housing performances, public art and sculptures, including many interactive installations. The best this year was the artwork, Four Thousand Fish, curated by Emily McDaniel, artist from the Kalari Clan of the Wiradjuri nation in Central New South Wales. The artwork blends sea song, visual story telling, sound, lighting, sculptures, landscape photography, music and of course, a beautiful nawi (bark canoe).
Held at the Cutaway in Barangaroo, every weekend this past January, the site was transformed into a public art sculpture that was set ablaze nightly at dusk. I attended an event hosted by the beloved street photographer, Legojacker (formerly from Melbourne, they had moved to Canberra in recent months).
Barangarro is named after the mighty Cammeraygal woman of the Eora nation, who defied colonialism in Gadigal, her homeland (also known as Sydney).
In October 2017, I was interviewed about racial preferences in dating for the Triple J show, “The Hook Up,” along with Dr Denton Callender, a research fellow at the Kirby Institute, and Dr Ian Stephen.
The podcast included calls from listeners who shared what it’s like to be fetishised on dating apps, as well as the racial biases that White people exercise.
I am featured at the beginning, when host Hannah Reilly asks me to comment on ethnic preferences. (Note that ethnicity is about culture, and race is about physical traits. To illustrate this distinction: there are Black Latin people – they’re classified as Black in terms of race, and Latin in terms of culture.)
Below is my transcription of the segment that features me.
[From 2.19 mins]Hannah: I asked sociologist, Zuleyka Zevallos, where these ethnic preferences might be coming from.
Zuleyka: It goes back to the way we think about beauty. We’re socialised from a really young age to be looking out for certain types of physical traits – and a lot of them are associated with Whiteness. It’s about: having very light skin; having a particular type of nose – various types of features that are more common amongst people who are White.
Hannah: So you think beauty is a cultural idea, not a physical one?
Zuleyka: It is very much shaped by culture. We know that because there are patterns. You talked about the patterns on dating apps. There are patterns in which people couple more generally, in marriage – those types of patterns. If it wasn’t culturally shaped, there wouldn’t be patterns because everyone would have an equal chance of hooking up with people, and having relationships with, people outside of their own racial group. Continue reading Racial Preferences in Dating
On 2 September 2017, writer and social justice coordinator with the American Humanist Association, Sincere Kirabo, interviewed me about misunderstandings of intersectionality and the problems with the term “identity politics.” He writes:
…White identity politics go “undetected,” as we’re socialised to regard the sustaining of dominant culture as “what is expected” or “the way things ought to be.”
Dr. Zuleyka Zevallos, sociologist with Swinburne University, echoes this sentiment, stating:
‘If the phrase has any value at all — and it really doesn’t — “identity politics” calls attention to the ways that people from majority groups, especially White people, do not “see” how their identities are governed by politics. This is how Whiteness works: White culture is embedded into all fields of public life, from education, to the media, to science, to religion and beyond. White culture is constructed as the norm, so it becomes the taken-for-granted ideal with which other cultures are judged against by White people.
This year marks 230 years since the British invaded Australia, leading to the decimation of Aboriginal and Torres Strait Islander people, with inequities continuing to this day. It is also the 80 year anniversary of the Day of Mourning protests, organised by the Australian Aboriginal Progressive League.
Today’s post reflects on the protests on the lands of the Gadigal people of the Eora Nation (Gadigal is the city now known as Sydney). I then provide a visual sociology of the culmination of the protest march, which ended at the Yabun Festival.
I’ve seen a few “progressive” White people sharing a newstory about the newly established African-Australian community taskforce, without recognising that this is giving in to scaremongering. Yet White people feel comforted by the idea that “African community leaders” are doing “the right thing” to keep people safe (read: White people). The nation must critically examine how Whiteness drives these responses. There’s increased policing of South Sudanese-Australian groups not because there’s a specific problem – data show that the majority of youth crime is committed by White youth. The motivation to criminalise African-Australians coincides with the election year.
Racism is not an interpersonal phenomenon. It is not simply about something one person said to another; it is more than a slur about skin colour. Racism operates through institutions and policies, that are reinforced in everyday words and actions. Racism is not comprehending that things you say and do – as well as the things you fail to say and do – contribute to the alienation of people of colour. Well-meaning White people contribute towards racism – through their silence. Whether intentional or not, racism has material consequences on the life chances of racial minorities. Below are some examples of racism at work in research contexts. I examine what it means to be an “ally,” and I discuss ways to proactively respond to racial discrimination in the workplace and online.
Racism is not something disconnected from everyday life. It's not something that "other people" do – it's happening right in front of you.
This is a question I routinely get from people I meet. When I say I’m from Melbourne (the city where I’ve lived most of my life), I get scoffed at and badgered: ‘No – where are you really from?’ People ask this question because I’m not White and I’m presumed to be not-Australian. Yes I was born in South America – but I have lived here for 24 years, since I was a child, and this is my home. I’ve devoted much of my adult life to researching and fighting this form of everyday racism. Almost everyday of my life, any time I meet new people. This has always made me feel as if my status as an Australian is continually being judged and categorised by people who feel they have more of a right to call themselves Australian because they are White and not obviously of migrant background. In a multicultural country in the year 2011 – this is astounding.
The above anonymous entry to Microaggressions.comis actually mine, from six years ago. I’ve lived in four cities since this submission. I still get this question routinely in all sorts of contexts, from professional meetings to social settings; whether I visit an art gallery, or if I’m a guest at a function.
Racial microaggressions are the brief and subtle daily insults that denigrate people of colour. This term was first conceptualised in 1977 by Chester Pierce and colleagues in a study of racism in television commercials.
“These are the subtle, stunning, often automatic, and non-verbal exchanges which are ‘put downs’ of Blacks by offenders. The offensive mechanisms used against Blacks often are innocuous. The cumulative weight of their never-ending burden is the major ingredient in Black-White interactions.”
Microaggression is a term that Dr Derald Wing Sue and colleagues reinvigorated in 2007, to describe racist dynamics between White therapists and their clients who are people of colour. They note that microaggressions occur because White people lack awareness of how race affects their biases, stereotypes, behaviour and attitudes, and also because they lack an understanding of the experiences of people of colour.
Microaggressions can be delivered as an insult or an appeal for validation about White person’s beliefs. These may be verbal signs (words or tone) or physical cues (snubs, or dismissive looks, gestures). Racial microaggressions can also build up not by targeting a specific individual but through atmosphere, such as a hostile workplace, where a minority woman is excluded from social events.
How do White women perpetuate gender and racial inequality in film? A new adaption of the 1966 novel and 1971 film, “The Beguiled,” is hitting the silver screen. The original story opens with a limping, dirtied White man, John (also nicknamed “Mr B”), played with relish by Clint Eastwood. The audience knows the violence and lies he’s capable of, as we see flashbacks that contradict his charm. He is an Unionist soldier injured in battle towards the end of the American Civil War. He staggers his way to a secluded boarding school for girls and young women, where he is nursed back to health by the older women, a mixed group of begrudging and bemused ladies who are stifled by their secret desires. The 2017 version has already built up high praise, with director Sofia Coppola being awarded Best Director at the Cannes Film Festival. This is the first time the prestigious award has been given to a woman. Coppola explains why she chose to erase the character of Hallie, a slave woman who features prominently in the original. I emphasise Whiteness in her language below. Whiteness is a concept describing how White people don’t acknowledge how their race is central to their worldviews and contributes to racial oppression:
“I really thought it was interesting because it was a group of women all living together, all different ages with different stages of maturity, and how they interact. It’s a group of women kind of isolated in the world… I’m definitely attracted to stories about female characters, and characters that I can relate to. I’m interested in stories of groups of women together… At the heart of the story, it’s really about the power dynamics between men and women that are universal, but that are sort of heightened in this kind of premise.”
Copolla makes two points in this interview:
She loves women’s stories (read: White women’s stories).
By saying she chooses stories that she relates to, and having omitted the only Black woman from her script, she is saying she only relates to White women.
When White people try to dismiss Indigenous and other people of colour’s (POC) discussion of colonialism and its present-day impact by focusing on “tone,” that’s racism. Consider this exchange. I shared an important article by Teila Watson , Birri Gubba Wiri and Kungalu/Gungalu Murri woman artist, who wrote about the impact of colonialism on Australia’s past, present and future. Originally published in The Guardian, Watson was unimpressed that the editors changed the title from White “Australia” Has a Black Future, to “Indigenous knowledge systems can help solve the problems of climate change.” So she chose to self-publish the longer version of her article with the original title on Medium.
A White woman writer decided to reshare my tweet, which includes a quote from the Medium piece. By doing so she informs me that she refuses to read the article due to the title, which she sees is “uncivil.” I shouldn’t have to explain this, but in the course of my interactions it was obvious that I did, in fact, have to point out that refusing to read the words of an Aboriginal woman is racist, and calling an article reflecting on Australia’s history of genocide “uncivil” is the epitome of White supremacy.