Luke Briscoe, Co-Founder of Indigilab, sings about how one day the land will be returned to the traditional custodians of Australia, Aboriginal sand Torres Strait Islanders. His message was the hope that Indigenous culture and science will be recognised for its unique and important contribution to Australian society.
He also spoke about constitutional recognition of Indigenous people and he presented the Indigenous Science Declaration to the March for Science organisers.
I attended the March for Science as part of my participant observation research, and specifically to hear Briscoe speak and in solidarity of underrepresented scientists.
This exhibition at the Canberra Museum and Gallery contains memorabilia collected by Canberra artist Peter Maloney of the Australian singer heralded as “The Face of 68” at the age of 18. She performed with many influential art rock groups in the 1970s. She eventually travelled to New York where she went on to join the International Society for Krishna Consciousness and adopted the name Gandharvika Devi Dasi and continued to perform under her Anglo name but shunned the music press. Continue reading Wendy Saddington: Underground Icon
This looks a lot like Latin dancing at the African Music and Cultural Festival in Melbourne but it is actually the Kizomba (from Angola and other countries). They then dance to a Spanish language song, an African salsa fusion they put together.
Now that I’m back in Canberra from my overseas secondment, here’s our visual sociology for August 2015. There’s contemplative art that speaks to the sociology of identity and otherness, there’s commemorations of political violence, Indigenous drums from Vanuatu, protest art and markets galore.
Draw In at the National Portrait Gallery with Carlos Perez playing classical guitar. The public is invited to sit and draw; all materials are provided. It’s child friendly too. 9 August
The 26th of January is Australia Day and a national holiday. Various events happen all over Melbourne, but some of these recognise that this day raises important issues about Indigenous culture in Australia. Protests over colonialism have been ongoing since Europeans settled in Australia in 1788. On the 26th of January 1938, 150 years after the decimation of Indigenous people began, William Cooper (leader with the Australian Aboriginal League) together with Jack Patten and William Ferguson (the Aboriginal Progressive Association) declared the first “Day of Mourning,” a day recognising the history of colonial violence and dispossession. Survival Day events represent the resilience and contribution of Aboriginal and Torres Strait Islander people, who collectively make up the world’s oldest, continuous culture.
I attended the Share the Spirit festival, hosted by Songlines Music. This event has been running at the Treasury Garden since 2002. Together with similar events in Sydney, Perth, Adelaide and elsewhere, they are amongst the biggest Indigenous cultural events in Australia. Continue reading Share the Spirit: Survival Day 2015
While people rush to defend Taylor Swift’s racist appropriation of Black female bodies in her latest video, Shake it Off, because it’s presented as “fun,” it’s worth remembering that “satire” is no excuse for whitewashing of racism. First, satire requires cultural context to be clever; it matters who is delivering the joke to whom, when, and for what purpose. Second, racism is not simply about interpersonal insults. Racism describes a system of domination where White people benefit directly and indirectly from the status quo.
Taylor Swift has positioned herself publicly as a feminist, though her enactment of these ideals was already not without problems. This video shows she has little understanding of the history of feminism and the cultural struggles faced by women of colour. Not coincidentally, White feminism is still largely resistant to racial issues. As sociologist Jessie Daniels notes, it matters that White women are at the centre of both pop culture and the feminist movement:
White feminism, without attention to racial justice, makes an easy partnership with White supremacy.
From Miley Cyrus to Iggy Azalea who profit from brandishing certain aspects of Black culture, to Lily Allen who similarly used Black women in a video to critique White women pop stars, Swift has added her name to an ever-growing list of rich White women in pop music who use the exploitation of women of colour to make “feminist” statements. This stands in contrast, but along a similar continuum, of White pop stars such as Gwen Stefani, Katy Perry, Avril Lavigne who commodify the culture and sexuality of “Asian” women. Asian femininity is sexy in a “cute,” clean and submissive way; while Black and Brown women’s sexuality is dangerous, dirty and untamed. Either way, White women’s cultural appropriation of minority cultures conforms to familiar tropes where White champions dominate the uncivilised Other.
The fact that White celebrities do not set out to be “intentionally racist” is beside the point. Racism does not require your intent, as racial bias often goes unexamined. In fact, the way Whiteness works is to place White people at the centre of culture so that they are protected from the everyday consequences of race relations. (And no, there is no such thing as reverse racism.) Not recognising how racism works, such as failing to understand how and why cultural appropriation and stereotypes are damaging, is an outcome of White privilege.
A new film is in development which documents the rise of American rappers N.W.A. The Straight Outta Compton bioepic casting call came under heavy criticism for being racist, as the casting agent was asking for four different “classes” of “girls,” which were organised around skin tone. I argue that the casting call is not simply racist; it is also sexist, and reflecting colonial relations. The focus on lighter skin tone of Black women as an ideal of beauty has a long and profoundly damaging history. This racist ideology continues to the present day and problematically positions darker skin tones as less beautiful, and attaches additional stigma to Black women. As we’ll see in this casting call, even in a film about successful Black men, being a “dark” Black woman is analogous to being “out of shape,” unattractive and poor. There is an interplay between racism and class in this “colour code” which is further implied in the casting call, through the focus on hair. By stipulating that the “beautiful class” of women should have straight hair, and that the less desirable “classes” have weaves, there is a racist, sexist and class exclusion at play that penalises Black women’s femininity.