I’m featured in the first episode of Making New Worlds, a podcast inviting experts from different fields to discuss the ethics of colonising other planets.
The issue we discuss is not about scientific space exploration (collecting data about other planets), but whether it is ethical for humans to settle in Mars or other planets. My responses represent sociological considerations about the inequality that is inherent in colonialism. The quotes below are excerpts from me; listen to the entire podcast in the link.
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
This is my sociological reflection over the exhibition, Rembrandt and the Dutch Golden Age. There was only one woman artist in the exhibition, White Dutch artist Rachel Ruysch. There were no people of colour, except in one landscape depicting slavery of African people, in a work celebrating the growth of Amsterdam. Other than this, no other references to colonialism, even though there was a giant ship in the exhibition and a landscape of Brazil referencing an “outpost.”
There was a painting of the Burghers, a group descendent from Sri Lanka and various European origins, especially Potugese and Dutch, but the exhibition makes no reference to class or race. The term Burgher derives from the Dutch word for “citizen” or “town dweller”, mixed with the French word “bourgeois” which refers to the upper class. The Burghers were actually upwardly mobile middle class who made a good living as merchants and commissioned paintings to reflect their modest wealth. While most were of mixed racial background, they are painted as White.
Finally, in one of the photos you see Rembrandt’s painting “Bust of a Man in Oriental Dress,” depicting a White man wearing a turban – an example of White upper class appropriating the culture and religion of Others, but the exhibition explains this as “exotic looking garb.”The exhibition is excellent, but like many, it whitewashes history and replicates racial, gender and various inequalities by papering over relations of power in art.
The exhibition is on in the Art Gallery of New South Wales, Sydney.
Rembrandt and the Dutch Golden Age.
[Photos: 1/ woman with long white hair stares at “Bust of a Man in Oriental Dress. 2/ a White man and Asian woman outside the exhibition. 3/ A young man walks towards the camera as other art vistors wander around the gallery. 4/ people take photos of the large paintings on display. 5/ a bald man stares closely at photographs of Rembrandt. 6/ a man and a woman look at a large golden painting featuring architecture. 7/ visitors walk around the busy exhibition.]
Popular White-dominated website, Popsugar, published an article calling non-Anglo names “quirky.” This is one example among many where Anglo-Saxon languages and Western cultures are seen as the universal norm used to judge all other cultures (in sociology, this is known as “ethnocentrism”). “By removing the racial and sociocultural context of these names, slapping them on a list, and labeling them as ‘quirky,’ Popsugar Moms fails to acknowledge that they belong to the people and cultures from which these names originate.”
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.
“Colonial Sugar,” Tracey Moffatt and Jasmine Togo-Brisby, exhibition at the City Gallery Wellington. From 1863 to 1904, the Queensland government in Australia enslaved at least 62,000 people from the Pacific to fuel production in its prosperous sugarcane plantations. Continue reading Colonial Sugar
Being Chinese in Aotearoa: A Photographic Journey. This is a stunning and informative history of migration. It documents difficulties and triumphs in the face of ongoing racism. Highly recommend visiting if you’re in New Zealand Aotearoa. On the left you can see Appo Hocton (Ah Poo Hoc Ting), who arrived in his 20s, in 1842, to become the first documented Chinese-New Zealander. Continue reading Being Chinese in Aotearoa
For the past three years, I’ve written about the gender and race dynamics of the chosen portraits, painted by children up to the age of 18 for the The Young Archibald Prize (the “Young Archie”). Most of the subjects are women, especially mothers. Few artists and subjects are people of colour. This year, while mothers, grandmothers and sisters feature, described for their caring qualities, I was delighted to see a handful of works by and about Asian Australians. Remarkably, two of these paintings, one by a nine year old and another by a 16 year old, explicitly depicted themes of death in terms of acceptance and wonder. Truly wonderful.
I’m at the “Love Is… Australian Wedding Fashion” exhibition at the Powerhouse Museum.
This was a very interesting exhibition but it’s not really about “Australia.” It’s about White Australia. It starts with a room about “early history” – which begins with “convicts.” Already Aboriginal and Torres Strait Islander people are erased, but to add injury, the room uses an unnamed Indigenous song that plays in the background to a room full of White colonisers. There is only one Aboriginal designer in the entire exhibition – Dharruk and Darkenjung woman Robyn Caughlan (in this video) – but no couples. Continue reading Love Is… Australian Wedding Fashion
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.