B L A C K S T A R
MAGAZINE
FALL 2013
Black Bodies in the time
Trayvon Where are
of
all the
Black Models?
Exploring
American pop cultur[al appropriation] Slavery Takes the Big Screen Approaching justice, equity, and inclusion through
C O N V E R S A T I O N S
BLACK
STAFF & CONTRIBUTORS FALL 2013
Janessa Aneke Creative Director
STAR
MAGAZINE
Jordie Davies Writer
Stella Fagbemi Writer
Jaye George Managing Editor, Print
Grace Gardner Writer + Layout Design
Kimberly Herard Lifesytle Editor
Briana Keith Business and Operations
Kelli Richardson News Editor + Writer
Kevin Satterfield Writer
Samantha Scott Editor-in-Chief + Arts & Ent Editor
Malaika Nicholas Managing Editor, Digital
Melanie Smith Photograpy
A Letter from the Editor... As with many of my assignments, this letter is being written at the last minute. It all seemed so easy – picking a theme, brainstorming meaningful stories, editing, design…but I’ve agonized for months over writing this letter. Conversations? Yes, of course we need to have them but what about? Obviously the events of last year are important but how do I express the simultaneous feelings of shock, pain, and anger, mixed with the underlying understanding that those events were not isolated, not surprising, and not new. Maybe the new Black Student Union and what it means to have an official space on this campus…but it’s almost too early to make analysis. What I do want for the Black communities at Emory and beyond is to tune into the conversations that are already happening and to join in. To further our discussions on the unique racialized experiences of students of color, confronting inter and intra-racial tensions and how to build solidarity among us, exploring blackness at Emory and beyond, figuring out how to enact justice, equity, and inclusion for all students at our University, especially for those of us who historically have been left out. It is my hope that this volume serves, at the very least, as a point of departure. So let’s talk, Emory. It is high time that we hear from you. Thanks,
Sammie Scott Editor-in-Chief
CONVERSATIONS fall 2013
N E W S 6 You Were Going 55 in a 54: Trayvon Martin, Suspicion, anD Walking While Black
7 Mental Illness & Homeless in the Black Community
L I F E S T Y L E 8 Interracial Relationships: Love Beyond Color
ARTS& ENTERTAINMENT 10 Fashion: Black, Beautiful, and Invisible 12 Hollywood Confronts Slavery
O P I N I O N 14 Whose Black is it Anyway?
slavery, we can’t help but You Were Going 55 in a 54: American be left with a multitude of questions
Trayvon Martin, Suspicion, and Walking While Black
and fear for the future.
The questions we face aren’t easy nor should we expect the solutions to such problems to be as linear as we want them to be. There might be another Sabrina Fulton in America that loses her innocent son to a gun tomorrow or next week, but we don’t have to let that collective pain, suffering, and expression of agony be the extent of our activism as concerned citizens. We can demand that our politicians review the gun laws that allow a disproportionate number of our unarmed black males to be shot and killed. Change will come when we stop learning to be content with the status quo. A politician might not respond when he’s faced with hundreds of emails from concerned citizens, but he will certainly change when his personal electable situation changes. In order to change a politician, you must think like a suspicious of a tall black kid walking politician. Trayvon’s case is our case. It’s the around a neighborhood late at night? case that makes us pause, makes us remember that black boys, girls, men Wouldn’t you watch him for a while And lastly, we must change the dialogue in this country. We must and women are living an entirely dif- and follow him? Does he have the ferent experience than other Ameri- right to defend himself? He couldn’t cleanse ourselves of the toxic lancans. This case is the one that makes possibly have been afraid for his own guage and thoughts that flood our brain with negative assumptions life. us a little more cautious, makes us [considering what very little knowlremind our brothers, cousins, friends, edge we have about the situation]. Could he? and lovers to take off their hoodies, stand up straight, don’t walk too A pervasive, one dimensional view slow, but don’t walk too fast either; keep your hands out of your pockets, exists of black boys and men in America. The violent gangster ready always smile, speak honestly to an to rob everyone blind is very often officer, but not too boldly… the image that is continually perpetTrayvon is our Rodney. Trayvon is uated, while respectable black men our Emmett. like Barack Obama are “few and far between.” If this is the view of law Being black in the time of Trayvon Martin means living with the presup- enforcement, of the American people, posed suspicion of black men. Being how will we prevent these unnecessary deaths? How will we change black in the time of Trayvon means minds and hearts? understanding that police are “just doing their jobs” and that our “postWith more black men in jail today racial society” means that color is than were enslaved at the peak of irrelevant. I mean, wouldn’t you be
Jordie Davies and Kevin Satterfield
6
NEWS
Exploring Mental Illness + Homelessness in the Black Community STELLA FAGBEMI
African Americans are two times as likely to be diagnosed with schizophrenia as white Americans (Good 237). This is often due to an over diagnosis of schizophrenia and an under diagnosis of other mental illnesses such as bipolar disorder; improper diagnosis stems from stigmatizations about African Americans that can have serious implications for care (Good 237). Without proper diagnosis, proper treatment cannot be applied and patients can’t return to health. Living with an untreated mental illness or even being diagnosed with one makes it extremely difficult to obtain or maintain employment. Without a steady source of income it is far from easy to stay afloat. Differences in language and experience can often lead practitioners to misdiagnosis and cause a great disadvantage to minority patients (Good 238). The bulk of misdiagnoses noted in a 1988 study, is due to racial prejudice: for instance, the no-
tion that African American men are more violent and suspicious and thus are diagnosed with more severe mental illnesses than their white counterparts (Good). As a testament to the racial discord, Covenant Atlanta notes that African Americans living with mental illness are overrepresented in the Atlanta homeless population. From this it may seem as though the homeless, mentally ill equation only runs in one direction. Keep in mind however; that it is unclear where the equilibrium lies as far as how often homelessness is due to mental illness and how often mental illness is triggered by homelessness. The cause must be addressed in order to change the effect but in situations where it is unclear which came first or even if the proper diagnosis has been made, it is a thousand times more difficult to reach a solution. In Atlanta, the widespread region known as “Metro-Atlanta” further com-
plicates this dilemma. Because this area spans 14 counties and therefore 14 jurisdictions, a collective answer has yet to be reached so the problem persists. To solve this, patient-practitioner communication and understanding must first be improved so that proper diagnoses can be made and proper treatment given. Then, patients can explore the etiology of their illness and homelessness to help themselves and others. Further, the removal of racial stigma in mental healthcare may lead to lessened stigma in society and better outcomes for the mentally ill, homeless population. Good, Byron J. “Studying Mental Illness in Context: Local, Global, or Universal?” Ethos 25.2 (1997): 230-48. JSTOR. Web. “Homelessness In Atlanta.” Covenant Community. N.p., n.d. Web. 8 Oct. 2013.
For More Information & Opportunities to Become Involved: Homeless Shelter Directory (homelessshelterdirectory.org/Georgia.html - search “Atlanta”) The Atlanta Mission (atlantamission.org) Metro Atlanta Taskforce for the Homeless (homelesstaskforce.org)
BLACK STAR MAGAZINE
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Interracial Relationships: Love Beyond Color “There is more freedom for us to enjoy the people around us of another skin color than previous generations.”
Kelli Richardson
T
here was a time where interracial relationships were unheard of but now they are becoming more and more common. According to Pew Research Center, 1 in 12 marriages were between interracial couples in 2010. The question is, “What has changed?” “The groups of society that is opposed to interracial relationships are in the senior citizen category and generations shift, people of the pre-civil rights era are having less of an influence probably every day. So there is less pressure on people to be in relationship with people from their own race,” says Nicholaus Nelson-Goede-
8
LIFESTYLE
rt, a graduate student at Emory University. Dr. David T. Lichter a Sociology Professor at Cornell University and author of “Changing Patterns of Interracial Marriage in a Multiracial Society” says that changes in patterns of inequality have led to the increase in interracial relationships. “...Coming into contact as equals leads to friendship and romance,” declares Lichter. According to Lichter not only are there generational shifts but Americans of different races are encountering each other on a more equal playing field then they were fifty years ago. After speaking with several Emory students on-campus who have been in interracial relationships or
are currently in one, I began to notice exactly what Lichter was talking about. “There is more freedom for us to enjoy the people around us of another skin color [than previous generations]” says Quincy Cherry III an Emory student about interracial relationships in American culture today. This is certainly the truth since the days of segregated schools have ended and students are now attending diverse schools and universities across America. You are more likely to meet your future spouse at school/work (match.com), so it would make sense that younger generations are looking past race to find love and that our generation is more ac-
Kim K
and ian dash
Kanye
West
ar
cepting of it interracial relationships.
David Bowie and Iman
Although Americans are becoming more and more accepting of interracial relationships, those interracial couples are still met with some hostility. For example, the recent Cheerios commercial of an interracial family was greeted with backlash by many viewers who found the commercial “distasteful and offensive”.
T W
h e e b
Check out these blogs about interracial lovin’!
One Emory student says that his inter- Tumblr racial relationship ended because his girlfriend’s family did not approve. According to him, her family did not approve of the relationship because he was African American. This is an issue for our generation when entering into an interracial relationship; we will not always have the approval of our elders.
Big S
ean
and
Naya
Rivera
Another issue often faced by interracial couples is the differences between our significant other and us. Jalicha Persad, a senior at Emory, says the only way for interracial relationships to move forward is by focusing on other things, “...don’t listen to what everyone else around you says, there isn’t a right or wrong with this. It’s more about your preference. You have to focus on your similarities and not your differences.”
BLACK STAR MAGAZINE
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BL ACK
BEAUTIFUL, &
I N V I S I B L E GRACE GARDNER
I
magine sitting in the first row at a Marc by Marc Jacobs fashion show, anticipating each marvelous creation that is going to come down the runway. As soon as the show starts, you stare in wonder at each design. Each dress, perfect for the season. Each print, each design, better than the one that came before. The fullness of the hair and the bright red lipstick on each pale-skinned model completes each look. It is in that moment, however, you realize that every beautiful face has pale skin. You did not
see any models of color, let alone a black one. With the fashion world being the industry of beauty, it is bewildering how it is almost impossible to find a black model in a show. This is nothing new to the industry however, which is why Bethann Hardison, a pioneering black model from the sixties and present-day fashion activist, as well as famed supermodels Iman and Naomi Campbell, came together and launched the Diversity Coalition. During fashion week, they
The Diversity Coalition Naomi Campbell, Bethann Hardison, and Iman
10ARTS & ENT
“called out” the entire fashion industry, including multiple designers for ignoring the lack of diversity throughout business. Brands such as Alexander McQueen, Chanel, Valentino, Armani, Roberto Cavalli, Calvin Klein and Marc Jacobs were just a few that were named. In an interview with CNN, Naomi Campbell said, “We’re not saying they’re racist. We’re saying it’s an act of racism by not using models of color”. Successful black models are extremely hard to come by. Models like
Models pose back stage at Marc by Marc Jacobs
Tyra Banks, Naomi Campbell, Beverly Johnson, and Iman have opened the door for black models today, but it seems like the door has only been cracked. The beautiful Chanel Iman, named as an homage to two of her mother’s fashion idols, is one of few in-demand black models, and yet still loses jobs when designers have filled their “black quota.” She told The Sunday Times Magazine, “A few times I got excused by designers who told me, ‘We already found one black girl. We don’t need you anymore.’” Unfortunately, these rejections are common. In order to be a casted, you have to fit the designer’s aesthetic for the show, but when fashion shows are consistently filled with beautiful white women, you start to question that aesthetic. In a letter to heads of various fashion organizations, the three models wrote, “Not
"We're not saying they're racist. We're Saying it's an act of racism by not using models of color."
-
naomi
Campbell
accepting another based on the color of their skin is clearly beyond ‘aesthetic’ when it is consistent with the designer’s brand”. As a young black woman, I have to continuously tell myself that “my black is beautiful” because there are so many in the world who tell me otherwise. The lack of a black presence within the fashion industry reinforces the European standard of beauty that we abide by. To be beautiful means to be white. I refuse to accept that reality. Beauty has no race or color and until the fashion industry realizes this, we will continue to see runways filled with fabulous looks and familiar white faces. We can only hope that the actions and efforts of the Diversity Coalition are just the beginning of a much needed change within the fashion industry.
BLACK STAR MAGAZINE
11
Django Unchained and 12 Years a Slave: Hollywood Confronts Slavery Jordie Davies
A
slew of movies dealing with America’s racial past have been released in the past year. Django Unchained (2012) and 12 Years a Slave (2013), are two films that interrogate slavery. Both movies take a difficult look at the cruel reality of slavery; however, 12 Years a Slave takes a more nuanced look at the everyday life of a slave, while Django is a fantastic revenge epic and is much less realistic. Django Unchained is Quentin Tarantino’s tale of an enslaved man, Django (Jamie Foxx), who is hired as a bounty hunter by a kind, German dentist, Dr. Schultz (Chris-
12ARTS & ENT
toph Waltz). Django is given the opportunity to claim his freedom and save his wife, if he helps Dr. Schultz capture his bounty. Django gladly takes the opportunity and in true Tarantino fashion, embarks on a suspenseful, bloody adventure toward freedom. The film is unexpectedly funny, and reveals the idiocy and sheer racist cruelty that slavery was built upon. I believe this film gave Americans the opportunity to take a hard look at the dehumanizing and fear-filled culture perpetuated by slavery; however, I believe the film also allowed people to laugh at the
inherent foolishness of the culture. However, should Americans laugh at slavery? What is slavery like from the black man’s perspective? Django was an excellent story, and should not be dismissed as a bad representation of slavery; however, the film left me wanting for a deeper analysis of slave life. Fortunately, 12 Years A Slave gave audiences the opportunity to understand slavery from the slave perspective. Solomon Northrup was a free man who was kidnapped and sold into slavery. After regaining his freedom, Northrup wrote a narrative to document his experiences.
The tale was exquisitely adapted for film, and explored slavery from day to day, from hardship to hardship. This film allowed for no smiles or comic relief. 12 Years closely followed Northrup’s life as a slave, striking fear in the hearts of audiences everywhere. I found myself incredibly concerned for Northrup’s well-being, and the film made me understood that slavery gave no moments of peace or sanctuary. Northrup’s story starkly contrasts the life of the free man and the enslaved man, as Northrup must relinquish his own will for survival. Additionally, the film places the experiences of the enslaved woman front and center, and explores the complex sexual and psychological
oppression these women endured. Ultimately, both films are important additions to the Hollywood cannon about slavery, offering no grace to the slave owner or mistress and thankfully diverting from any Gone with the Wind-style romanticizing of our nation’s difficult history. While Django and 12 Years differ in style and perspective, each exposes the wretchedness of American slavery and demonstrates how the practice completely ruined all parties involved, black and white, rich and poor. Still, Django perpetuates a more mainstream, less nuanced view of slavery, while 12 Years gives voice to the oppressed. Hopefully, more films will take the slave’s perspective in the future.
Django Unchained received a 92% approval rating!
12 Years A Slave received a 93% approval rating!
What do you think? BLACK STAR MAGAZINE
13
W h o s e
is
it EXPLORING THE APPROPRIATION OF BLACK AMERICAN CULTURE
Cultural appropriation: the adoption of some specific elements of one culture by a different cultural group. It describes acculturation or assimilation, but can imply a negative view towards acculturation from a minority culture by a dominant culture At what point can those who have never identified with the history of a marginalized group exploit it? Is it ever socially acceptable to use aspects of a culture in order to elevate your own validation within that community? These questions can be applied to many racial, ethnic, and cultural groups but recent events in American pop-culture have illustrated that the ownership of a certain cultural aspect or history is not something that everyone can agree upon. More often than not, it is privileged members of society, who tend to adopt and attempt to gain control of these cultural aspects as a way of claiming power. We start with the now-infamous Miley Cyrus “twerking” scandal at the 2013 VMAs that catapulted the once-charming Disney princess to the
14OPINION
top of the “Trying too hard to be Hard” list. Let it be known that Ms. Cyrus’ provocative behavior did not begin at the VMAs, her videos and public appearances up to that point and beyond have contributed to her continuing redefinition campaign. Through this performance, Miley gave America a chance to witness the new artist she set out to be and caused quite a bit of controversy. All of a sudden, America wanted to know more about this so-called ‘twerk’ dance that Miley claimed to be performing. Where did this bizarre gyration come from? Isn’t that too provocative for television? The American media made it seem as though Miley was the founder of the new twerking dance craze. Even the Oxford Dictionary (online) added the word twerking after Miley’s routine amplified the popularity of the word. We as America’s youth might not know a lot but one thing is for sure: Miley Cyrus did not invent twerking. Twerking has its roots in many places. Comparisons have been made to traditional African dances, for instance the Mapouka from West Africa, which was banned from Côte D’Ivoire television stations due to its supposedly suggestive nature. In the United States, twerking was introduced into hip-hop culture by way of the New Orleans bounce music scene – think Big Freedia and Juvenile’s “Back that Azz Up.”
So what gives? Why is this particular aspect of Black culture, which we know has a history, being reintroduced to our society as something new? The concept behind this example is not new, but the urgency of the matter most certainly is. Many would be quick to call Ms. Cyrus’ recent acts a sign of her desire to defy cultural and racial norms. But those who have studied the sociological impact of Miley’s actions would define it as cultural appropriation. We have to remember that when we see images of people from dominant cultures adopting cultural aspects dissimilar to their own, it is an attempt to gain ownership of that culture. Why else would Miley Cyrus strategically place multiple black girls twerking around her? It is often that the person appropriating from the culture does not understand the intent of what they are imitating, or has not experienced the actual events that have led to those cultural aspects. It is then that this appropriation perpetuates to negative stereotypes constructed by the dominant culture. For Black bodies, twerking carries gendered and racialized connotations; “respectable” Black people are not supposed to twerk. In many ways, participating in the dance is an act of resistance, a way to reject the status quo. Black American culture has been appropriated (or in layman’s terms, “ripped off”) since
B l a c k Anyway? Kevin Satterfield “For Black bodies, twerking carries gendered and racialized connotations; “respectable” Black people are not supposed to twerk” the days of minstrelsy. The ability for white people to dress up and imitate a culture they are not apart of, and then simply walk away and face no discrimination afterwards, is a privilege they do not seem to understand… And while that idea of being blind to one’s own privilege might seem harmless, cultural appropriation can perpetuate the most negative stereotypes about a group of people. Miley’s performance in front of millions illustrated that it was socially acceptable to adopt a piece of culture, distort and manipulate it in whichever way you see fit, and continue on with the belief that your actions have no impact on the importance of cultural sensitivity in one of the most culturally diverse countries in the world.
On the other hand, character is not defined only by whom you associate yourself with. In a related vain, Tim Allen really found himself between a rock and a black face this past summer when he tried to be bold. In an interview with the Tampa Bay Times, he argued that white comedians should be able to use whatever jokes they see fit. There should be no backlash when someone, of any race, uses the n-word. He goes on to argue that his heart is in the right place. He agrees with equal rights and has no ill feelings towards black people; he simply does not want to be restricted in regards to word choice. Again, Mr. Allen’s desires seem harmless. But there are problems that arise when people take his wishes lightly. The n-word has a painful past for AfricanAmericans; its use in our communities has been highly controversial, and the use of the word in American mainstream has been vigorously contested. The problem with Tim Allens’ comments is that he is trying to claim power over an experience and history to which he cannot relate. Not only is it disrespectful to ignore the pain of a marginalized community for personal gain; it is pitiful to assume that the n-word is simply a word to be thrown around. Lastly, can Mr. Allen even consider himself a supporter of the black community if he is constantly working to claim dominance over it?
I always find it perplexing when anyone tries to deny racist allegations with the infamous phrase “I’m not a racist, I have a black friend, brother in-law, neighbor etc.” On the one hand, it’s flattering to know that people consider association with black people as a justification for their true character. Renowned author, academic and professor
of sociology at Georgetown University, Michael Eric Dyson, had these words to say after hearing about Tim Allen’s request. “He wants to move from ally to reassume the appropriate privilege of whiteness, which is to dictate the terms of the debate,” Dyson said. “Look, y’all invented the n-word. We didn’t invent it. We just co-opted it. We hijacked it. We did a carjacking on that word a few decades ago, and now you’re mad because we’ve made more sexy use of it—some denigration as well. And now you want back in? No, you can’t have back in.” I use Dr. Dyson’s words to say that, when there is a history of discrimination for a group of people, there are two circumstances. You can either identify with that history because it is your own. Or you can respect the decisions and choices of that community if you do not identify with that specific history. This goes for both Miley Cyrus and Tim Allen. They have both approached a territory that should be generally considered off-limits. Validation will not come by exploiting a piece of culture foreign to your own. Moreover, the lack of knowledge you have of that culture does not legitimize your desire. In fact, it diminishes your respect among people in that community.
BLACK STAR MAGAZINE
15
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