Kim Kardashian and the Black Female Body

After discussing Venus in Two Acts and Saartjie (Sarah) Baartman’s story, I thought about how many beauty trends today involve evoking black culture and black features without having to experience the oppressive and systematic inequalities that come with actually being black. Time magazine published an article after Kim Kardashian, a celebrity well known for appropriating blackness within her and her family’s brand, “broke the internet” by posting nude photos that were strikingly similar to depictions of Saartjie’s body.

Check it out here: https://time.com/3586176/kim-kardashian-saartjie-baartman/

 

Clips from DJ Lab

Made a drive with some of the videos I took during the DJ lab with Ben. It was really cool to see how the equipment worked and get guidance on how to work with audio.

 

Check them out here: https://drive.google.com/drive/folders/1uOlwR8xj-gkffkMWyg1-R4tdAdM3OziZ?usp=sharing

 

Week 14 – Pao Close Reading

Chapter 21

“When I look at her I see that she really hate me. Her face look hard and her mouth got a real cruel twist. If she was a man she would have thump me. She would have try to mash me up just so she can let off some steam and work out how she feel. But she not a man and she can’t do that. She can only stand there and think that maybe she can wear me down with her stare.

But just then she grab the vase and throw it at me.

Then suddenly I realise how long it is since I touch her. How long it been since I feel her warm body next to me. And then I can’t tell if I am pushing her away or pulling her towards me. She putting up a good fight either way. She surprise me how strong and agile she get. I even forget I fighting with a woman. I just trying to defend myself. I just trying to get outta this tangle in one piece.”

In this excerpt we see Pao’s mixed emotions about fighting with Fay and his thoughts on gender roles. When thinking about using violence, Pao characterizes that act as a way for men to deal with and express their emotions; “Let off some steam” and “work out how [they] feel”. By leading up to the fight with commentary describing Fay’s femininity as an inhibitor of having the right to take violent action, Young sets the stage for Pao to be abruptly proved wrong (signaled by the start of a new paragraph beginning with “but”).

Toward the middle of the fight, Pao’s mind moves from experiencing a sense of nostalgic intimacy to admiring Fay’s strength to realizing that he is being overpowered. This paragaph troubled me because I could not tell whether or not Pao had learned anything in this moment. Despite the seriousness and gravity of Fay’s anger, he somehow still sexualizes the moment and focuses on himself rather than validating her emotions and grievances with him. The effects from being socialized in a mysogynistic manner cannot be unravelled after one incident, obviously, but it is excruciating to see a missed opportunity to realize and acknowledge one’s ignorance.

Week 12 – Pao Close Reading

Chapter 4; page 58 (on iBooks)

“Then one day me and the boys sitting on some empty orange crate on the corner of Barry Street trying to catch some shade when Hampton look across the street and say, ‘That bwoy well out of his jurisdiction,’ which start me and Judge Finley laughing.
Finley say, ‘Where you get a word like that, bwoy?’
And Hampton lean over to him and say, ‘Is the wrong word?’ which set me and Finley off laughing even more.
I look over and see some skinny white boy standing outside the post office trying to look mean.
‘Is a white boy?’
‘No,’ Hampton say, ‘him just like to think so. Him papa white, but his mama just some whore from West Kingston.’
‘What, a real whore?’
‘They all whores, man.”

Kerry Young does an excellent job of packing loads of commentary about race, class, and gender in brief interactions and encounters. Riddled with instances of racism and mysogyny,  Pao emerses the reader in this toxic environment while providing many important lessons about life. From this passage alone we can learn how whiteness, in this context, is not just based on appearance. Whiteness is also about inheritance and respect derived from patriarchal morals and capitalist ideology.

Another striking aspect about Pao – exhibited in this passage – is the variation in spelling certain words to evoke different voices and tones. Young uses an interplay of Patois and English words to create an atmosphere of colloquialism and authenticity. For example, “bwoy” and “boy” refer to the same subject, however the use of “boy” when Pao is questioning the subject’s race may be Young’s way of signaling the reader that a shift in the tone of the discussion has occured.

 

Week 10 – The Pagoda Close Reading

Page 222

“Mr. Lowe.” Omar hung like a crusted effigy in the yellow doorway.

“Call me Lau A-yin,” Lowe said. He was dressed again.

“Mr. Lowe.”

“Call me A-yin, damn it. Call me by blasted name.”

“Mr. Lowe.”

“You son of a bitch”

“Mr. Lowe.”

“Yes, Omar?”

“You want some tea, sir?”

 

This section of the Pagoda follows an emotional confession made by Lowe, in which he undresses and exposes his breasts and body to Omar. It is interesting to see how, despite being aware that Lowe is biological female and being physically confonted with Lowe’s naked body, Omar’s initial reaction still uses the honorific “Mr.” when he says, “Oh God, Mr Lowe”. After expressing his internal trauma from his father’s rejection of girlhood, Lowe contemplates on the meaning of love, hell, and fantasy in life. What is also very powerful is Omar’s persistent refusal to change the way he refers to Lowe after disgesting what had just occured. By giving each sentence its own line, Powell allows the reader to feel the relentless back and forth of the exchange, culminating in Lowe’s submission and Omar’s desire to comfort Lowe by offering tea.

 

 

 

Pao Reading Response pg. 115

“‘My whole life has been spent being white for Cicely to stop her feeling ashamed, and being black for Cicely to stop her feeling alone.  I had to be Catholic for Cicely because Methodist was too black, and I had to hold back at school for Cicely because being smart was too white.  I had to spend with style for Cicely so she could show off her new wealth and class, and I had to be prim and chaste for Cicely so she could protect the reputation of black womanhood.  And where me being Chinese came into all of this for her I don’t know.  But whatever I did she picked and poked and prodded, and found fault with me because in Jamaica the colour of your skin still counts for everything.’  And then she stop.  And then she say, ‘You think Independence is going to change that?” 

After hearing another group’s presentation about double consciousness, it made me think about this passage.  Fay is describing her experience growing up with double standards of being white and black.

Kerry emphasizes this by using a back and forth motion that gestures to and from the white and black expectations.  It serves to juxtapose the experiences of these two groups to gesture towards the conflicting strife Cicely is pushing onto Fay.  Repeatedly, words like “too black” or “too white” is stated for the reader to feel the push and pull of this inner turmoil Fay is experiencing.

At some point, it is no longer about Fay’s experiences.  It is about the life Cicely had as a black woman.  Fay states “…where me being Chinese cam into all of this for her I don’t know.”  The color of your skin is what Cicely sees, and the color of your skin determines your social standing.  She finalizes the monologue with stating Independence is not going to change this double-consciousness she experiences internally, and externally through people.

Week 8 – On Such a Full Sea Close Reading

Chapter 25

“They kept pace with each other for the rest of the length, their speed more steady than anything else, as if they wanted to be going side by side, as if the eyeing each other were building up their strength. Then, near the wall, Oliver swam beneath the lane divider and into Vik’s lane, and when they both flipped and turned, they were still neck and neck, but now flying. The commotion and sight of two swimmers racing in the same lane was now drawing the pool’s attention, such that people were collecting along the four sides to watch them go, crowding and leaning over one another, including Fan and Pinah the helper, so they could see these two, the long man and the short man, the gliding strides and the pistons, their arms sometimes tangling or even striking the other on the shoulder, the cap, the torsos jostling and pushing each other against the divider, riding up over it. There was a race to win but neither knew how long the race was, they just kept eating up lengths until Vik, longer and more fit for having been swimming all these years, began to pull away, one length becoming two, becoming three, until it was no longer a race anymore, Vik flipping and turning against a straggling Oliver and then turning again, clearly keen on reaching and lapping him.

By this time Betty was shouting for Oliver to stop, to get out of the pool. When Oliver saw Vik closing, he made a furious kick, perhaps for propulsion, but it caught Vik in the nose and instantly bloodied him.”

Chang Rae-Lee’s vivid description of the impromptu race between Oliver and Vik reveals not only the deeply tense nature of their relationship, but also adds on to Oliver’s competitive characterization. The sentences run on and build, much like the speech of a dramatic sports commentator. As the intensity of the moment increases, the reader might catch themselves leaning into the book, much like how the spectators closed in on the pool and even entered it to get a better look at the spectacle.

Week 6 – And China Has Hands Close Reading

Chapter IV

“Ah! Ah! Wong Wan-Lee was going to receive his girlfriend, Pearl Chang. Wong Wan-Lee came out of the bedroom and passed the drying room and lifted up the curtain and then he saw . . . A woman . . She was beautiful: The eyes! The lips! The mouth! Everything! But . . . She was not Pearl Chang. She was nobody! Wong Wan-Lee suddenly lost his enthusiasm and assuming a commonplace expression, said,

“Good morning, madam!” “Don’t be so dignified! Can’t you remember me?” the lady asked. “Me no see you before!” Wong Wan-Lee replied. “I guess I’ve made a mistake. Well, anyway, how are you? You know…” the lady said. “Fine, thanks!” replied Wong Wan-Lee. “How is business?” the lady asked him. “All right!” “If business is good, why can’t you have a good time?” inquired the lady. “I have good business, I have good time! Anything to sell?” Wong Wan-Lee asked. “Sure!” replied the lady. “Let me see!” Wong Wan-Lee said. “Be snappy, I’m working for a syndicate and I can’t afford to waste too much time on one customer,” replied the lady. “No see, no buy!” said Wong Wan-Lee, innocently.

“What? Do you mean . . .” asked the lady. “No can do,” answered Wong Wan-Lee firmly.”

 

Here we witness Wong Wan-Lee’s disappointment when Pearl Chang does not return. Prior to the portion of the text, Tsiang builds up the expectation of her return by describing every detail of Wong Wan-Lee’s preparations.

It is interesting to see how Tsiang uses punctuation to pace the rollercoaster of emotions in this moment. He first uses exclamations to express excitement, but after realizing the woman was not Pearl Chang, the exclamations represent a sort of performance. Wong Wan-Lee just wants to get through the conversation, and is most likely speaking loudly to compensate for any shortcomings in his command of English. This transition in exclamatory purpose is marked by the use of ellipses, which slow the reader down and symbolize Wong Wan-Lee’s realization.

 

Black Quantum Futurism

Also, something we looked at during the elaboration of our soundtrack :

Black Quantum Futurism Theory and Practice – BQF Collective

“Black Quantum Futurism (BQF)* is a new approach to living and experiencing reality by way of the manipulation of space-time in order to see into possible futures and/or collapse space-time into a desired future in order to bring about that future’s reality. This vision and practice derives its facets, tenets, and qualities from quantum physics, futurist traditions, and Black/African cultural traditions of consciousness, time, and space.”

-> When Sun Ra meets Quantum Physics and the non-linearity of time, I guess 🙂

To be honest, I really don’t get everything, but I’m convinced there is a lot to learn if you have time to go deeper into scientist considerations. In terms of philosophy, it is fascinating.

“Are you ready to consider that Capitalism is the real problem?”

https://www.fastcompany.com/40439316/are-you-ready-to-consider-that-capitalism-is-the-real-problem?fbclid=IwAR3VPdUrG6zvH8oWHjaJ8aD4iiPH_Qy7StUG4DWw0aPDhIUoltOqp-N2u-M

I just read that article, and it rings a bell with a lot of considerations we shared today during our showcase 😉

Because it’s time to stop with that myth of a perpetual economic “growth” in a limited world, with limited resources. Resources that don’t belong to us, that exist by themselves and are way more connected to the rest of the world than we are.

Because what makes life worthy can’t be measured by GPD.

” The choice is stark, and it seems people are waking up to it in large numbers: Either we evolve into a future beyond capitalism, or we won’t have a future at all.”