scholarly journals Poor black women and messy drag queens: A discursive map of the scandalous event of “Haute Mess”

2021 ◽  
Author(s):  
◽  
Anna Estelle Macdonald
Keyword(s):  
Black Women ◽  
Black Woman ◽  
Fast Food ◽  
Online Discussion ◽  
Cultural Appropriation ◽  
Drag Queen ◽  
Production Of Knowledge ◽  
The Poor ◽  
The Status ◽  
Drag Queens

<p>In 2012, Vogue Italia became embroiled in an online scandal about “Haute Mess,” the centrepiece fashion spread from its March issue. Shot in a fast-food diner, the models in the spread wore garish clothing, stacks of jewellery, long heavily pattered acrylic nails, outré makeup, and extreme weaves (hairpieces that are similar to wigs). In response to “Haute Mess,” several prominent online magazines accused Vogue Italia of cultural appropriation. These claims hinged on the shoot’s hairstyling, as some of the extreme weaves featured on the models in “Haute Mess” resembled weaves worn by anonymous black women in photographs that circulate online, on websites such as NoWayGirl.com. This thesis examines the scandalous event of “Haute Mess,” exploring the relationships between the shoot itself, the online discussion about it, Vogue Italia’s framing of it, and the photographs of weaves worn by anonymous black women that resemble those hairstyles in “Haute Mess.” Following Michel Foucault’s work on the archive, and Lauren Berlant’s “histories of the present,” this thesis questions the status of the event as given, and sets out to unpick its seams. This process involves mapping the emergence of two distinct categories of knowledge about marginalised bodies from this event: the ‘Poor Black Woman’ and the ‘Messy Drag Queen.’ By tracing the formation of these figures, this thesis argues that this event functions as a concentrated instance of the production of knowledge about marginalised bodies. In relation to this production of knowledge, the scandalous event of “Haute Mess” frames the Poor Black Woman and Messy Drag Queen in binary terms, as authentic and inauthentic, respectively. In order to circumvent this binary, this thesis seeks a way to engage with this event beyond appeals to authenticity.</p>

scholarly journals Poor black women and messy drag queens: A discursive map of the scandalous event of “Haute Mess”

2021 ◽  
Author(s):  
◽  
Anna Estelle Macdonald
Keyword(s):  
Black Women ◽  
Black Woman ◽  
Fast Food ◽  
Online Discussion ◽  
Cultural Appropriation ◽  
Drag Queen ◽  
Production Of Knowledge ◽  
The Poor ◽  
The Status ◽  
Drag Queens

<p>In 2012, Vogue Italia became embroiled in an online scandal about “Haute Mess,” the centrepiece fashion spread from its March issue. Shot in a fast-food diner, the models in the spread wore garish clothing, stacks of jewellery, long heavily pattered acrylic nails, outré makeup, and extreme weaves (hairpieces that are similar to wigs). In response to “Haute Mess,” several prominent online magazines accused Vogue Italia of cultural appropriation. These claims hinged on the shoot’s hairstyling, as some of the extreme weaves featured on the models in “Haute Mess” resembled weaves worn by anonymous black women in photographs that circulate online, on websites such as NoWayGirl.com. This thesis examines the scandalous event of “Haute Mess,” exploring the relationships between the shoot itself, the online discussion about it, Vogue Italia’s framing of it, and the photographs of weaves worn by anonymous black women that resemble those hairstyles in “Haute Mess.” Following Michel Foucault’s work on the archive, and Lauren Berlant’s “histories of the present,” this thesis questions the status of the event as given, and sets out to unpick its seams. This process involves mapping the emergence of two distinct categories of knowledge about marginalised bodies from this event: the ‘Poor Black Woman’ and the ‘Messy Drag Queen.’ By tracing the formation of these figures, this thesis argues that this event functions as a concentrated instance of the production of knowledge about marginalised bodies. In relation to this production of knowledge, the scandalous event of “Haute Mess” frames the Poor Black Woman and Messy Drag Queen in binary terms, as authentic and inauthentic, respectively. In order to circumvent this binary, this thesis seeks a way to engage with this event beyond appeals to authenticity.</p>

Cyborg Jotería Pedagogies: Latinx Drag Queens Leveraging Communication Ecologies in the Age of the Digital and Social Displacement

2020 ◽  
Vol 14 (2) ◽  
pp. 44-66
Author(s):  
José Ramón Lizárraga ◽  
Arturo Cortez
Keyword(s):  
San Francisco ◽  
San Francisco Bay ◽  
San Francisco Bay Area ◽  
Digital Technologies ◽  
Physical World ◽  
Political Issues ◽  
Drag Queen ◽  
Bay Area ◽  
Online Presence ◽  
Drag Queens

Researchers and practitioners have much to learn from drag queens, specifically Latinx queens, as they leverage everyday queerness and brownness in ways that contribute to pedagogy locally and globally, individually and collectively. Drawing on previous work examining the digital queer gestures of drag queen educators (Lizárraga & Cortez, 2019), this essay explores how non-dominant people that exist and fluctuate in the in-between of boundaries of gender, race, sexuality, the physical, and the virtual provide pedagogical overtures for imagining and organizing for new possible futures that are equitable and just. Further animated by Donna Haraway’s (2006) influential feminist post-humanist work, we interrogate how Latinx drag queens as cyborgs use digital technologies to enhance their craft and engage in powerful pedagogical moves. This essay draws from robust analyses of the digital presence of and interviews with two Latinx drag queens in the San Francisco Bay Area, as well as the online presence of a Xicanx doggie drag queen named RuPawl. Our participants actively drew on their liminality to provoke and mobilize communities around socio-political issues. In this regard, we see them engaging in transformative public cyborg jotería pedagogies that are made visible and historicized in the digital and physical world.

The Role of Coping in the Relationship Between Endorsement of the Strong Black Woman Schema and Depressive Symptoms Among Black Women

2021 ◽  
pp. 009579842110212
Author(s):  
Martinque K. Jones ◽  
Tanisha G. Hill-Jarrett ◽  
Kyjeila Latimer ◽  
Akilah Reynolds ◽  
Nekya Garrett ◽  
...  
Keyword(s):  
Mental Health ◽  
Depressive Symptoms ◽  
Black Women ◽  
Health Outcomes ◽  
Black Woman ◽  
Coping Styles ◽  
Mental Health Outcomes ◽  
Multiple Mediation ◽  
Strong Black Woman

The Strong Black Woman (SBW) schema has been consistently linked to negative mental health outcomes among Black women. However, few have begun to explicate the mechanisms by which the endorsement of the SBW schema may influence mental health outcomes. Accordingly, the current study examined coping styles (social support, disengagement, spirituality, and problem-oriented/engagement) as mediators in the association between endorsement of the SBW schema and depressive symptoms in a sample of Black women. Data from 240 Black women ( Mage = 22.0, SD = 4.0 years) were collected assessing SBW schema endorsement, coping styles, and depressive symptoms. Parallel multiple mediation analysis was conducted using PROCESS Macro. Of the four coping styles examined, disengagement coping partially mediated the association between greater endorsement of the SBW schema and greater depressive symptoms. Study findings add depth to our understanding of the association between the SBW schema and mental health outcomes and lend themselves to research and clinical implications.

scholarly journals “Ain’t Got Enough Money to Pay Me Respect”: Blackfishing, Cultural Appropriation, and the Commodification of Blackness

2021 ◽  
pp. 153270862110293
Author(s):  
Maha Ikram Cherid
Keyword(s):  
Black Women ◽  
North America ◽  
White Women ◽  
Black Culture ◽  
Cultural Appropriation ◽  
Financial Benefits

The term blackfishing, which takes a twist on the concept of catfishing, that is, tricking people online into thinking you are someone else, refers to the practice of (mostly) White women pretending to be Black by using makeup, hairstyles, and fashion that originate in Black Culture to gain financial benefits. This article aims to contextualize the concept of blackfishing through a critical literary review that will cover the following elements: cultural appropriation, the commodification of Black culture, the representation of Black women in North America, and the operationalization of blackfishing.

Counterlanguage powermoves in African American women’s language practice

2021 ◽  
Vol 15 (2) ◽  
Author(s):  
Marcyliena H. Morgan
Keyword(s):  
African American ◽  
Black Women ◽  
Status Quo ◽  
Speech Community ◽  
Language Practice ◽  
The Status ◽  
Linguistic Power ◽  
The Many

This essay considers some of the insight we have gathered about language, feminism, racism and power. In many respects, it celebrates the linguistic power of the many theories about how Black women navigate intersectionality where racism and sexism intermingle, suggesting that our analyses should always recognise that a lethal combination of factors are in play. Black women, in particular, actively insist on forms of language and discourse that both represent and create their world through words, expressions and verbal routines that are created within and outside of the African American speech community to confront injustice. One example involves the verb ‘play,’ which I argue often functions as a power statement or ‘powermove’ that demands respect while presenting a threat to the status quo. This use of ‘play’ is the opposite of inconsequential games of play or joking.

Si può parlare di un’arte femminista queer?

2020 ◽  
Vol 7 (1) ◽  
Author(s):  
Ilenia Caleo
Keyword(s):  
Cultural Appropriation ◽  
Feminist Art ◽  
Bell Hooks ◽  
The Status ◽  
Definition Of ◽  
Work Up ◽  
Eccentric Work ◽  
The Relationship

Language "is a place of struggle," says bell hooks. The relationship between art and feminism is complex and stratified, for this reason the definition of "feminist art" is tricky. I attempt here a recognition of theoretical landmarks and epistemologies come forth in the debate that examined the intersection between artistic practices and experiments of feminist policies, from the historical speeches of Nochlin, Pollock, Phelan to the Italian anomaly marked by Carla Lonzi’s eccentric work, up to to the most recent openings. From this scheme, questions active at present appear, relating to the patriarchal myth of authorship, to the status of the work, to the invisibility of material processes and to cultural appropriation. The prospect is one of a thought of practices destabilizing the canon through strategies of decolonization, countercultural practices, "positional geographies" and new epistemologies.

scholarly journals IDENTIDAD DE LA TEOLOGÍA LATINOAMERICA Y LA TEOLOGÍA DE LA LIBERACIÓN

2018 ◽  
Vol 50 (1) ◽  
pp. 19
Author(s):  
Jorge Costadoat Carrasco
Keyword(s):  
Latin America ◽  
Liberation Theology ◽  
Latin American ◽  
Theological Method ◽  
The Poor ◽  
Age Of Maturity ◽  
The Status ◽  
Original Speech ◽  
America Latina ◽  
The Church

RESUMEN: El objetivo de esta investigación es suministrar argumentos para identificar la Teología latinoamericana con la Teología de la liberación, y viceversa. Entre estos argumentos se debe considerar la conciencia de alcanzar la “mayoría de edad” de la Iglesia en América Latina en el postconcilio; la convicción de los teólogos de la liberación de estar elaborando una “nueva manera” de hacer teo­logía; una toma de distancia del carácter ilustrado de la teología; y la posibilidad de reconocer en los acontecimientos regionales, particularmente en los pobres, un habla original de Dios. Este artículo pretende hacer una contribución al status quaestionis del método teológico.ABSTRACT: The objective of this paper is to provide arguments to identify Latin American Theology with Liberation Theology, and vice versa. Among these arguments, one should consider the awareness of the Church in Latin America reaching its “age of maturity” in the post-conciliar period. Other arguments are the conviction of liberation theologians to be elaborating a “new way” of doing theology; a distance from the illustrated characteristic of theology; and, the possibility of recognizing in regional events, particularly in the poor, God’s original speech. This article aims to contribute to the status quaestionis of the theological method.

ARTISTIC INTERPRETATION OF MAQAM OF FAQR AND IMAGE OF FAQIR IN THE WORKS OF ALISHER NAVOI

2021 ◽  
Vol 1 (2) ◽  
pp. 73-79
Author(s):  
Alisher Razzokov ◽  
Keyword(s):  
Comparative Analysis ◽  
Islamic History ◽  
The Poor ◽  
The Status ◽  
Artistic Interpretation ◽  
Mystical Literature

This article examines the artistic interpretations of the status and images of poverty in mystical teaching in the works of Alisher Navoi. The author of the article has first studied the definitions of the status of poverty in Islamic history, the latest mystical teachings, and other areas of thought and opinion. The history and definitions of the word «Faqr» were written by the first authors of mysticism, such as Abu Nasr Sarraj, Abu Talib Makki, Shahabuddin Suhrawardi and Ali ibn Usman Hujviri, as well as from the representatives of the Naqshbandi sect belongs to Alisher Navoi, Khoja Bahauddin Naqshband. In addition, special encyclopedic dictionaries of authors such as Sayyid Ja'far Sajjadi, Abdulboki Hiylaman, Aliakbar Dehhudo and Sulaymon Uludagh were used. Then attention is paid to the various interpretations of poverty in mystical literature. Alisher Navoi's own works were mostly used for comparative interpretations in fiction. Navoi's lyrical works were selected as the main object of analysis, and the ideas in the works of friends and prose before him were involved in a comparative analysis. Navoi's views on the reality of his work are surrounded by artistic interpretations of images such as the poor, the gado, the dervish, which they embody. At the end of the article summaries are made

“I Just Wanted a World That Looked Like the One I Know”

2018 ◽  
pp. 83-107
Author(s):  
Ralina L. Joseph
Keyword(s):  
Black Women ◽  
Black Woman ◽  
Black Female ◽  
First Century ◽  
Strategic Ambiguity ◽  
The Press ◽  
Twenty First Century ◽  
The One

Chapter 3 examines showrunner Shonda Rhimes’ twenty-first century Black respectability politics through the form of strategic ambiguity. Joseph traces Rhimes’ performance of strategic ambiguity first in the pre-Obama era when she stuck to a script of colorblindness, and a second in the #BlackLivesMatter moment when she called out racialized sexism and redefined Black female respectability. In the shift from the pre-Obama era to the #BlackLivesMatter era, this chapter asks: how did Rhimes’ careful negotiation of the press demonstrate that, in the former moment, to be a respectable Black woman was to perform strategic ambiguity, or not speak frankly about race, while in the latter, respectable Black women could and must engage in racialized self-expression, and redefine the bounds of respectability?

From Blaxploitation to Black Macho

2019 ◽  
pp. 183-201
Author(s):  
Terrion L. Williamson
Keyword(s):  
Women Writers ◽  
Popular Culture ◽  
Black Women ◽  
Black Woman ◽  
Cultural Production ◽  
Reality Television ◽  
Feminist Movement ◽  
Ntozake Shange ◽  
Black Feminist ◽  
Black Women Writers

For commentators concerned with black cultural production in the contemporary era, there are few images more controversial than the angry black woman, particularly as it is reproduced within the confines of reality television. This chapter traces the lineage of the angry black woman back to key black feminist texts of the 1970s, arguing that the trope emerges out of a distinct sociopolitical history that was codified within both public policy and popular culture throughout the decade. Blaxploitation films became the site where black women’s anger was most visibly commodified, even as black women involved in an emergent black feminist movement worked to combat withering social commentaries that included Daniel Patrick Moynihan’s matriarchy thesis and sexist takedowns of black women writers like Ntozake Shange and Michele Wallace.

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