Sunday, February 21, 2010

Revisiting Nonviolence on the Anniversary of Malcolm X's Assassination

Bullet holes in back of stage where Malcolm X was shot.
Stanley Wolfson, New York World-Telegram & Sun staff photographer


El-Hajj Malik El-Shabazz, also known as Malcolm X, was assassinated today--February 21, 1965--at Manhattan's Audubon Ballroom during a meeting of the Organization of Afro-American Unity. But despite the fact that Malcolm X was one of the most important civil rights activists in American history, you probably won't hear much about him today.

If X is mentioned at all it is typically as a counter-example to Martin Luther King Jr. While King was hardly popular with the white power structure during his life (and the conservative resistance to the annual celebration of his birth reveals how deep that antipathy still runs), in death King has become the historic face of acceptable blackness. Appropriately Christian and overtly nonviolent, King's rhetoric--typified by his famous "I have a dream" speech--always gestured toward the future. This is not intended as a criticism; King's soaring discourses are beyond reproach. My point is, in retrospect this message is not especially threatening to the structure of white power and authority. King is most remembered for brilliant speeches, endlessly quoted by well-intentioned white people from high school valedictorians to professional politicians, but during his life the actions he led and inspired did the most lasting good for advancing civil rights in the United States. Minus the element of confrontation that is an essential element of effective nonviolent action, the focus has settled on the "dream" of racial equality: either long realized and therefore no longer an issue (the argument of post-racialists) or an endlessly deferred, unachievable goal (the default argument of racial cynics). Famously assassinated himself, King cannot complicate the respectful but neutered version of his rhetoric with his living presence.

Malcolm X is not as easy to recast in these terms because in life he was markedly less interested in the nation's dreams than he was in shifting it's material circumstances, now. And the threat of this message to systemic racism did not diminish with his death. If anything his assassination underscores his message, "Power never takes a step back except in the face of more power." The ambivalence, if not outright hostility toward Malcolm X, even among some African Americans, is rooted in his embrace of Islam, which represents an unforgivable otherness in the west, and subsequent critique of the role of Christianity in the civil rights struggle. He famously said, "I believe in a religion that believes in freedom. Any time I have to accept a religion that won't let me fight a battle for my people, I say to hell with that religion", a difficult sentiment for many Christians to hear. But I think the relative obscurity of the anniversary of his death compared with the official and unofficial commemorations of other civil rights leaders is also directly attributable to his overt questioning of nonviolence. While King and others embraced and practiced nonviolence as a strategy of resistance, Malcolm X said, "I am for violence if non-violence means we continue postponing a solution to the American black man's problem just to avoid violence." It is important to note here that if Malcolm X found more support for his black nationalist stance in Islam than Christianity that has more to do with politics than religious doctrine--historically Islamic doctrine has been used to advocate for peaceful coexistence and Christian doctrine to justify war. Rather, X was responding to the complex relationship between Christianity and African-descended people in the US, which has been used--successfully--to argue both for and against their enslavement. His argument, that Christianity and nonviolence were both used to justify keeping black people in their place, is not really wrong as much as it is one-sided.

I think about nonviolent resistance a lot, since anything less than that, when enacted by Arabs or Muslims is described as terrorism. Anyone who doubts it need simply compare the reportage around the massacre at Fort Hood, performed by a guy who was clearly mentally ill but a Palestinian Muslim and the white guy who recently drove his plane into the IRS building in Texas, leaving a freaking manifesto online before turning himself into a living bomb. The former was immediately described as terrorism while the latter mostly wasn't. The pressure from both the American Right and Left on Arabs and Muslims to employ nonviolent resistance is overwhelming. "Where is the Palestinian Gandhi?" they say, "Real peace will never be achieved until they embrace nonviolence."

But that argument does not take into account that the Israeli Defense Forces do not hesitate to meet nonviolent resistance with violence, as has been proved again and again. If you doubt this I invite you to go and find the guy whose job it was to hose peace activist Rachel Corrie's brains out of the treads of the IDF tank that ran her over and ask his opinion... If a white, blonde, middle class, straight, American girl can be murdered with impunity by Israeli Defense Forces while performing nonviolent resistance then what chance would actual Palestinians have if they sat down in front of Israeli tanks? Exactly.

I have been a nonviolent activist since I was a teenager. I have marched, sat down where I shouldn't have and refused to move as cops charged forward. I know first hand how terrifying it is to make yourself into an immovable object in the face of oncoming force. So I don't romanticize force as a way to address conflict. And I cannot advocate violence as a response to conflict.

But then I am living among the colonizers and not the colonized.

Malcolm X also said, "If you're not ready to die for it, put the word 'freedom' out of your vocabulary." On the anniversary of his death it is a timely question to ask: are these really our only options-- freedom or death? Or are there young activists among us whose responses to conflict are so creative, so confounding to authoritarian power that they will change the game entirely, making this question seem quaint?

Perhaps that is so. I only know that Rachel Corrie won't be among them.

Friday, February 19, 2010

"The Return of Talk": Film screening and discussion with Adam Shapiro

Filmmaker and Activist Adam Shapiro


The Palestine Center invites you to

The Return of Talk
Film screening and discussion

with

Mr. Adam Shapiro
Activist and Filmmaker

Wednesday, 24 February 2010
6:30 p.m.
The Palestine Center

The Jerusalem Fund
2425 Virginia Ave, NW
Washington, DC 20037

The Return of Talk is the final part of a six part documentary series entitled Chronicles of a Refugee. It explores the relationship of leadership and representation among Palestinians, notably Palestinian refugees worldwide. Giving both historical context and debate over future strategy the film is a comprehensive look at the meaning of political leadership for a people facing exile, occupation and ongoing dispossession. Given the importance of the 60th anniversary of the dispossession of Palestine in 1948, this film is a timely documentation, combing grassroots, activist and elite perspectives on the history and strategy of the Palestinian national movement.

Adam Shapiro is a human rights activist and documentary filmmaker. He was co-founder of the International Solidarity Movement in Palestine. He has made the documentaries About Baghdad (2005), Darfur Diaries: Message from Home (2006), Becoming Nadya (2007) and Nowhere to Flee (2007).

This briefing is free and open to the public. Registration is required. Unregistered guests will not be admitted. To register, click here or call (202) 338-1958 ext.11 by 5 pm Tuesday, 23 February 2010.

The Palestine Center is an independent think-tank committed to communicating reliable and timely information about the Palestinian political experience to American policy-makers, journalists, students and the general public. Established in 1991, it is the educational program of the Jerusalem Fund for Education and Community Development.

Monday, February 15, 2010

John Mayer, Tiger Woods and Interracial Dating*






Guantanamo Bay is still open.










* This post was designed to draw traffic to my blog so that you might read this important message. Thank you for visiting, please come again soon.

Tuesday, February 9, 2010

The Keffiyeh Continued: "Not Dead By a Long Shot" by Ted Swedenburg

I mentioned Ted Swedenburg's Hawgblawg and his funny "keffiyeh-spotting" feature the other day and coincidentally he posted a new one as I was writing, so I thought I'd repost it to continue our keffiyeh conversation...

The Kufiya: Not Dead by a Long Shot
(via Ted Swedenburg's Hawgblawg)

"The kufiya has had its designer moment. That's over. But it still remains an important style item. Here are a few examples.

1. Bill Cunningham's always wonderful series of street-fashion photos in the Sunday New York Times Style section today has a particularly exciting report. Cunningham claims that male fashion in NY City is today as vibrant and creative as it was in the 60s. And he has the photos to prove it. Check out the video and Cunningham's smart commentary.

One of Cunningham's photos features a young man in kufiya (at left). This look, of course, is in no way "hipster" fashion, as conventionally understood. Artsy middle class professional? I'm not sure how to describe this look.

When I was in Philadelphia in December most of the kufiyas I spotted were worn by African-Americans. They weren't displayed in quite such spectacular outfits as this one, but on the other hand, they were not hip-hop either. More bohemian or artsy. And various colors. These days I find myself particularly liking the turquoise ones.

2. To support my point about kufiyas being stylish in urban Africa-America, here's a photo from thesartorialist.com of a mother and daughter, on the streets of NY City, November 2009. Rochelle, who spotted this for me, particularly likes the white dangly balls. I agree. Cunningham observes in his commentary today that men in New York have opted for color in their clothing, while women have gone toward black. He calls this "peacock" style. This photo would seem to support that observation.


3. I reported earlier on the "jerk" dancing phenomenon. Here's some more evidence that the kufiya often goes along with the distinctive skinny jeans. This photo is from a video by the Long Beach jerkin' outfit Team Dummy, which shows them out on the streets, jerkin'. Watch the vid here.

My kufiya posting is way behind. There's still a substantial backlog to put up and describe...stay tuned."

Saturday, February 6, 2010

Keffiyeh

Keffieh, Mona Hatoum (2003-2009)

You would be hard pressed to find someone who cares less about fashion than I do. I live in New York, the fashion capital of the US, but my wardrobe is basically limited to ten different versions of black/gray v-neck pullovers, jeans and salt-stained combat boots. If you are one of those people poring over fashion blogs full of cruel pictures of unsuspecting saps who are dressed (presumably) worse than you are, you might run across a picture of me, say, during an early morning dog walk wearing sweatpants, mismatched socks and ancient sneakers, blinking at my dog while he decides where to pee. I figure as long as you can't see my nipples I am winning.

But when I was working in Oslo in '08 I bought a beautiful keffiyeh.

I bought it at a global arts fair in the center of the city. It is heavy, woven and very large when it is unfolded; completely unlike the made-in-china screen-printed hipster keffiyehs you can get on St. Marks (like those that Ted Swedenburg tracks in his funny, regular feature "keffiyeh-spotting" on his Hawgblawg). When I tried it on, twisting it like a regular scarf, the Arab vendor gently clucked his tongue and said "No. Wait. Here." And he folded it and arranged it softly around my neck so it spread across my chest. I walked back to meet my friend Namaa Alward, who'd been a leading actress on the Iraqi national stage before she and her children fled Saddam to Norway where she began her career over again. I walked back to the coffee shop where she was waiting and her face split in a giant smile when she saw me. "There! Now you look like a proper Arab!", she said laughing. That night we ate fat dates out of a deep bowl in her front yard and drank wine, with Oslo spread out beneath us, winking.

I brought my new scarf home in my suitcase and wondered if it would raise any questions if my luggage were searched... but I made it through two international airports with no incident. The winters since then have been fairly mild so I haven't had much need for it--it is very warm--but with the bitter cold of the last few months I have been wearing it a lot.

When I wear it in Soho no one blinks, I guess because they don't assume it means anything other than a slightly-out-of-date fashion statement, which I suppose it kind of is. But when I leave my apartment in Brooklyn the white people in my neighborhood scowl at me. They glare openly in my peripheral vision but if I let my glance slide across theirs they rearrange their faces into a tight approximation of normalcy; familiar but artificial, sort of like Mariah Carrey's breasts. One unshaven day a friend's mother opened his front door and, discovering me there said I looked "like a terrorist." When I said, "excuse me?" she looked away and pretended she hadn't said anything.

And I let her.

But it made me wonder, if someone who knows and likes me thinks I look like a terrorist when I wear my scarf, then what must be going on behind the narrowed eyes of strangers on the street?

I can feel the disturbance in the air when I move through it.

Tuesday, February 2, 2010

The Message Is in the Music: Hip Hop Feminism, Riot Grrrl, Latina Music & More; A Conference at Sarah Lawrence


The Message Is in the Music:
Hip Hop Feminism, Riot Grrrl, Latina Music & More

A Conference at Sarah Lawrence College

Bronxville, New York (15 minutes north of Manhattan)
Friday & Saturday, March 5 & 6, 2010
Free and Open to the Public

Keynote Speaker: Carmen Ashhurst, former president of Def Jam Recordings and Rush Communications and author of the
forthcoming book Selling My Brothers: The Movement, The Media, and Me

Music has long served social movements as a soundtrack, as a means of communication, and as its own arena for activism. While multiple generations of feminists have used music in these ways, it has played especially vital roles for those born since the 1970s. This conference will explore the ways in which young feminists have defined and expressed politics through music and musical cultures and communities. Among the questions we will ponder are: How does music reflect sites of agreement and conflict among different groups of feminists? How have movements like Riot Grrrl and Hip Hop feminism attracted young women to feminist activism? How do young feminists’ uses of music compare with those of earlier generations?

CONFERENCE SCHEDULE:
Preliminary Schedule (subject to change)
Unless otherwise noted, all events take place in the Monika A. and Charles A. Heimbold, Jr. Visual Arts Center.

Friday, March 5, 2010

Registration
4:30 – 8 p.m., Heimbold Lobby

Opening Plenary
6 – 8 p.m., Heimbold 202

Welcome: Tara James, Associate Director,
Graduate Program in Women’s History, Sarah Lawrence College

Keynote Address: Carmen Ashhurst, former president of
Def Jam Recordings and Rush Communications, and author of the
forthcoming book Selling My Brothers: The Movement, The Media, and Me
Opening Reception
8 – 9:30 p.m., Slonim Living Room

Saturday, March 6, 2010

9 a.m. – 4 p.m. Heimbold Lobby
Registration
The Message is in the Music

Plenary Session
10 – 11:45 a.m., Heimbold 202

Opening Remarks: Priscilla Murolo, Director,
Graduate Program in Women’s History, Sarah Lawrence College

Plenary Panel
"Intersections: Music and Activism"

Mimi Nguyen, University of Illinois, Urbana-Champaign
"Missing Persons"

Fiona Ngo, University of Illinois, Urbana-Champaign
"Punk in the Shadow of War"

Christa D’Angelica, Law Clerk, New York Supreme Court, Sarah Lawrence College
"Beyond Bikini Kill: A History of Riot Grrrl, From Grrrls to Ladies"

Noon – 1 p.m., Heimbold Lobby
Lunch Break - (There will be a $10 charge for the conference lunch)

1 – 2:30 p.m., Breakout Session I

Panel: "Give Me Body": Reading the Latina and Black Female Body in Popular Music

Shanna Benjamin, Grinnell College
"Hot Sex on a Platter: Lil’ Kim and Reconstructions of the Black Female Body"

Lakesia D. Johnson, Grinnell College
"Black Queer Embodiment and Desire in the Music Videos of Me’shell Ndegéocello"

Michelle Rocío Nasser, Grinnell College
"Reading Shakira’s Body: Signs of Colombianidad in 'Hips Don’t Lie'"

Panel: Video Vixens

Loron Benton, Georgia State University
"'Shake What Your Mama Gave You': The Representation and Performance of the Female Body in Hip Hop Videos"

Zoe Spencer, Virginia State University
"Shake Dat Azz: Deconstructing the Sociopolitical Foundation of the Neo Jezebel"

Marita Buanes, University of Agder, Norway
"Flip It and Reverse It: Gender and Race in Missy Elliott’s Video 'Work It'"

Panel: Riot Grrrl

Julia Downes, University of Leeds
"'Resist Psychic Death': The Cultural Politics of Riot Grrrl and Queer Feminist Subculture"

Marisa Meltzer, Freelance Writer
"The Girl Power Revolution"

Jamielynn Varriale, SUNY Albany
"Embodying Riot Grrl: Fleshly Representations and Bodily Experiences and Images in the Work and Career of Corin Tucker"

Round-Table Discussion: "The Mode of Masculinity in the American Pop Patriarchy:
An Interactive Round-Table Discussion"

Jared Demick, University of Connecticut
Kristin Evans, University of Connecticut
Amber West, University of Connecticut
Jeffrey Wickersham, University of Connecticut

2:45 – 4:15 p.m., Breakout Session II

Panel: Women Rap

Emma Carmichael, Vassar College
"Female Subjectivity within Hip Hop: Rappers, Lyrics, and Performance"

Iresha Picot, Family Planning Council, Philadelphia
"Doorknockers: Black Female Rappers Knockin’ on a New Intellectual Discourse"

María Santana, University of Central Florida
"Her Sexy Stilettos Give a Women’s Point of View to Reggaeton: Ivy Queen and Latin Urban Music"

Panel: Performing Gender

Nafeesa Nichols, University of The Witwatersrand (South Africa)
"Gendered Identities in Black South African Creative Expression: Are We Running in Circles"

Barbara Anna Panuzzo, London South Bank University
"Writing Performative Identities: Discursive Traits of Femininity in Hip Hop Journalism"

Malaena Taylor, University of Connecticut
"Gender and Activism in the Punk Subculture"

Jessica Ronald – University of Louisville, Louisville, KY
"Potential Feminist Performances of Masculinity in Music: The Hip Hop Subculture of Nerdcore"

Panel: Divas

Brian Q. Torff, Fairfield University
Hilary Torff, High School Academic Core Teacher, Marymount Academy, Montreal, Canada
"Bessie Smith, Billie Holiday, and Rosetta Tharpe: Black Women Who Shaped a Musical Future"

Elisabeth Wronzoff-Dashkoff, Independent Scholar
"Who’s That Girl?: Pop Stars as the Apogee of 1980s Feminist Discourse"

Panel: Say What: The Message in the Music

Vankita Brown, Howard University
"Me’Shell Ndegeocello and Womanist Music"

C. Chic Smith, Howard University
"African American Women in Hip Hop Music and Videos"

4:30 – 6 p.m., Breakout Session III

Workshop: Sophie’s Parlor Radio Collective

Facilitators:
Lakeisha R. Harrison
Kimberly C. Gaines
Andrea Thompson

Panel: "Love, Sex, and Magic: Hip Hop Feminism as a Tool
for the Creative Renegotiation of Black Female Desire"

Emily Unnasch, University of Alabama
"'F Love': Sex, Violence, and Hip Hop’s Turbulent Struggle to Define Love against the Grain"

Brittney Cooper, University of Alabama
'''She’s a Movement by Herself': Black Sexual Politics and Independent Black Womanhood in the Hip Hop Feminist Era"

Maigen Sullivan, University of Alabama
"'They Dykin': The Commodification of Lesbian Desire in Mainstream Hip Hop and Underground Attempts at Reclamation"

Tammy Owens, University of Alabama
“'It Must Be Your Ass'”: The Commodification of the Black Female Booty from Slavery to the Present"

Round-Table Discussion: Rhymes of Dissent: Identity Politics within Underground Hip Hop

Viviana Bernal, Sankofa Institute for Youth Development Inc.
Katie McGhee, Montclair State University
Maria Roumiantseva, Montclair State University

Panel: WomynSong

Amity Bryson, Avila University
"Women’s Music Festivals, Politics or Commodity?: The 1970s Experience vs. Lilith Fair"

Elizabeth K. Keenan, Columbia University
"If Liz Phair’s Exile in Guyville Made You a Feminist, What Kind of Feminist Are You?: Heterosexuality, Race, and Class in the Third Wave?"

Andrea Fehring, University of Northern Iowa
“Womyn Only Space at the Michigan Womyn’s Music Festival: Is Separatism Based on Biological Sex, in Fact, Feminist?”

Closing Reception
6 – 6:30 p.m., Heimbold Lobby

6:30 – 8:30 p.m., Slonim Living Room

Alumni Reception for the Graduates of the
Sarah Lawrence College Women’s History Program

Monday, February 1, 2010

Leda Martins Talk: How Can We Remember the Bees and the Beats? Memory, Death and Disappearance in Brazilian Ritual Performances


How Can We Remember the Bees and the Beats? Memory, Death and Disappearance in Brazilian Ritual Performances

A lecture in English by Leda Martins

Thursday, February 4, 2010 6pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor
New York, NY

Leda Martins is a poet, playwright, and professor of Literature at the Universidade Federal de Minas Gerais in Belo Horizonte, Brazil. Her research focuses on the relationship between performance and memory, particularly in Afro-Brazilian traditions.

Drawing on her concepts of "Spiral Time" and "Oraliture," Professor Martins will examine the ritual ceremonies of the Afro-Brazilian Congados and of the indigenous Maxakalí. Analyzing the interconnections between death, image, and the ancestral, she explores these performances as practices of embodied memory through which these communities struggle against forgetting and disappearance.