Last year Darryl Duncan of Gamebeats Studios wrote and produced a beautiful song dedicated to Trayvon Martin and the children killed by violence. We celebrate Trayvon’s 19th year with the song “18”. What do you think of the song?
Okay… this is where my emotional, intuitive, reactionary mind picks a fight with my rational, analytical, objective mind. Buro 247 published an online interview with Dasha Zhukova, the Russian editor-in-chief of Garage magazine, who was photographed atop a chair made of a life size scantily clad black woman frozen in a very compromising position.
I am trying to be fair about the existence of this Black Woman Chair aka art piece created by Norwegian artist Bjarne Melgaard. It’s one of a series of installments inspired by the work of artist Allen Jones as a commentary on sexism and racism. To be fair there are other “furniture” pieces in this collective that feature white women in similar compromising positions.
But take the Black Woman Chair out of its collective, plop a white socialite on top of it (or her), and instantly another layer of meaning rises to the surface. The one who’s on top becomes part of the art piece. What becomes the message? Dominance over subservience? Privilege over bondage? Superiority over inferiority? Actually there may be brilliance in this transformation of perspective. If a black man sits on the Black Woman Chair, what would that say? How about a white man? A black woman? In a gallery this chair is provocative art. As Dasha’s prop in a photo op, it becomes racist.
The backlash has been extreme. In an issued statement, Dasha had this to say “…I regret allowing an artwork with such charged meaning to be used in this context. I utterly abhor racism and would like to apologize to those offended by my participation in this shoot…”
Miroslava Duma of Buro 24/7.ru wrote on Instagram, “Dear All, Buro 24.7.ru team and I would like to express our sincerest apology to anyone who we offended or hurt…”
Really now? Sometimes I wonder what people are thinking when they do stuff like this.
What do you think?
Turns out BIM Distribuzione developed the controversial 12 Years posters featuring Brad Pitt and Michael Fassbender without authority from the studio. The company recently issued an apology along with a revised poster prominently featuring Chiwetel Ejiofor. The New York Times Artsbeat blog has the scoop: http://artsbeat.blogs.nytimes.com/2013/12/27/distributor-apologizes-for-movie-posters-ignoring-chiwetel-ejiofor/?_r=1#!
How do people of other cultures and countries perceive the black experience? Is the art of blackface a global mockery of black people or an act of self expression? The likeness, lifestyle, language and mannerisms of cultures in the African diaspora are often distorted and used as props, backdrops, accessories, exclamation points, iterations and punchlines. Is black culture to be twisted, deformed and repurposed to fit the objectives of another culture’s agenda? Many think it is harmless fun and will defend the practice.
Recently, Dunkin Donuts Thailand franchise depicted a model in blackface with pink lips to advertise their new charcoal donut. The Human Rights Watch and other groups were in an uproar. Though the Thailand agency felt that America was being overly sensitive. Dunkin Donuts issued an immediate apology and is in the process of yanking the ad. Was this racism or just ad art misunderstood?
Asia is notorious for mocking black people in their advertisements and products. Does the fact that blacks are different in skin color, hair texture and features give them the right to racially objectify blacks to sell products? To them, blacks are obviously fascinating and repulsive at the same time.
Racial insensitivity is evident in other countries. Last year, Sweden made world headlines when culture minister Lena Adelsohn Liljeroth, was photographed happily slicing into what is now infamously called the blackface or ni*ger cake at World Art Day in Stockholm. The edible installation was sculpted in the likeness of a grotesquely distorted African woman by black Swedish artist Makode Aj Linde. it was meant to provoke strong reaction, awareness and disgust for the brutal practice of female circumcision in Africa. However it evoked outrage on a global scale. Regardless of who created the “art piece” or why, the installation was considered exploitation of African women and their bodies.
France’s Numero fashion magazine caught global flack when Caucasian model Ondria Hardin, posed as an “African Queen” in their controversial fashion expose’. In an industry that often shuns models of African descent, Numero found the “look” of Africa intriguing on a white girl.
Mexico’s beloved dimwit, Mimen Pinguin is a longstanding comic strip character known for his street smarts, playful demeanor and ape-like features. Is this flattery or mockery?
Here in America we have accepted the kindly servants gracing the boxes of Uncle Ben’s rice, Cream of Wheat and Aunt Jemima. Do we still consider these images culturally insensitive? Or have we accepted these images as harmless age old branding?
New Orleans gift shops are still selling blackfaced Mammy cookie jars with matching salt and pepper shakers and toothpick holders. Should one be outraged?
If the tables were turned and we used yellow skin and slanted eyes to promote lemon donuts with slits instead of holes would Asians be offended? What about a whiteface with pink pimples selling crackers?
I don’t know. You tell me.
- Dunkin’ Donuts Apologizes For Blackface Ad In Thailand [PHOTO] (hiphopwired.com)
Dave Prince? Prince Chappelle? No, it’s Dave Chappelle as Prince gracing the cover of Prince’s new single Breakfast Can Wait.
Prince’s cover will surely turn heads and perhaps shake them as well with this catchy image taken from The Chappelle Show sketch. It looks like Prince is trying to stay relevant and irreverent at the same time. Ditto for Dave Chappelle whose antics are sorely missed by fans of his short-lived comedy series. Do you think it’s a savvy move on their parts?
As for the content of the album, is it just as edgy and unique? Actually I heard a snippet of the new single Breakfast Can Wait. It’s as tasty as those pancakes Prince – I mean Dave is holding on the cover. Wait, I take that back. Those pancakes look kinda nasty, but the song is cool.
Columbia College alumni and filmmaker Jessica Estelle Huggins believes the tongue is mightier than the sword. Her latest independent project Chi-voices: A Poetic Film Series, gives those affected by youth violence a chance to speak their experiences through Spoken Word. Chi-Voices, featuring seven passionate Chicago poets, Jessica aims to help change thinking. “As a spoken word film effort, our objective is to exhibit the gritty realities of violence directly from community members — no filter, no hidden motives but truth.”
[Click here to support this project: http://igg.me/at/chivoices/x/4273561]
Jessica hopes that this film will be used by schools, organizations and the like
to encourage others to use their pen and voices to help heal. “We aim for this to not only be an ingenious form of healing but also an educational tool. Our objective is to tackle socioeconomic issues, broken homes, a short-sighted mentality, and the absence of mature problem solving strategies.”
Jessica has big plans for this series. As it gains momentum, she envisions Chi-Voices touring high schools, community centers and jails, to activate a shift in mentality. She adds, “It will allow youth to dissect how unnecessary violence scars our humanity.”
This writer is honored to be associated with such a project both as a consultant and featured artist. We are asking for your support in getting this film series made via Indiegogo.com. Click on the video trailer to get a taste of what Chi-Voices is about and give your support. http://igg.me/at/chivoices/x/4273561
What do you think about this project?
Thank you in advance for supporting Chi-Voices: http://igg.me/at/chivoices/x/4273561