#feeling ''uncomfortable'' is not harm but also ''uncomfortableness'' is a real arm of the patriarchy leveraged against women in the public | Explore Tumblr posts and blogs

toongrrl-blog · 4 years ago

Text

Pink Power Rankings (Pt. 1)

Hi I am here to look at famous pink outfits in film and TV history and figure out: is pink a power color for this character? I choose to leave out obvious ones like Pink Power Ranger because, duh it’s in her name and this is gonna be a long list. Also avoiding real-life figures and onscreen depictions of real life figures because keeping it short (and I don’t have the time)

Pictured above are the bridesmaids at First Daughter Luci Baines Johnson’s wedding in the 1960s.

Mimi Tachikawa

She is the most obvious pick from Digimon and the girl most decked out in pink. To paraphrase this video from The Take: there was once a show about a strange world beyond our own, somehow a group of preteens were pulled into this world not of their accord, including a young 10 year old girl. Along with her friends they were exposed to the elements and fought monsters out to harm them, she was sexually harassed by two clearly adult digimon, uncomfortable with the elements, often had to put up with toxic masculine BS, and was often snarked at by the story and even some of her own friends for being so girly and into pink. Of course some audiences and the story were overcome with sympathy with this girl pulled away from a familiar world...

Just kidding! They weren’t and some audiences even gave her a lot of shit and this has only been recently examined. For a while Mimi Tachikawa had a problem that seemed to be well known by a lot of female characters, like Carmella Soprano, Betty and Megan Draper, Margaret Sterling, and yes Skyler White. Put a flawed, complicated woman character alongside more charismatic (and male) characters and she will be disliked (despite the audience being more likely to be she than the menfolk held up as icons).

This is sad because looking back, Mimi was truly a badass all along: she sticks up for herself, speaks up for herself, she is unapologetic about her love of pink and girly things, she is quick to tell guys when they are getting in her space, she’s honest, she lets Tanemon go on and fight with only a sincere question if she really is going to while the others hold their Digimon down, she stands up against the Numemon who were harassing her and her friends, and she was funny as hell. Sadly it took a long while for fans to grow up but many of us, especially girls, reclaimed her as our own. It also helped that Mimi came before girly icons like Elle Woods, Leslie Knope, and Joan Holloway and also before the boom in Gen X and Millennial women contributing to comedy and starting their own stand-up specials and movies and TV.

Power Ranking: 10, all because she held her own, no matter the haters and was glad to see us no matter how odd.

Karen Wheeler

Another complicated lady, this time older and from the 1980s. This is Karen Wheeler of Hawkins, Indiana whose children are off on their own adventure. She is trying to tap into her sexual power here. It’s dicey because the man in question is a young man and she is a unhappily married affluent housewife in the suburbs; she agrees to meet him at the motel for “private swimming lessons” and does herself up in a way inappropriate for swimming lessons (in Scarlet Letter Red to boot!), only to be stopped by the sight of her lazy husband sleeping on the Laz-E-Boy with their youngest child Holly on his chest. This season sees Karen open up to her two older children over the patriarchy and saying goodbye to a best friend and girlfriend after confessing his love for her.

Power Ranking: 6, because her sexual power was on shaky ground and only based on her looks and attention from a man but she shows some character development that season.

Nancy Wheeler

This look was a game changer, but Nancy is no stranger to pink and preppiness. Here she is wearing an outfit that recalls the postwar “Boyfriend Shirt” from Brooks Brothers for the female collegiate set and it’s updated with long loose but pinned hair and designer (or mock) jeans. In this outfit she goes monster hunting with her younger brother Mike’s best friend’s older brother and Nancy’s classmate, Jonathon Byers and squares off with slut-shaming police officers and a mother who chastises her for lying about her whereabouts and losing her virginity while Nancy’s best friend Barb Holland is missing and she also tells off boyfriend Steve for trying to cover his ass by not participating in the police investigation. This is the look (which can easily double as office wear) when you want to go straight from school where you have an impeccable GPA to monster hunting in your neck of the woods to find the whereabouts of your best friend and for fighting the patriarchy.

Power Ranking: 8, this is a girl on the move as we can see with her rolled up sleeves.

Eleven

The Iconic Look, the look where she made a boy wet his pants, found two missing kids, broke a bully’s arm. The Polly Flinders dress would alter the way we see girls in dainty pastel pink dresses.

Power Ranking: 10, can you do all that without touching someone?

Barb Holland

The most tragic look for this was the sweater that Barbara Holland (1967-1983) wore when she was taken by the Demogorgan and killed. This was the look where she was the recipient of a wet willie from a boy who looked down on her and her best friend who was dating his popular friend, the look where she accompanied her best friend reluctantly to the popular boy’s party, and where her friend turned her back on her concerns. This is the look of a passive and traditional (to her detriment) femininity. She did gain a huge following who cried foul over her fate.

Power Ranking: 4, points up for the fandom and devotion but she wasn’t empowered.

Erica Sinclair

That was depressing, let’s go to the girl who embodies America: Hawkins resident wise-ass, the girl who kept her observations and words as tight as her corn rows, and her planning as precise as her perfectly well done baby hairs (Black readers, feel free to correct me as I document her fabulousness), My Little Pony nerd and Economics wonk, and American Heroine. Erica sassed her way into Stranger Things with a raised eyebrow and a lusciously girly girl wardrobe that stands out and fits in with her Midwestern environment. She’s no stranger to pink and she commands attention and the best service at Scoops Ahoy and manages to get several ice cream dishes for free (the most elaborate ones) before getting in on finding the secret Soviet military base. Girlfriend manages to deal with teenage shenanigans, assassins, creatures from another world, near-death experiences, almost being captured by foreign enemies and the most awkward sing-a-long ever. She doesn’t seem to have lost her child-appropriate enthusiasm for games even when telling off old balding men for getting her age right.

Power Ranking: 10, you can’t spell America without Erica

Joan Holloway

Pink is an appropriate color for the resident femme intellectual of Sterling Cooper Draper Pryce, it shows that Joan is willing to defy “the rules” of fashion for redheads (she also wears red) and it ties into her 1950s persona of the bombshell who is trying to get married to a man who’d move her out to the upper-middle class suburbs and she wouldn’t have to work. That was Joan at the beginning: over time she started to own her natural independent streak and her willingness to buck expectations of her based on her gender and looks but also deals with the same men who ogle her, disrespecting her intellect, her hard work ethic, and even her body (fuck you Greg Harris). In this fuchsia number (still in the pink family), she sets up a luncheon with a colleague (Peggy Olson) where she pitches the idea of them setting up a production company with their names, while Peggy didn’t take, Joan starts her own “Holloway & Harris” with her babysitter and mother. Sealing her end as a strong, productive, independent woman who learned to own herself as she was.

Power Ranking: 10, men may like scarves but women like not being tethered to men.

Betty Draper Francis

Meet Elizabeth Hofstadt Francis and her ex-husband Don Draper (actually Dick Whitman), for about 10 years of marriage, they have enjoyed a union where they looked like a couple right out of a magazine, he being a square jawed handsome self-made man with an athletic build who often is compared to old-school movie stars like Tyrone Power or Clark Gable or Cary Grant and she, a beautiful model from a wealthy family in the Main Line area of Philadelphia who studied anthropology at Bryn Mawr and speaks fluent Italian and is often compared to Grace Kelly (and other Hitchcock Blondes). But the interior of their perfect colonial in the suburbs hid an ugly reality where she suffered from ennui and was a brat to her kids while he gaslighted and cheated on her with other women, more modern women, like she wasn’t enough. Eventually she found out his true identity and floored that she had been living a lie and gave up her last name for an imposter, she divorced him and married a man she met at her husband’s work function.

About three years later, Don is happily married with a younger and much more modern woman (Megan Draper) while Betty is married to a man who loves and accepts her even at her worst but to her chagrin has put on a lot of weight (a blow to a former model who grew up being raised that weight gain or being fat was the worst thing a woman could be) and she hasn’t dealt with her unhappiness in a productive manner.

For a while well into 1968, she accepted the extra pounds (although looking like she lost some) and coming middle-age and even dyed her hair black, until her new husband tells her he plans to run for office and as he was excitedly recounting what is to be done, says “Everyone will see you” not knowing that his young, vain wife would read this scenario differently and after assessing her new look to an old evening gown of her’s, she sped up her weight loss and returned to her slim and blonde look that turned heads. Soon she takes a drive to her son’s summer camp and runs into her ex-husband and they feel the old spark and sleep together; it is there she tells him that he as a lover is different than him as a husband and admits about the young wife she looked down on, “That Poor Girl, she doesn’t know that loving you is the worst thing to get to you”. Next morning she has breakfast with her new husband, who is none the wiser, while Don heads back to the city. But is Betty really happy?

Power Ranking: 7, not satisfied but has received some closure about her relationship with her ex-husband.

Sally Draper

This is Sally in her birthday party dress. On that day her father built her a pastel colored playhouse, Mother prepared treats for the adults and kids for her birthday party, she and her friends played out their parents’ (admittedly shitty) marriages at the playhouse, her father goes out to get her birthday cake from the bakery and returns only with a golden retriever named Polly, while her unhappy mother fumes about her husband doing something shitty and humiliating and not being allowed to ream him out because he brought a dog and that makes him the good guy.

Power Ranking: 5, she gets a dog but is still young and dependent on her messy parents.

Rachel Menken

Meet Rachel Menken Katz, running into her ex Don Draper while he is out with his latest mistress and she with her husband Tilden Katz. She would end this series as dying from cancer after having two young children and running her father’s department store and instead of flowers, requesting that donations be made for a Jewish hospital in the Jell-O Belt. In 1960 she fell in love with an ad man who proved to have been miserable and having lost his mother during his birth, as she did, she also competed in what was called “a man’s world” at a time when women were relegated to assistant roles at best and she split from him when he wants to run away with her, mostly because he wants to run away from his issues and not because of his feelings for her. As her sister Barbara said, “she had everything”.

Power Ranking: 8, she ends up dying young but she manages to “have it all”.

Megan Draper

Meet Megan Calvet, later to become Megan Draper. How does she become the next Mrs. Draper? At this timeline, Don Draper is dealing with life after divorcing Betty Draper (now Francis) and is trying (and failing) to quit alcohol and trying to date the intelligent, warm, no-nonsense, and close-to-his-age Dr. Faye Miller. But that night Megan, who noticed she caught her boss’s eye, decides to make the moves and in a uncharacteristically demure (many fans thought she looked frumpy here) but at worst basic outfit, she sleeps with him. This is the outfit for a quickie that later won his heart and has him pop the question and she becomes part of Creative at their work. But is this really for the best?

Power Ranking: 7, she married Don Draper but then again she married Don Draper.

Peggy Olson

Meet Peggy Olson, who officially walked away from the things holding her back from feeling at ease with herself and her choices. After a whole season where the priest impressed by her skills has learned that Peggy had a child out of wedlock and put him up for adoption and starts pressuring her to admit her “sin” while Peggy would rather move on with her life, she tells him they don’t see eye to eye and walks away from the Catholic Church and while the Cuban Missile Crisis is going on, she lays down in her bed with the pink comforter and pillows with her pink floral nightgown, she lays herself down to sleep and prays with a contented look on her face.

Power Ranking: 9, she’s not fully absolved of the issues plaguing her but refusing to wear a hairshirt and beat herself up? Awesome.

Dawn Chambers

Meet Dawn Chambers, from 1966-1968, she was the only black person (let alone black secretary) at the uber-white Sterling Cooper Draper Pryce (pun intended for the decor) and like many minorities in positions occupied by less marginalized people, Dawn had to keep her head low and not stand out (despite some co-workers considering her as remarkable as a sore thumb). But then in 1968, she made the mistake of punching in for a co-worker and they get caught by Joan Holloway (and it’s so horrid, thank God Don Draper intervened on Dawn’s behalf and Pete reminds them of how the ad agencies are being looked at for their minority quotas). This was also the season where Dawn took to wearing blazers over her blouses and skirts or dresses and here Dawn is wearing a conservative grey blazer over a pink shirt with ruffles down the front and a red plaid skirt when her work life alters for the...better? It is there that Joan sternly gives her the promotion of keeper of the keys, title not pay, and Dawn tells her that she decided she doesn’t care whether other people in the office hate her but she doesn’t want to disappoint Joan, who withholds any warmth or approval. The next season we see Dawn stand up to a entitled and mediocre white man (Lou Avery) and first she is moved to reception and then she takes over Joan’s post as Office Manager (With her own office! And the salary!) while Joan goes upstairs to her own office in Accounts.

Power Ranking: 10, this is a big fucking deal for a Black Woman in a mostly-White corporate setting during the 1960s.

Trudy Campbell

1970, Trudy Vogel Campbell has remarried her estranged husband Pete and they are moving out to Wichita, Kansas with their young daughter Tammy where he will work a plush job for Lear Jet (and they are being flown out by them!).

For the past ten years, Trudy and Pete have had a difficult marriage where he was dissatisfied with the choices he made and that he really didn’t want to marry her, and Trudy had to deal with being a woman with fertility issues at a time when motherhood was seen as a primary goal for women and women who didn’t have kids or chose not to were seen as weird at best. They had to deal with pressure from her father to adopt, his parents snotty issues, she had to deal with her husband’s attitude, his envy of others, and his cheating. But Trudy laid her boundaries and was able to stand up to her husband, without losing her gracious manner and her zest for society. She tried to be a supportive wife and she found some common ground with him, when it comes to common decency and politics, and they make an amazing pair on the dance floor.

Then came the end after their divorce: they behave more amicably, he’s more involved with their young daughter, he fights for Trudy, and he gives an amazing pitch for her to come back. She takes him back but lets him know that she isn’t the same girl he married a decade before and she looks at things for how they are.

Plus she is gonna rule Wichita!

Power Ranking: 8, she accepts there will be compromises but states her boundaries and has them met and will be a society wife.

Elle Woods

Who shows up in court in LA hot sandals, a pink tote bag for her canine companion Bruiser, long glossy hair, and a curve-hugging but professional power dress in shocking pink? Elle Woods. After trying hard to be taken seriously by her fuckboi ex Warner and her snotty, neutral toned Harvard classmates and learning that her Professor got her in an internship for a important lawcase (where they defend her fellow Sorority Sister) just for her looks, she leans into both her natural intelligence, expertise, and love of pink and all things girly to defend her friend and solve the case.

Also can we talk about how both Legally Blonde and Bridget Jones’s Diary are both movies where the attractive blonde protagonist is humiliated by showing up for a costume party in a Playboy Bunny costume under false pretenses and she deals with sexual harassment and being underestimated regarding her intellect? But LB ages better because it kinda pokes fun at the beauty myth more and is more inter-sectional and Elle finds supportive women to add to her posse of supportive sisters and she supports other women in turn.

Power Ranking: 10, Sisterhood and owning your personality quirks and interests and boldly defending others is always a win. Case Dismissed.

Lorelei Lee

The ultimate Pink Power icon and the one who set the path for all femme-y and cute loving blonde protagonists with wit and ambition. This is the song for a woman who sings about how transactional heteronormative relationships in the mid-century were and how the performative actions of men in heterosexual relationships don’t do much to improve women’s lives, like paying the rent and that they would use women for their own uses and could be shallow enough to dump women if they lost their beauty and/or got older, so for insurance make sure you get money or rather things that can be hocked and worn with pride, like diamonds. Tom & Lorenzo covered this in their One Iconic Look series and this sequenced has been spoofed several times in Hey Arnold!, Crazy-Ex Girlfriend, Birds of Prey, and most famously by Madonna, and it is the look for women who not only feel good about their curves but also want to show them off. As T&Lo said about the ditzy Lorelai and her savvier friend Dorothy Malone (Jane Russell):

These women were all about power, control, and looking out for each other. Men were side stories or play things.

And in the repressive Fifties it was outrageously pink and smelt of female sexual power (pink pussies).

Power Ranking: 11, hawwwwwwww that’s what you get for having an iconic and referenced look!

Marge Simpson

The most nostalgically remembered outfit in cartoons and the most written about in think pieces and articles by Millennial women who grew up watching The Simpsons and the rest of what the Animation Renaissance had to offer. In “Scenes from the Class Struggle in Springfield”, the family goes out to the outlet mall in Ogdenville where Marge and Lisa happen upon a beautiful pink Chanel suit that even left my cartoon-apathetic mother enthusiastic and Marge is soon seen by a old high school friend who mistakes her for being wealthy and Marge goes along with the ruse and is invited to Country Club activities with the ladies where she shows up in several talented alterations of her suit (until getting destroyed by Santa’s Little Helper, RIP Iconic suit), she also gives her family a hard time about how they don’t fit into that Country Club Scene and then when forced to see how she hurt them (and even Baby Maggie), turns around and tells them she loves Homer’s sense of humor, Lisa’s compassion and outspoken human rights politics, and just loves Bart (even if she can’t figure what she likes about him).

This also happens to be another instance where Marge sacrifices a social life (she’s not seen with a lot of friends who have her back, aside from a brief time with Ruth Powers), chances for social mobility, and her own self-improvement for her family. While we love a mother who prioritizes her family’s autonomy, we still kind of hope that she didn’t have to sacrifice her own identity for her family.

Power Ranking: 8, points for the iconic suit and it’s layered meanings.

Bridget Jones

A rare move of power for a normally powerless and insecure woman and in a shocking pink blouse and black slacks that show off her hourglass curves and go with her coloring.

Pink is not a color Bridget isn’t familiar with, especially with this deleted scene that shows her in Pink Passivity (and it looks delicate on a blonde with blue eyes and pale skin but could risk her fading but I as a brunette would look popping!). But here after entering a relationship with Daniel Cleaver (who is a walking red flag) and finding out he was keeping her as his side-ho to his skinny, bitchy American girlfriend and colleague and I have my problems with Bridget Jones as a series (which would take several parts) and I can talk about how Peggy Olson and Joan Holloway were a lot better written versions of her (klutziness and awkwardness but succeeding!). But this is a huge power move where Bridget wears a simple outfit that owns her looks (even being affirmed by a older and previously antagonistic co-worker that she’s actually thinner than the average woman and she can’t back down, like ever) and is able to quit her job for a better and more glamorous job and tell off her ex-boyfriend for how poorly he has treated her. And all her co-workers smile off as she walks off in triumph after telling Daniel she’d rather wipe Saddam Hussein’s ass. I kinda wish I could go Joan Rivers on Daniel here.

Also points on that bolder shade of pink.

Power Ranking: 10, no one gets to burn a cheating, manipulative bridge like that (and yes she is conventionally prettier than I but that’s not the point).

Alice Macray

I know, I should shut my mouth and wear beige but my personal color analysis says I’m a winter person.

It’s an interesting power move, albeit within the confines of patriarchal society and even the only defiance that wouldn’t get her tsked at because she is serving the Male Gaze. And yet it’s a natural part of her characterization in this part of the series: the traditional housewife stubbornly keeping her pedestal and fighting to stall progress for other women pursuing other paths (part of wearing beige and shutting up as Mother of the Groom is to allow the Bride to take center stage) but it’s also a path she had to take what with being a dyslexic in a less informed and intolerant era and growing up in a sheltered, conservative Catholic family. This is also the outfit she wears when she spots a younger wife being forcibly yanked by her husband, alluding that the patriarchy isn’t benevolent.

This isn’t her first time in pink, or even a pink and blue combination: she wears pink when she goes and gives out bread to defeat the feminists at the Illinois Legislature, she wears pink and blue when Bella Abzug calls on her and her peers’ hypocrisy, she drinks a Pink Lady when she is given a “Christian Pill” and it matches her lavender dress. It’s also ironic: pink, white, and blue are the colors of the Transgender pride flag and she is defending White Heternormative Cisnormative Christian Values TM and it’s also a color combo that shows up in the beauty parlor she frequents where she and her friends wring their hands over working women gaining more ground and feeling that their comfortable privilege is being taken away by women who sully their hands working outside the home while they stay home with their children in their coordinated pastels and have maids of color keep their worlds nice and orderly.

But she is wearing a pink maxi dress with a high neckline and a very prominent hat that provides very ladylike shade for her fair skin, just like our first Pink Power Girl Mimi Tachikawa, and like Mimi, Alice will take a life-altering short trip to Wonderland. And like Pink Power Girl Eleven, she finds her true hidden power and starts wearing more saturated colors as time goes on.

Power Ranking: 5, she is on her way to breaking out of her little safe world and doing more than subverting a wedding tradition.

13 notes · View notes

sirenakhan · 4 years ago

Text

The Burden of Skin

By Sirena Khan

Copper and bronze, earth and sand— all beautiful in their own regard, yet when worn as skin, they are often disdained. This is because skin, the organ that holds our muscles, bones, thoughts and memories together, is a burden. History reveals that it was not always like this, but once it was, it stayed that way. Racism was and still is a contagious movement. Perhaps it will take another movement even more infectious to dismantle the first, something like Black Lives Matter.

With palms lighter than the rest of her body, Sarra opens her mother’s purse and scents of sweet jasmine and spices spill out. Amongst endless tissues and coins is a tube of whitenening cream, nestled like a secret. The lack of an ingredients list is omnious but not as ominous as the cream’s existence, the cream’s purpose.

“Mama used to scold me for playing in the sun, she was afraid I would darken. She tries to persuade me to use such creams but I could never. Do you know what they put into these things? It’s practically radioactive!”

Shame, colourism and racism; all deeply internalised within all coloured and otherwise communities. As tightly woven into the fabrics of society as Sarra’s cornrow braids were with each other. Some day she hopes for the embrace of thorough acceptance, but for now, she forces herself to be thankful for tolerance.

Madhumita is considered the most beautiful in her family. It is not her many degrees and accomplishmeents but her fair complexion which earns her praise from many of the elders. She sorely tells me of the first time she was racially vilified.

“He called me a gypsy, this big, white man,” she says incredulously, “that’s not even the correct slur. I believe that if someone wants to abuse someone else, it should at least be ethnically accurate. He should have called me a terrorist, or curry-muncher.” Madhumita is a lecturer, perhaps it was the teacher within her that sought to educate racism. Perhaps it was humour being one of the few tools she could use to cope. Sara understands. Many people of colour do. Such incidents of racism are not rare, but are also not always as blatant. Victoria Police, although showing a history of racial profiling and vilification in their official reports, assure others that not only is there no racism amongst their ranks, there is no racism dilemma at all within the force and in their dealings with the publlc. Despite their view, they agreed to initiatives to tackle racism such as the Police Accountability Project and the Diversity Recruitment Program, because the burden of skin is real. Whether they feel it or not.

Dania wears a hijab, it is part of her work attire as a counselor at the Islamic College of Melbourne. She feels the weight of this harmless, thin fabric constantly. Yet she recalls a time when wearing it did not feel like anything at all. Adjusting the cloth around her face, she tells me, “everything we feel has been imposed on us because of colonisation.” Dania is right. Things like skin and headscarves— there is a shame attached to them, a bullseye that came with conquering. Colonisers claimed land proudly, leeching nature and cultures of its resources and meaning. Teachings were changed to better fit the western narrative, peacefully matriarchal and equal societies became unravelled by patriarchy, women and cultural practises were sexualised to the point of fetishisation.

Although aware of the internalised racism that comes with colonisation and its aftermath, Dania shows me how she applies a homemade ‘remedy’ to her daughter’s skin. A mixture of lemon, milk and oats that is said to lighten the complexion. As she gingerly spreads the concotion over her toddler’s arms, she frequently compares her daughter to her much fairer son.

“I don’t know how he is so pale, we must have taken the wrong baby from the hospital,” like Sara and Madhumita, Dania tries to seek humour in her circumstances and she cannot be condemned for that. Even with her daughter’s obvious confusion and retaliations, and the dismay in Dania’s eyes. Racism breeds internalised racism and people of colour are the ones that suffer. The burden of skin is a curse imposed upon coloured children by others who idly live in their privilege of never having to carry such a weight. When this burden is noticed by the privileged, it is often skewed into something more heinous. Something succinctly encapsulated when Dania says she “can’t decide what’s worse, being called a paki or exotic. One leaves me angry and the other leaves me disgusted.” When this burden goes unnoticed, racist powers continue to flourish and society is left to deal with yet another George Floyd case. This sounds like a ‘beggars can’t be choosers’ predicament which Sarra, Madhumita, Dania and every other coloured person face.

Another thing that all three women had in common was their understanding that racism was not their problem to fix. The only people wo had the power to dismantle such a system are the very people who constructed it. Yet in order for that to happen, those people to acknowledge the problem. With global Black Lives Matter protests, social media blackouts and news coverage, the realisation of the extent of the issue is beginning to sink in for most but still, not all.

Australia is in a stasis. You will find acknowledgements of racism and colonisation everywhere. In plaques that read “We acknowledge the Traditional Custodians of the land” or “We acknowledge the Elders and honour their cultures and stories.” Acknowledgement is the first step in dismantling racism but once aknowledgement is achieved, many realise that it isn’t enough to change things. With overpolicing and incarceration rates unchanged for coloured communities, many might argue that these acknowledgements do nothing to actually address the harms that the Indigenous population face each waking and sleeping moment.

Australia has a gruesome colonial history, comparable to that of the United States of America yet there have been more white people protesting against face masks than for their coloured neighbours. Study after study shows the same findings; socio-economic status and social standing bear no weight, racism follows any individual of colour. Moreover, the consequences of racism are not simply hurt feelings. Policing, access to education and healthcare, mental health and employment oppurtunities are all affected. Society can be so adverse to people of colour that Sarra, Madhumita and Dania have all considered adopting ‘whiter’ names on job applications and dedicating hours of practise to gentrify their dialect. This tactic does little to quell racism in the recruitment process and racism in the workplace statistics.

Like an infection, racism has long since spread to all areas of society. The spread is so sevre that universities, governments, organisations, police and media outlets alike have staged multiple outcries and implemented various counterattacks to alleviate the racism and denial problem in Australia.

“There’s a shame around it; even my family don’t like to talk about it, colourism, racism, whatever,” says Sarra, “the denial and avoidance is on both sides.”

The subject is controversial and extremely necessary, but also hurtful. There is a trauma that’s often revisited for people of colour and for others, it can be plain uncomfortable. The discussion needs to be held though, because racism is more hurtful and more uncomfortable and tolerance is not enough.

“I do not want to tolerated, like some kind of annoyance. I want to be accepted and embraced, valued. I want to be respected,” Madhumita expresses.

Indigenous Australians barely make up three percent of the population, immigrants not even thirty, mixed just about twenty. These numbers seem appallingly low yet Australia is commended as being one of the most diverse nations. Some studies find though, that barely half of the Australian population actually appreciate diversity.

Denials, acknowledgements, statistics, protests, initiatives. They all show that Australia is knee-deep in racism, that the country is severely white-washed and that many of the people who have the power to change this do not care to. People of colour should not have to gather in the streets amid a pandemic to beg for equality and kindness. They should not have to politely protest to eradicate an issue that they did not even cause.

“It’s degrading,” Dania shakes her head, “they should be thankful that’s all we’re asking for and not revenge.”

When Dania says revenge, all of the experiences that Indigenous people faced comes to mind. The pillaging and thieving, slavery and assaulting, the unfortunately successful attempts to dilute the native population.

All that people of colour are asking for is the burden of skin to be lifted, nothing more. There is something very upsetting within it all. The idea of marginalised people having to ask to be treated with kindness and the realisation that treating them with kindness is not currently the default but a rare luxury.

1 note · View note

rustandyearnings · 7 years ago

Text

Calling In, Take 2: Power, Accountability, Movement, and the State

In the winter of 2013, I wrote a piece titled, “Calling IN: A Less Disposable Way of Holding Each Other Accountable.” Over the next four years or so, this piece would become the bane of my existence. Let me explain.

This piece sort of exploded – I was receiving emails and messages that the piece was really resonating with folks doing justice work across all types of communities. It was true and probably is still true how tired we all are of the constant worry that we cannot make mistakes – not even among those who we call friends, family, and/or comrades.

There have been numerous challenges that have arisen since the publication of this piece. The first is that it was so wildly appropriated by white people to rationalize or justify their own racist behavior. It’s been wildly appropriated to push away valid critique of racist or otherwise oppressive behavior. I remember as Ani DiFranco was being called out for playing music at a slave plantation, that white lesbians were quoting “Calling In” to tell Black women and women of color that they shouldn’t be critiquing Ani (or other white people) in such a harsh way. I don’t think I need to offer any more examples on how this piece or this concept has been misconstrued to mean, “I can do whatever I want and you have to be nice to me.”

The second challenge actually has a lot more to do with my own political development than external factors—how it was being read by my community or how it was being used by those inside and outside of my community. In the four years since writing this piece, I regret to some extent not writing more about the relationship we have to each other in movement versus our relationship to each other and that relationship to the state – the apparatus which seeks to and often succeeds at dividing, repressing, and conquering (literally and metaphorically) us.

I have become regularly frustrated by some of the contexts in which “calling in” has been used or named. It’s less about people annoying me (because people annoy me a lot) or some idea that I am the arbitrator of what “calling in” as an accountability practice or process actually means. It is actually more about the individualistic ways we think of accountability, power, and our relationships to each other. In many ways it is not surprising that we conceptualize ourselves as simply individuals. We are born into this world by ourselves (unless we’re a twin or a triplet, or something, but you get my point), we experience much of the world with only ourselves (even if many of our experiences involve others), at night we fall asleep and wander into the dream world on our own, and when we die – and we all die – we die alone.

We take the reality of the human experience as being both terrifyingly and rewardingly lonely and compound it with the deadliest economic, political, and social system in existence, capitalism, and most of us end up having a lot of shit to unpack around our individualism, and specific to this context, our understanding of harm and repair.

So what does it mean to hold each other accountable in a world that is incredibly messy? In a world where we don’t have much to rely on but the reality that things are incredibly messiness? That isn’t to say that there aren’t topics or issues where we are capable of drawing a clear line. We know how to do that – that’s why we have vibrant social movements.

But we have to start figuring out the space that exists between ourselves and our communities, our communities and the movement, and the movement and the state. Not only do we have to start figuring out that space, we have to do this in a way that is honest, transformative, and real.

I don’t think that I can say this enough: we are human beings and we have our shit. We carry with us the traumas we experience from early ages, that we don’t start developing different coping mechanisms for until later in life. For some of us, it is much later in life or it is never actually dealt with at all.

Being in movement has taught me that movement brings together the maladjusted weirdos of society who have decided or have been led to doing something about their own and others’ maladjustment. When I say “maladjusted” I am capturing a pretty broad stroke of people who are, by the standards of this system and society, not fit to be a part of this system and society. We are rightfully upset, uncomfortable, and angry. In most aspects of our lives – at our jobs, in our classrooms, in our neighborhoods, and most public spaces, including those that are allegedly democratically elected to represent us, we do not belong nor do we have power.

Movement is where we have power. Movement is where those of us who have seen the most fucked up shit; have made a whole lot out of the nothing slapped to us by capitalism; have had to endure the incredulous crimes against humanity, whether it be gentrification or police brutality, homelessness or addiction, incarceration or unemployment; have once believed that we might not survive another day have managed to find others, to find a way, and to fight for our right to life every day.

The power we have in movement spaces is beautiful, transformative, and sometimes (and increasingly so) threatening to those who have power over us. But the power we have can sometimes fuck us up. Let’s be real. Sometimes we get power and suddenly no one is a friend, it’s only foes. And it’s especially foes if not everyone agrees with us. Sometimes we get power and we become stagnant, we start operating in the interest of preserving our own power, instead of remembering why people’s power means anything to begin with: we have to build with other people to win. Our fingers tight as a fist are much stronger than they are a part. Our arms linked are a much stronger barricade than our shoulders alone in the cold. The harmony of many voices is much louder than just one.

The movement gives us power and we start acting like calling out greedy politicians and corporate profiteers or politicians who want to rid the world of queer and trans people is the same as calling out our cousin who makes sexist jokes at the family reunion or even a fellow organizer who takes up a lot of space as a white person. These are fundamentally different relationships. Our relationships to capitalism, white supremacy, and patriarchy as pillars holding up a destructive and deadly system is fundamentally different than our relationships to the human beings who have to survive these systems.

The state is an oppressive force that seeks to cultivate division and thrives on our disconnection and alienation from each other. Let’s try our best to not feed it with our harms and grievances as if it could help us resolve them.

Our movement is, in many ways, fighting to confront the state. We are disrupting the institutions and systems harming our people. Our movement is not mechanized with an oppressive ideology; we are not weaponizing ourselves toward profit; we are not propping up fake democracy to make the rich more comfortable; we are not fighting to dispose of our people, leave our people behind or for dead. If we are truly building our movement to confront the state, we’ve got to stop treating each other like the mistakes we commit are the same heinous crimes that the state commits against our people. We are all capable of causing harm but we can’t operate as if the harm we cause to each other is the same as what we experience from the state. Often, the harm we cause to each other happens in the process of trying to build a different world.

Somewhere along the lines, the idea of “calling in” was put in opposition to “calling out.” I don’t believe that such dichotomy exists, since I think that our accountability should be more rooted in our understanding of power, to each other and to the forces that seek to exert power over us, than rooted in our individualism and selfishness about who gets to be right and who is wrong.

But ultimately, whether you want to call in or call out, let’s all try to be on the same page about who our shared enemy is – and it is not each other. I stick by a lot of what I originally wrote in that piece in 2013. Movement building is about relationship building. And it’s also about nuance. In the piece I elaborated on how we use our relationships as the basis for determining whether we "call in" or "call out." I’m still less interested in how we label our processes for holding each other accountable and more interested in the process itself. Some questions that I would pose to folks when they are deciding how they want to deal with an oppressive situation are: what is the depth of the relationship I have with this person? Are they someone I consider an acquaintance? A friend? A comrade? What values do we share (if any) and what are they?

There are deeper political questions that should inform how to hold people accountable, too -- because everything is political and more importantly, because everything requires us to think of ourselves within the context of a broader society. Our society necessitates harm in order to thrive and it can either continue to thrive or be delegitimized based on our responses to harm. We live in a real society of disposability. We talk about it a lot but I think sometimes we forget how entrenched we are in it. When we talk about the prison industrial complex, we are talking about a world that puts people in cages for the rest of their lives because of an accountability system where the state arbitrates who gets to make mistakes and who doesn't. The structural violence carried out by the state shapes and informs how we relate to each other interpersonally.

Lately I’ve been returning to the fact that we are human beings. This kind of statement is obviously a little oversimplifying. We are human beings who are greedy, selfish, cruel, unforgiving, vengeful and also deeply feeling, compassionate, remorseful, creative, apologetic, loving, and caring. Some of the human beings on this earth commit viler nastiness than just being human – we know that this shows up in our communities and in the broader world as sexual, emotional, and physical violence, all tied and connected to capitalist exploitation and oppression: white supremacy and anti-blackness, transmisogyny and homophobia, islamophobia and xenophobia, Zionism and anti-Semitism and more.

I'm not saying that there is never harm nor that we should martyrize ourselves to minimize the harm we experience. I'm saying we should remember we have all caused harm, have the propensity to cause harm and if causing harm or making mistakes were the basis for whether or not we maintain community with each other instead of our humanity, our dignity, our aptitude for change, and our belief in a radically different and better world, we'd have no community. And probably just as scary, if not more, we’d have no movement.

There is no perfect way to deal with harm or conflict. We are trying our best to maintain our relationship to each other and ourselves in a world that is routinely dehumanizing, under a system that doesn’t care about what we mean to each other. But we should care about what we mean to each other.

As a queer and gender non-conforming person of color, a migrant from Viet Nam, and a communist, what keeps me alive is the fact that everything changes – that in fact, everything must change. When something has stopped changing, it’s dead. If there’s nothing that is useful from this piece, any of my (largely unoriginal) musings on power, accountability, movement, and the state – I hope at least that we can all remember and respect that everything changes. That this be a gift we do not take for granted, that this be a gift we give to each other in service of a better world, a world where not only are we capable of transforming but one that our transformation made possible.

In the spirit of change, I acknowledge that four years from now I might write a totally different piece, depending on where the forces of this gruesome planet are, depending on the tenacity and resilience of humanity, I might write a take three. But for now, I hope that I’ve done some justice to those who I am fighting alongside with each and every day, whose mistakes I share in, whose vision I believe in and co-create, whose wisdom, commitment, and revolutionary optimism reminds me that healing, being free, and almost anything is possible.

#ngoc loan tran #calling in

75 notes · View notes