#pornotroping

[slayercain]

[Georges] Cuvier’s anatomical fixation with [Saartjie] Baartman largely conformed to the convention of privileging sexual(ized) anatomy when it came to the “female specimen.” Thus, although he otherwise “believed skulls to be the most important evidence” for a science of racial difference, it was not Baartman’s skull or her locutionary facility across multiple languages but rather her “genitalia, breasts, buttocks, and pelvis” that fascinated Cuvier. Of paramount interest were, on the one hand, Baartman’s supposedly steatopygic buttocks and, on the other, the “Hottentot apron,” or putatively elongated vaginal labia minora. Much to Cuvier’s and [Henri] de Blainville’s consternation, Baartman resisted the full extent of their scopic ambition. “She kept her apron concealed,” Cuvier lamented, “either between her thighs or still more deeply.” At once violently penetrating and yet unable to fully access something irreducible within her interiorized flesh, Cuvier’s (dis)possessive gaze strains against a limit, an aporia within the logic of calculation and valuation, which must nevertheless be made to appear “as a barrier to be overcome.”

Rizvana Bradley, Anteaesthetics: Black Aesthesis and the Critique of Form

[notchainedtotrauma]

Through this patrons only essay, I think through the way surface both retains and exceeds Blackness, stretching from the epidermis to pornotropic Black geographies.

Delia daughter of Renty on B.F. Taylor Plantation, Columbia South Carolina [Picture # 1]

[ID] @DaRealKingCoopa tweets: "This is why Spanish women and black guys go together...Look at the production lol" There are two photographs of two light skinned little girls below the tweet. The little girl on the left is holding a crushed paper cup and looking to her right. The little girl on the left is lifting her hair. She wears a red shirt that reads "PLAYDATE MATERIAL". [end of ID]

The daguerreotype and screenshot above best visually describe the essay. Here are some excerpts:

There needs to be a Black body whose epidermis is weighed down with meanings for Blackness to register as legible. Louis Agassiz commissioned daguerreotypes of Delia and Drana amongst others to surface what he considered black inferiority; as it was, there was (and is) nothing to be said, almost nothing to be seen. There's nothing to be retrieved from the surface, for there isn't any meaning to it.

and

How does one settles through the contradiction ? How it is that the surface can hollow and index ? What about the Black epidermis means countability without recognition ? The archive begets the algorithm. The algorithm begets the archive. PredPol, a company producing predictive policing software, rests on the surface of the event. The type of crime. The time of the crime. The location of the crime.

and

@DaRealKingCoopa tweets: "This is why Spanish women and black guys go together.. Look at the production lol" . The (re)produced girl children stand silent, growing more opaque as @DaRealKingCoopa imbricates the skins of body in flux. Through the dreamed introduction and the material disappearance of his extremity, he participates in a process, that would, by proxy, identifies his body as obsolete and defaced, a debris to be rid of for the surfacing to occur in all its quaint neatness. He would no longer exist as he is; the fleshy brand of his abjection would rub up against the sandpaper of a deracialized "Spanish" woman, peeling off into unidentifiable children. Now you see me, now you don't.

[deadtothefuture]

"Spillers introduces the term pornotroping to describe the process by which bodies are rendered symbolically incoherent and constitutes 'sheer physical powerlessness that slides into a more general 'powerlessness.'' Pornotroping, then, is the fracturing of metaphysical and ontological identity; such a body is not an identity and is unidentifiable within the grammar of sexual difference. [...] Ontometaphysics constitutes its self-sameness (ipseity) through the tropological, through the turning back upon the self to render it proper. Heidegger’s 'proper body' is a body turned back upon itself as the condition of its coherence and intelligibility—sex enables this turning. Sexual difference is the vehicle for this turning of the subject; or somewhat differently, we can suggest that sexual difference and Being turn toward each other, entangled in the fraught embrace of each other. Dasein emerges from this turn.

But the pornotropic is an incomplete turn, or an impeded turn, such that the body within this turning is never re-turned to the self, but becomes 'being for the captor' and ends as a thing in the hands of the captor. The Greek term pornographos, according to Merriam-Webster, indicates a 'prostitute originally bought, purchased (with an original notion, probably of [a] ‘female slave sold for prostitution’).' The female slave, sold for the erotic pleasure of masters, is a body not re-turned but positioned (through violence, terror, and torture) toward the captor. Dis-possession renders the body improper. Pornotroping is the eroticization of this incompletion, this turn un-returned. Alex Weheliye, in his beautiful meditation on pornotroping, inquires whether it is a turn 'toward violence or sexuality.' We might suggest that the captive can never turn toward sexuality, the realm of Being, but that the porno-turning itself is violence, since it is an incompletion producing powerlessness—all proper turns re-turn the body to the self."

– Calvin Warren, "Improper Bodies: A Nihilistic Meditation on Sexuality, the Black Belly, and Sexual Difference"

[unbakehisbeans]

I also find the way that most people talk about slavery to be really uncomfortable and distasteful because of the way that so many people kind of implicitly buy into the fungibility and dehumanization of enslaved people, especially enslaved women.

And again especially with enslaved women, people are so eager to talk about the most brutal acts of violence we have on record. And it’s important to talk about that kind of violence but you also need to be so careful about how you do it and it’s really difficult. Like, I think first things first, you shouldn’t need to go into graphic detail about the most brutal act of violence imaginable against an enslaved woman to prove/convince people that slavery is bad. And you need to keep in mind that the woman you’re talking about was a real, complete human being and her life and experiences are not fungible—that happened to her the individual and she is not interchangeable with any other person. And you need to be careful that you’re not being pornotropic and that you’re not exploiting this real person’s real experiences.

Like, so often there’s all of this focus on an unnamed enslaved woman’s body and the violence against that body, but people will treat this woman like she’s interchangeable with all other enslaved women, and the focus of the body is pornotropic and exploitative. They won’t consider her personhood or agency and they don’t respect her enough to consider what she might have wanted or how she experienced her life. And she’s long dead and can’t defend herself or tell her own story, and no one alive knew her and so much of the time we don’t even know her name. You know?

[bnnvll]

pornotropic - marguerite duras and the colonial illusion. 

Valérie Urréa et Nathalie Masduraud, 2019 

[dancedancerevolution2020]

WASTE, EXCESS & QUEERNESS

“In Sensual Excess, Amber Jamilla Musser imagines epistemologies of sensuality that emerge from fleshiness. To do so, she works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics. Each chapter draws our attention to particular aspects of pornotropic capture that black and brown bodies must always negotiate. Though these technologies differ according to the nature of their encounters with white supremacy, together they add to our understanding of the ways that structures of domination produce violence and work to contain bodies and pleasures within certain legible parameters. To do so, Sensual Excess analyzes moments of brown jouissance that exceed these constraints. These ruptures illuminate multiple epistemologies of selfhood and sensuality that offer frameworks for minoritarian knowledge production which is designed to enable one to sit with uncertainty. Through examinations of installations and performances like Judy Chicago’s The Dinner Party, Kara Walker’s A Subtlety, Patty Chang’s In Love and Nao Bustamante’s Neapolitan, Musser unpacks the relationships between racialized sexuality and consumption to interrogate foundational concepts in psychoanalytic theory, critical race studies, feminism, and queer theory. In so doing, Sensual Excess offers a project of knowledge production focused not on mastery, but on sensing and imagining otherwise, whatever and wherever that might be.“

_________

“The Poetics of Waste argues that before we demonize or disregard waste, we must first understand its often conflicting meanings in the contemporary moment and in the preceding century, when consumer capitalism came to dominate and define American culture. If, as Ezra Pound claimed, artists are the “antennae” of the species, picking up the signals long before the general populace notices them,1 then it is fitting that the poets and experimental writers of the twentieth century should be among the first to perceive the danger, and even more, the value of a waste that late capitalism has attempted to repress, much as it occludes the labor that produces the commodity fetish.

Schmidt C. (2014) Introduction: The Poetics of Waste Management. In: The Poetics of Waste. Modern and Contemporary Poetry and Poetics. Palgrave Macmillan, New York. https://doi-org.colorado.idm.oclc.org/10.1057/9781137402790_1

[homonationalist]

[ID: screenshot of text reading: "Just as the India panorama propagated bourgeois norms of English colonial supremacy, staging its exploitative construction of racial and cultural different as merely a by-product of geographical curiosity, the Original Panoramic Views pandered to similarly circumspect ideologies contrary to anti-racism. The slave experience is almost universally rendered allegorical, as slave iconography equates black people to a state of fleshliness, "pornotroping" blackness for the consumption of viewers. Put simply pornotroping is a representational process derived from slavery that transforms a person into flesh. It involves putting flesh on display and thereby satisfying voyeuristic desire by reinforcing the viewer's self-perception of bodily integrity in contrast to the view of objectified flesh. In her discussion of pornotroping, Spillers makes a distinction between body and flesh, between culture and cultural exclusion — what Spillers calls "vestibularity." While flesh is the entryway to culture, a condition of being vulnerable to fissures in the body, the body of the public viewer is presumably safeguarded by institutional prophylaxis of the law. To what extent, then, can Brown simultaneously occupy the position of the vestibule and the law by orchestrating such exhibits of the slave as self and other? Is he at once like the slave objects he puts on view and like the spectator who views them at the same time?" /end ID]

From Fugitive Vision: Slave Image and Black Identity in Antebellum Narrative by Michael A. Chaney 

[serpentsapple]

Pornotropic: Marguerite Duras & The Colonial Illusion

[Click here for a video with subtitles, including English ones!]

“Marguerite Duras’ novel ‘The Sea Wall’, published in 1950, was a subversive critique of French colonisation in its prize possession, Indochina. Comparing France’s pearl of the empire to a massive brothel, Duras showed the underside of colonisation in all its seediness, corruption, and brutality. A look back at this extraordinary autobiographical novel seventy years after its first appearance.”

[detournementsmineurs]

“Pornotropic - Marguerite Duras et l'Illusion Coloniale” documentaire de Nathalie Masduraud et Valérie Urrea (2019) dans le cycle “Les Grands Romans du Scandale” proposé par ARTE, octobre 2020.

[slayercain]

In Les Curieux en extase, [Saartjie] Baartman’s figure is overtly conscripted into this operation of expropriative displacement, positioned as the medium of her own dissimulation. This black mediality is perhaps most obvious from the vantage of the Englishwoman, from whose gesture the piece tellingly acquires its name. Whether the “misfortune” the Englishwoman deigns to look through is taken to be Baartman’s degraded circumstances or degraded constitution is of little consequence (for the Englishwoman, they are no doubt one and the same). Baartman is made the medium for the satirical rendering of the gendered repertoires of white kinship; she becomes a prism through which one can discern the apparatic refraction of a racial-sexual economy not only from which she is barred but for which she is the constitutive interdiction. The scene of Baartman’s dissimulation is unable to escape the volatility inherent in its aesthetic ambitions, for Baartman must be simultaneously figured as the “degraded essence” of touch yet barred from any agential capacity within the phenomenology of touch she mediates in the immediacy of her “openness.” The touch of entanglement she is made to bear must be simultaneously harnessed and contained, spectacularized and disavowed. This unsustainable logic is at work in every instantiation of [Hortense] Spillers’s prominent assertion that “the captive body translates into a potential for pornotroping and embodies sheer physical powerlessness that slides into a more general ‘powerlessness.’” In fact, the analytic of pornotroping directs our attention both to the medium of (intra)exchange for these economies of visuality and touch and to a rupture within the phenomenological operations that are presumed to structure experience of these economies. Pornotroping, as Alexander Weheliye suggests, stages “the simultaneous sexualization and brutalization of the (female) slave, yet—and this marks its complexity—it remains unclear whether the turn or deviation is toward violence or sexuality.” Pornotroping thereby accentuates not only the anteriority of (anti)blackness to “modern sexuality as such,” as Weheliye insightfully contends, but also the inextricability of the violence of dissimulation from the violence of fleshly violation, underscoring a form of touch which cuts across the putatively discrete registers of visuality and tactility, though not in the reciprocal sense too often romanticized in phenomenology. For insofar as we begin from the vantage of Baartman and her dissimulated ‘body,’ there is an obvious disjunction in the phenomenological relays of seeing and touching famously elaborated by Merleau-Ponty, whereby, in Judith Butler’s gloss, “the acts of seeing and being seen, of touching and being touched, recoil upon one another, imply one another, become chiasmically related to one another.” Baartman’s figuration marks the absent center of Merleau-Ponty’s chiasmus, interdicted from reciprocity, boundlessly opened to the immediations of touch precisely so that the touch of entanglement can be mediated for the phenomenological subject.

Rizvana Bradley, Anteaesthetics: Black Aesthesis and the Critique of Form

[gothprentiss]

one thing i find myself thinking quite often, particularly when i’m looking at the absolute smoking wasteland of letterboxd reviews (which is, i know, a form that encourages shallow and often thus inherently wrong and reductive quippyness, culture of the dunk etc), is that people often see sexual content and immediately judge it to be or parse it as horniness. a glaring example of this is some of the top reviews of cronenberg’s crash—

which is, sure, an often grotesquely sexual movie. i’ve seen someone call it technoporn which is, i think, a fair summation, albeit one that you have to heavily caveat and contextualize in cronenberg’s very clear interest in pornography as a form of thought. while obvious dimensions differ*, i think you can pretty clearly parallel cronenberg’s notion of pornography with something like hortense spillers’ term pornotroping. (*differ in the sense that spillers was writing on slavery and its particular dehumanization, and this would obviously be a misappropriation if the terms she used were not terms cronenberg uses as well, cf videodrome. the relevance here is not a matter of history, necessarily, but rather of viewing pornography as a mode of thought about the body, and about the materially & socially constituted category of the human itself.)

it’s not that horniness doesn’t have intellectual heft or artistic merit, or even that it shouldn’t stand on its own as a perfectly viable reason to make something, but rather that i think horniness is one of those categories of feeling and response which is underexamined because it’s treated more as a moment of recognition than anything else. i suspect many of the people whose letterboxd comments are in the “crash horny” category would say that it’s a vibe thing, or self-evident. though i think realistically cronenberg was less interested in making a movie that derived from or begot arousal, and more interested in making a movie that’s exploring the extent to which the body and sexuality are linked and coterminal given that the body is, materially, a) penetrable and b) increasingly extensible, with no really clear hard limit on either of those two features.

i mean, i guess you could say merely that all sexual content in media is in some way horny; we must assume that on some level it is borne of a sexual desire. but i think the idea that what is sexual is also horny (& perhaps thus what is nonsexual is not) does animate both the above judgments surrounding necessity (what scratches a horny itch for a director etc. is in some way distinct from what scratches an itch of ego or artistic satisfaction or so on, rendering it a flaw in the work), and also, i think, animates a lot of the weird discourse regarding sex scenes in movies. to insist that sexual content derives from and communicates a creator’s horniness creates a very different transaction with the work; it suggests that what’s happening is sexuality outright, rather than sexual content. we are in this way recipients of and participants in the artist’s sexual gratification.

i guess i do think that seeing sexual content and being like “ah, this is horny” or, maybe more accurately, “this is driven either by the creator’s horniness or an expectation of audience horniness,” is an often fundamentally shallow thought process. like sometimes that truly is the whole story, for sure. but it also seems like perceiving sexuality, and reading (rather rightly or not) horniness into it is often something which functions to quite fundamentally break a work for many viewers. and perhaps this is because we hold pornography to be distinct from art, quite categorically, in a way that is somewhat distinct from our regard for other genres which are also explicitly driven by response (horror, suspense). not really espousing a stance on porn here, but i do think our relationship with film is indelibly altered by our relationship with pornography. (in the last couple of years the settings in which one ostensibly consumes either have become far more similar too. funny?)

“the nudity/sexual content in [x] was unnecessary” is of course a wild criticism to level at a movie, which is not a form characterized in any way by necessity. no movie has ever been necessary by a meaningful standard which would allow you to simultaneously insist its sexual content or even non-sexual nudity was unnecessary. this includes movies which have very clearly added in dicey material to merit an R rating for marketing— again, the concept of “necessity” is pointless here. few things are truly necessary. necessity-based arguments for art of any kind (even “it makes life livable”) historically are and should be controversial; purposiveness and utilitarianism (which are a couple of rungs down from necessity, i think, in terms of gravity) are often points of antithesis or antagonism in theories of art. not even necessarily the rarefied sort.

i guess i am genuinely interested in, like, what kind of thought process one has watching a movie in order to produce that kind of criticism. my best guess is that the people in question get to a scene with nudity or sexual content and start asking far more ‘rigorous’ questions than they have been for the rest of it. have we* come to regard sexual content, as well as the fact of sexuality in the world, as more inherently active— more involving of the audience— than any other kind of thing you might commit to film (or, as it were, data)? do people who judge sexual content in this way abide by an extremely hard line dichotomy of pornography and non-pornography, such that all sexual content is inherently suspect, more likely to be devoid of art and thus of artistic value, more likely to be a brief, masturbatory interlude in a movie than a meaningful part of its world?

[notchainedtotrauma]

I wrote this public essay as a response to this image below, an image that brought forth a racialized and antiblack pornotropic sexual violence I was already quite aware of but which became vertigo inducing upon seeing this tweet. In this essay, I write about the hypersexualization and pornotroping of the Black body, and resulting fragmentation. I write about the use of power through miscegenation, the thrill of the forbidden desire, and reproduction as the mechanization of the racial stain. At the time the essay was written, K*** hadn't lifted the mask in terms of his affections towards Nazism and his admiration, even worship of Hitler. And he was still with Kim Kardashian, which is to keep in mind when reading specific paragraphs. If you'd like to tip me, Pp ccd4t@virginia.edu and K0fi.

Yeahhhhh...

Kim Kardashian by Jean-Paul Goude

This screenshot and photograph best visually sum up the whole essay. Here are excerpts:

The bedroom slashes through certain interracial sexual encounters, leaves an elemental wound. Sperm and blood. The room is haunted and there's no escape possible. Nor is, in many cases, escape wanted. Hysteria's lurking behind the faintest gleam of civility; the sexual rupture at the heart of miscegenation puts in relief the pained, dislocating hi(story) of Black flesh.

and

A meager antiblack imagination has cast Black bodies not only as ugly but as grotesque; the obsessive reordering of its sexual physiology as inherently violating and aggressive derives from and feeds on the deep anxieties around interracial coitus. Yet, domination forecloses neither proximity, nor violent intimacies (h/t Christina Sharpe); sexual terrorism traverses the color line(s), engendered by the inchoate fantasies of antiblackness. 

and

Jean-Paul Goude photographs Kim Kardashian for Paper, citing an earlier photograph by him, Carolina Beaumont, excerpted from the aptly named book "Jungle Fever".  Both photographs coalesce, crystallize around the violated, visually cut through body of Saartjie Bartman; she's everywhere and nowhere. Violently present in and through her spectral absence. 

The photograph blurs, details collapse; Kim Kardashian's now holding a penis, certainly Kanye's Black dick, as it shoots ropes of sperms onto her store bought bottom. The act of consumption's manifold; Kardashian's performing a twisted, unrecognizable reflection of Black femininity; she's casually consuming the cultural residue of visual Black female representation (h/t Sydette Harry); she's gleefully, cheerfully even, taking in Black masculine sexuality. The Black man doesn't need to be there for the fantasy to operate. Like Saartjie Baartman, his absence scars the image.

and

Once again, Black cishet men utilize race as a device to rid themselves of the dirt and funk of Blackness (h/t Toni Morrison); they wield their lover's racial ambiguousness, or her perceived exoticity as a way to (re)produce an offspring awash of any visible racialized Blackness. Racially ambiguous, or appropriately "mixed looking" (often meaning light skinned, clear eyed, bouncy haired) girl children dwell in a space of simultaneous increased value and disturbing commodification. In many ways, they're indeed factory items, the result of a reenactment of breeding, widgets whose socially constructed beauty had been cooked out through the obsessive looking at little girls like them. In one of the photographs above, a  girl child is wearing a shirt announcing she's playdate material as the camera catches her in the act of lifting her curly, abundant mane. 

The gestures are innocent, the child unaware, but the user of the photograph, the photograph itself ( and the photographer) are eloquent in their quiet sexualization. She's all at once already marked as a potential (re)production machine, made to push out identically racially ambiguous widgets, a trophy, symbol of the erasure of a tainted and shameful Blackness, and an exotic artifact whose implied Blackness still ensures the assumed absence of innocence. Race's a prosthesis and the Black man's a cyborg, an automated figure whose sexual consumption's tied to a devouring hunger for power. But who's screwing who ?

[gothhabiba]

[The socio-political order of the New World], with its human sequence written in blood, represents for its African and indigenous peoples a scene of actual mutilation, dismemberment, and exile. First of all, their New-World, diasporic plight marked a theft of the body--a willful and violent (and unimaginable from this distance) severing of the captive body from its motive will, its active desire. Under these conditions, we lose at least gender difference in the outcome, and the female body and the male body become a territory of cultural and political maneuver, not at all gender-related, gender-specific. But this body, at least from the point of view of the captive community, focuses a private and particular space, at which point of convergence biological, sexual, social, cultural, linguistic, ritualistic, and psychological fortunes join. This profound intimacy of interlocking detail is disrupted, however, by externally imposed meanings and uses: 1) the captive body becomes the source of an irresistible, destructive sensuality; 2) at the same time--in stunning contradiction--the captive body reduces to a thing, becoming being for the captor; 3) in this absence from a subject position, the captured sexualities provide a physical and biological expression of "otherness"; 4) as a category of "otherness," the captive body translates into a potential for pornotroping and embodies sheer physical powerlessness that slides into a more general "powerlessness," resonating through various centers of human and social meaning.

Hortense Spillers, “Mama’s Baby, Papa’s Maybe: An American Grammar Book,” Diacritics (1987), p. 67

[youngdiasporan]

It’s called a pornotrope and it’s how people justify violence against black and indigenous male bodies.

I really hate the idea of giving men rights but I think it’s safe to say that ‘everything that men (especially men of color) do is depraved and immoral and bad’ is some white supremacist, gender essentialist shit picked up from terfs … like i hate to say that men have a right to be sexual beings but uhhh they kinda do and going ‘well its nasty that john boyega would even DARE to joke about sex’ is the tip of the ugly iceberg … is this a hot take… am i delirious? yes. good afternoon!

[transmediarep]

Nikita Dragun

Nikita Dragun is a YouTube influencer with over 2 million subscribers who vlogs her experiences as a multiracial Vietnamese and Mexican trans woman. She was born in a more conservative area of Springfield, Virginia to conservative parents and family backgrounds. She uses her social media platform to be an advocate for LGBTQ rights, educate society on trans issues and violence against trans people while dating and disclosing their identities. My analysis on her is focused on societies infatuation and lack of education on trans identities.

Since Nikita’s situation is much different than the average trans persons because of her large social media platform. Her situation is also different because of the acceptance she received from her family. She has stated before that no one in her family has identified as gay let lone transgender. Her father is Vietnamese and from a military background. Her mother is Mexican. Even though the right to change your gender identity was just legalized in Vietnam in 2015, it has been legal in Mexico since 2003 showing that the history of LGBTQ rights in these countries is vastly different based on cultural norms of the areas. Although both of Nikita’s parents are very progressive and accepting of her gender identity which is not commonly seen in the trans community because many of these youth are at increased risk for abuse from care takers.

Nikita has documented the process of tackling various steps to transform her gender identity. She has undergone various gender reassignment surgeries. She had a breast augmentation, facial feminization surgery and sexual reassignment surgery. Although these procedures allow her to feel beautiful and confident by exteriorly identifying as how she has always felt inside, many trans people can not afford or have the access and support to these procedures. 

Through her process of documenting her journey, it is easy to see societies lack of education and xenophobia on trans issues. Nikita does try to educate viewers on the medical process of transitioning from male to female however, the questions people in society are often concerned with are those of genitalia, surgery and sexuality. These are all factors that should be private and not needed to be disclosed. Society fetishes trans bodies through their apparent entitlement to ask personal questions to trans people about their genitals, sexual identities and gender identities like asking Nikita if she has had gender reassignment surgery. Society is also obsessed with the physical transformation Nikita has encountered. Instead of just respecting that she is finally living freely as her preferred gender identity they are obsessed with her past and what she looked like before. 

Bodies of color have also continually been pornotroped.  In Fanon’s The Lived Experience of the Black Man, he was seen as a spectacle to white onlookers’ multiple times similarly to how Nikita is seen as a spectacle.This shows how as a person of color, she is meant to be objectified and feel inferior to the white, cis man. 

Fanon, Frantz,, Philcox, Richard,Appiah, Anthony. () Black skin, white masks /

Katz-Wise, S. L., Rosario, M., & Tsappis, M. (2016, December). Lesbian, Gay, Bisexual, and Transgender Youth and Family Acceptance. Retrieved April 24, 2019, from https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5127283/Miguelss46, Bjb, 

Vviet93, & Danlev. (n.d.). Equaldex. Retrieved April 24, 2019, from https://www.equaldex.com/region/mexicoNycDRAGUN. (n.d.). 

Nikita Dragun. Retrieved April 24, 2019, from https://www.youtube.com/user/NycDRAGUN/featuredVviet93. (n.d.). 

Equaldex. Retrieved April 24, 2019, from https://www.equaldex.com/region/vietnam