#westerner culture

[wesleysniperking]

usopp positivity post #10

I know I’ve said this a few times, but I really do find it amazing how people can find a connection with Usopp on a personal level. It’s truly amazing. It’s like a hug.

I was talking to my mother the other day about Usopp because she asked about what he’s been doing in recent events (Egghead). I proceeded to tell her all about it, and ramble a mile a minute. In my zone. Like I’m giving a TedTalks about him 😅

I was talking to her about Usopp’s backstory and I mentioned how the fandom perceives it as idyllic and not as traumatic as his comrades. But she said that Usopp’s backstory is one that a lot of people can relate to. It’s realistic and easy to connect with. And something on a very human level. Losing a parent and having to go at it alone, in everyday human life…that’s definitely traumatic. And yes, this is supposed to be a positive Usopp post. Just let me finish my point.

What I liked about my mother’s words was that she sounded like my fellow Usopp fans who defend this point constantly. She didn’t have to be on the internet to understand this point. She doesn’t go on the internet at all. Seriously. This isn’t the only time she’s sounded like a true fan without any qualms. Verbatim.

She 100 percent believes in the cause.

So, happy Mother’s Day to Mom’s who listen to their child ramble on about something they wholeheartedly love.

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Usopp fan club (join if you must!)

[lgbtlunaverse]

The world exists in such a baffling state of simultaneous sex-aversion and sex-hegemony. Every social platform on the internet is trying to banish sex workers to the shadow realm but I can't post a tweet without at least two bots replying P U S S Y I N B I O. People are self-censoring sex to seggs and $3× but every other ad you see is still filled with half-naked women. Rightwingers want queer people arrested for so much as existing in the same postal code as a child and are also drumming up a moral panic about how teenage boys aren't getting laid enough. I feel like I'm losing my mind.

[ashleyloob]

every time I see non Asians go by Asian names online I get whiplash bc I'm like o shit another one of me!! then I find out they are a white weeb from Arkansas going by Haru that can't name more than 3 countries in Asia

[folkfashion]

Spanish maskers, Spain, by Ashley Suszczynski

[mintjeru]

香港人 miku!! 🇭🇰🇭🇰🇭🇰

open for better quality | no reposts

[spirk-trek]

she is to me what leia's gold bikini was to straight boys

[kimberly40]

[feministfang]

If you are a white western woman, stay away from brown men and never say yes to their marriage proposals. Brown men have this disgusting obsession with winning a white woman as a trophy wife because they love showing off to everyone in our south asian culture they made a woman from west, who they always assume to be an independent free girl, do traditional labour for them and live under their domination. Bringing a western woman down under the patriarchal hierarchy somehow raises brown men’s value in our culture.

If you are a brown south asian woman, stay away from white men and never say yes to their marriage proposals. You might think white men would be less misogynistic because western culture is more liberated than our south asian culture. But that’s not the case! The fact that women in west have a lot more freedom than us is the entire reason white men desire to pursue someone from patriarchal cultures. They don’t want to marry you to free you from this oppressive society, they want to marry you because they expect you to provide them with traditional labour.

[otaku553]

Save me yi nine sols

(You should play nine sols it’s very very fun)

[rabbits-of-negative-euphoria]

you open yourself up to the devil by celebrating Halloween in the same way you open yourself up to the devil by celebrating St. Paddy's or Mardi Gras.

if you play ouija or try voodoo, you open yourself up to the devil. if you dress in a slutty costume or take psychedelics in a cemetery, you open yourself up to the devil.

likewise, if you get wasted on Guinness in downtown Savannah, you open yourself up to the devil.

if you twerk half-naked for plastic beads on Bourbon Street, you open yourself up to the devil.

these kinds of bacchanalia are by no means inherent to the holidays in question, and in fact, are extremely recent perversions of traditions which go back centuries. Centuries of Christian history.

[trans-androgyne]

"Manhood is fundamentally shaped by the patriarchy and cannot be separated from it." What a sad view to have of gender, and one that directly harms trans men and mascs.

Do you realize how close that is to what TERFs believe? I’ve encountered so many of them that go off about how gender is inextricable from patriarchy, only existing to oppress women. That's where the term "gender critical" comes from. They think gender should be abolished entirely instead instead of preserving what brings people comfort and euphoria. They see trans people transitioning as inherently upholding patriarchy, including believing that trans men are just oppressed girls betraying their sisters by trying to move up in the gender hierarchy.

Gender has existed without patriarchy and it will again. I'm sorry to tell you this, but by saying the two are inextricable you are letting colonizers win. My ancestors lived in a matriarchy before being colonized by Spain and inundated with Catholicism--yet we still had gender roles, ones in which women were respected and had power. We certainly were not unique for that.

What happened to "smash the patriarchy"? Please don't just accept that this is the way of the world, that to be a woman means to be a victim and to be a man means to be an oppressor. My masculinity is queer, not gender-conforming. I resist the patriarchy by my very existence, as do other trans men and mascs. If you want to be inclusive and supportive of all trans people, you're going to have to expand your view of gender beyond what the patriarchy has taught you.

[svsss-fanon-exposed]

Exposing SVSSS Fanon: 25/∞

VIOLENCE AS COURTSHIP IS A PART OF DEMON CULTURE

Rating: CANON

A nearly universal trope, especially in Moshang fics, is the fact that courtship is performed through violence in demon culture, and that the misunderstandings between the pair are because of cultural differences. The fact that demons mistreat the targets of their affection is canon, however, it is important for fans to note that this sort of characterization and worldbuilding is rooted in racial and ethnic stereotypes.

This is one of the most-requested topics I've ever written on this blog, and I took a long time to think about how best to approach the subject in a way that both keeps to the intention of this blog (referencing canon & providing quotes) as well as raising awareness to the very real problematic aspects of what is a well-loved and often-used trope in fanon that I don't think most western fans are aware of.

First, the canon analysis:

“If you hold unique feelings for a certain person, how can you make them understand your intentions?” Luo Binghe asked. Obviously, no one dared to tear down Luo Binghe’s facade and expose him directly, but this question was really very…unsuited to the demonic approach. After a long moment, not a single person had answered. In fact, the answer was so simple that any normal human could have given it to you. If you liked someone, you should just tell them. Unfortunately, there was not a single “normal” person on the scene—and aside from Shang Qinghua, there also were no “humans” either. Mobei-Jun thought about it. With the paths his mind was given to take, there was no telling how he had interpreted “unique” feelings. “Beat them up three times a day?” (7 Seas, Ch. 26)

Most of the fandom remembers this passage, and some may think that this is where the interpretation of violence as courtship comes from-- however, that is not the case. This passage might actually not refer to courtship at all-- while that is one possible interpretation, Mobei-jun could also be interpreting "unique feelings" to mean something different than "romantic feelings," since Luo Binghe didn't specify romance directly.

The "violent demonic courtship" idea actually originates much earlier in the novel, just after the invasion of Qiong Ding Peak:

In truth, Shen Qingqiu didn’t intend to tease; he thought himself very straightforward. The one who’d tampered with Luo Binghe’s dream realm was Sha Hualing. Though she did have some harmful intentions, her underlying motive was obvious. Naturally, she was driven by a young girl’s secret yearning for love. Otherwise, she would have directed her aggressions toward others, not specifically Luo Binghe. Demons were compelled to viciously bully the person they liked. Only if the object of their affections failed to die would the demon accept them. If their target died, that meant they were useless and not worth nursing any lingering affections for. (7 Seas, Ch. 3)

This, in fact, has somewhat more serious connotations than the way I have often seen it interpreted in fanworks-- it is not merely beating up a potential partner, but pushing them to their limits, nearly driving them to death, and it is certainly implied that it is not uncommon for the object of a demon's affections to actually die.

Now that the canonical basis of the idea has been established, let us move on to the second, and arguably more important part of this post: the racism.

I would like to add a disclaimer here-- I am going to discuss this in hopes of raising more awareness in the fandom, but I am not North/West/Central Asian myself, so I will only mention things in brief and somewhat generally-- if anyone who belongs to the affected cultures would like to make corrections, or more detailed explanations, or any other additions to this post on this topic, I greatly welcome that, as I feel it is an important issue that should be addressed.

In Chinese fiction, particularly fantasy genres like xianxia/xuanhuan/xiuzhen, but also in historical and wuxia fiction, there is a pervasive, prevalent tendency for authors to use racial and ethnic stereotypes against Central, Northern, and Western Asian cultures such as Mongolian & Arab cultures in their worldbuilding regarding the North, while stereotypes against Southeast Asian cultures are used in worldbuilding regarding the South. These stereotypes are most typically applied to villains and villainous groups, and are so widespread as to be ubiquitous within the genre. MXTX has used these tropes before-- notably with the Banyue people in TGCF, with adaptations of both TGCF and MDZS including design stereotypes, such as CQL's portrayal of the Qinghe Nie (combining their tendency toward violence and 'unnatural' cultivation method, with design traits typically associated with Northern/Central Asian cultures).

It is worth noting, though, that most authors do not intentionally use these traits as racist stereotypes in their worldbuilding, especially when regarding a non-human species-- in the same way that western fantasy authors use goblin and orc characters and tropes without realizing or acknowledging their racist origins and connotiations, these stereotypes have simply become genre tropes without that direct connection to their origins. Nonetheless, it is still worth noting-- and worth trying not to fall into the trap of leaning into stereotypical traits in fanworks' character portrayals.

Stereotypes include but are not limited to barbaric and brutish cultural traits, association with animals/having animal features, dark or corrupt magical/spiritual practices, certain types of braided hairstyles & other fashion choices, and originating from the far north or south.

Some of the prejudice and stereotyping of Northern Asian cultures likely originates from the fact that in the past, China was invaded and subjugated by peoples from the north (under Mongolian rule during the Yuan dynasty, and under Manchurian rule during the Qing dynasty) as well as having many conflicts with these peoples throughout history. In fact, the Qing dynasty only ended in the early 1900s, so some of this oppression is still in recent memory-- nonetheless, people belonging to ethnic minorities in China are still affected by this negative stereotyping today, so regardless of the origin, racism is still racism and should be addressed, and China today is a majority Han Chinese nation-- even if Han Chinese are considered a minority and affected by systemic racism in other places in the world.

Additionally, many tropes specifically applied to the southern demons, but also used for demon culture as a whole, are tied to stereotypical portrayals of Southeast Asian culture, which is rooted in a long history of Imperial China's invasion and oppression.

All of those stereotypes listed above apply to SVSSS' demon culture. Even in Mobei-jun's name-- 漠北 meaning "northern desert," which is the real-world name for a region in the north of the Gobi desert in Mongolia.

Therefore, it is important to remember that though violence-as-courtship in demon culture is canonical within SVSSS' setting, it nonetheless originates from harmful racial and ethnic stereotypes. It would be a good idea for fans to keep this in mind when creating their fanworks, and to treat the topic with sensitivity-- but I will leave any direct suggestions on how to handle this to those who are actually part of the affected groups.

--

(thanks to @flidgetjerome for additional notes regarding SEAsian stereotyping and author intent!)

Also, to be absolutely clear: I am not saying that svsss’ demons are specifically coded as any real ethnic group— it’s only that in many ways the portrayal is similar to the common portrayal of various ethnic groups in cmedia. I don’t believe they are specifically meant to parallel a real life group, unlike for example TGCF’s Banyue— but it’s worth questioning why these traits, why these characters.

[wifegideonnav]

[folkfashion]

Bwa dancer, Burkina-Faso, by Carol Beckwith and Angela Fisher

[prolibytherium]

Just in general I think trying to look to pre-late modern period history for validation of LGBT+ identities is an absolutely useless venture. Every single underlying human experience defined through the lens and framework of LGBT identity has always existed, but it's impossible to pin down Exactly who and what a figure might have been if they existed in this contemporary context and decided to self identify via these labels.

It's also a wildly reductive lens that flattens the complexity and variety of how sex and gender has been constructed across time in different cultures, how sexual norms have varied, etc. This is not a constructive approach to learn about history and you're never going to be able to fit historical figures neatly into little identity categories.

[slavic-roots-western-mind]

Main types of Chinese Opera pt. 1

There are many different types of chinese opera, so here are some of the main ones!

Peking Opera 京剧 (Jīngjù)

This is probably one of the most well-known operas, originating from Beijing during the Qing dynasty. There are 4 main roles:

1.生 (shēng), which is usually an older dignified male character such as a scholar, which can be divided into older, younger and martial 生 aka 武生 (wǔshēng)

2. 旦 (dàn), a female role which was previously played by men as women were not allowed to perform during the Qing dynasty, but nowadays both men and women can play this role. This role has several subtypes:

闺门旦 (guīméndàn), a young unmarried high-status virtuous woman, whose main focus is singing.

正旦 (Zhèngdàn)/青衣 (Qīngyī), an elegant, middle-aged, usually married woman who mainly sings.

花旦 (Huādàn), a young woman who unlike the Guīméndàn focuses on speech and movement.

武旦 (Wǔdàn), this is a martial arts role with quite a lot of stunts and fighting with rare singing moments

刀马旦 (Dāomǎdàn), a young brave warrior, who usually focuses on acrobatics, singing and dancing unlike the Wǔdàn.

老旦 (Lǎodàn), is an older female role, usually with a lower singing voice.

彩旦 (Cǎi dàn), is more of a clown role, which is apparently more commonly performed by men

4. 净 (Jìng), a "rough man" role, usually has a vibrant and strong character, which has heavy face painting.

5. 丑 (chǒu), the clown role, which is one of the most physically demanding roles due to the acting and acrobatics combo, despite being considered as a minor role.

There are over 1400 stories used in Peking Opera, with 2 traditional types, civil and martial. Civil focuses on the relationship between the characters and is usually about normal daily occurrences, whereas martial is more about action and fighting. Another more modern type of differentiation divides the plays into traditional (pre-1949ish), plays created after 1949, and contemporary plays.

Kunqu Opera 昆曲 (kūnqǔ)

This is one of the oldest types of Chinese opera, originating from Kunshan, combining signing, dancing and martial arts. It features similar characters like the Peking Opera with another character 末 (Mò), who is an old man with a long beard.

However, there are some differences, as Kunqu uses softer, melodic music and different instruments such as the flute as the main accompanying instrument rather than Peking Opera's stringed instruments. The types of stories are also different, as Kunqu's focus more on the romantic and poetic aspect, exploring various classical stories. Peking Opera's stories tend to be a bit more varied as previously mentioned.

Traditionally, Kunqu was mostly for the upper-class as the stories performed were classical Chinese literature, and at the time not everyone had the opportunity to learn. This may be why Kunqu typically uses classic chinese, whereas Peking uses a combination of both classic and vernacular, making it more available for everyone.

Yue Opera 越剧 (yuèjù)

This opera is also known as Shaoxing opera, originating from Shaoxing, Zhejiang in early 1900s. Originally the performances featured only male actors but nowadays all-female performance troupes are becoming the standard. It's interestingly the 2nd most loved opera type, just after Peking Opera as it's slow and romantic form is perfect for love stories such as The Butterfly Lovers.

Yue Opera also features the usual set of character types e.g. 生，旦 etc. except they are usually played by women.

In terms of appearance, Yue Opera tends to go for a more subtle makeup look (as subtle as stage makeup can be) and simpler but nonetheless gorgeous costumes, in contrast to Peking Opera's dramatic and bursting colors.

Yue Opera usually relies on string instruments, with a smaller musical ensemble and musical accompaniment so that the performers singing is more clear unlike Peking Opera's stronger background music.