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Drie artikelen over de diefstal van zwarte cultuur

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Drie artikelen die duidelijk maken wat veel mensen maar niet willen accepteren: zwarte cultuur en zwarte lichamelijkheid is pas interessant wanneer witte mensen er mee aan de haal gaan.

De eerste gaat over de witte Ed Sheeran die door de BBC wordt uitgeroepen als de meest belangrijke act in zwarte en urban muziek in Engeland, de tweede over de Australische Iggy Azalea die door de rapper T.I. in de schijnwerpers wordt gezet ten koste van zwarte vrouwen en de derde analyseert het succes van de over de 74 duizend volgers tellende parodie Twitter account It’s Daquann dat het gevaar van zwarte mannen humoristisch maakt voor zowel racisten als hun slachtoffers grappig gevonden wordt. Lees de artikelen hieronder.

Ed Sheeran named ‘most important act in black and urban music’

The BBC has been accused of producing “the saddest list in music history” after its black and urban music radio station 1Xtra produced a “power list” [– promoted by the BBC as naming the “most important UK artists in the black and urban music scene” – ] in which three out of the top four acts are white.

The list, offered by a radio station describing itself as “the UK’s leading black music station”, was condemned by the Grime artist Wiley, who was placed 16th out of 20. Calling it “the saddest list in music history”, Wiley, […] tweeted: “Not taking anything away from Ed. He is sick. But black artists in England, we are getting bumped… We influence a man and all of a sudden it turns he has influenced us. [Adam Lusher/The Independent]


Iggy Azalea’s post-racial mess: America’s oldest race tale, remixed

Iggy Azalea interlopes on [a] finely honed soundscape of Southern Blackness to tell us “how fancy” she is, and ask “how we love dat.” Her recklessness makes clear that that she does not understand the difference between code-switching and appropriation.  She may get the science of it, but not the artistry. Appropriation is taking something that doesn’t belong to you and wasn’t made for you, that is not endemic to your experience, that is not necessary for your survival and using it to sound cool and make money. Code-switching is a tool for navigating a world hostile to Blackness and all things non-white. It allows one to move at will through all kinds of communities with as minimal damage as possible. […]

Iggy profits from the cultural performativity and forms of survival that Black women have perfected, without having to encounter and deal with the social problem that is the Black female body, with its perceived excesses, unruliness, loudness and lewdness.  If she existed in hip hop at a moment when Black women could still get play, where it would take more than one hand to count all the mainstream Black women rap artists, I would have no problem. Iggy would be one among the many. But in this moment, she represents a problem of co-optation. She represents the ways in which hip hop is on a crash course to take exactly the path that rock ‘n roll took such that 20 years from now, people my nephew’s age, will look at the Macklemores and Iggys of the world as representative of Hip Hop Culture, with nary a Black soul making their top ten list of hip hop greats. [Brittney Cooper/Salon]


Daquan is a white girl and Black Twitter is dead

Let’s be honest: the Daquan meme is funny. But it’s funny to different people, for different reasons. In case you missed it, the Daquan meme involves a series of stock photographs in which a young white girl has fallen under the spell of a black man known only as ‘Daquan’.[…]

Precisely because the source material is nothing less than the last 400 years of American racial tension, Daquan has a lot of potential. Daquan is armed with weapons like black sex, black drugs, and black music, and is able to wreak havoc on white boys and girls alike.[…]

Some of the success of Daquan as a meme can probably be attributed to black people laughing at a white America that is deathly afraid of them. [But] it’s a coping mechanism.[…]

Sure, some of the primary influencers [of Black Twitter] might be black, but the audience for black entertainment has always been primarily non-black. It’s a simple numbers game.

In the same way that it doesn’t make any sense to call BET ‘Black Entertainment Television’ unless you mean ‘Television for people that want to be Entertained by Blacks’, ‘Black Twitter’ can’t be understood as some sort of closed-off, coherent force — particularly when you’re talking about politics. […]

[As] funny as we black people are, and as well as we understand our Caucasian brothers and sisters, there will come a point at which they will decide that they’d rather call the shots themselves.

People creating their own, customized ‘black’ entertainment will once again be the norm. […]

Don’t get me wrong: the idea of black people is still entertaining, but black people are no longer required to provide that entertainment. [Dex Digital/Medium]

[H/T Sherissa de Groot]



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