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Cultural racism
"Cultural racism surfaces when some of us are forced
to go on court in order to be allowed to wear cornrows to work. It surfaces
when Americans of African descent feel impelled to discard one identifying
term after another as each is appropriated by white society as an expression
of contempt.(1) It surfaces when colored working-class popular culture
remains an object of contempt even while the creativity and influence
of white popular culture on high art are celebrated. It surfaces when
colored cab drivers are asked to turn off their favorite radio stations
by white customers who climb into their cabs. It surfaces when the traditional
art of third-world cultures is relegated to the status of folk art
or crafts while white art that deploys the same motifs is
honored as primitivism, pattern painting, and
functional art. It surfaces when stereotypical assumptions
are made and voiced about a colored persons actions,
motivations, and goals in advance of any evidence as to whether those
assumptions are valid. It surfaces when colored individuals are required
or motivated to deny or suppress their original cultural
heritage as a condition of entry into mainstream white society. It surfaces
when coloreds and whites who work together observe, of necessity, the
unspoken rule of socializing, seeking entertainment and companionship,
and relaxing separately. And it surfaces when coloreds and whites sense
that they cannot confide in one another at deep levels not because
their experiences have been different, but because stereotypical assumptions
will make those experiences incomprehensible and threatening to the other.
The varieties of cultural racism are all ways of averting ones gaze
from the immanent spectre of the Other."
Adrian Piper, "Ways of Averting Ones Gaze". 1988
(1) The terms black, Negro, and colored have all met this fate. Having
resurrected black in the 1960s and dropped it in the 1970s for the short-lived
Afro-American, we are now on the syntactically awkward but genteel persons
of color, after the French gens de couleur libre of Louisiana. Luckily
there is a plethora of linguistically foreign terms to which we may have
recourse when this one gets besmirched by cultural racism in its turn.
I choose colored, for its simplicity, accuracy, and conceptual and metaphorical
possibilities. I intend to stick to it.
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Eleanor Antin, The nurse and the Hijackers, 1977
Martha Rosler,
Semiothics of the Kitchen, 1975
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