jv88:
Speed Sisters, a documentary on Palestinian female racing drivers and drifters.
This is terrific.
Homecourt Hand: Meet the Chandlers
Kimberly Chandler — recent New York Fashion Week front-row ubiquitor, mother of three, Hurricane Sandy relief effort organizer and owner of one of the chirpier personalities in the borough of Manhattan — learned something about her social resilience earlier this month when she attended The Costume Institute gala at The Metropolitan Museum of Art by herself.
“I was so impressed with myself after it was over,” she says a few weeks later. “I feel like if you can walk that red carpet by yourself…I was like, ‘Oh, I’m good for anything else. I’m golden.’ I had a bit of a meltdown and then I pulled myself together.”
It’s a few weeks after she donned a Rodarte dress and strode that red carpet solo. Chandler is sitting in an oversize leather armchair in a faux living room at Canoe Studios on the west side of Manhattan on a humid, occasionally rainy May weekday. Today she wears a white collared Suno dress with black and blue geometric accents on its shoulder and skirt. Though her chair is several times too large, her posture is finishing-school straight. A few feet away, her husband, Tyson Chandler, the 7-foot, 1-inch starting center for the New York Knicks, has no trouble filling out his matching seat. For More
Antonia (trailer)*
A bold Brazilian melodrama that moves to the rhythm of the streets, “Antonia” traces a year in the lives of four young women who form a rap group and fend off tragedy. Tired of singing backup to male rap stars, Preta (Negra Li), Lena (Cindy), Barbarah (Leilah Moreno) and Mayah (Quelynah) — all successful musicians in real life — rehearse their own music and acquire an agent. But when the group falls prey to brutal violence, internal jealousies and an unplanned pregnancy, the girls learn that escape from poverty will require more than fierce rhymes. The third feature in a trilogy by Tata Amaral, “Antonia” pulses with color and movement. Filmed in the São Paulo suburb of Vila Brasilândia, the movie has an earthy realism underscored by naturalistic performances and a restless camera. Maximizing her nonprofessional cast of Brazilian hip-hop performers, the director fills the soundtrack with a vibrant blend of R&B, soul and rap. When the group sings an a cappella version of “Killing Me Softly,” you may forget to breathe. via
*also on Netflix
(via newmodelminority)
Lila Downs, the colorfully theatrical Oaxacan singer-songwriter who mixes indigenous Mexican roots music with contemporary sounds, has won the award for regional Mexican album, including Tejano.
Downs’ “Pecados y Milagros” (Sins and Miracles) won in a field often dominated by Mexican regional genres such as ranchera and norteño. Besides English and Spanish, Downs also sings in indigenous Mexican languages such as Mixtec, Zapotec and Nahuatl, an artistic choice that underscores her political involvement in supporting native people’s rights.
Grammys 2013: Lila Downs wins for regional Mexican Music | Los Angeles Times
So you’ve heard that the Senate proposed a bipartisan plan to reform immigration laws on Monday which proposes pathways to citizenship — as well as an increase in border patrol. While the question of how same sex couples will be addressed under the law is still up in the air, Bryce Covert for The Nation points out that there’s another group that was excluded from the proposal’s fast tracked path to citizenship: domestic workers.
Immigration is most definitely a feminist issue. As we’ve reported on this blog before, our nation’s blatantly discriminatory labor field reflects onto the domestic work sphere–a sphere that lacks even basic labor standards. The overwhelming majority of domestic workers are women, and workers of color make up 54% of the domestic workforce. 23 percent of workers are paid below the state minimum wage, and undocumented domestic workers are paid about 20% less than those who are U.S. citizens.
"— Lori Adelman, “Quick Hit: Where Are The Domestic Workers In Immigration Reform?”, Feministing 1/30/13
**TRIGGER WARNING: rape, sexual harassment**
It was a Monday afternoon at the theater in Lucknow, a small city not far from Delhi, somewhat old-fashioned by reputation. We–the women in the audience–were wearing the loose, concealing clothing that women usually wear in Lucknow. The three women on stage were dressed similarly, but in striking combinations of black and pink. The audience was excited, maybe a little tense. During the introductory remarks, the Delhi rape case had been brought up again. About ten minutes into the play, the atmosphere changed when she walked on stage. Black hair, black top, short black skirt, long brown legs. She looked good, but she wasn’t trying to titillate anyone. She spoke with a kind of serene authority “Meri short skirt ka aap se koi lena dena nahin hai.” My short skirt has nothing to do with you.
The play was Kissa Yoni Ka, or The Vagina Monologues translated into Hindi. (Starring Varshaa Agnihotri, Rasika Duggal, Dilnaz Irani, Mahabanoo Mody-Kotwal, and Dolly Thakore and translated gorgeously by Ritu Bhatia and Jaydeep Sarka.) This staging was the first in Lucknow, part of a week-long drama festival called Repithvar. Two years ago, the same festival had tried to bring this play to Lucknow, but it was cancelled at the last minute when the cultural minister objected to the “adult” material Bhupesh Rai, the festival organizer told me. Dolly Thakore, one of the stars of the show, told me that she was happy to have an opportunity to perform in cities where The Vagina Monologues had previously been banned at a time when rape and child molestation were at the forefront of discussion in India. Dialogue about violence against women is opening up across India, and this play is a part of that.
After the play was over, I tried to figure out why the short skirt monologue was the one that made it hardest for me to hold it together. And I thought, seeing this woman onstage, seeing the way she took control of everyone in the room made a lot of lies go away, at least for five minutes. One of them–that women get raped because of what they wear. Another–that the fucked-up ways of thinking that make this monologue necessary are isolated to certain countries and people of certain skin colors. Originally, the same defense of short skirts was written in English for an American audience. There, too, women don’t get to wear short skirts without occasionally being told they’re asking for rape. (Even my high school “health” teacher also told a classroom full of teenaged boys and girls that women who wear short skirts are asking for rape.) Kissa Yoni Ka was translation at its most powerful.
"— Though I don’t care for Eve Ensler’s White Lady Savior politics, I enjoy guest contributor Hannah Green’s post on how Hindi women have taken Ensler’s The Vagina Monologues to move conversations about sexual violence against women in India. Check it out on the R today!
In today’s binary political system, however, abortion has become oversimplified. Although fraught with social, economic, cultural, and political meaning, abortion has been reduced to a singular and isolated issue in the political arena. And yet, just below the surface of political silencing, those of us whose experiences with abortion do not fit neatly into didactic sound-bites and talking points for pundits and policymakers in their public debates about our bodies, the waters of human experience still run deep.
As a full-spectrum doula, I work with people across the spectrum of pregnancy, from abortion to birth, which can include stillbirth inductions and people who are considering adoption. I hold hands, wipe tears, massage shoulders, fetch snacks, calm nerves, make small talk, comfort, inform, listen, and remind folks to breathe.
Some patients hold their breath—sometimes because the decision to have an abortion is made reluctantly. Their circumstances can feel coercive: a lost job, limited income, negotiating rent and bills with potential expenses of a baby, or having parents who refuse to support their young daughter’s pregnancy because it sets a “bad example” for their other children. Others hold their breath waiting for a change in their heart or mind that may never come, deciding finally, despite the discomfort, that an abortion is what they want to do, or what they feel they should do.
Want, desire, and “choice” become murky concepts in a tangled web of social and economic inequality.
Some patients talk in circles:
I’m not one of those women who get an abortion.
I’m different than the other patients—I never planned to be here.
I’m not a statistic.
These examples show how women talk their way out of (or into) their internalization of public shaming and blaming, as if a certain kind of woman gets an abortion and other women do not. This circular thinking is another byproduct of the oversimplified binary of mainstream abortion politics, represented in policy and the media. But what gets lost in the respectability politics of abortion is how common an abortion procedure is: nearly 1 in 3 women have one in their lifetime.
Don’t get me wrong; there are people who are crystal clear that they don’t ever want to have children, or they don’t want a particular person to father their child, or they’re simply not ready for parenthood. But as a full-spectrum doula who has worked with patients who are primarily low-income women and women of color, I can’t help but notice that all too often the experiences of many women reside in the murky waters that become silenced, erased, or forgotten in mainstream abortion politics.
"— Taja Lindley, “Wading in Uncomfortable Waters: Abortion and the Politics of Experience,” Feministe 1/22/13
While early organizing saw abortion as one of many facets of women’s liberation and reproductive autonomy, in the decades following Roe, this more expansive view has somewhat narrowed. More recently, mainstream feminist organizing around choice has focused predominately on contraceptive services and abortion. In many respects this shift has marginalized the panoply of ways in which reproductive choice and autonomy is constrained in the lives of women of color in a number of discursive spaces and institutional settings.
Indeed, feminists of color have long resisted this narrow definition of reproductive choice and autonomy. While emphasizing the central importance of access to contraception and abortion services, women of color activists have also highlighted the ways in which the denial of reproductive capacity and the denigration of their identities as mothers has been central to their subordination in the context of slavery, colonialism and Jim Crow. Women of color also contested the idea that they were unable or incapable of controlling their reproductive destinies. In so doing they mobilized to fight sterilization and other practices that burdened the choice to bear children.
Yet for many poor women of color, full reproductive choice and autonomy has remained elusive. Indeed, the reproductive capacities of women of color are often targeted for suppression or derision within contemporary political discourses and official policymaking within a number of institutional settings including the criminal justice and welfare systems. The injuries suffered by women of color in this context, however, are seldom articulated as part of the broader attacks on reproductive rights of women. This targeting of women of color and their families, and the silences that often accompany this targeting, combine to form what I am calling “reproductive profiling.”
I use the term “reproductive profiling” to draw upon the ways in which people of color are profiled in the policing or law enforcement context. Similar to the failure of the Fourth Amendment’s privacy rationale to fully extend to victims of racial profiling, individuals subject to reproductive profiling are denied the autonomy and privacy interests guaranteed by the Constitution. As Dorothy Roberts and others have noted, the lives of poor women of color are often public due to frequent interactions with government agencies. Consequently, those who choose to become parents do not benefit from the privacy or dignity rationales represented by Roe and its progeny. In various institutional contexts, such as immigration, prisons and social welfare, poor women of color are subjected to behavior policing policies that limit reproductive autonomy or punish the choice to become a parent. As Michele Goodwin has noted, this “brings private, intimate spaces into the public theatre, creating spectacles of poor, pregnant women and their children; and this public humiliation functions to visually inscribe these women’s place in the social hierarchy.”
Moreover, like victims of racial profiling in the policing context, women of color are singled out for suspicion because they are deemed to be in places that they do not belong. Indeed, poor women of color have historically been denied identities as mothers, which are informed by the normative values of the white middle-class. In this way, constraints on their choices to become parents are a reflection of social views that women of color who seek to parent are attempting to access a space that is inappropriate or one that they are not equipped to navigate. The race, gender and class identities of women of color, when attached to their choice to become parents, often raises a suspicion of wrongdoing. Consequently, they confront significant regulation of those choices and are subject to pervasive surveillance.
"— Priscilla A. Ocen, “Roe and the ‘Reproductive Profiling’ of Women of Color,” Balkinization 1/13/13


