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Body shaming and racism in todays society
Body shaming and racism in todays society
Body shaming and racism in todays society
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In this same line, Natalia draws from her experiences with racism and sexism in Peru, to explain how that and the lack of images of black women in the media affected her self-image while growing up. When talking about the dilemmas she faced at a younger age, she describes her desire to look like a “white blonde with straight hair”, since this was the only image she could relate to being beautiful. With the help of visual references, she explains how the national media is ruled by a standard of beauty that privileges whiteness, and how these images create a set of aspirations for black women that involve physical transformation processes to look more “adequate” and “average. When engaging in this discussion by herself and interacting with other …show more content…
In this sense, the hair as a part of an embodied identity with transformative power, that can function as a political statement, to claim identity and reverse the Eurocentric narratives that exclude black women from the ideals of beauty and desirability. Accordingly, the second part of the video shows the stories of transition to natural hair, and through the testimonies of Afro-Peruvian women participating in the video, Natalia -both as creator and participant- is able to emphasize the transition as a stage of liberation and self-acceptance. By stating that transition is “the most magical thing that exists”; the video shifts the course of the narration to function as a tool for empowerment and acceptance of the natural hair as a fundamental part of the Afro-Peruvian …show more content…
In this context, the new media present multiple possibilities as it has the potential to be massive but not controlled by a mediated agenda, allowing self-expression and the creation of directed messages (Georgiou, 2013). In this sense, Una chica afroperuana introduces a new concept that gives voice to an Afro-Peruvian woman to address racism in an unregulated way, being able to discuss contemporary situations to uncover the subtle nature of racism towards the Afro-Peruvian population. According to Georgiou, the creation of the digital diasporic communities challenge the validity of traditional communication spaces in which the nation is the predominant factor to engage with identitarian processes. Considering this, Una chica afroperuana contributes to creating communication spaces for the African Diaspora in Peru, by emphasizing race as a determinant factor in the lives of Afro-Peruvians and as a fundamental component of their identities. Though Georgiou states that these diasporic communities reflect on issues that are applicable in a collective way, she also states that these communities might divide to address gendered and generational experiences (Georgiou, 2013). This is relatable to Una chica afroperuana because even though most of her content relates to the common experiences of Afro-Peruvians, some of her videos
In the article “Beating Anorexia and Ganing Feminism,” Marni Grossman shares her experiance of how she overcame her struggle with anorexia through understanding the feminist movement. Marni objectafies the ways in which society’s expectations and ideas of what it means to have “beauty” is having and negitaive impact. I had a very similar experiance to Marni, in fact the first time I hated my apperance was in the seventh grade. I have olive skin and bold brows, features which i was often complamented on, yet hated. Shawn and Lee argue that “there is no fixed idea of beauty”, suggesting how social ideals from society differs depending on the culture (183). I remember A male student was bullying all the females in the class by Inscribing Gender
In 1975 the death of Franco and forty years of dictatorship and censorship offered Spanish women the freedom to reexamine their identity and question their role in a patriarchal society. At the same time on another continent, African-American women are also struggling to find their identity among the numerous American literary images that, until the 20th-century, had not realistically represented their gender or race. Notwithstanding the different histories, geographies, and ethnicities between African-American and Spanish women, a common thread that appears to bind them is their inheritance of a legacy of struggle against the internalization of controlling patriarchal perceptions and images of women that lead them to believe that they are, indeed, the stereoty...
By the twentieth century, slavery had damaged black pride, and made it known that black features were inferior. When it came to black women and their hair, black women desperately wanted to match the standard of “white” beauty. Walker’s solution to this was to create a look that was Afro-American without trying to imitate whites. Walker spoke about beauty emphasizing that to be beautiful does not refer to the complexion of your skin, or the texture of your hair, but having a beautiful mind, soul, and character.
The overall objective of this Afro-Latino practicum was to learn and educate other individuals about different Latino and Hispanic countries with respect to their Afro-Latino groups. In doing so I chose to focus my study on the Afro-Latino groups of Colombia and Panama. Gathering my data through numerous network connections with multiple communities and organizations were crucial to outreach my targeted groups. A series of interviews and questionnaires were also conducted to enrich the success of my data.
In Josefina Lopez’s play Real Women Have Curves, a group of Hispanic women discuss their sex appeal in terms of their body image. They judge their psychological aspect of sex appeal based on how well their physiological aspect of body image agrees with society’s ideals. In Michel Foucault’s Discipline and Punish, he explains that society is an amplified Panopticon that causes its members to observe one another and themselves. This theory explains these women’s compulsion to peruse their bodies to make sure that they fit within society’s standards of sexiness. Although these women are described in a collective manner, Lopez delineates each woman’s character distinctively. Their differing characters are greatly influenced by the opposing cultural values of Latinas working in sweatshops and that of White-American feminists. According to Patricia Hill Collins’ Black Feminist Thought, these conflicting cultural values develop oppositional knowledge in these women, which alters their perception of the female sex appeal. Hill Collins also explains that when individuals communicate their diverse ideas in a unified manner, it precipitates a unanimous definition to a society. This theory supports why the Latinas in Lopez’s play demonstrate a progression towards similar ideologies. In summary, using Foucault to explain the idea of self-surveillance, and Hill Collins to explain oppositional knowledge developed by contrasting the cultural values of White-American feminists and Latinas working in sweatshops, it is possible to describe the social phenomena of defining female sex appeal in terms of body image in Lopez’s play.
The Latina women, even throughout the era resistance cinema, have not been able to make much progress in overcoming the degrading stereotypes that Hollywood has created for them. Despite the many advances that minorities have made in the cinema in recent years, Latina actresses still take on the roles of the "dark skinned lady" and other such stereotypes with strong sexual connotations. It is often debatable whether or not the role of the Latina has undergone dramatic changes since the days of Dolores Del Rio and Carmen Miranda dancing with the fruit baskets on top of their heads. However, in recent years there has been an emphasis by various Latinas in the film industry to combat such stereotypical roles and redefine themselves through the film medium, especially by means of documentaries. It is hopeful that the existing portrayals of Latina women as the sex object and desirable mate will gave way to a range of opportunities in cinema with roles of a more powerful and influential nature.
In the recent past year or two, a woman’s natural hair has become a big thing. Before, African American women, to be specific, were so disgusted by their hair. They would do anything in their power to change the “nappy” aspect of their hair to “beautiful”. They would use relaxers very so often and hot combs.
Did you know that Peru is one of the top ten countries to visit in the world? (UNWTO) Peru has unique music and energetic dances that are fun to see. The people are friendly and charming; they would be happy to help one find their way if they need help. But, the main reason Peru appears on the top ten list is because of its unique geographical features. Some examples are the Andes Mountains, Machu Picchu and Cusco. The art and culture of the Peruvians, as well as the people themselves,and the popular places to go, are what tourists like to see in Peru.
Wolf, Naomi. The Beauty Myth. How Images of Beauty are Used Against Women. New York: William Morrow, 1991.
She is the one that refuses to oblige to societal orders. She is the “Shadow-Beast” (38) with “Chicana identity grounded in the Indian woman’s history of resistance” (43). Although alienated physically, Anzaldua is “immobilized” (43) mentally the more confined she becomes in a culture engulfed in pure oppression. She claims her “shadow-beast” as the depiction of her highly wanted independence as an individual human being, which eventually forces her to leave her family behind to find herself separately from the “intrinsic nature buried under the personality that had been imposed” (38) for people like Anzaldua for many years. Her push for rebellion sets a voice for the silenced anger and pure resistance against the ostracism of herself, her family, culture, and the white-washed society she has been born into. To be the only Chicana, lesbian, and rebellious woman in her family is considered sinful, as women, according to Anzaldua, in Mexico only have “three directions she could turn: to the church as a nun, to the streets as a prostitute, or to the home as a mother” (39). Noticing that women are culturally restricted to these roles, Anzaldua creates the opposite role for herself claiming to take the “fourth choice” by “entering the world by way of education and career and becoming self-autonomous persons,” (39), which she uses to her advantage to transform the prolonged oppression into her long awaited freedom to live as an openly queer woman
I was once told I had the world in my hands by my vice principal. The reason for his statement was because I was a Hispanic young woman with above average grades, and my involvement in extracurricular activities. Why was being a Hispanic young woman so much more special? This is where the harsh reality set in; Hispanic women have the tendency to not achieve their goals.
In an excerpt from Janell Hobson’s “Venus in the Dark: Blackness and Beauty in Popular Culture” Hobson argues that the “image of black women’s bodies in culture are distorted in a way resembling the morphing of a person’s figure in a carnival mirror,” a term she coins as “un-mirroring.” She continues this metaphor by saying black women artists must “fight against this process by challenging dominant culture’s representation of black women’s bodies as being grotesque and changing the discourse to being one of beauty.” One may argue that black women are too diverse to be represented by one image, rather that they should fight to be regarded as individuals devoid of stereotypes and negative historical connotations. Stereotypes, which are too broad to be accurate, have negatively affected the image of the black female body in culture. To change the trajectory of this idea in the future, the discussion must be aimed towards persuading society that stereotypes are superficial judgments, and that black women should be regarded as a diverse group of individuals, not individual elements of a stereotype.
In Deidre Sklar’s “Dancing with the Virgin” and Cindy Garcia’s “Salsa Crossings” the ethnographers navigate their positions in their research communities through their own experience. While both of their positions do not distinguish them as solely “outsider” or “insider”, their dominant position (Sklar as outsider and Garcia as insider) has a profound effect on how they write their ethnographies. Sklar’s dominant position as outsider, causes her to present more observational analysis, whereas Garcia’s dominant insider position presents her with more space for critical analysis. Neither perspective is more significant than the other, but they both offer distinct ways of presenting ethnography; Sklar through translated connected experience, and
beauty in her culture, Pecola must do the impossible: find white beauty. Toni Morrison shows
The field of media and communication studies have centered many of its work in the production of scholarly pieces that described the nature and nuances of the popular media in Latin America. However, there is a lack of work specialized on the impacts of media in the representations of ethnic minorities in the continent. In this context, Mira como ves: racismo y estereotipos en los medios de comunicación provides an interesting overview of the images of ethnic minorities, focusing most of its essays on the representation of Afro-Peruvians and Afro-descendant in the mass media. The book compiles a series of essays presented at the International Seminar “The media: a path to ethnic inclusion”, organized in 2006 by the Center for Ethnic Development in Lima, Peru; and are an