The War on Black Women's Bodies Again

Tonya L Jones

           So, about a week ago I am doing my morning ritual of scrolling the newsfeed of my Facebook page.  Instead of watching TV news, I like to find out about what’s happening in the world via social media. I have “liked” many groups on Facebook that I feel provide a better alternative voice for people who are often marginalized in mainstream news (POC, the poor, etc). My favorite page What About Our Daughters (a blog dedicated to the empowerment of Black girls and women), posted a scathing review on an article that had just been published in the New York Times.  The article was called “Why Black Women Are Fat” written by Alice Randall (a self-identified Black woman).  The article seemed like a well-meaning discussion on the issue of obesity in the black community, yet in the end it was just another mainstream piece to publically shame black women (it’s a known fact that the BMI is racially biased).  If Ms. Randall was truly concerned about the plight of “fat” Black women why not discuss it in a Black woman’s magazine like Heart & Soul (dedicated to the health of Black women). The mainstream newspapers don’t care about fat OR skinny Black women (I mean I haven’t seen any articles about missing Black women, have you?)

The writer of WAOD noted, “We get it, we’re Black, we’re a fat, we’re all gonna DIE!” I could relate to WAOD’s frustrations. Within the last year there seems to be a media obsession with all things Black women and not in a good way. We can’t get any man to marry us (as if that’s our biggest goal in life), we have the highest rates of herpes (the CDC had to retract that statement after claiming they “made a mistake” in their research), we only have $5 dollars to our name, and we are considered the ugliest of women (Psychology Today’s “Why Are Black Women Less Physically Attractive Than Other Women?”).  Dealing with issues of weight can be hard for Black women as we have to struggle against two standards of beauty, outside AND within the black community.  

Just as Eurocentric beauty standards can be damaging to a Black woman’s psyche (skinny, blonde, etc) so can black standards of beauty (if you don’t look like Beyonce or if your butt isn’t THIS big). It’s not surprising eating disorders are actually increasing with Black women (Google: “Breaking the Silence: Eating Disorders in Black Women”). I’m sure some of you have heard about the young black woman that recently died in surgery because of a desire to have a bigger bottom (Google: “Tragic bottom implant girl thought having illegal injection would make her a hip hop star”). Black women are being pressured to fit into two contradictory body types. While I will always bump Jennifer Hudson’s song “Spotlight” it’s becoming quite disconcerting to flip the channels and see her hollering at me to join Weight Watchers (as well as Mariah Carey and Janet Jackson). It seems Black women have become the new target to make money off of and what better way than to remind us about how undesirable we are.  

So, what’s my advice to Black women regarding weight? I feel you have to do what’s best for you. It’s a personal journey. If you feel it’s time to start being healthier then do it. If you are just concerned about living your life then do that too.

Inquisitions of a Modern Day America

By Danielle Huxley
Chair of the Women of Color Action Team

Guessing one’s ethnicity has become passé. “Why take the time to go down the list? There are so many varieties”, ponders the inquisitor. A reconfiguration occurs; a scrambling of sentences to give the façade of freshness to generalizations of cultural masses. I can see the strain of the thought process go over my inquisitor's face. I am amused slightly because I am already well aware of the answer to the question that they seek. Should I help this person out? Nope. Why should I be the one to concede?

Oh, here come the compliments. “You have an exotic look. It’s unique.” I smile as a way of saying thank you for the faux compliment. “Where are you from?” This inquisitor has a fast transitional speed; right into the cross examination phase. I respond coyly but honestly, “All over.” This is actually true. Growing up I have never lived any place more than 18 months. “Oh, okay. But where are you from originally; your birthplace?” I answer. “I meant to ask about where your parents were born, originally”, frustration building for the interviewer. I am sure you can tell where this is going.

In the past I was more naïve and believed that it was my duty as an individual with a mixed ethnicity to identify first with that background. Through the years and the endless inquiring I had an epiphany. I decided to turn the tables and see how the inquisitor responded to an interrogation of them. The reactions I received on more than one occasion were of perplexity and in some cases irritation. Most were confused as to why I did not realize that they were “just white”. I pressed further with my questions about where their parents were born, originally of course. If it was within the states I asked about grandparents and so on. I was astounded that many did not know their ancestral tree like I did. So, why was I expected to know the answers to these questions? Why is it anyone’s business what my cultural upbringing was? The answer in short is it is not. Would knowing it change how they interact with me? For some yes, my cultural heritage was essential to form a bond.
America has a plethora of people from various other places. Sometimes they traveled from across the world to make this place their new home. In order to have some commonality with them why do we need to first know why they look like they don’t belong? I feel for those that are either new to this indoctrinated process or still have yet to find a way to deal with it.

I was on the MAX blue line the other day and there were two gentlemen that were at the initial stage of conversation. One had a very thick accent the other did not. The accented man asked a very general question about the other man’s day. The response that he received was not an answer, but rather a new question of, “So, where are you from?” The man responded, “Portland.” The other man raised his tone, “No, no way. I am from Portland and you don’t look or sound like me.” The other man having realized the true nature of the conversation gave in and stated his country of origin, although I cannot recall but it does not matter. “That’s more like it. One of my good buddies from college is from around there”, he stated with a satisfied tone. It turns out though through their curt dialogue that both men arrived to Portland within a few years of each other. The only difference was one came from another country and the other from a different state within the United States. The man with the accent never asked which state the questioner came from. It was not of concern to him. All he expected to have with his friendliness was a lighter toned conversation. The interrogated man got up to get off at the next stop and wished the other a good day. The inquisitor sat with a smug look on his face. My internal reaction was sadness and irritation. It distressed me to see another go through that and left me with wondering if the inquisitor ever knows how the ones they come in contact with are affected. My assumption is that they do not.

Eyes Wide Open: Lets talk about you and me, lets talk about oppression baby

(originally posted 02/09 at wordpress)



by Talia Jae Potter

Today my class went to an Illumination Project performance. If you don't know what that is I'll tell you....

It's called the theater of the oppressed. They perform real-life oppressive situations that have to do with racism, immigration, religion, sexism, etc... they run through the play once without stopping the oppressive circumstance and then they run through again and ask the audience to intervene. Good rehearsal for a future incident.

damali ayo: Realities of What It Means to be an Activist Artist

(originally posted 10/08 at wordpress)


by Kaleigh Vance

On Tuesday September 30th, PSU’sWomen’s Resource Center along with B-Word/Bitch Magazine presented the first lecture in the series “Feminist Perspectives in Pop Culture” with damali ayo’s “Shut Up and Change: A Life as a Social Change Artist.”

Portland resident ayo has touched the lives of others with her art for as long as she can remember. Her first piece of artwork, an intricately made 3D replica of the White House, displayed early on her interest in our country and society. Since then she has contributed numerous works of art that have been displayed in galleries around the world.

Among her well known works of art is “the little black dress project,” of which damali says, “re-discovers the emotional, sensual, erotic, violent, intellectual, playful realities of women's lives." This project includes various dresses made to reflect the diversity of women’s experiences.

Another powerful piece is ayo’s “flesh tone.” With this particular project, ayo went to a paint store that claimed to be able to match any tone. She asked the salesperson if they could really match any color, to which he replied yes. “Can you match this?” she asked, as she pointed to her arm. The salesperson responded by saying, “Yes, but I’ve never matched a flesh tone before.” This was the first time damali recalls her skin as being referred to as “flesh tone.” In “flesh tone” damali painted a variety of canvases with eight different shades of her skin along with the audio of her conversations with the people at the paint shop entitled “the paintmixers.”

Ayo is also known for her work concerning anti-racism. One of her thought provoking pieces regarding race is “living flag” in which she panhandles for reparations on the streets of various cities. “Living flag” has led to the establishment of “The National Day of Panhandling for Reparations,” which started on October 10, 2007. An additional work by ayo addressing racism is “shift: we are not done” which is “an exploration of contemporary racism using everyday objects and cultural icons.” At the beginning of her gallery openings for this project, she asked people to wear what one would assume at first glance to be name tags, but in actuality said, “Hi! My race is…” on which the attendant would write either “black,” “white,” or “other.”

damali ayo is truly an innovative and inspirational artist and person, making the first lecture of the “Feminist Perspectives in Pop Culture” truly a success. Please join us at the next lecture of the series featuring Susie Bright on November 18th.

And Then There’s Maude

(originally posted 08/08 at wordpress)


by Kelsey Mason

Maude is a television show staring Beatrice Arthur that aired on CBS from September 12, 1972 to April 22, 1978. The show was a spin off of All in the Family.

Beatrice Arthur plays Maude, an outspoken liberal, who considers herself a feminist. Maude is in her early fifties, but has the spunk of a twenty-two year old. She is a modern day New Yorker, who refuses to back down when something appears unjust. Maude spends her days advocating for civil rights, such as gender and racial equality. This strong, assertive woman stands on behalf of women’s liberation and abortion rights.

Reflections on the Faculty Favorite Lecture Series

(originally posted 06/08 at wordpress)


by Emily Hutsell

This term I took the IST 499 engagement credit, which required my attendance at 6 PSU sponsored events. Because of the interesting subject matter, I chose to attend many of the Faculty Favorite Lecture Series, for which a faculty member is chosen to present their current work. The topics of the lectures covered sustainability, White Studies, interrupting oppression and why America isn’t ready for a female president. Each of these events was extremely thought provoking, and whether or not there was an opportunity for discussion, it has been part of my discussion with others.

Interrupting Oppression // Discussion Post

(originally posted 05/08 at wordpress)



by mae stephenson

A few weeks ago, Sally Eck gave an inspiring lecture on interrupting oppression as part of the Faculty Favorite Lecture Series that happens every Thursday. An interruption is something you do when you notice someone making an oppressive statement or action. It could be any action you take from stating something like, "That's sexist" and walking away to sitting down and having an in-depth conversation with someone about the effects of oppression in our society. The lecture made me think of my father, whom I've always had a tumultuous relationship with, but of course, love dearly. Despite our frequent disagreements, he tries really hard to maintain a relationship with me and truly listen when I call him out on an action I disagree with (even if he doesn't always understand my point of view).

I'm not the best "interrupter," especially when it comes to my father. I often get upset and show frustration instead of calmly explaining how his statement is oppressive. But recently, when I interrupted him after making a racist joke, he actually apologized and said that he hadn't said a particular racist phrase since I had called him out on it several months ago. He explained that it's hard to "unlearn" all the racist jokes he's heard since he was child. It was definitely inspiring. But it was nothing compared to the way he made me feel this past weekend.

Herstory: bell hooks

(originally posted 05/08 at wordpress)



by mae stephenson

bell hooks Born Gloria Jean Watkins on September 25, 1952 in Hopkinsville, Kentucky. bell hooks uses lowercase letters for her name to shift focus from the author to the ideas within her writing.

bell hooks is arguably one of the most important authors of our time. A self-described "Black woman intellectual, revolutionary activist," "cultural critic," and "advocate of feminism," hooks has authored over thirty books and dozens of articles focusing on the interconnectedness of race, class, and gender oppression and domination. She coined the phrase "white supremacist capitalist patriarchy" to describe these intersections. She also writes with an important and somewhat unique emphasis on self-love. In her dedication to ending class oppression she uses a writing style accessible for people outside of Academia and makes appearances on television and radio programs. Some of her titles include Ain’t I a Woman?: Black Women and Feminism, Feminist Theory: From Margin to Center, Feminism is for Everybody: Passionate Politics, Where We Stand: Class Matters, Teaching to Transgress: Education As the Practice of Freedom, and The Will to Change: Men, Masculinity, and Love. In addition, she's written a handful of children's books including Be Boy Buzz and Happy to be Nappy after having a difficult time finding children's books that didn't enforce patriarchal notions of boyhood and books that taught young black girls to be self-loving, respectively.