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gender & ethnic studies ’s Native American A Colonized Body in the Name of Aesthetic and Dynastic Glory

Felicia Bartley

The following is an excerpt from a longer piece. For full text, please visit www.honorsjournal.com.

in this contemporary moment designers have the means to collaborate with Native American fashion designers. However, there is still a flourishing fashion market that refuses to recognize Native American tribes as owners of intellectual property.1 While some brands may initially start on the right track via collaboration with Native artists, it may not always end in success.2 Most recently, Versace has included Native American designs in their ready-to-wear fashion for the 2018 Spring-Summer season. This com- ponent of the collection belongs to a tribute honoring and his original FW ’92 Native American print.3 I will be discussing the implications of the revived Native American print and how it affects Native North American men and women. In this essay, I will look at Versace’s legacy and his original print; the new Native American Tribute Collection by Donatella Versace; and Donna Karan’s collaboration with Pueblo artist, Virgil Ortiz. I argue that re- spectful recognition of Native North American property is thrown aside for aesthetic and dynastic glory, which in turn, allows non-Native designers to colonize the ‘exotic’ Native woman’s body by denying Native North Amer- ican men and women the opportunity to represent themselves to the global fashion community. Virgil Ortiz’s collaboration with Donna Karan illustrates how respectful collaboration can shape the dominant society’s perception of Native North American women. If we use Native North American fashion as a framework to understand how Native designers are working to dismantle mainstream stereotypes, it is imperative that global designers seek collaboration with Indigenous design- ers. As explained by Amanda J. Cobb in her essay “Understanding Tribal Sov- ereignty: Definitions, Conceptualizations, and Interpretations,” sovereignty needs to be linked to all aspects of life, not just the political; to lose cultural identity is to sacrifice sovereignty.4 My paper seeks to illuminate how cul- 1“ Nation Sues Urban Outfitters,” Business Law Daily, March 18, 2012. 2 See Jessica R. Metcalfe, “Oh No, Valentino | Appropriation and the Case of the Stolen ,” Beyond Buckskin (blog), April 25, 2017, http://www.beyondbuckskin.com/2017/04/ oh-no-valentino-appropriation-and-case.html for a case in which Valentino collaborated with Metis artist, Christi Belcourt, to design gown but stole beadwork designs that did not apply to Copyright Law. 3 Sally Singer, “Versace Spring 2018 Ready-to-Wear ,” Vogue, September 22, 2017, https://www.vogue.com/fashion-shows/spring-2018-ready-to-wear/versace. 4 Amanda J. Cobb, “Understanding Tribal Sovereignty: Definitions, Conceptualizations, and Interpretations,” Mid-America American Studies Association, American Studies, 46, no. 3/4 (Oc- tober 2005): 121–22. Felicia Bartley

tural identity, vis-a-vis sovereignty, Versace’s introduction of is put at stake when global Europe- prostitute style in the 1980s shook the an designers perceive North Native fashion industry and contributed to 2 American identities as a resource to “defining the character of the- improve aesthetic and individualistic ern woman.”10 Versace’s designs glory. transcended boundaries that were One exhibition, curated by interpreted as a means to reaffirm Karen Kramer from the Peabody Es- women’s power…11 The impacts are sex Museum, to counter mainstream twofold: first, the imagery present- narratives imposed upon Native ed is the average American’s under- North American women is traveling standing of Native Americans and exhibition Native Fashion Now: North homogenizes 567 Native nations into American Indian Style. Native Fashion a singular, flattened plane; 12 and two, Now is argued by Kramer to be the Native North American women are first of its kind that displays a large expected to accept this style of dress scope of Native American fashion.5 as a “modern” reaffirmation of pow- Kramer argues that our contempo- er implying that Indigenous North rary society is in the middle of a “Na- American women are outdated and tive American fashion renaissance.”6 hold no authority in their respective She states that fashion designers are communities. tapping into their own aesthetic cre- Gianni Versace frequented ativity while negotiating cultural The Metropolitan Museum of Art, boundaries –imposed from within where exhibitions influenced his de- and the outside.7 Kramer asserts that signs;13 however, his original FW ’92 fashion is a reflection of society and Native American print disavows ap- its people, and that Native designers propriate representation of Native “speak with many voices,” not just North American men and women. In one.8 As my essay suggests, Patricia Nancy J. Parezo’s articles…she dis- Hill Collins’ “controlling images” are cusses Federic H. Douglas’s outreach used by Versace, and thus, have the program called “The Indian Fashion ability to dehumanize and under- Show,” which sought to dismantle mine Native North American self- the negative stereotypes of the “gen- worth.9 However, as demonstrated in dered Wild Savage.”14 Parezo argues Native Fashion Now, Indigenous de- that Douglas’s show from the 1940s signers have the ability to transform and 1950s holds the same relevance the global fashion industry into one that fosters community, reciprocity, 10 Richard Martin and Gianni Versace, Gianni Versace (New York: Metropolitan Mu- and healing. seum of Art : Distributed by H.N. Abrams, 1997), 12. 5 Karen Kramer et al., eds., Native Fashion 11 Martin and Versace, 13. Now: North American Indian Style (Munich; 12 “Tribal Nations & the United States: An London; New York: DelMonico Books/Prest- Introduction | NCAI,” accessed April 16, el, 2015), 16. 2018, http://www.ncai.org/about-tribes The 6 Kramer et al., 15. number is growing. See: http://www.ncai. 7 Kramer et al., 17. org/about-tribes. 8 Kramer et al., 16–21. 13 Martin and Versace, Gianni Versace, 9. 9 Kimberly R. Huyser, “A ‘Real’ American 14 Nancy J. Parezo, “The Indian Fashion Indian,” Contexts: Understanding People in Show: Fighting Cultural Stereotypes with Their Social Worlds 16, no. 1 (February 2017): Gender,” Journal of Anthropological Research 71. 69, no. 3 (2013): 318. University of Colorado Honors Journal in contemporary society by active- motifs are homogenized and make it ly engaging a “culturally blind” au- impossible to accurately identify the dience, challenging ethnocentrism, depicted Nation.19 questioning definitions of moderni- The generic approach to the 3 ty, and harkening to contemporary FW ’92 print highlights Versace’s views of gender and women’s bod- strive to promote his personal am- ies.15 This show was seen as a success bitions in the fashion industry as in- when it first toured; however, the novative, accurate, and a guardian show reinforced positive stereotypes, to women. The artistic voice within thus negating the effects of Douglas’s the FW ’92 Native American design is original intent.16 Despite Douglas’s formal and individualistic. Moderni- efforts to elevate Native women on ty and traditionalism are contrasted the same sphere, with non-Native by Versace’s “Wild Baroque” design, women, the appearance of Versace’s which reminisces the “luxurious FW 1992 print comes as little to no past.” 20 The intricate baroque pat- surprise and adheres to Douglas’s tern contrasted by the generic Native underlying tone that all women are North American iconography imply the same and need to be represented that Native North American tribes by their male counterparts.17 are of the past and contrary to Eu- While museums often praise ropean civilization…Versace’s indif- Versace for his acute awareness for ference to the Native American pop- historical accu- ulation he was racy,18 the 1992 Static images feed into the representing print’s execution mainstream, control is seen in the creates a monot- the dominant narrative of paternalistic onous voice that how marginalized groups should design, which feel, and dictate what is far from ac-  features Buffalo ceptable. In both is socially acceptable Bill and multi- advertisements the models are sto- ple non-identifiable Native men. The ic, representing the Noble Savage… inclusion of Buffalo Bill, a time-spe- The print also fails to acknowledge cific identifiable male figure, who historical truths, diversity, and gen- thrived off Native American cultural der equality. The Native American exploitation and oppression, and the print features popular imagery that exclusion of any woman figure con- attempts to erase intellectual proper- tradict museum narratives that boast ty by refusing to feature designs that of Versace’s advocacy for women.21 resonate with Plain’s Native North Twenty years after Gianni American culture. The advertised Versace’s murder, Donatella Versace 19 To see respectful recognition of intellectu- 15 Nancy J. Parezo, “The Indian Fashion al property regarding Plain’s Native culture, Show: Manipulating Representations of see Bethany Yellowtail’s inclusion of Crow Native Attire in Museum Exhibits to Fight traditional designs superimposed on con- Stereotypes in 1942 and 1998,” American temporary fashion pieces: byellowtail.com. Indian Culture and Research Journal 31, no. 3 20 Claire Wilcox, Valerie D. Mendes, and (January 2007): 6, https://doi.org/10.17953/ Chiara Buss, The Art and Craft of Gianni aicr.31.3.x6702023216019p8. Versace (London : New York: published by 16 Parezo, “The Indian Fashion Show: Fight- V&A Publications ; Distributed by Harry N. ing Cultural Stereotypes with Gender,” 322. Abrams, 2002), 20. 17 Parezo, 322. 21 Wilcox, Mendes, and Buss, The Art and 18 Martin and Versace, Gianni Versace. Craft of Gianni Versace. Felicia Bartley

sought to honor her brother’s artistic “the world of the American West:”28 genius.22 Donatella Versace’s Tribute feather staff; tipi; white stallion with collection features Native American headdress-wearing rider ; Natives on 4 iconography that is directly based horseback with young child and colt; from Versace’s 1992 collection . When a non-identifiable Native American the Tribute collection debuted on the man with long unbraided hair, feath- runway, Donatella’s voiceover en- er atop his head, peace pipe, mocca- couraged the audience to “imagine a sins, plains hide , and bead- world without [Versace’s] allegiance ed accessories; and most notably, to women.”23 Versace’s prostitute Buffalo Bill . The static imagery rep- style, that reveals as much as it cov- resented on the FW ’92 Native Ameri- ers, contradicts the voiceover. Wom- can print (both original and revived) en’s voices are claimed by Gianni imagines Native American identity Versace through swaddling fabrics as the United States of America’s that accentuate and fetishize wom- intellectual property — free to use, en’s skin.24 Donatella’s voiceover en- sell, and appropriate. The inclusion tertains the thought in which Versace of Buffalo Bill therefore cements the “helped women reclaim their own United States of America as pater- voice to be themselves.”25 I argue, nal, civilizing, and rightful owners of however, that Gianni Versace robbed Native North American intellectual women of a voice, and created them property. as objects subjected to the male gaze The absence of women in this despite his lifelong commitment to design silences those who are respect- women’s “visual authority.”26 ed and integral members of their re- Portraying Versace as histor- spective Native communities.29 That ically accurate and culturally driven no additional print has been created willfully ignores the effects of Ver- to honor the women of the depicted sace’s work in the mainstream Amer- community reinforces the mindless ican Imaginary.27 Figures 6 and 7 are appraisal of Versace’s original de- two of seven items that are direct re- signs. It is through Donatella’s Trib- productions of Gianni Versace’s orig- ute collection that Versace is elevated inal print belonging to Donatella’s and perceived as genius and icon.30 Tribute collection. In these designs Rather than question the designs and there are several motifs that promote rhetoric of the original Native Ameri- can print, it is reimagined on new sil- houettes that achieve the same effects as when it first debuted. 22 Singer, “Versace Spring 2018 Ready-to- Wear Fashion Show.” 28 “The Gianni Versace Tribute Collection - 23 The Versace Tribute Collection - Spring Sum- New Arrivals | US Online Store,” Versace, mer 2018, 2017, https://www.youtube.com/ accessed March 13, 2018, https://www.ver- watch?v=Q0iLg-fgNbE. sace.com/us/en-us/the-versace-tribute-col- 24 Wilcox, Mendes, and Buss, The Art and lection/. Craft of Gianni Versace, 13 uses “second skin” 29 Rauna Kuokkanen, “Indigenous Econo- to refer to Versace’s bodysuits. mies, Theories of Subsistence, and Women: 25 The Versace Tribute Collection. Exploring the Social Economy for 26 Martin and Versace, Gianni Versace, 13. Indigenous Governance,” American Indian 27 Philip Joseph Deloria, Playing Indian, Yale Quarterly 35, no. 2 (2011): 215–40, https://doi. Historical Publications (New Haven: Yale org/10.5250/amerindiquar.35.2.0215. University Press, 1998). 30 The Versace Tribute Collection. University of Colorado Honors Journal

Where are the women? Where are the people? These designs portray fictional characters, Buffalo Bill, ethnographic zooscapes , and 5 an idealized past. There is no truth to these images except Buffalo Bill’s likeness. The only true image in this print is Versace’s attitude towards the Other: part of the past, only to be romanticized via clothing.31 The juxtaposed “Wild Baroque” pattern demonstrates Versace’s love for the idealized past, a past that never ex- Figure SEQ Figure \* ARABIC 10. Spring 2003. DKNY x VO. isted and continues to circulate today Courtesy: virgilortiz.com and renders Native North American voices as incomplete (lacking wom- en). The juxtaposition portrays Na- tive North Americans as vanished, only to be viewed in photographs or prints recovered from World’s Fairs and ethnographic studies . As a fresh breath of air, these aforementioned designs and approach differ from that of Donna Karan New York back in 2002. Non-Native - ers can maintain prestige while ad- vocating for Native North American artistic expression. A few years back the New York designer, Donna Karan (DKNY), attended Santa Fe Indian Market, met Virgil Ortiz and asked to collaborate with the Cochiti art- ist.32 In 2002, Ortiz and Karan joined forces to create a clothing line that in- cluded Ortiz’s fabrics adorned with Puebloan motifs sewn into Karan sil- Figure SEQ Figure \* ARABIC 11. Bi-Furcation. Virgil Ortiz. Co- 33 chiti red clay, white clay slip, red clay slip, black (wild spinach) houettes (Figure 10). The resulting paint. 12” x 9”. Courtesy: virgilortiz.com. pieces are versatile, sophisticated,

31 Martin and Versace, Gianni Versace, 27. 32 James Servin, “The Art and Times of Santa Fe Artist,” Virgil Ortiz | VOxDKNY, accessed April 5, 2018, https://www.virgilor- tiz.com/portfolio_page/voxdkny/. 33 Jessica R. Metcalfe, “Reclaiming the Body: Strategies of Resistance in Virgil Ortiz’s Fashion Designs,” Settler Colonial Studies 3, no. 2 (April 1, 2013): 172–78, https://doi.org/1 0.1080/2201473X.2013.781929. Felicia Bartley

and elegant. The dresses speak to all earlier, Virgil Ortiz’s fashion show audiences, Native and non-Native, blurred the lines between savage and and are specific to an identifiable na- civilized to critique stereotypes af- 6 tion: The Pueblo of Cochiti. flicting Native people today.39 Rather Dr. Jessica R. Metcalfe writes than perpetuate notions of the “van- a compelling article, “Reclaiming the ishing Indian” Ortiz uses the catwalk Body: Strategies of Resistance in Vir- to question mainstream represen- gil Ortiz’s Fashion Designs” where tations of Native North Americans. she argues the collaboration between With his personal income and pub- Ortiz and Donna Karan was an act lic visibility Ortiz “creates access to of reclamation for Native represen- arts and culture for the youth of the tation in fashion, and by doing so, pueblo and to preserve the Keres lan- he defied the expectations of Native guage.”40 American art.34 Having continued So, the question: why does this a family tradition of muños pot- matter? Indigenous self-representa- tery (figurative pottery), Ortiz uses tion is limited when global designers the same techniques to create social profit from centuries of Native Amer- commentary regarding non-Native ican misrepresentation. Static images societies (Figure 11).35 For Ortiz, re- feed into the mainstream, control the claiming the representation of Native dominant narrative of how marginal- peoples lies within decoration, both ized groups should feel, and dictate on pottery and the body via fash- what is socially acceptable. In the ion.36 The designs Ortiz uses “have case of Gianni Versace, prostitute style belonged to his family for hundreds is highly prized as modern, glamor- of years”; 37 Donna Karan’s acknowl- ous, and seductive.41 The perception edgement of Ortiz’s creative familial of the “modern woman” as sexually lineage and authority allows future “liberated” is marketed to women Native artists to gain recognition for of all classes through magazines, so- their respective nation’s intellectual cial media, advertisements, and, yes, property. it seeps into Native communities.42 Ortiz uses his stardom to pro- With an ever-increasing acceptance mote Native well-being, rather than of Gianni Versace’s prostitute style, promote himself. Metcalfe describes Native woman are encouraged to in her article Ortiz’s Le Sauvage Prim- welcome sex into fashion and thus itif collection from 2007 where the transform their bodies into “teasing catwalk performance juxtaposed veils.”43 By encouraging this mind- the wild savage and civilized man.38 set, clothing becomes second skin to While this pairing sounds familiar be fetishized and only worn to reveal to Versace’s juxtaposition described what lies beneath (Figure 8), thereby inviting negative stereotypes of Na- 34 Metcalfe, “Reclaiming the Body,” 172. tive American women promiscuity. 35 Servin, “The Art and Times of Santa Fe The way Native North Amer- Artist.” Around the 1800’s Puebloan potters used muños to parody outsiders living in or ican men and women are represent- visiting traditional and contemporary Pueblo ed in the fashion industry is an im- spaces. 39 Metcalfe, 177. 36 Metcalfe, “Reclaiming the Body,” 174. 40 Metcalfe, 178. 37 Servin, “The Art and Times of Santa Fe 41 Martin and Versace, Gianni Versace, 12–13. Artist.” 42 Martin and Versace, 12–13. 38 Metcalfe, 176–77. 43 Martin and Versace, 13. University of Colorado Honors Journal age that mediates the consumption Works Cited of American society. Versace’s FW ’92 Native American dismisses women Cobb, Amanda J. “Understanding as absent, non-essential members of Tribal Sovereignty: Definitions, 7 Native communities, whereas men Conceptualizations, and Inter- are unworthy of descriptive infor- pretations.” Mid-America Ameri- mation to distinctly identify an in- can Studies Association, American dividual. Versace’s Tribute collection Studies, 46, no. 3/4 (October is a result of the dominant social and 2005): 115–32. economic formations within West- Deloria, Philip Joseph. Playing Indi- ern society that commodifies Native an. Yale Historical Publications. American artistic expression. Aspects New Haven: Yale University of dominant American culture thrive Press, 1998. off images that exploit Native North Huyser, Kimberly R. “A ‘Real’ American motifs as exotic and ob- American Indian.” Contexts: Un- tainable via clothing and accessories. derstanding People in Their Social Stereotypes created by the fashion in- Worlds 16, no. 1 (February 2017): dustry transform and exoticize both 69–71. Native men and women into non-ex- Kramer, Karen, Jay Calderin, Made- istent peoples living in the periphery leine M. Kropa, Jessica R. Metcal- of American popular culture. fe, and Peabody Essex Museum, Virgil Ortiz is not the only art- eds. Native Fashion Now: North ist who is using his commercial plat- American Indian Style. Munich ; form to benefit his community, there London ; New York: DelMonico are other designers such as Bethany Books/Prestel, 2015. Yellowtail. Jared Yazzie, Patricia Mi- Kuokkanen, Rauna. “Indigenous chaels, and Loren Aragon. Virgil Or- Economies, Theories of Subsis- tiz and Donna Karan set a hopeful tence, and Women: Exploring the precedent for other global designers Social Economy Model for Indig- to give back to the communities they enous Governance.” American work with. Rather than use Ortiz’s Indian Quarterly 35, no. 2 (2011): designs for her own aesthetic glory, 215–40. https://doi.org/10.5250/ Donna Karan was mindful to refer amerindiquar.35.2.0215. to Virgil Ortiz as an artist, “whose Martin, Richard, and Gianni Versace. work directly influenced my spring Gianni Versace. New York: Metro- designs.”44 In comparison, Versace, politan Museum of Art: Distrib- both Donatella and Gianni, appropri- uted by H.N. Abrams, 1997. ate Native American identity to build Metcalfe, Jessica R. “Oh No, Valenti- a legacy that silences Native women no | Appropriation and the Case and restricts Native North Ameri- of the Stolen Beadwork.” Beyond cans to the “world of the American Buckskin (blog), April 25, 2017. west.”45 http://www.beyondbuckskin. com/2017/04/oh-no-valentino-ap- propriation-and-case.html. ––––. “Reclaiming the Body: Strat- 44 Servin, “The Art and Times of Santa Fe egies of Resistance in Virgil Artist.” Emphasis added. Ortiz’s Fashion Designs.” Settler 45 “The Gianni Versace Tribute Collection - Colonial Studies 3, no. 2 (April 1, New Arrivals | US Online Store.” Felicia Bartley

2013): 172–78. https://doi.org/10.1 Publications; Distributed by Har- 080/2201473X.2013.781929. ry N. Abrams, 2002. “ Sues Urban Outfit- 8 ters.” Business Law Daily, March 18, 2012. Parezo, Nancy J. “The Indian Fash- ion Show: Fighting Cultural Ste- reotypes with Gender.” Journal of Anthropological Research 69, no. 3 (2013): 317–46. ––––. “The Indian Fashion Show: Manipulating Representations of Native Attire in Museum Exhibits to Fight Stereotypes in 1942 and 1998.” American Indi- an Culture and Research Journal 31, no. 3 (January 2007): 5–48. https://doi.org/10.17953/ai- cr.31.3.x6702023216019p8. Servin, James. “The Art and Times of Santa Fe Artist.” Virgil Ortiz | VOxDKNY. Accessed April 5, 2018. https://www.virgilortiz. com/portfolio_page/voxdkny/. Singer, Sally. “Versace Spring 2018 Ready-to-Wear Fashion Show.” Vogue, September 22, 2017. https://www.vogue.com/fash- ion-shows/spring-2018-ready-to- wear/versace. “The Gianni Versace Tribute Collec- tion - New Arrivals | US Online Store.” Versace. Accessed March 13, 2018.https://www.versace. com/us/en-us/the-versace-trib- ute-collection/. The Versace Tribute Collection - Spring Summer 2018, 2017. https://www.youtube.com/ watch?v=Q0iLg-fgNbE. “Tribal Nations & the United States: An Introduction | NCAI.” Accessed April 16, 2018. http:// www.ncai.org/about-tribes. Wilcox, Claire, Valerie D. Mendes, and Chiara Buss. The Art and Craft of Gianni Versace. London: New York: published by V&A Samantha J. Morgan

ed racist attitudes against themselves of makeup for white skin tones con- and other women of color. Conse- tinues to exceed those produced for quently, racially oppressive beauty black and brown skin tones…Aside 10 standards were upheld by men and from the quantitative inequity of women of color and not just by white shades available for women of col- people. or, other attempts at racial inclusion From the 1970s to the 1990s… in makeup lines have been accused the Black is Beautiful social move- of cultural appropriation, tokenism, ment strove to expand beauty ideals and whitewashing models of color. and gave rise to small, independent A pertinent example of how cultur- companies that produced makeup for al appropriation permeated efforts at women of color. Some mainstream racial inclusion in cosmetics can be makeup companies like Covergirl seen in MAC’s Vibe Tribe makeup line and L’Oreal followed and made (MAC Cosmetics, 2016). The compa- attempts at racial inclusivity with ny refuted accusations of cultural ap- their makeup products; however, ra- propriation by claiming the makeup cial equity was, and continues to be, line was created with music festival lacking. The historical development culture in mind; though it’s clear that of beauty standards and the contin- the makeup line is not coincidental- uation of upholding white beauty ly reminiscent of Native American standards has allowed for the repro- culture (BuzzfeedYellow, 2016). The duction of whiteness on an institu- advertisements feature clothing and tional level. The commercialization product packaging that include pat- of white beauty has contributed to terns reminiscent of Native American the cultural representation of women culture…The names of products are of color as “negative, out-of-place, or appropriative of sacred Navajo Na- disturbing” because they are at the tion Lands, such as “Painted Can- bottom of the socially constructed yon” lipstick bringing to mind the beauty hierarchy (Hall, 1997, p. 236). Navajo Nation’s Painted Desert land The cosmetic industry contributes to (Buzzfeed Yellow, 2016). racial formation that ascribes mean- A notorious example of ing to different bodies, such that whitewashing celebrities of color was white women are valued over black/ seen in one of L’Oreal’s 2008 adver- brown women (Omi & Winant, 1994, tisements featuring Beyoncé (L’Oreal p. 4). These racially defined apprais- Paris, 2008). While the advertisement als of women’s worth, maintained by may seem benign on its own, when the beauty industry, are definitive compared to pictures of Beyoncé forms of institutional racism. outside of advertising, there are ob- Despite increasing criticism, servable differences. L’Oreal clear- popular makeup brands… have re- ly altered Beyoncé’s appearance to ceived from consumers more recent- more closely align with white beauty ly, their efforts at racial inclusion ideals… This advertisement is also a have been surface-level at best. To marked example of intertextuality, for address the issue of racial exclusiv- it can be traced back to the skin-light- ity, beauty companies have tried to ening advertisements that permeated include more than just a few shades the 1940’s. The skin-bleaching ad- of brown or other pigments for wom- vertisements set the precedent that en of color. However, the proportion women of color need to make their University of Colorado Honors Journal skin as white as possible in order to Maybelline…They make decisions be considered beautiful, and it seems about what images of beauty to pro- that Photoshop has taken the place of mote, which affords them the power skin-lightening products. The racial- to organize the social hierarchy of 11 ized message portrayed through this beauty. This relates back to the idea modern advertisement is fairly simi- that the beauty standards in this lar to what was illustrated: the closer country are predicated on Eurocen- to whiteness Beyoncé gets, the more tric masculine-driven beauty ideals, beautiful and advertisement worthy which clearly play off of the larger she is. Consequently, the whitewash- racial, sexual hierarchy in the United ing of Beyoncé reveals that L’Oreal’s States…These companies generally attempt at racial inclusion, by featur- put forth arguments about their lack ing a woman of color in their adver- of racial inclusiveness that are from tisements, is more accurately a form economic and capitalist perspectives. of tokenism. These failed attempts at Often times these mainstream com- racial inclusivity and representations panies will claim that it is too difficult of diversity are indicative of the cos- and costly to create products that are metic industry’s concern with main- compatible with darker skin tones taining their reputation. They do (Barton, 2017). Additionally, they will this by creating the impression that argue that the market for women of they care about inclusion, but in re- color is not as large or lucrative as the ality this amounts to blatant efforts at market for white women. However, projecting a spirit of inclusion while both of these claims are inaccurate. masking a reality of racial exclusion. Not only do African-American wom- Sarah Ahmed claims that prioritizing en alone spend 7.5 billion annually on the maintenance of organizational beauty products (which is 80% more pride, companies can ignore and re- than white women spend), make- fute accusations of racism (Ahmed, up pigments for darker skin simply 2012). The cosmetic industry gener- require different chemical combina- ally believes that if they have black tions (Hope, 2016). Considering that celebrities as the faces of their adver- the economic arguments against ra- tisements and if they release lines of cial inclusion in beauty products are makeup exclusively for women of not sound, then it follows that the color, that they could not possibly be reasons behind racial exclusivity are racist. As a consequence, these forms based on social aspects…Overall, of shallow racial inclusion make it so these cosmetic companies are giving these companies can remain ignorant economically backed excuses for ra- of what are actually practices rooted cially exclusive practices, which stem in institutional racism (i.e. white- from deeper values around racism washing, tokenism, and cultural ap- and bodily prejudice. It seems that propriation). the primary motivation for uphold- It is important to analyze the ing institutional racism then, is to roles of power structures and eco- maintain whiteness and white power nomic interests when considering and not strictly to increase profits. why cosmetic companies continue While there has been minimal to be racially exclusive today. White progress in dismantling institutional men serve as the CEOs of major racism in the cosmetic industry, not companies like MAC, L’Oreal, and all hope is lost. There have been valu- Samantha J. Morgan

able gains on smaller scales within cosmetic company L’Oreal…Unsat- the beauty industry that have em- isfied with the inferior quality of the powered women of color and pro- makeup L’Oreal had for darker skin 12 vided them with avenues to resist tones, Atis embarked on a research racial oppression. Over the last few project where she collected over decades, small, independent beauty 20,000 individual skin tone samples brands have emerged. Women of col- in order to determine a new chemi- or founded brands such as Koyvoca, cal compound for darker makeup Cocotique, and Lipbar over the last (People in America, 2016). Atis dis- few decades in order to fill the gaps covered that the compound “ultra- left by mainstream brands. These marine blue” greatly improved the brands focus on creating products texture of makeup for darker skin for women of color, and have been tones, and petitioned to increase met with gratitude by women of its usage in makeup for all L’Oreal color seeking more makeup options products made for women of color (Hope, 2016). While they may not (People in America, 2016). Overall, have the same amount of popular- these examples highlight how wom- ity as hallmark beauty brands, they en of color are striving for visibility model racial inclusivity that main- and inclusion in the beauty industry stream brands should adopt. In the by speaking out against racist beauty last year, Rihanna has founded and ideals and practices. It should be not- launched her own beauty line, Fen- ed however that issues remain with ty. Fenty’s mission statement is to how the burden of solving racial ex- be inclusive of everyone while at the clusion in the beauty industry contin- same time focusing on a wide range ues to fall on women of color; though of hard-to-match skin tones, creat- it is a problem of the industry and of ing formulas that work for all skin society as a whole that promotes rac- types, and pinpointing universal ist beauty standards, as it’s portrayed shades (Mueller, 2017). Since launch- as their problem alone. ing in late 2017, the company has ex- The racist practices that perienced large success in fulfilling plague the cosmetic industry today this mission statement, and six of have clear ties to both historical and the darkest foundation shades sold modern conceptions of racial differ- out in the first two weeks (Mueller, ence that privilege whiteness and 2017). Perhaps of most importance to reinforce white dominance… The Fenty’s success is that Rihanna advo- institutional racism found in the cos- cates for inclusivity of all skin colors, metic industry points to larger issues including lighter and darker shades of race and racism in society at large together. Fenty can serve as an exam- that are hundreds of years in the mak- ple to the dominant beauty brands ing. While the systemic issue of rac- that being racially inclusive doesn’t ism that permeates the cosmetic in- mean that they have to eliminate dustry may seem discouraging, there whiteness—instead, equity is key. are counter-representations that are Lastly, important gains have actively working to challenge racial also been made in production side of exclusivity and oppression. Howev- the makeup industry. Balanda Atis, a er, in order for progress to be made, black female chemist, pioneered the society as a whole needs to challenge Women of Color Lab for the popular structures of white domination that Hey Grandma

Matthew Perez Jones

look at me, I hold the world in my heart Through me, I bring together those who are apart. Look at me, I am brown, I am black Raise me, I carry my family on my back Hear me, I speak life into your world Feel me, I whisper the air that fill your lungs.

Hear me, for my rhythm moves your soul. I have so much soul, so much soul in my voice, in my heart, my music, and my shoe. Remember me, because bringing warmth to your life is my role. Nobody’s hands are warmer than mine, child stop your fretting, listen to Kendrick, “we gon’ be alright,” boy you know we’ll be just fine Reward me, for my efforts raised your child. Remember how they called us wild, uncivilized? Dirty and violent, then why they have us clean they houses, why they have us raise their child? You know we didn’t have much money, boy that how it goes is You like that Kanye, how that song go? “Cause with my family we know we know where home is. And so instead of sendin’ flowers, we the roses.” He talked about roses, black roses, roses is so beautiful, because we is those. We is black. We is strong, you can’t tell me where I can grow. The petals, black petals, so soft and beautiful, but you know they sharp too. My nails are the thorns on the stem. You know if they put their hands too low, they get cut, see what these thorns do to them. Tongue sharper than the knife, the knife, the knife they held at our throats when we said no.

Tell them to give me back my life, for it went to making theirs.

Look at me, for I hold the world in my heart. You know, I am the world. They use me, they hurt me, they kill me, they don’t love me. My heart beats the waves on the shore of the beaches I can’t go too My heart pumps life into our world, my blood the oil in their cars Matthew Perez Jones

I’m trying to bring those together who are apart That truce between red and blue, what did it really do? Ice Cube and Eazy the only one the kids looked up to 16 Raise me, for I carry our family on my back My back, strong, so strong, black strong. How that Chance song go? I sing in church, “you singing too but yo grandma ain’t my grandma. Mine’s is handmade,” but we hear hand maid, he said his is “pan-fried, sun-dried,” remember how great granddaddy died? Rope-tied, tree-high, fire fried? Don’t forget what happened back in the south side. Hear me for I speak life into your world. Exploring Water Shutoffs in Detroit Racism, Neoliberalism, and Alternative Paradigms

Meredith Nass

The following is an excerpt from a longer piece. For full text, please visit www.honorsjournal.com.

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in the spring of 2014, Detroit’s Water and Sewerage Department (dwsd) shut water off from thousands of homes (Mitchell). Media officials say the water shutoff program occurred in response to a polar vortex storm that hit Detroit in the winter between 2013 and 2014. After the difficult winter, keeping people warm most residents of Detroit “faced skyrocketing” electric- ity and water bills (Filson). Supposedly, dwsd targeted homes that had a six- ty-day overdue bill or owed one-hundred and fifty or more dollars in utility bills. In reality, the water shutoffs took place across the city despite overdue bills or not…Qualitative and quantitative research show that the shutoffs con- tinually affect more than one in five people in Detroit today (Spring 2018) while disproportionately affecting Detroit’s black community. With the help of blues and black feminist geographical epistemologies we understand the water shutoffs as a violent, intentional attack on bodies of color. I utilize the framework of Blues Epistemologies and Black Feminist Ge- ographies from Katherine McKittrick and Clyde Woods by placing emphasis on “black histories, bodies, and experiences” in hopes to “disrupt and under- write” oppressive forms of human geographies (McKittrick 4). Through the logics of white supremacy, settler colonialism, and slavery, and within the historical context of Detroit, I argue that the Detroit water shutoffs are not only a racial project but a manifestation of historical power and continually lived oppression. We may look to blues and black feminist epistemologies to understand that the marginal and abandoned spaces of Detroit also appear as the places in which revival and solutions to the issue of systemic racism manifest. …Revival, as Eli Day alludes to in his poem, “Detroit and the Oblit- eration of History” is a semantic device discussed in Andrea Smith’s second logic of white supremacy—settler colonialism (Smith 53). Non-people of color (and people in power) tend to overlook and ignore the histories that create oppressive racial regimes. Day proclaims that the “cult of revival” is “cribbed from an old tradition” which “annihilates the past” in order to comfort the people in power today (Day 1). Feeling comfortable with the past means not changing the present. Revival, as semantic device in regards to Detroit, means continually keeping entire groups of people enslaved. Mainstream consciousness seeks “absolution” from history without deeply investigating Meredith Nass

the lived impacts (1). In Detroit, for sume the normality of the margin- example, the “past atrocities” Day alization and enslavement of other refers to may be the annihilation of groups, such as black Americans 18 indigenous people in what is now the today (72). Newer systems, such as United States and the enslavement of the tendency to deny the existence Africans. However, comfort for those of peoples, keep the conquered and in power is not the only function of their spaces hidden from the con- this “willful amnesia” (1). For those sciousness of those benefiting from in power, overlooking history is a oppression… way to stay in power; to continually The state and nation aban- gain wealth from the labor of black doned many people and parts of Americans. The revival rhetoric vali- Detroit, those who survived this dates and secures non-people of col- anomaly are largely still hidden from or’s “natural” ownership of potential hegemonic sight. During the first capital of indigenous lands and col- waves of white flight in the 1950s, the ored bodies (Smith 74)…According- large scale movement of non-people ly, the rhetoric surrounding the wa- of color to the suburbs (and away ter shutoffs in Detroit is not new, it from their black neighbors) resulted is the same rhetoric used around the in unequal distribution of resources colonization of the America’s. Mak- and opportunity for low income peo- ing a land “better” by ignoring the ple and people of color. Although, people that live there and according- the abandonment rhetoric utilized by ly conquering it, is a device of settler mainstream media is problematic. It colonialism. conflates those who have survived In their book, Black Geogra- this abandonment—those still living phies and the Politics of Place, Kath- in the city—to the status of empty erine McKittrick and Clyde Woods lots. In her book, DIY Detroit, Kim- situate the disappearance of peoples berly Kinder contextualizes the way due to colonialism as a continuing the geography of poverty is made in- and violent marginalization and en- visible to those with hegemonic iden- gulfment of people, land, and cul- tities. The racial divide in Detroit al- ture (Woods 4). The colonial regime lows for extreme income, health, and of central power in the United States housing disparities…Internal class recurrently incites this violence. The divisions further marginalize those geographies of black and indige- who are already racially ostracized. nous people in the U.S. are continu- …Housing discrimination ally overlooked, unspoken about, or forces people into the margins of “relegated to the past” (Smith 72)… society, disappearing them from na- Before non-people of color commit- tional attention, so that the land and ted genocide and conquered what people themselves can be taken again is now Detroit, hundreds of indige- by non-people of color. nous tribes lived in the Great Lakes However, marginality does area including, but not limited to: not mean disappearance or extinc- the Anishinaabe, Wyandot, Iroquois, tion…The social and geographical Fox, , and Sauk (Herberg 1)… margins of Detroit are also spaces By naturalizing indigenous people’s of resistance (McKittrick 56). From enslavement and violent assimilation the landscape of the city, to commu- (or extinction as some think), we as- nity organizations, resistance is ev- University of Colorado Honors Journal

erywhere. Although one in five lots tradition became a form of massive in Detroit is abandoned, there are resistance…Blues epistemology also more than two-thousand small farms demands attention to “institution- and community gardens scattered alized spacial impoverishment,” 19 throughout the city. Resistance is in recognizing “plantation and state entire abandoned blocks dedicated to models” extending beyond slavery displays of sculptures and art such as in agriculture and sharecropping. the Heidelberg Project depicted be- The “roll back” policies of the eight- low. ies which Peck and Tickell explain as the “shift in the pat- tern of deregulation and dismantlement,” can be seen as part of this institutionalized spacial impoverish- ment, or as a func- tion of neo-slavery. According to blues epistemologies, the Figure 1. Heidelberg Project art sculptures (Hardin). shut offs may be un- derstood as a part of neoliberal pol- […] icies and practices that historically disenfranchised the established black Resistance is in the continued middle class of Detroit. The shutoffs survival of more than forty-five per- are in Detroit exemplar of Woods’s cent of the black population living understanding of a plantation soci- under the poverty line. Resistance ety that extends far beyond agricul- is in the rigging of houses by water ture-based slavery (Woods 58). hoses to provide clean water to entire In Detroit, the roll back pol- communities. Resistance is the sur- icies in the height of implementing vival of entire groups of people liv- neoliberalist policies targeted the ing in a country where they are not bodies of black women (Peck and meant to survive. Indeed, the mar- Tickell 386). Eli Day, as a resident ginal spaces in Detroit are the spaces of Detroit, knows well the intention of unheard stories and possibilities. . and impact of sexist, racist policies. Blues Epistemology, accord- He recites that “there is nothing mys- ing to Clyde Woods and Katherine terious at play, the ghetto is a delib- McKittrick, is a “native” means of erate creation of public policy” (Day resistance composing of geographi- 1). The attack on black women and cal, socio-economic, and political cri- non-normative identities is part of tiques similar to those in blues music the “neoliberal constitution of com- and hip hop. The blues tradition is petitive relations” which serves to the antithesis of the plantation tradi- separate most people from the hege- tion and all of its manifestations. If monic elite, in order to always have a neoliberalism serves to divide, then continual flow of disposable labour- blues tradition serves to connect. ers (Peck and Tickell 386). Paralleling the neoliberal creation of The Moynihan Report, creat- a neo-plantation society, the blues ed by the Secretary of Labor under Maxwell Passas

rather reproduction—of white su- This gross sentencing dis- premacist systems throughout Amer- crepancy allows for prisons to be ican history. They argue, “If privilege filled with more black and brown 24 and racism are the symptoms, white individuals…Horrifyingly, how- supremacy is the defining logic of ever, Alexander cites a study pub- both racism and privilege as they are lished in 2000 from the National In- culturally and materially produced” stitute on Drug Abuse, that reported (Bonds and Inwood 2015: 720). To- “white students use cocaine at seven day, these themes of white suprem- times the rate of black students, use acy are manifested in the legal sys- crack cocaine at eight times the rate tem’s use and abuse of incarceration. of black students, and use heroin Almost immediately follow- at seven times the rate of black stu- ing the officialend of slavery in Amer- dents” (Alexander 2012: 99). So not ica in 1865, criminal law was a way only are African Americans policed to continue slavery’s mechanisms and penalized at a higher rate than of control. Black codes were laws whites, but whites…use both crack specifically designed to criminalize and powder cocaine at higher rates… and penalize caricatured blackness The forms and spaces of punishment (Demby 2016)… During Reconstruc- during slavery were translated into tion, previously permissible activities forms and spaces of penal punish- were suddenly racialized and crimi- ment that are still used today…Con- nalized (McLeod 2015: 1188)… More trary to progressive hopes, slavery— recently, certain drug use has been in name and practice—is still present heavily criminalized under tough on today. Involuntary servitude is still crime agendas. The starkest exam- legal in the case of those “duly con- ple is the differentiated criminaliza- victed” (McLeod 2015: 1189). This— tion of powder versus crack cocaine. in the form of convict leasing or cap- President Ronald Reagan declared a tive prison labor—is an exemption to war on drugs with the main focus on the Thirteenth Amendment’s end to crack cocaine usage (Alexander 2012: slavery (McLeod 2015: 1189)…Thus, 51). Perhaps shockingly, this declara- when slavery ended, its mechanisms tion of war came a few years before and spaces of control were easily pre- crack cocaine even hit the streets and served and expanded through incar- in the midst of a political climate ceration. The expansion was enabled where less than less than 2 percent through what Shabazz characterizes of the American public viewed drugs as a geography of confinement, po- as the most pressing concern in the licing, and surveillance which was United States (Alexander 2012: 49). “mapped onto” black communities Crack cocaine is stigmatized as a low- (Shabazz 2015: 3)… er-class drug used by African Ameri- Beyond technologies and ge- cans, whereas powder cocaine is seen ographies of carceral control, many as a party drug used by more affluent of the opportunities that African whites. As a result, the same sentence Americans were denied of under the lengths are extended for conviction systems of slavery and Jim Crow are for the sale of five hundred grams of still restricted as a result of criminal- powder cocaine and a conviction for ization… . President Bill Clinton only the sale of five grams of crack cocaine perpetuated this unduly punitive (Alexander 2012: 112). trend with his 1994 Crime Bill, which Quyncc Johnson Despite the limitations of Works Cited this work, this thesis makes a valu- able contribution in understanding Abuse, National Institute on 34 the interconnectedness of media and Drug. “Nationwide Trends.” public policy as it pertains to 21st cen- NIDA, www.drugabuse.gov/ tury film and Television. This study publications/drugfacts/nation- contributes the area of media-based wide-trends. prejudice reduction literature and Robinson, Matthew B., and Renee gives insight to new experimental G. Scherlen. Lies, Damned Lies, evidence linking counter-stereotypi- and Drug War Statistics: a Critical cal and racialized portrayals of drug Analysis of Claims Made by the users with drug attitudes in peo- Office of National Drug Control ple. This research shows that some Policy. State University of New amount of brief exposure or personal York Press, 2014. history with drug users is critical in cultivating more lenient sentiments in the broader public towards acts of drug use. Increased positive portray- als to drug use may produce more le- nient criminal laws against drug use and also increase funding to federal drug rehabilitative efforts. University of Colorado Honors Journal