Paths of the mirror

I
And above all else, to look with innocence. As if nothing was happening, which is true.

II
But you, I want to look at you until your face escapes from my fear like a bird from the sharp
edge of the night.

III
Like a girl made of pink chalk on a very old wall that is suddenly washed away by the rain.

IV
Like when a flower blooms and reveals the heart that isn’t there.

V
Every gesture of my body and my voice to make myself into the offering,
the bouquet that is abandoned by
the wind on the porch.

VI
Cover the memory of your face with the mask of who you will be and scare the girl you once were.

VII
The night of us both scattered with the fog. It’s the season of cold foods.

VIII
And the thirst, my memory is of the thirst, me underneath, at the bottom, in the hole,
I drank, I remember.

IX
To fall like a wounded animal in a place that was meant to be for revelations.

X
As if it meant nothing. No thing. Mouth zipped. Eyelids sewn. I forgot.
Inside, the wind. Everything closed and the wind inside.

XI
Under the black sun of the silence the words burned slowly.

XII
But the silence is true. That’s why I write. I’m alone and I write. No, I’m not alone.
There’s somebody here shivering.

XIII
Even if I say sun and moon and star I’m talking about things that happen to me. And what did I wish for? I wished for a perfect silence.
That’s why I speak.

XIV
The night is shaped like a wolf’s scream.

XV
Delight of losing one-self in the presaged image. I rose from my corpse, I went looking for who I am.
Migrant of myself, I’ve gone towards the one who sleeps in a country of wind.

XVI
My endless falling into my endless falling where nobody waited for me –because when I saw who was waiting for me I saw no one but myself.

XVII
Something was falling in the silence. My last word was “I” but I was talking about the luminiscent dawn.

XVIII
Yellow flowers constellate a circle of blue earth. The water trembles full of wind.

XIX
The blinding of day, yellow birds in the morning. A hand untangles the darkness, a hand drags
the hair of a drowned woman that never stops going through the mirror. To return to the memory of the body,
I have to return to my mourning bones, I have to understand what my voice is saying.

Alejandra Pizarnik (Argentina, 1936-1972)

Awaiting Darkness

That instant that cannot be forgotten
So empty sent back by the shadows
So empty rejected by the clocks
That poor instant adopted by my tenderness
Nakes nakes of blood of wings
Without eyes to remember anguish of old
Without lips to gather the juice of violences
lost in the singing of frozen belltowers.

Shelter it girl blind of soul
Give it your hair scorched by fair
Hug it little statue of terror.
Show it the world convulsing at your feet
At your feet where woodswallows die
Trembling in fear of the future
Tell it that the sighs of the sea
Dampen the only words
That make life worth living.

But that instant sweating of nothing
Curled up in the cave of destiny
Without hands to say anything
Without hands to offer butterflies
To dead children

Alejandra Pizarnik (Argentina, 1936-1972)

 

The Awakening

Lord
the cage has turned into a bird
and it’s flown away
and my heart is crazy
‘cause it howls at Death
and smiles from behind the wind
at my delusions

What will I do with the fear
What will I do with the fear

Light doesn’t dance in my smile anymore
and the seasons are burning doves in my ideas
My hands have stripped themselves
and they’ve gone where Death
teaches how to live to the dead

Lord
The air punishes my being
Behind the air there are monsters
that drink from my blood

It’s the disaster
It’s the hour of the void not void
It’s the instant to put a lock on the lips
to hear the damned yelling
to contemplate each and every one of my names
hanged in the emptiness

Lord
I’m twenty years old
my eyes, too, are twenty years old
and yet, they don’t say anything

Lord
I’ve consumed my life in an instant
The last innocence exploded
Now is never or nevermore
or it simply was

How do I not commit suicide in front of a mirror
and disappear to reappear in the sea
where a big boat would wait for me
with the lights on?

How do I not rip my own veins out
and make with them a ladder
to escape towards the other side of the night?

The beginning has birthed the end
Everything will remain the same
The worn out smiles
The selfish interest
The questions from stone to stone
The gesticulations that mimic love
Everything will remain the same

But my arms insist on embracing the world
because they haven’t been taught
that it’s already too late

Lord
Throw the caskets from my blood

I remember my childhood
when I was an old woman
The flowers died in my hands
because the savage dance of joy
destroyed their hearts

I remember the black sunny mornings
when I was a little girl
which means yesterday
which means centuries ago

Lord
the cage has turned into a bird
and it’s devoured my hopes

Lord
the cage has turned into a bird
What will I do with the fear

Alejandra Pizarnik (Argentina, 1936-1972)

Rastas rubias, ponchos chic y la apropiación cultural en Argentina

 Una parte integral de nuestra identidad como argentinos y como latinoamericanos blancos (o que parecemos blancos) es la construcción del mestizaje, o lo que se llama “democracia racial” o “crisol de razas”.

Aunque la identidad del latino en calidad de mestizo (pero mestizo pálido), de mezcla irreconocible, de hijo y nieto de inmigrantes; es una fábula que se ha dado en toda Latinoamérica; en pocos lugares es tan marcada como en Argentina. La raza es un tema tabú en todo el continente, pero ningún país escasea tanto en estudios formales y discusiones abiertas sobre el tema como el nuestro.

Podríamos (…) pensar que en Buenos Aires las categorizaciones raciales ya no son importantes y que los porteños, salvo casos extremos, somos cromáticamente ciegos. Desgraciadamente, la “ceguera cromática” de los porteños sólo alcanza a los blancos, a aquellos quienes años atrás hubieran sido considerados pardos o a otros mestizos claros.

Nos vemos a nosotros mismos y nos presentamos ante los demás como un “país blanco”, y este mito está sostenido en dos de los genocidios más grandes de la historia post-colonial del continente: La cuasi-aniquilación de los esclavos y descendientes de esclavos negros en las guerras de la independencia y la guerra del Paraguay; y la masacre de los pueblos originarios durante la Conquista del Desierto.

Las comunidades nativas y afrodescendientes sobrevivieron a estos procesos de “limpieza étnica”, pero sobrevivieron diezmadas, ocultas, invisibilizadas: en comunidades cerradas (teniendo como ejemplo más claro y doloroso al Impenetrable en el Chaco) en las fronteras (donde se habla de los Umbanda como si fueran todos brasileros, cuando la comunidad afroargentina lleva más generaciones en este suelo que los hijos de italianos) o forzados a dejar de lado su herencia cultural en pos de una integración a la urbanidad porteña blanca.

Argentina no sólo ignora su herencia negra y nativa: ignora a los españoles e italianos de ascendencia árabe,  ignora a los refugiados judíos, ignora que somos el país con la diáspora asiática más grande de Sudamérica. Argentina se olvida de que antes que hijos de los barcos, sesenta por ciento de la población argentina es hija de esta tierra, con sangre aborigen en las venas; e ignora también que “hijo de los barcos” no es sólo el europeo blanco, sino también hijo de los barcos negreros.

Cuando se habla de nuestra naturaleza “mestiza” nos referimos a una bisabuela mapuche que no tiene nombre ni registro, a una familia que es mezcla de polaca y española, a una “mezcla” que siempre tiene que dar como resultado a un argentino blanco y cristiano.

Esta construcción tiene dos objetivos primordiales:

Primero, una construcción de identidad hacia fuera, para mostrarle al Europeo blanco, que aspiraba a mostrar a la Argentina post-independencia como un país unido y “civilizado”, tierra fértil para que los poderes económicos Europeos invirtieran su capital en proyectos agrícolas e industriales y alentar la inmigración de europeos blancos y apoderados.

Segundo, la fabricación de una historia e identidad en común que ignora la marginación y masacre de los pueblos en pos de un mito de unidad y acuerdo; en que los pueblos originarios cedieron su tierra voluntariamente y los esclavos africanos fueron a morir en las guerras patrias de buena fé, en que el mestizaje es tal que ya no es necesario aferrarse a las historias de opresión y a las herencias culturales individuales sino que lo único razonable es integrarse a la “nación Argentina”.

Este análisis no debería sorprender a nadie: desde la imagen del gaucho dócil hasta los niños blancos con las caras pintadas con carbón*, representando a esclavos felices de servir al criollo; sin olvidar que Roca –el peor genocida de nuestra historia- circula todavía en el billete de cien pesos y hay escuelas con el nombre “Conquista del Desierto”; la discusión de raza en nuestra concepción de la historia argentina es mínima o nula.

Si nos quedáramos con lo que se nos enseña en la escuela y lo que vemos en la televisión, realmente no cabría duda (especialmente para los nacidos y criados en Buenos Aires) de que Argentina es un “país blanco”.

Pero, si esta construcción es una falacia, una mentira, ¿por qué nos aferramos a ella? La respuesta más sencilla es: porque nos conviene. Porque, “es la posibilidad de apropiarse de un montón de herencias sin tener que hacerse cargo de ninguna, porque, justamente, la idea es construir una nueva, una distinta”.

Cuando reivindicamos la identidad argentina en calidad de revolucionaria, anti-colonial y latinoamericanista; nos olvidamos de que la independencia de España fue primeramente una estrategia económica de los criollos blancos que no querían pagar impuestos a la Corona por explotar las tierras colonizadas. Nos olvidamos de que el Estado Argentino estuvo detrás del diezmo de las poblaciones nativas y africanas mucho después de la colonización. Ignoramos que la misma colonización es un proceso que no terminó todavía: que los pueblos originarios siguen luchando con uñas y dientes para defender la poca tierra que les queda, y ahora la culpa no es de España sino nuestra.

En calidad de argentinos blancos y/o que parecemos tales, criados con la idea de que no podemos ser racistas porque todos los argentinos son mestizos y de que no podemos ser opresores porque somos nosotros los oprimidos por Europa, nos cegamos ante nuestras propias culpas y terminamos siendo parte del mismo síndrome colonizador que los españoles y los gringos. (No nos olvidemos que la Ley de Ciudadanía contempla que será argentino “todo aquel que nazca en las colonias que tenga o vaya a tener el Estado Argentino”.)

Nos excusamos en la mentira de que nosotros somos los que peor la estamos pasando para avasallar a los que están todavía más abajo en la pirámide social, y en el mestizaje, la globalización y la multiculturalidad para armar un ‘patchwork’ de nuestra identidad que ni nos corresponde ni nos representa.

Los argentinos blancos/mestizos usamos rastas porque escuchamos reggae, nos tatuamos guardas mapuches porque los tatuajes “tribales” nos parecen hermosos, nos ponemos “turbantes” para copiar a la estrella internacional de moda, nos hacemos diseños de Henna en las manos, nos copiamos de maquillaje mexica del “Día de los Muertos” para una fiesta de disfraces.

Los argentinos blancos/mestizos decimos “negros de mierda” a modo de insulto, nos reímos porque alguien torpe es “re indio”, hacemos chistes sobre “terroristas musulmanes”, hablamos de lo “oprimidas” que son las mujeres en la India, hacemos fiestas “mexicanas” para reírnos de lo machistas y alcohólicos que supuestamente son nuestros hermanos del norte.

La excusa del mestizaje nos permite robar elementos de todas las culturas (“¡igual somos todos mezcla!”) sin ningún riesgo de descubrirnos a nosotros mismos como racistas (“tengo una tatarabuela mulata, eh”). Cuando no alcanza, tenemos otro argumento, infalible: “¡Vivimos en un mundo globalizado! ¡Las culturas existen para ser compartidas!

Pero la realidad es otra. La realidad es que a los esclavos africanos que llegaron a la Argentina con las rodillas peladas y los huesos a flor de piel y el pelo en rastas de tanta sangre y tierra y sudor; los blancos los obligaron a afeitarse la cabeza. La realidad es que a los Qom les niegan atención en los hospitales porque no les quieren tocar la piel “sucia”, porque son “salvajes” que igual no entienden la medicina moderna.

La realidad es que los tatuajes culturales, sagrados, heredados por milenios; cuando están hechos sobre piel oscura son vistos como marca de barbarie y salvajismo; mientras que nosotros con la piel tan blanca nos podemos tatuar una svástica en el brazo y conseguir trabajo igual.

La realidad es que la rasta, como marca del movimiento Rastafari en Centroamérica, es un símbolo de los esclavos africanos rebeldes que reclamaron su libertad y su identidad en oposición al hombre blanco, esclavista y opresor. No tiene nada que ver con escuchar reggae, y fumar marihuana no te acerca para nada a “Jah” si tenés la piel blanca.

La “cultura compartida” sólo se puede dar con justicia, respeto y buena voluntad cuando hay igualdad social, institucional y económica. Porque “globalización” y “multiculturalidad” son conceptos muy hermosos, pero en la práctica sólo significan que la gente de color se tenga que adaptar al molde occidental blanco para poder vivir pero los blancos podamos robarles todas las cosas que hacen a su identidad y usarlas de accesorio sin ningún tipo de consecuencia.

Mientras que la gente de color se vea obligada a abandonar su herencia cultural y adoptar ropas, creencias, costumbres y lenguajes impuestos por el cristiano blanco; mientras que tengan que elegir entre ceder su identidad o perder la vida en manos de una pandilla de neonazis, un político corrupto o un policía; mientras que la igualdad más allá del color, la fé o la cultura sigan siendo sólo una teoría, nosotros con la piel tan pálida… no podemos usar rastas.

* En países donde la discusión sobre el racismo y, específicamente, el racismo anti-negro ya se ha dado más abiertamente, hay una conciencia general de que la práctica de pintarse la cara de negro para imitar a los africanos (conocida como “Blackface”) es terriblemente racista, denigrante y deshumanizante. El hecho de que esta práctica sea considerada como algo natural y válido que se le enseña a niños en la escuela primaria es otra señal de que nuestro país necesita una concientización sobre temas de raza.

Bibliografía para expandir:

TV Shows To Watch Out For In 2k17

Here are some of the shows with main characters of color premiering in 2017, so y’all can prepare your schedules.

Do you know of any cool shows with main characters of color coming up on 2017? Hit me up on the comments, @ me on Twitter or send me a message on Tumblr so I can add it!


Emerald City (first season: 10 episodes)
Premiere date: January 6th.
Where to watch: Will be broadcast in the U.S. on NBC.
Genre: Fantasy
Highlights: Florence Kasumba as the Wicked Witch of the West and Adria Arjona as Dorothy, two classically white characters.

Image: the promotional poster for "Emerald City·, with the tagline "A new Oz rises".

Image: the promotional poster for “Emerald City·, with the tagline “A new Oz rises”.

When a tornado transports Dorothy Gale from Lucas, Kan., to the faraway land of Oz, her arrival sets in motion a prophecy about a disastrous event known as The Beast Forever and strikes fear into the land’s almighty ruler, the Wizard. On her quest to meet the Wizard in Emerald City, Dorothy encounters witches, an amnesiac soldier, a sheltered little boy and many more mysterious beings who will ultimately shape the future of Oz and Dorothy’s place in it.

Images: The three witches of Oz, standing together.

Images: The three witches of Oz, standing together.


One Day At A Time (first season: 14 episodes)
Premiere date: January 6th.
Where to watch: Will be streamed on Netflix.
Genre: Sit-Com
Highlights: Rita Moreno!

Image: Promotional still from "One Day At A Time", of some members of the family sitting together around a table, laughing.

Image: Promotional still from “One Day At A Time”, of some members of the family sitting together around a table, laughing.

The series, a multi-camera comedy, will follow three generations of the same Cuban-American family living in the same house: a newly divorced former military mother, her teenage daughter and tween son, and her old-school mother.

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Image: Promotional still from “One Day At A Time”, of some members of the family laughing together.


Riverdale (first season: 14 episodes)
Premiere date: January 26th.
Where to watch: Will be broadcast in the U.S. on the CW.
Genre: Teen / Drama
Highlights: Samoan actor KJ Apa as Archie and Latina actress Camila Mendes as Veronica, two classically white characters.

riverdale

Image: the promotional poster for Riverdale.

A subversive take on Archie and his friends, exploring small town life, the darkness and weirdness bubbling beneath Riverdale’s wholesome facade.

Image: a promotional still from "Riverdale", of Josie McCoy singing and playing guitar.

Image: a promotional still from “Riverdale”, of Josie McCoy singing and playing guitar.


Powerless (first season: 10 episodes)
Premiere date: February 2nd.
Where to watch: Will be broadcast in the U.S. on NBC.
Genre: Comedy / Superhero
Highlights: Vanessa Hudgens and Danny Pudi as the leads.

powerless-tv-series-coming-in-2017

Image: the promotional poster for “Powerless”.

In a world where humanity must cope with the collateral damage of superheroes and supervillains, Emily Locke begins her first day as Director of Research & Development for Wayne Security, a subsidiary of Wayne Enterprises that specializes in products that make defenseless bystanders feel a little safer. Full of confidence and big ideas, Emily quickly learns that her expectations far exceed those of her new boss and officemates, so it will be up to her to lead the team toward their full potential and the realization that you don’t need superpowers to be a hero.

Image: a promotional still from "Powerless", of Vanessa and Danny's characters clapping at a work meeting.

Image: a promotional still from “Powerless”, of Vanessa and Danny’s characters clapping at a work meeting.


24: Legacy (first season: 12 episodes)
Premiere date: February 5th.
Where to watch: Will be broadcast in the U.S. on FOX.
Genre: Spy / Action
Highlights: Black actor Corey Hawkins as the lead.

24-legacy-fox-tv-series-corey-hawkins

Image: a promotional still from “24: Legacy”.

A military hero who returns to the U.S. with a whole lot of trouble following him back. With nowhere else to turn, the man asks CTU to help him save his life while also stopping one of the largest-scale terror attacks on American soil.

Image: a promotional still from "24: Legacy".

Image: a promotional still from “24: Legacy”.


The Handmaid’s Tale (first season: 10 episodes)
Premiere date: April 26th
Where to watch: Will be streamed on Hulu.
Genre: Science-Fiction / Drama
Highlights: Samira Wiley!

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Image: the poster for “The Handmaid’s Tale”

Set in a dystopian future, a woman is forced to live as a concubine under a fundamentalist theocratic dictatorship. A TV adaptation of Margaret Atwood’s novel.

Image: pictures of Jordana Blake, Samira Wiley and Madeline Brewer.

Image: pictures of Jordana Blake, Samira Wiley and Madeline Brewer.


Star Trek: Discovery (first season: 13 episodes)
Premiere date: May, ?
Where to watch: Will be broadcast in the U.S. on CBS.
Genre: Science-Fiction
Highlights: Sonequa Martin-Green as the lead, Michelle Yeoh in a main role, Anthony Rapp playing a confirmed-as-gay character.

star-trek

Image: pictures of Anthony Rapp, Sonequa Martin-Green and Michelle Yeoh.

Set roughly a decade before the events of the original Star Trek series, the series follows the crew of the USS Discovery as they discover new worlds and civilizations, while exploring the franchise’s signature contemporary themes. The season-long storyline revolves around “an incident and an event in Star Trek history that’s been talked about but never been explored”

Image: promotional poster for "Star Trek: Discovery".

Image: promotional poster for “Star Trek: Discovery”.


American Gods (first season: 10 episodes)
Premiere date: ?
Where to watch: Will be broadcast in the U.S. on Starz.
Genre: Fantasy / Drama
Highlights: Ricky Whittle as Shadow.

Image: a promotional still from "American Gods", of Shadow fighting a guy.

Image: a promotional still from “American Gods”, of Shadow fighting a guy.

The series will focus on the mysterious Shadow Moon, a man serving three years in prison for assault. With only days remaining in his sentence, Shadow is given an unexpected early release after his beloved wife Laura is killed in a car accident. Flying home for the funeral, Shadow is seated next to a man calling himself Wednesday, who offers Shadow a job he seems all too confident that Shadow will accept.

Image: a promotional still from "American Gods", of Bilquis in a red-lit room.

Image: a promotional still from “American Gods”, of Bilquis in a red-lit room.


Guerrilla (mini-series: 6 episodes)
Premiere date: ?
Where to watch: Will be broadcast in the U.S. on Showtime and in the U.K. on Sky Atlantic.
Genre: Drama
Highlights: Co-produced and co-starred by Idris Elba.

john-ridley-idris-elba-guerrilla-showtime

Image: pictures of John Ridley and Idris Elba.

Guerrilla is a love story set against the backdrop of one of the most politically explosive times in U.K. history. It tells the story of a couple (Ceesay and Freida Pinto) whose relationship and values are tested when they liberate a political prisoner and form a radical underground cell. Their ultimate target becomes the Black Power Desk, a true-life, secretive counterintelligence unit within Special Branch dedicated to crushing all forms of black activism.

guerrilla

Image: photos of the cast of “Guerrilla”.


Still Star-Crossed (first season: ?)
Premiere date: ?
Where to watch: Will be broadcast in the U.S. on ABC.
Genre: Historical / Drama
Highlights: Black-led take on a classic romance, produced by Shondaland.

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Images: a promotional still from “Still Star-Crossed”, of Rosaline.

Still Star-Crossed is sequel for William Shakespeare’s Romeo and Juliet. It follows Rosaline, Juliet’s cousin in 16th century Verona, and who once rejected Romeo as a suitor. She and Benvolio of Montague are betrothed against their will by Prince Escalus, in order to end the feud between the two families. Both resolve to find a way to end the violence without having the union.

Image: promotional poster for "Still Star-Crossed", of the female lead and her two love interests.

Image: promotional poster for “Still Star-Crossed”, of the female lead and her two love interests.


The Defenders (first season: 8 episodes)
Premiere date: ?
Where to watch: Will be streamed on Netflix.
Genre: Superhero
Highlights: Jessica Henwick, Rosario Dawson and Elodie Yung are confirmed to make a come-back.

the-defenders-logo

Image: promotional poster for Netflix’s “The Defenders”.

The heroes of Hell’s Kitchen (and Harlem, in Cage’s case) will unite sometime in 2017 and, it would appear, so will Scott Glenn as Matt’s curmudgeonly “mentor” Stick – heard speaking in the Defenders teaser, saying “You think the four of you can save New York? You can’t even save yourselves,” to the eponymous team.

Image: photos of the four leads of The Defenders (Charlie Cox, Krysten  Ritter, Mike Colter and Finn Jones) each with their comic-counterpart under them.

Image: photos of the four leads of The Defenders (Charlie Cox, Krysten Ritter, Mike Colter and Finn Jones) each with their comic-counterpart under them.


Shots Fired (first season: 10 episodes)
Premiere date: ?
Where to watch: Will be broadcast in the U.S. on FOX.
Genre: Police / Drama
Highlights: Black actress DeWanda Wise as the lead.

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Image: promotional still from “Shots Fired”.

The event series examines the dangerous aftermath of racially charged shootings in a small town in Tennessee. the event series examines the dangerous aftermath of racially charged shootings in a small town in Tennessee.

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Image: promotional still from “Shots Fired”.


 

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Star Wars: Space is for white women

screenshot_5

Image: the “Star Wars” banner over a starry background, with the white lettering replaced by the words “space is for white women”.

Two weeks ago I had the audicity of making a post on Tumblr saying that maybe, after five nearly identical white female leads across the span of four decades, we don’t need any more white women in the Star Wars franchise.

Image: a screencap from tumblr, of a post that reads

Image: a screencap from tumblr, of a post that reads “What the Star Wars franchise needs: Women of Color, Gay/Bi women, Disabled women, Trans women, Fat women. What the Star Wars franchise doesn’t need: Any more thin, abled, cishet white women”

Though, of course, most people actually agreed, because –as intelligent consumers of media– most of us have come to realize that the white female lead is no longer revolutionary (read: here, here, here, here), most doesn’t mean all.

…we only ever got 3, fam, in the entire eight movies

There are four in the entire franchise. Yes, it does need more.

I’m sure there were more obnoxious comments like these, but I blocked most of the commentators due to pure annoyance. Yet, because I’m a petty bitch, I decided to make this list. These are… all the women in the Star Wars movies!

Image: Emilia Clarke, Felicity Jones, Daisy Ridley, Carrie Fisher and Natalie Portman.

Image: Emilia Clarke, Felicity Jones, Daisy Ridley, Carrie Fisher and Natalie Portman.

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White women

Episode I

  • Natalie Portman – Queen Padmé Amidala
  • Pernilla August – Shmi Skywalker
  • Celia Imrie – Fighter Pilot Bravo 5
  • Liz Wilson – Eirtaé
  • Candice Orwell – Yané
  • Sofia Coppola – Saché
  • Keira Knightley – Sabé
  • Margaret Towner – Jira
  • Katie Lucas – Amee
  • Megan Udall – Melee
  • Michelle Taylor – Yarael Poof (costume)
  • Michaela Cottrell* – Even Piell (costume)
  • Lindsay Duncan – TC-14 (voice)
  • Amanda Lucas – Tey How (voice)
  • Sacha Alexander – Graf Zapalo
  • Trisha Biggar – Orn Free Taa’s Aide
  • Michonne Bourriague – Aurra Sing
  • Zsuzsanna Cseh – Pod Race Spectator
  • Catherine Ernster – Naboo Civilian
  • Sally Hawkins – Villager
  • Sandi Finlay – Sly Moore

Episode II

  • Natalie Portman – Queen Padmé Amidala
  • Pernilla August – Shmi Skywalker
  • Leeanna Walsman – Zam Wesell
  • Rose Byrne – Dormé
  • Bonnie Piesse – Beru
  • Alethea McGrath – Madame Jocasta Nu
  • Susie Porter – Hermione Bagwa / WA-7
  • Michaela Cottrell – Even Piell (costume) – archive footage
  • Amy Allen – Aayla Secura
  • Kristen Bronson – Waitress
  • Natalie Danks-Smith – Hand Maiden
  • Eliana Dona – Kell Borean
  • Nicole Fantl – Senator Lexi Dio
  • Emma Howard – Sar Labooda
  • Fiona Johnson – Hayde Gofai
  • Sara Elizabeth Joyce – Dex’s Diner Bounty Hunter
  • Gillian Libbert – Lillea Bringbit
  • Amanda Lucas – Adnama
  • Katie Lucas – Lunae Minx
  • Sandi Finlay – Sly Moore

Episode III

  • Natalie Portman – Queen Padmé Amidala
  • Amanda Lucas – Terr Taneel
  • Bonnie Piesse – Beru Lars
  • Amy Allen – Aayla Secura
  • Trisha Noble – Jobal Naberrie
  • Claudia Karvan – Sola Naberrie
  • Keira Wingate – Ryoo Naberrie
  • Hayley Mooy – Pooja Naberrie
  • Sandi Finlay – Sly Moore
  • Katie Lucas – Chi Eekway
  • Genevieve O’Reilly – Mon Mothma
  • Kristy Wright – Moteé
  • Olivia McCallum – Bene
  • Dominique Chionchio – Jedi Knight
  • Eliana Dona – Hand Maiden
  • Nina Fallon – Stass Allie
  • Janet Lewin – Opera House Patron
  • Denise Ream – Opera House Patron
  • Lisa Shaunessy – Senator
  • Suzie Steen – Hand Maiden 3
  • Jacqui Louez Schoorl – Senator

Episode IV

  • Carrie Fisher – Princess Leia Organa
  • Shelagh Fraser – Aunt Beru
  • Gilda Cohen – Cantina Patron
  • Maria De Aragon – Greedo (costume)
  • Sadie Eden – Garindan (costume)
  • Christine Hewett – Brea Tonnika
  • Annette Jones – Mosep (costume)
  • Linda Jones – Chall Bekan (costume)
  • Melissa Kurtz – Jawa (costume)
  • Tiffany L. Kurtz – Jawa (costume)
  • Mandy Morton – Swilla Corey
  • Angela Staines – Senni Tonnika
  • Diana Sadley Way – Thuku (costume)

Episode V

  • Carrie Fisher – Princess Leia Organa
  • Marjorie Eaton – Emperor
  • Stephanie English – Hoth Rebel Technician
  • Susie Hudson – Bespin Woman
  • Tiffany L. Kurtz – Extra
  • Cathy Munroe – Zuckuss (costume)
  • Marolyn Turk – Hoth Rebel

Episode VI

  • Carrie Fisher – Princess Leia Organa
  • Annie Arbogast – Sy Snootles
  • Claire Davenport – Dancer
  • Jane Busby – Chief Chirpa (costume)
  • Celia Fushille-Burke – Jedi Rocks Dancer (face-paint) – special edition
  • Jennifer Jaffe – Jedi Rocks Dancer (face-paint) – special edition
  • Tina Simmons – Rebel Technician
  • Amanda Noar – Jess
  • Linda Bowley, Debbie Lee Carrington, Maureen Charlton, Sarah Bennett, Pamela Betts, Patty Bell, Eileen Baker, Margo Apostolos, Debbie Dixon, Lydia Green, Pam Grizz, Karen Lay, Nancy Maclean, Carole Morris, Stacie Nichols, Barbara O’Laughlin, April Perkins, Carol Read, Diana Reynolds and Linda Spriggs – Ewoks (costume)

Episode VII

  • Carrie Fisher – General Leia Organa
  • Daisy Ridley – Rey
  • Gwendoline Christie – Captain Phasma
  • Cailey Fleming – Young Rey
  • Anna Brewster – Bazine Netal
  • Harriet Walter – Dr. Kalonia
  • Francesca Longrigg – Bar Patron
  • Billie Lourd – Lieutenant Connix
  • Leanne Best – Min Sakul
  • Claudia Sermbezis – Lema Eelyak
  • Kate Fleetwood – First Order Officer
  • Samantha Alleyne – First Order Stormtrooper
  • Verona Blue – Resistance PA Announcer (voice)
  • Nathalie Cuzner – PZ-4CO (costume)
  • Clare Glass – Friend of Big Toad
  • Marina Hayter – Bar Worker
  • Stephanie Silva – ME-8D9 (costume)
  • Sandy Kate Slade – Lady Astronaut
  • Catherine Taber – Hangar Officer
  • Kelsey White – Resistance Fighter

Rogue One

  • Felicity Jones – Jyn Erso
  • Genevieve O’Reilly – Mon Mothma
  • Ingvild Deila – Princess Leia
  • Valene Kane – Lyra Erso
  • Beau Gadsdon – Young Jyn
  • Dolly Gadsdon – Younger Jyn
  • Geraldine James – Blue Three

Han Solo

  • Emilia Clarke – Unnamed female lead

Women of color

Episode I

  • Gin Clarke – Adi Gallia (Black)
  • Dipika O’Neill Joti – Depa Billaba (Indian)

Episode II

  • Ayesha Dharker (Indian) – Queen Jamillia
  • Rena Owen (Maori) – Taun We (voice)
  • Gin Clarke (Black) – Adi Gallia – archive footage
  • Dipika O’Neill Joti (Indian) – Depa Billaba – archive footage
  • Nalini Krishan (Pasifika) – Barriss Offee (face-paint)
  • Mary Oyaya (Black) – Jedi Knight Luminara Unduli (face-paint)

Episode III

  • Keisha Castle-Hughes (Maori) – Queen of Naboo
  • Rebecca Jackson Mendoza (Filipina) – Queen of Alderaan
  • Rena Owen (Maori)- Nee Alavar
  • Caroline de Souza Correa (Brazilian) – Bail Organa’s Aide #1
  • Chantal Freer (?) – Elle – scene deleted
  • Bai Ling  (Chinese) – Senator Bana Breemu

Episode VI

  • Femi Taylor (Black) – Oola (face-paint)
  • Mercedes Ngoh (Black) – Jedi Rocks Dancer (face-paint) – special edition

Episode VII

  • Lupita Nyong’o (Black) – Maz Kanata (CGI)
  • Maisie Richardson-Sellers (Black) – Korr Sella
  • Crystal Clarke (Black) – Ensign Goode
  • Philicia Saunders (Black) – Tabala Zo
  • Jessica Henwick (Singaporean-Chinese) – Jess Testor/Pava
  • Hannah John-Kamen (Black) – First Order Officer
  • Arti Shah (Black) – Maz Motion Capture Double (costume)
  • Christina Chong (Chinese) – Unnamed – scene deleted
  • Karen Huie (Japanese) – Niima Scavenger (voice)

Rogue One

  • Shina Shihoko Nagai (Japanese) – Mother of a Lost Child
  • Boriana Williams (Undetermined) – Villager
  • Sharon Duncan-Brewster (Black) – Senator Tynnra Pamlo

Undetermined

Episode I

  • Karol Cristina da Silva – Rabé
    (Brazilian, either white, or white passing)

Episode II

  • Veronica Segura – Cordé
    (Mexican, either white, or white passing)

Episode VI

  • Margarita Fernández – Ewok (costume)
    (no information or pictures, her name suggests she could be Latina/Filipina)

Episode VII

  • Gloria Garcia – Jakku Defender
    (no information about her, name suggests she could be Latina/Filipina but, if she is, she’s really white-passing)

Rogue One

Dolly Jagdeo – Rebel Engineer
(no information or pictures, her last-name suggests she could be non-white)


Notes:

The bold are the leading or main characters or, in the case of Shmi and Mon Mothma, the other female characters with most screen-time.

Non-Human characters will be divided as costume, CGI, face-paint or voice. Characters listed as “archive footage” are those whose actors didn’t actually act in the movie, the ones listed as “special edition” didn’t appear in theaters, and the ones listed under “deleted scene” didn’t make it to the final cut.

The “Undetermined” section is for actresses whose ethnicity I couldn’t find or guess, but that I don’t feel comfortable listing as white due to lack of information.

The source for this post is IMBD.


*Michaela Cottrell is an actress with Dwarfism and, as far as I could find, the only actress in the franchise who isn’t able-bodied.

3%: Brazilian dystopia in the dictatorship legacy

Official Netflix poster for 3 Porcento.

Official Netflix poster for 3 Porcento.

“3 Porcento” is the name of the first Brazilian original Netflix production that premiered this week. The full season can already be streamed on Netflix, in eight episodes of forty minutes each that I rushed through in one night, and some more moderate viewers marathoned in the span of three or four days. The second season has already been confirmed.

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Quick Overview

Genre: Dystopian Sci-fi.
Acting: 9/10, one point down because the leading actress is bland as stale bread.
Visuals: 9/10, beautifully constructed, great use of a thing budget.
Writing and plot construction: 7/10, overall excellent dialogues, some flaky plot points.
Originality: 6/10, it’s everything the Hunger Games wishes it could be but overall it’s nothing new within the genre.

Female characters: Numerous and varied though all cis and able-bodied, three out of six main characters are women, secondary characters include older women and bigger women. Generally well constructed and steering away from common clichés. There aren’t many relationships between women though, and definitely not any close friendships.
Racial diversity: Overall good. Main characters are evenly split among white and black characters, secondary and background characters include people of indigenous and Asian descent.
LGBT representation: None in the first season. There are no homophobic/transphobic moments, but no characters have been shown to be LGBT so far.
Disability representation: The leading disabled character, Fernando, is played by an able-bodied actor. Despite this, his characterization and arc are, in my opinion, an excellent deconstruction of some common tropes around disabled characters.

Warnings: Graphic violence. Graphic torture. Not very graphic child death. Not very graphic but explicit suicide. Fernando receives numerous ableist agressions across the show. A woman is violently assaulted by a group of various men in a setting that could be triggering for rape survivors.


Now, let’s jump into the review…

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What is “latinx”?

A map of Latin America accompanied by the words “latina, latino, latinx”.

A map of Latin America accompanied by the words “latina, latino, latinx”.

Hey guys! Since it seems like we are always having to explain this, I’m gonna try to clean up [this thread] and [this post] into a more cohesive and well organized thing that y’all can more easily read, both for those confused about it and for the tired latinxs who just don’t want to explain this shit anymore.

What is latinx?

Latinx is an ethnicity (not a race) that encompasses all people whose familiar history is tied to the pre-colonial and post-colonial and/or diasporic experience of Latin America.

All people born in Latin America and people descended from people born in Latin America have a right to the label “latinx”. Latin America traditionally encompasses South America, certain countries in the Caribbean/Central America and Mexico.

It is generally accepted that it includes Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Guatemala, Haití, Honduras, México, Nicaragua, Panamá, Paraguay, Perú, Puerto Rico, República Dominicana, Uruguay and Venezuela; but the inclusion of certain French-colonized lands (Guadalupe, Guayana Francesa, Martinica, San Bartolomé and San Martín) is still a subject of debate.


Why an ethnicity and not a race?

What is the difference between ethnicity and race, and why is “latinx” the first and not the latter? Well, why we all know that race (though a social construct) is tied to blood heritage, an ethnicity is “belonging to a social group that has a common nationality or cultural tradition”.

In the case of the “latinx” ethnicity, the common nationality is “any country in Latin America”, and the cultural tradition is a shared connection to the colonial history of Latin America, meaning, that our historical, political and ethnic identity is shaped by the fact that our countries were colonized by Spain, Portugal or France (“latin” European countries).


What race are latinxs, then?

Latin Americans and latinxs can be of literally any race, because this ethnicity is mainly a geographical identity. This means that “latinx” gives absolutely no information about a person’s race.

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I’m quitting Femslash Fandom

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When Clarke kissed Lexa in The 100, thousands of people rushed to binge-watch the show in order to catch up with the last couple episodes of the second season.
Though the show had never gotten the deserved recognition for its Filipino male lead nor any kind of criticism for the blatant racism in it, suddenly a horde of white fans was rushing to hype it’s “amazing” sapphic representation before The Debacle or to criticize its biphobia/lesbophobia after it all went to shit.

When the first rumors of Alex coming out in season 2 of Supergirl started circulating, again, a myriad of fans rushed to marathon season one so they could catch up in time for the return of the show, and were quick to start stanning Alex, Kara and Maggie, though most paid no attention to James Olsen.
Funnily enough, when Kara got with Mon-El, the criticism from these fans wasn’t that James/Kara had better build-up and that writing decision was blatantly anti-black; but that Kara had better chemistry with Lena, a white woman who should have been played by a disabled actress and instead had her disability completely erased.
These fans don’t criticize the ableism in that choice, the racism in sidelining James or the issues with Maggie Sawyer being promoted as latina when she isn’t, yet praise Supergirl’s representation for (white, cis, thin, able bodied and neurotypical) sapphic women non-stop. The only criticism seems to be that Kara/Mon-El is happening instead of yet another white F/F ship.

Yet, though these and many other examples (Orphan Black, Jessica Jones, Agent Carter and OITNB are ones that comes to mind) show that Femslash Fandom™ is always willing to collectively flock to a new show as long as there are (white) sapphics in it, it doesn’t look like they (we?) apply the same to all media.

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The inherent homophobia of the Harry Potter series

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I feel like every time I talk about Harry Potter I have to start the conversation with, “I love Harry Potter, but…” in the way that one talks about a relative who used to get us good birthday gifts but now we realize are a bigoted piece of shit. It’s a too accurate comparison, since I’ve always felt that this series played as big of a part in my childhood as my family did. And, just like with many of my relatives, my relationship with the Harry Potter series is strained by the fact that I’m a woman who likes women, and JKR, like these subtly and not so subtly homophobic family members, doesn’t seem to like queer people very much.

To be fair, Joanne K Rowling doesn’t seem to like abuse victims, fat people, people of color or the mentally ill very much either, but I digress.

I have a Harry Potter tattoo. I own a bunch of Harry Potter merchandising, and the books, and a couple movies, and some of the video games too. And yet, my relationship with this series that has been so integral to my life since I was six years old is now tainted by bitterness. The recent premiere of the Fantastic Beasts and Where To Find Them has only increased this resentment.

I think this is a good time to review the homophobia that’s plagued the worldbuilding of the Harry Potter universe from, at the very least, 1999, the year Harry Potter and the Prisoner of Azkaban was released.

Remus Lupin, Fenrir Greyback and predatory gays

A screencap of Remus Lupin as portrayed in the Harry Potter movies.

A screencap of Remus Lupin as portrayed in the Harry Potter movies.

Though this has always been public knowledge, both because of the blatant intent easily caught by critics when the third book of the Harry Potter series and from what JKR has repeatedly said in interviews for over a decade. Yet, with seventeen years worth of chances to realize just how homophobic the metaphor is, JKR still insists that lycanthropy is a metaphor for AIDS. In a recently published e-book (“Short Stories From Hogwarts of Heroism, Hardship, and Dangerous Hobbies”) she writes:

“Lupin’s condition of lycanthropy was a metaphor for those illnesses that carry a stigma, like HIV and AIDS,” Rowling writes. “All kinds of superstitions seem to surround blood-borne conditions, probably due to taboos surrounding blood itself. The wizarding community is as prone to hysteria and prejudice as the Muggle one, and the character of Lupin gave me a chance to examine those attitudes.”

The reader might now ask (as many of those who insist on defending JKR’s character have), “how is this homophobic?” Well, it all begins with a long withstanding urban myth that appeared in the late ‘80s: the “pin prick attacks” and similar stories.

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