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Homegrown: Engaged Cultural Criticism QUOTES

Homegrown: Engaged Cultural Criticism QUOTES

1 " What you have now then is the marketing of racialized identities as tools for consumption. And certain racialized bodies and images are associated with hipness, coolness, edginess. So all kinds of youth all over the world are appropriating that style as a way of, sort of, countering authority, stating their rebelliousness, and wanting to be seen as significant. "

― Amalia Mesa-Bains , Homegrown: Engaged Cultural Criticism

2 " Part of the racialized sexism wants everyone to think that a 15-year old Mexican is not a girl, she’s a woman. We know she’s a girl. We can never emphasize this enough, because this is the fate of colored girls globally right now: the denial of their girlhood, the denial of their childhood, and the constant state of risk and danger they are living in. "

― , Homegrown: Engaged Cultural Criticism

3 " We have to constantly critique imperialist white supremacist patriarchal culture because it is normalized by mass media and rendered unproblematic. "

― , Homegrown: Engaged Cultural Criticism

4 " Privilege is not in and of itself bad; what matters is what we do with privilege. I want to live in a world where all women have access to education, and all women can earn PhD’s, if they so desire. Privilege does not have to be negative, but we have to share our resources and take direction about how to use our privilege in ways that empower those who lack it. "

― , Homegrown: Engaged Cultural Criticism

5 " But artists aren’t the only marginalized folks controlling real estate. Think about the colonizing role that wealthy white gay men have played in communities of color; they’re often the first group to gentrify poor and working-class neighborhoods. Harlem is a good example. Gays have moved in and driven up rents, as have renegade young white students, who want to be cool and hip. This is colonization, post-colonial-style. After all, the people who are “sent back” to recover the territory are always those who don’t mind associating with the colored people! And it’s a double bind, because some of these people could be allies. Some gay white men are proactive about racism, even while being entrepreneurial. But in the end, they take spaces, redo them, sell them for a certain amount of money, while the people who have been there are displaced. And in some cases, the people of color who are there are perceived as enemies by white newcomers. "

― , Homegrown: Engaged Cultural Criticism

6 " It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio. "

― , Homegrown: Engaged Cultural Criticism

7 " When you were talking about the caste system, I was thinking about how Mexicans still have to come to terms with this in our own culture. We spoke earlier about the castas paintings that were made during the eighteenth and nineteenth centuries in Mexico. The Spanish, establishing a form of racial apartheid, delineate the fifty-three categories of racial mixtures between Africans, Indians, and the Spanish. And they have names, like tiente en el aire, which means stain in the air; and salta otras, which means jump back; or mulatto, a word that comes from mula, the unnatural mating between the horse and the donkey. “Sambo” is now a racial epithet in the US, but it was first used as one of the fifty-three racial categories in the castas paintings. "

― Amalia Mesa-Bains , Homegrown: Engaged Cultural Criticism