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Ah, Lurid, my old nemesis...
Okay, I'm going to have one more go at this, and then I'm going to stop, because I think it's derailing a really important and potentially lovely thread (possibly we should start a meta-thread):
Me: [What I am] trying to talk about is the way that certain characteristics are 'raced', in much the same way that certain characteristics are 'gendered' or 'classed'.
Lurid: Again the culture clash. Were you to do so, Deva, I would probably consider the statement to be sexist or classist. Black people can dance, Jews are good with money, women are intuitive, the working classes are loyal etc etc.
I think you're conflating two very different things ('racial' and 'raced', probably: cultural studies jargon does sometimes have a specific meaning, and I do use the words gendered and raced [rather than 'sexual' or 'racial'] for a reason, not just because they look trendier). It seems to be fairly common-sensical to me that - for example - a man wearing a skirt and lipstick means something different from a woman wearing a skirt and lipstick; a white person dreadlocking their hair means something different, in terms of that person's relationship to various cultures, histories, religions, etc, from a black person dreadlocking their hair. I think talking about how things are gendered or raced is, in fact, absolutely opposed to saying 'Women are intuitive', 'Black people are incapable of analytical thought'. Your statement reads to me as though you are saying that it is impossible to talk about race, racial identity or the politics of 'race' without repeating the rhetoric of the BNP, which I would find a rather alarming position.
Anyway, that's my last attempt to clarify my position on this. Let me answer some of BiP's original questions (incidentally, I'm listening to that song as we speak, BiP):
What is whiteness, how is it constructed, what white identities are there, how do you relate to/inhabit them? Are there positive/aspirational white models? Do you have white pride? is it possible? Desireable?
Mostly, I was thinking about all these questions and thinking 'Dunno, dunno, no, no, no' ('white pride' is a vile, vile idea, says my whiteness). But I'll tell you what is the beginning of a 'yes' to me, and that, as I said early on, is music. There are a few singers whose voices - the grain of the voice, Barthes calls it - create emotional spaces that I inhabit, that take me apart and put me back together again, completely known and better. Or they are like the 'muscular music' in Barthes' 'Musica Practica', an experience of listening to music that is strenuous and rigorous, like playing music. They give me a way of being me; a strength and a language of being me.
Among them: the bloke out of the Divine Comedy, Morrissey, Michael Stipe, Kurt Cobain, Leonard Cohen, David Byrne and David Bowie (though less so these days). They're all recognizably white voices (at least to me), though I don't explicitly experience the dissolution and re-formation, the bliss, that they provoke in me as a racial identification (that is, I don't think 'God, I love being white!' - but then I don't exactly think at all in this experience). But it is part of a way of identifying or being identified, beyond my conscious will - they sing in me and I sing in them - and it does seem to be specifically white (men's) voices that do it... There's a specific resonance to the strength in them, and a particular kind of fragility or vulnerability to them: thin voices, many of them, only precariously on the note, singing from the throat.
(Hmm. Another thing I thought of when I was thinking of white cultural forms - Goth, I think, is a specifically white aesthetic in some of its forms - like the vampire in the white European imaginary; bloodless, pale, attenuated, limp, yet strong in a way that has no obvious physical basis. Like Morrissey's voice again? No, because my white voices have associations of a structural solidity, a bone-deep strength, where vampires' strength is sort of mystical, not bodily. Hmm.)
(The women's voices that give me a similar sort of feeling are, oddly enough, white women who famously sound 'black': Melanie Safka, Janis Joplin. But the breakability in their voices isn't as enjoyable an element of the strength, because of them being women and 'breakable women' being too much of a fetish object. Don't know what that says in terms of the raced positioning of my relationship to my boys' voices...) |
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