Sunday, February 27, 2011

Self-Silencing- "Diversity" on Campus


Posted by Mandy


One of the requirements to beginning or continuing a college education at any number of university's in the U.S. is attendance at a pre-Fall Quarter orientation. Having attended four different colleges at this point, I have gone through three orientations, at Seattle University, Sophia University (上智大学) in Tokyo, and the University of Washington Bothell. No such orientation was held at Edmonds Community College, where I received my Associate's degree through the college-in-high school Running Start program.

I remember speaking with fellow undergraduate students during the Seattle U orientation. It made sense that I was there, I was fair-skinned and all, and I only have a non-Pacific Northwest accent when I’m nervous, a habit picked up from my mom whose Chilean accent grows stronger during times of stress. Yet, when we discussed campus diversity as a group, people of various racial groups were asked to stand up when their race was called: "Stand up if you are Black… White… Asian… Hispanic… Native American!" I was outted. I remember talking to other kids about my scholarship, and how people always assumed that it was race-based simply because I have a Latina mother. Never mind that I graduated high school with a 3.94 acc. GPA. I’d been identifying as someone simply passing for White.

Throughout my experience in undergrad, I seemed to come up time and again as a perceived square or series of squares in the game of Diversity Bingo. It's weird how race (and other "minority" factors) so often comes up in association with gameplay; so often the term "race card" comes up as though it's some sort of wild card I keep in my back pocket if I'm incapable of succeeding based on intellect or creativity alone. When applying to graduate programs, I was told to "play up" my chronic pain disability, and as an international student at Sophia, I was paraded across campus with other folks studying abroad in Tokyo, portrayed as an asset to the campus culture that boasted many opportunities to speak with native English speakers.

This weekend, I had the opportunity to participate in a retreat for the upcoming Diversity Minor at UW Bothell. While the people with whom I worked looked far beyond the problematic view of "diversity" in the university, in which one feels only welcome as a statistic versus a person, I still simultaneously felt the need to be and the upsetting nature of being impelled toward silence. By this, I do not mean that I failed to contribute at all to the discussions or the overall structure of the retreat, but that, when faced with the conditions of my disability, I failed to speak.

The group went nearly three hours without break, which, generally speaking, shouldn't be a problem. Unfortunately, my pain becomes much worse when sitting for long periods of time. At work, I tend to stand up at least once an hour to stretch, yet, for some reason, I felt I could not do such among this group. Similarly, I still fail to stand up as needed during classes, despite having disability accommodations that allow me to do so.

While, there are surely a number of reasons for this, I'm inclined to think that the university still remains, at least for me as a queer, disabled, woman of color, an unsafe or at least an uncomfortable space, generally speaking. I am reminded again and again of Audre Lorde's invitation to speak, along with another Black woman, at the Second Sex Conference only days before the event, and only on "The Personal and Political" panel. Although her responding talk, "The Master's Tools Will Never Dismantle the Master's House" was given over thirty years ago, sometimes it feels like I am sitting in that room with her today. Like I was just invited to this academic game last minute to show some sort of PR-related commitment to diversity.

Last year, at the UW Seattle's Women of Color Conference, a young Asian American woman spoke up in the Sister Space, and asked "Why do we need a conference for women of color specifically? Why can't we engage in these discussions within other spaces?" The truth is, the counter-feminist/pro-racist rhetoric runs deep and is widespread. These questions cannot infiltrate our radical feminist conscious, and so sneak into the subconscious and subvert the ego from within.

There is absolutely no reason why I shouldn't allow myself to be looked at, except that I remember myself made object in the past, held up like a prize marlin. I remember the spectacle of my breasts and ass, curvy and large in their latin-ness, while in Tokyo. I remember what it felt like to stand up with the two other Latin@ kids when we were called during Seattle U's orientation. And a part of me thinks I remember what it felt like to be invited to that conference last minute because no one remembered before hand that it wasn't supposed to look as racist as it actually was.

To conclude, I leave you with the full text of Audre Lorde's beautiful talk, because it feels so much more poignant to me now than it did two years ago.



The Master's Tools Will Never Dismantle the Master's House
by Audre Lorde
From Sister Outsider: Essays and Speeches

I agreed to take part in a New York University Institute for the Humanities conference a year ago, with the understanding that I would be commenting upon papers dealing with the role of difference within the lives of American women: difference of race, sexuality, class, and age. The absence of these considerations weakens any feminist discussion of the personal and the political.

It is a particular academic arrogance to assume any discussion of feminist theory without examining our many differences, and without a significant input from poor women, Black and Third World women, and lesbians. And yet, I stand here as a Black lesbian feminist, having been invited to comment within the only panel at this conference where the input of Black feminists and lesbians is represented. What this says about the vision of this conference is sad, in a country where racism, sexism, and homophobia are inseparable. To read this program is to assume that lesbian and Black women have nothing to say about existentialism, the erotic, women's culture and silence, developing feminist theory, or heterosexuality and power. And what does it mean in personal and political terms when even the two Black women who did present here were literally found at the last hour? What does it mean when the tools of a racist patriarchy are used to examine the fruits of that same patriarchy? It means that only the most narrow perimeters of change are possible and allowable.

The absence of any consideration of lesbian consciousness or the consciousness of Third World women leaves a serious gap within this conference and within the papers presented here. For example, in a paper on material relationships between women, I was conscious of an either/or model of nurturing which totally dismissed my knowledge as a Black lesbian. In this paper there was no examination of mutuality between women, no systems of shared support, no interdependence as exists between lesbians and women-identified women. Yet it is only in the patriarchal model of nurturance that women "who attempt to emancipate themselves pay perhaps too high a price for the results," as this paper states.

For women, the need and desire to nurture each other is not pathological but redemptive, and it is within that knowledge that our real power is rediscovered. It is this real connection which is so feared by a patriarchal world. Only within a patriarchal structure is maternity the only social power open to women.

Interdependency between women is the way to a freedom which allows the I to be, not in order to be used, but in order to be creative. This is a difference between the passive be and the active being.

Advocating the mere tolerance of difference between women is the grossest reformism. It is a total denial of the creative function of difference in our lives. Difference must be not merely tolerated, but seen as a fund of necessary polarities between which our creativity can spark like a dialectic. Only then does the necessity for interdependency become unthreatening. Only within that interdependency of different strengths, acknowledged and equal, can the power to seek new ways of being in the world generate, as well as the courage and sustenance to act where there are no charters.

Within the interdependence of mutual (nondominant) differences lies that security which enables us to descend into the chaos of knowledge and return with true visions of our future, along with the concomitant power to effect those changes which can bring that future into being. Difference is that raw and powerful connection from which our personal power is forged.

As women, we have been taught either to ignore our differences, or to view them as causes for separation and suspicion rather than as forces for change. Without community there is no liberation, only the most vulnerable and temporary armistice between an individual and her oppression. But community must not mean a shedding of our differences, nor the pathetic pretense that these differences do not exist.

Those of us who stand outside the circle of this society's definition of acceptable women; those of us who have been forged in the crucibles of difference -- those of us who are poor, who are lesbians, who are Black, who are older -- know that survival is not an academic skill. It is learning how to stand alone, unpopular and sometimes reviled, and how to make common cause with those others identified as outside the structures in order to define and seek a world in which we can all flourish. It is learning how to take our differences and make them strengths. For the master's tools will never dismantle the master's house. They may allow us temporarily to beat him at his own game, but they will never enable us to bring about genuine change. And this fact is only threatening to those women who still define the master's house as their only source of support.

Poor women and women of Color know there is a difference between the daily manifestations of marital slavery and prostitution because it is our daughters who line 42nd Street. If white American feminist theory need not deal with the differences between us, and the resulting difference in our oppressions, then how do you deal with the fact that the women who clean your houses and tend your children while you attend conferences on feminist theory are, for the most part, poor women and women of Color? What is the theory behind racist feminism?

In a world of possibility for us all, our personal visions help lay the groundwork for political action. The failure of academic feminists to recognize difference as a crucial strength is a failure to reach beyond the first patriarchal lesson. In our world, divide and conquer must become define and empower.

Why weren't other women of Color found to participate in this conference? Why were two phone calls to me considered a consultation? Am I the only possible source of names of Black feminists? And although the Black panelist's paper ends on an important and powerful connection of love between women, what about interracial cooperation between feminists who don't love each other?

In academic feminist circles, the answer to these questions is often, "We did not know who to ask." But that is the same evasion of responsibility, the same cop-out, that keeps Black women's art out of women's exhibitions, Black women's work out of most feminist publications except for the occasional "Special Third World Women's Issue," and Black women's texts off your reading lists. But as Adrienne Rich pointed out in a recent talk, white feminists have educated themselves about such an enormous amount over the past ten years, how come you haven't also educated yourselves about Black women and the differences between us -- white and Black -- when it is key to our survival as a movement?

Women of today are still being called upon to stretch across the gap of male ignorance and to educate men as to our existence and our needs. This is an old and primary tool of all oppressors to keep the oppressed occupied with the master's concerns. Now we hear that it is the task of women of Color to educate white women -- in the face of tremendous resistance -- as to our existence, our differences, our relative roles in our joint survival. This is a diversion of energies and a tragic repetition of racist patriarchal thought.

Simone de Beauvoir once said: "It is in the knowledge of the genuine conditions of our lives that we must draw our strength to live and our reasons for acting."

Racism and homophobia are real conditions of all our lives in this place and time. I urge each one of us here to reach down into that deep place of knowledge inside herself and touch that terror and loathing of any difference that lives there. See whose face it wears. Then the personal as the political can begin to illuminate all our choices.

Thursday, February 3, 2011

Women Who Rock Conference- February 17-18, 2011

Come support Priya and Mandy as we lead a workshop on women of color in Seattle's music scene!


Registration is free

To ensure a seat register at: https://catalyst.uw.edu/webq/survey/quetzal/111906

Women Who Rock Research Project

1. Women Who Rock Research Project (WWRRP) supports, develops, and circulates scholarship and cultural production by faculty, graduate students, undergraduates and cultural producers across disciplines, both within and outside the University, who examine the politics of gender, race, and sexuality generated by popular music. Its goal is to generate dialogue between academic researchers and music practitioners, and provide a focal point from which to build and strengthen relationships between local musicians and their communities, and educational institutions.

2. Digital Oral History Project, cross-sectoral development:

Collaborating with the UW Women Who Rock Collective of graduate students and Seattle musicians, the Women Who Rock Research Project will sponsor the collection and processing of oral histories documenting the important role of women in the history of music locally and nationally. The archive created through this project will be made available online and seeks to promote cross-sectoral partnership by sharing archival material archive with museums and through the co-development of on-line exhibits and curriculum. A pilot for the oral history project is currently in development with UW Libraries Digital Initiatives with School of Music grad. student Kim Carter Munoz conducting and editing interviews.

3. Support of Undergraduate and Graduate Courses: Winter Women Studies Graduate course, "Making a Scene: Girls and Boys Play Indie-Rock" Gender, Music, Nation AES 498 / WOMEN 542.

4 .Women Who Rock Research Project also supports academic courses by providing opportunities for students to learn about the process of oral histories and to conduct them. Archived material also provides content for courses and well as guest lectures by cultural producers in local and national. The project also supports student learning by providing opportunities for the generation of original student research and cultural production.

5. The “Women Who Rock: Making Scenes, Building Communities” conference aims to be an annual event, will also introduce the initial phase of the Women Who Rock Oral History project. At the conference, we will generate contacts for future oral histories.

6. Both graduate courses (Women 542) and undergraduate courses (AES 498) support the digital oral history project and the Women Who Rock conference. In other words, Women 542, the Women Who Rock Digital oral history project and the one-day Women Who Rock conference are integrated projects which are contained under the umbrella of the Women Who Rock Project.

Monday, November 22, 2010

Enough Food to Feed the World

Enough Food to Feed the World
by guest blogger Debbie Brown


Young child in Greya Village; Katete District; Eastern Province; Zambia
photo courtesy Debbie Brown

One billion people will not get enough to eat today.
Twenty-five thousand children will die today of starvation or easily preventable childhood illnesses.
There is enough food in the world RIGHT NOW to feed every single person 3500 calories per day.

Debbie Brown recently returned from a month-long trip to Zambia, Africa

Today I want to talk about food in my family. I am 50% Irish (my mom is 100% Irish), 25% German, and 25% British (the name “Brown” is British; it is my paternal grandmother’s maiden name). While, as Jill pointed out, the Germans have some delicious food, the Irish and the English aren’t exactly known for their cuisine, which mostly consists of “boiling everything to death.”

My mom is no exception. She was never a good cook. She had a few recipes and cooked straight out of the Betty Crocker cookbook. I do admire her though; she had four kids, my dad was disabled, she worked full time and still had dinner on the table every single night. And this was before microwaves, “instant” anything, or any type of “fast” or “prepared” food.

But the thing about food in my childhood isn’t about about my mom being a horrible cook. It is about the reverence and respect my parents had for all they were given, and the knowledge that many people around the world don’t have dinner on the table every night, let alone breakfast or lunch.

I did not grow up wealthy. My dad is a disabled veteran (WWII) who is a theologian and writes books that the other five Calvinist theologians in the world read. My mom went back to college when I was little and became a school teacher who taught in Christian schools, where teaching is considered a “ministry,” and therefore, comes with very little pay. There were four kids in my family. So we didn’t have a lot to start with. But our parents never let us forget how blessed and fortunate we were.

My parents, since the time they were married in 1958, and continuing on to this day, give 50% of their income to charity. Some goes to the church, but the majority of it goes to people who need it. They have sponsored numerous children through World Vision, even putting some of them through college. They give to “Samaritan’s Purse,” an affiliate of the Billy Graham ministry, which brings wells/water to villages around the world. They support many individual volunteer workers in so-called “third world” countries. It would take an entire blog in itself to name all the places my parents give money to. Diane, you may be happy to know they even give monthly to the Humane Society because as my dad says “God loves all animals.”



In Greya Village, women walk twice a day to the borehole, approx. 2 km away, to fetch water.
Photo courtesy Debbie Brown


We were made very aware of this growing up. Monday nights were “meatless” nights at our house. My parents had a piggy bank. Every Monday night around the dinner table, they would put on a little show. My dad would say, “Mother, how much money did we save tonight by not eating meat?” Mom would say “a dollar fifty,” or something like that, and then they would put that much money into the piggy bank. At the end of the month, we would “vote” at a family meeting on where our “meatless Monday” money would go. There were also two other piggy banks (actually, “kitty” banks) that sat on the buffet by the dining table. One was for church and one for the “deacon’s fund.” The deacon’s fund was a fund in our church where people would voluntarily donate money and then if someone in the church had financial problems, the deacons could give them money out of the fund to help them out. As kids, no matter what kind of jobs we had, we were required to give 10% of our money to the church bank and 10% to the deacon’s fund bank.

My parents never let us forget about “the starving kids in Asia” (starving kids in Africa didn’t come ‘til later). And we sacrificed. This money wasn’t coming from some extra trust fund or something. We literally had a much lower standard of living—not that it wouldn’t have been that great anyway—because my parents gave 50% of their income away.

I was really resentful of this as a teenager, and even into adulthood. We either got used clothing, or ordered it out of the Sears catalog—death for a teenager! We had one car, a Volkswagen bug, and all four of us kids had to sit in back! We ate really, really cheap food, and had the “meatless Mondays.” Mom gave us our haircuts (and she was worse at that than the cooking!). As teenagers, there were no new cars—we walked or biked it. We were never allowed to “waste money.” Even though we had to donate 20% of our money, we still couldn’t just spend the rest like we wanted. We were always reminded “a lot of people don’t even have food or a home! And you want the new Queen record??” It really began to irritate me.

As a young college student I was extremely jealous of the things the other kids had. I was embarrassed that I lived in a trailer park. A trailer park! My parents both have advanced college degrees and yet I was called “trailer trash” in high school! Everyone else (it seemed) had a car. Cool clothes, like Gloria Vanderbilt jeans or Levis. I had Sears wranglers, if I was lucky. Why did WE have to give so much, when we didn’t even have that much to start with! NO ONE else I knew gave 50% of their income to charity! The Biblical 10% preached by our church was considered on the high side for most of my friends. I really resented my parents for years, feeling they had somehow “cheated” us out of things in my younger years.


In Africa, even young children literally “carry the weight” of family chores
Photo courtesy Debbie Brown

But you know what? Today I could not be more grateful for my upbringing. My parents were right. We were fabulously wealthy compared to almost everybody else in the whole world! I had food every single day. I had clothes that were clean. I had a roof over my head. I had a wonderful education. I had the opportunity to go to college. What did I really miss out on? Wearing a bunch of stuck-up clothes like the stuck-up kids I didn’t connect with anyway? So I had a few bad haircuts and had to ride my bike everywhere. My parents gave us everything we needed and more. We didn’t go to movies or out to dinner or to any type of “paid entertainment.” It was just us. We played tons of board games around the family table, from Scrabble to Monopoly. My parents read to us every single night, even all the way through high school. I have such fond memories of that, and of hearing the great classics read in my parents’ expressive voices. We played “balloon volleyball” in the house and even staged plays for each other. We had love and joy and warmth and each other. I missed out on nothing.

But there are hundreds, maybe over a thousand, people elsewhere in the world who directly benefitted from my parents’ generosity. There are college graduates doing work in so-called “third world” countries who would be poverty-stricken or dead if not for my parents. There was the family in Seattle who had their heat turned off one winter; my parents paid the $900 back payment (which was a huge amount of money in 1975!) and that family had a warm winter season. We always had 20-30 people at our house for Thanksgiving—people my parents just invited off the streets or the mission or wherever they found them. People constantly lived with us—the homeless, the downtrodden, many refugees from Viet Nam and Romania and the Ukraine. My parents are people who have actually made the world a better place.

I wish I could say today that I give 50% of my income to charity. I don’t. I try to be like my parents, try to be generous. I do give to my church, and I support one child through World Vision. I serve meals to Tent City on occasion. I try to volunteer where I can. I would like to live up to my parents’ standard because I truly believe they lived their lives the right way. We don’t need all the crap we have! When I was in Africa earlier this autumn, I found out what is actually a “necessity” and what is “luxury.” And guess what? Stuff like refrigerators, hot showers, soap, more than one change of clothing, transportation other than walking, even toilet paper…not a necessity! We are so rich. There isn’t a person I met in Zambia who wouldn’t trade places with me in an instant—my little basement apartment is far beyond anything they can even conceive of.

I occasionally spend a lot of money on food. I generally spend pretty frugally on food—making big pots of chili or soup and freezing it and eating it for a month. But sometimes I like to take a friend or two out to a really nice dinner and just enjoy an evening with friends and some really really great food. On the other hand, there are times when I have sacrificed something I would have wanted in order to help someone else out who needed it more. It’s a journey, and I’m not there yet.


These children may look relatively healthy, but actually are quite malnourished due to lack of protein
Photo courtesy Debbie Brown

So…to bring it back around to food. In my house we had “meatless Monday” spaghetti (noodles with tomato soup!), sponge-like pancakes, casseroles with only the tiniest hint of meat or cheese in them, milk made from powder (usually served room-temperature warm), and some pretty gruesome “lasagna” made from noodles (not lasagna noodles—too expensive), cottage cheese instead of ricotta, maybe 1/3 lb of hamburger, and tomato soup. When we had food in the garden, that is what we ate, even if it meant we had squash as our main dish twenty days in a row!

But looking back, I wouldn’t trade the horrible food for the books, games, and family fun. There IS enough food in the world to feed EVERYONE adequately every day, and if we were all like my parents, it could really happen. I want to thank my parents for never neglecting to remind me that I am one of the lucky ones.

Friday, November 12, 2010

Condensed Holiday Memories

Posted by Theryn

My mother and I had a secret tradition while I was growing up. During what were High Holy Days in my family (which were Easter, Thanksgiving, Christmas and New Years), as our family slept, I would get up and keep my mother company while she prepared food for the day. I felt honored she would let me keep her company while she chopped, sliced, minced, peeled, ground, mashed and stripped onions, potatoes, celery, sage, thyme, giblets, eggs, peaches and yams. I would be the first to sample the sweet potato pie, dressing, giblet gravy and potato salad, and first to smell the hot sweet steam that rose from the browned crust of the peach cobbler.

“Stacey, pay attention to what I am doing,” she would say exhaustedly, amid the scents of fresh herbs, her fifth cup of Folger’s coffee, and smoke from her gazillionth cigarette. My mother used to tell me that if I did not pay attention to her cooking, I would not remember the recipes once she was gone. She was right about this! Well, sort of. I do not remember how she made her dressing, with that incredible balance of cornbread texture, turkey broth, finely chopped celery and onions that remained crisp but melted on your tongue underneath a creamy layer of giblet gravy. I do not know how to duplicate her earthy red sweet potato pie, nor her al dente potato salad. Though I did manage to graduate from the school of peach cobbler, and execute it with supreme perfection, according to my siblings.

Instead, what I take from all those years of High Holy Day overnights with my mother is a deep sense of connection to the foods that shaped my palate, not only for flavor or texture, but for what I understood to be American dietary staples and brands. In my household, the standard “holiday food” mirrored the national standard of “traditional” holiday cuisine. Turkey, dressing, gravy, potato salad, and pie were fine-tuned to our family’s sense of flavor and sat alongside grits, pigs’ feet and ears, collard greens, salmon patties, blackeyed peas and hot-salt-water-bread (cornmeal, salt and hot water, deep fried); but they were still reflective of an American identity centered around holiday food.

Jiffy Cornbread/Muffin mix, Quakers cornmeal, Morton salt, C & H sugar, Arm & Hammer baking soda, Clabber Girl baking powder, Dole canned peaches, Pillsbury pie crust, S & W candied yams, Saran Wrap, Reynolds Aluminum Foil, Folger’s coffee, Lipton tea, and Viceroy cigarettes were the brands that cluttered our cupboards, refrigerator and large freezer (that was locked and kept in the garage with loads of extra brand-named meats). This was only just the tip of this brand-name iceberg known as holiday Americana that laid the foundation for what I would come to know as the “common sense” of holiday food preparation, preservation, presentation, and consumption.

However, at the core of this inspired reflection on my family food practices at this time of year is not only the approaching holiday season, but remembrance of food from my childhood causing an onslaught of memories of my mother and condensed milk. Her diligence in feeding her family “homemade” goodness predates the Nigella Lawson’s glitzy meals made of pre-prepared canned, frozen, and dry foods mixed with fresh ingredients for sumptuous dinning. My mother has Ms. Lawson beat hands down!

One Smith family classic that both my mother and father got in on was banana pudding. Between the two of them we would get banana pudding at least 3 times a year, and no holiday was needed for this special occasion. When I asked my brother what he remembered about banana pudding, he literally sounded like a Food Network promo: “Banana pudding was the one thing you could look forward to. No matter what mood you were in, it would bring a smile to your face.” When I asked my father what he remembered he told me he’d loved it since he was a child and that whenever he returned home from service that his “mother would have a big bowl of fresh pudding waiting for him as he walked through the door.” He recalled times that when Jason and I would get super excited, all in the kitchen getting in the way, trying to help make the pudding from scratch.

My sister Michelle, on the other hand, hates bananas, always has, and remembered dreading its preparation because “the whole house would stink of bananas!” She recalled one time watching my brother begging for the spoon from the cooked pudding. “When he finally got it, he licked the pudding off like it was his last meal. I thought, ‘GROSS!’” she said. She also recalled that our mom would make her a special dessert, often something like lemon meringue pie, as a consolation for her exclusion from the family banana pudding fest. Of course, she pointed out that since it took longer for the lemon meringue pie to set up than it did for the banana pudding to cool off, she still felt cheated out of the whole “DIG IN!” fun.

Central to my family’s banana pudding recipe was Carnation’s condensed milk. It seemed like it was always present in our pantry. It was the “special” milk from a can that we used to make thick sweet fruit pudding. When I asked my dad for the recipe, he offered this version:

• Some bananas
• Vanilla Wafers (Nabisco Nilla Wafers, of course)
• Vanilla Pudding

When I asked for more specific details, my dad said:

Layer the vanilla wafers with slices of bananas in a thick glass bowl (use any clear Pyrex cookware here or a very sturdy ceramic bowl). Cook the pudding. Then pour the pudding over the sliced bananas and cookies. Then bake at 350 ‘til you think it’s done cooking.

Not bad for a seventy-five year old retired army sergeant, but I think there are maybe some other details to pulling off the best banana pudding for your family, if you should feel so inclined. The following recipe is from brandcooking.com and sounds familiar, without the oven part. For the lemon, I would go for fresh-squeezed Meyer lemons if you can find them, or a least a fresh lemon of any variety. And only Nabisco Vanilla Wafers will do. Bon appétit!



• 1 (14-ounce) can Eagle Brand Sweetened Condensed Milk (NOT evaporated milk)

• 1-1/2 cups cold water

• 1 (4-serving size) package instant vanilla flavor pudding mix

• 2 cups (1 pint) Borden Whipping Cream, whipped

• 36 vanilla wafers

• 3 medium bananas, sliced and dipped in RealLemon lemon juice from concentrate
• Vanilla Pudding

In large bowl, combine sweetened condensed milk and water. Add pudding mix; beat well. Chill 5 minutes. Fold in whipped cream. Spoon 1 cup pudding mixture into 2-1/2 quart glass serving bowl. Top with one-third each of the wafers, bananas and pudding. Repeat layers twice, ending with pudding. Chill. Garnish as desired. Refrigerate leftovers.



References
http://www.brandnamecooking.com/recipes-dessert/creamy-banana-pudding.html

Thursday, November 11, 2010

A recipe for collective identity in the food photographs of Magnum

Posted by David Ryder, guest blogger.



Above image: Martin Parr/Magnum. New York City.

"Milk is more than a food, it is an embodiment of the politics of American identity over the last 150 years." -E. Melanie DuPuis, Nature's Perfect Food. Page 8.

Milk is not just something that provides sustenance; it is a location for the manifestation and (re)production of collective identity. As DuPuis says, milk embodies American identity and the politics that are a part of that. There is a multitude of reasons for this and one is that food, power and culture go hand-in-hand, especially when talking about milk. But of course, it is not just milk that embodies collective identity. Recipes, traditions, restaurants, brands, and food in general - all of these things emobdy, produce, and reproduce collective identity. The goal of this blog post is to show how this happens, visually, through a critique of a selection of images from photographers of Magnum Photos. Magnum is home to some of the world's best photographers, many of whom have shot food at one point or another in their careers. Some food photographs of Magnum's are famous, while others are not.

Beginning with the opening image, we can see that the gratuitous use of the American flag shows the 'Americanness' of the food on display. The photographer, Martin Parr, is a British photographer who photographs Western culture in a way that is often funny or critical. He often shots food, which for him seems to be one of the easiest targets of critique in the U.S. and the U.K. Here, the sausages and the bright colors mix with the harsh on-camera flash to create a stale, unnatural snapshot of American eating habits. We see collective identity and it is not pretty. Of course, many Americans do not eat meat and even the notion of 'collective identity' is problematic in that regard, but nonetheless the 'Americanness' of the photograph is easily read and comes across visually without the need for a caption.


Henri Cartier-Bresson/Magnum

Above we see an image by the co-founder of Magnum, Cartier-Bresson, who made this photograph for a journalistic story on the lives of workers in France. In the image, working class people enjoy a meal by the River Marne. Cartier-Bresson gives us a sense of the life of the working class French through the picnic setting and the placement of the river in the background. Clearly for them, sharing meals is a nice way to come together and relax. The moment that really makes the photo is the pouring of what looks like wine, and this decisive moment also helps us to see that wine is part of the subjects' life.


Gueorgui Pinkhassov/Magnum. Uzbekistan.

Above is an image of a market in Uzbekistan. What is different about this image is that we see the potential for social interaction and the sharing of ideas and friendships at the location where raw food supplies are purchased - in this case the raw food supply is a live chicken. Instead of identity production through the sharing of a meal or the still life of a processed meat product, we see the location of the market as a cultural hotspot. The image clearly shows multiple people at the market, albeit silhouettes, and we can make out several other chicken silhouettes, too. The chicken is in color, with the red attracting our attention, and it is placed centrally in the frame. The humans, secondary in the image, are in the background, and it feels like they are surrounding us as the viewers, giving the photograph has an almost three-dimensional feel. The food commodity - the chicken - is here in the image as the central point around which the people can congregate, interact, and build connections.


Alex Webb/Magnum. Istanbul, Turkey.

Finally, we see an image from Alex Webb, which is the cover image for his book, Istanbul. The image has a beautifully soft interplay of color, typical of Webb's work, and in this case the complementary reds and greens are adding depth and a mysterious comfort to the frame. The look of the boy adds mystery, as does the cotton candy, which seems absurd in this almost medieval setting. The image was made during Ramadan, the Muslim holy month in which one must fast during the daylight hours. We can see by the color and qualities of the lighting that it is nighttime, and the fact that the boy is eating means that the fast for the day must have ended. The draw for me in this photo is the cotton candy, for something would be lacking if the image only included the boy with nothing in his hand. Of course the scene is captivating and the boy and his sweater are intriguing, but it is the cotton candy that is what takes this photo from being good to being great. And it is the connection that I have to cotton candy, and the meaning it has for me, which makes cotton candy work well in this context. I do not doubt that it was the cotton candy that made Webb snap the picture in the first place, because Webb's interest in Istanbul is rooted in its mixed characteristics of East and West. For Webb, and for me, the cotton candy has a meaning that says 'West,' while the rest of the environment in the photo says 'East.' It seems that the boy is standing in a setting that could be anywhere in the Middle East, while he is holding a snack that looks like it was purchased moments ago from a vendor on Coney Island in New York.

As we can see, food holds meaning for all of us. It can represent many things, from being all-American, to being working class and French, and it can be the central part of a social hub like a market in Uzbekistan. Food can also house the idea of the West, even if that food is being consumed during Ramadan in a supposedly Eastern geographical location like Turkey. Food is much more than sustenance; it is full of meaning and that is why we as humans can shape our collective identities through it.

Change the Picture

by guest blogger Ruth Gregory

Change the Picture from Ruth Gregory on Vimeo.


Change the Picture compiles moments of violence against women from 10 of the films from the American Film Institute’s list of the 100 Greatest Films of All Time. It is not the only moments of violence against women in these particular pictures or the only films that feature such moments from the list as a whole. The images are interspersed with excerpts from film reviews about each of the films and then coupled with the song “Smack My Bitch Up” from The Prodigy (a song that was popular when it was released in 1997, but eventually banned from MTV for the controversial visuals that accompanied it). Together, the piece is meant to heighten the effect of these instances of violence that permeate some of the most critically revered films in cinema history.

This piece builds off the book From Reverence to Rape: The Treatment of Women in the Movies by Molly Haskell. It is one of the earliest books published from a feminist author on the topic of the cinema. In it Haskell hypothesizes that as women have mobilized in the real world for their own rights their depictions in film have gone from a revered status to something much less than: “As women represented real threats to male economic supremacy, movie heroines had to be brought down to fictional size, domesticated or defanged” (8).

In his work Silencing the Past: Power and the Production of History Michel-Rolph Trouillot talks about how the lack of discourse or even mention of the Haitian Revolution in popular culture and academic texts is an act of silencing that produces a racist present: “What we are observing here is archival power at its strongest, the power to define what is and what is not a serious object of research and, therefore, of mention” (99).

My intention with this piece was to contend that the lack of discussion about the parameters by which we judge and create the cinema canon has a similar effect – reproducing issues of racism and sexism which speak more to the present than to the time period in which the films were made. And their continued adoration by critics and scholars alike is not neutral or unproblematic.

The scenes out of context may also spark controversy in how they are being used. Filmmakers spend a lot of time crafting narratives that justify and romanticize the violence in them. Thus, stripping away the synthesized saxophone playing in the background of the “romantic” moment between Rachel and Deckard in Blade Runner frames the way that he handles her in a new light. In the climax to Double Indemnity Phyllis Dietrichson (Barbara Stanwyk) shoots her lover Walter Neff in the stomach before he takes the gun away from her and kills her; thus justifying his violence against her. But the truth remains that he elects to kill her instead of any of the other possibilities one could take in such a situation. In Gone With the Wind Scarlett O’Hara (Vivien Leigh) takes a swing at Rhett Butler (Clark Gable) which he dodges. Due to the force of her attempt Scarlett then goes tumbling down the stairs. The intent is comedic, but the inclusion of this moment minus the swing from Scarlett, is meant to bring up how women are trivialized in film narratives to the point that their pain is used for comedic effect.

The other thing that is so striking about the films used in this piece are the lack of people of color. Only Gus, the sex-crazed Black Buck, from The Birth of a Nation is remotely close; although Gus is actually played by white actor Walter Long who wore blackface make-up like many other characters in the film to portray an African-American character. In fact, in the whole list of 100 films, there are only a handful that feature actors of color – Pulp Fiction, Do the Right Thing, Westside Story, One Flew Over the Cuckoos Nest, In the Heat of the Night, Gone With the Wind and To Kill a Mockingbird. Even then it is mostly in supporting roles.

Even for me, the piece brings up more questions than answers. Thus, I conclude this accompaniment with a list of discussion questions in the hopes that this work at least sparks conversation, if not easy conclusions:
  • What are the parameters in popular culture or textbooks to constitute what is or is not a good film?
  • What parameters should we use to judge films as great works of art? By their formal qualities such as cinematography, lighting, sound design? By the quality of their content – the characters, the storyline, the perceived audience?
  • Can there be exceptions to this list?
For further information see:
Haskell, M (1987). From Reverence to Rape: The Image of Women in the Movies (Second Edition). Chicago: The University of Chicago Press.
• The first chapter entitled “The Big Lie” encapsulates her point brilliantly.

This Film is Not Yet Rated. Dir: Kirby Dick. 2006.
• This documentary is ripe with discussion on the MPAA rating system and the differences in the way that they rate sex and violence in feature films.

Trouillot, M-R (1995). Silencing the Past: Power and the Production of History. Boston: Beacon Press.

Maker’s Note: I realize the quality of the titles in this video are poor. I am working to make them better and will upload a newer version when it is available.

Typically American


posted by Luke Ware, guest blogger.

Ryan Casey over at the Argus Leader gives us a recipe for what it means to be a South Dakotian (and American.) Casey’s article, “My Voice: Let's rise above cynicism, racism of claims about food at voter rallies” is a response to claims by both Democrats and Republicans in South Dakota who have charged each other with buying votes with food during early voting for the 2010 General elections. Investigations are ongoing. State and federal law does not allow votes to be bought with someth

ing of monetary value (e.g, you can’t give someone money to vote). The debate started when members of the Democratic Party hosted three chili feeds on Indian reservations during a time when early voting booths were open. Republicans complained to the State Attorney General’s Office claiming the feed was in violation of federal voting laws. Meanwhile, the Republican party was hosting events that provided chips and hot dogs to attendees. Casey, advocating for a cease fire, argues:

“We don't need to be scared about Indians getting a bag of potato chips at an election rally. Instead, the constant and systematic effort to disenfranchise some of our fellow South Dakotans - and the subtle attempts to coax out the worst in us and play on our racial sensitivities - should elicit the true moral outrage in South Dakota elections.”

Here, Casey interrogates the discourse for what it is; party pandering and desperate attempts by both political parties to get in a few final blows. Casey goes on to say:

“In our state, we believe that every citizen is a child of God, a fellow American and a fellow South Dakotan. Wherever your ancestors came from, in South Dakota we're raised to believe that everyone who works hard and plays by the rules should have an equal opportunity to live, to work, to raise a family, and to vote.”

I applaud Casey for his interrogation of political discourses, but I’m concerned about his truth-telling. Perhaps Casey indeed believe that everyone who works hard and plays by the rules will be met equally in America, but it seems that South Dakota is proof alone that those words are wrong. Why? In a moment.

Certainly, Casey, your words are spirited, but they seem to be just as empty as the Republicans and Democrats bantering about election food. “We don’t need to be scared about Indians getting a bag of potato chips at an election rally”, I certainly agree. What we need to be afraid of is how many Native Americans are not getting any food at all on Election Day. According to the 2000 census, 61% of families living in the Pine Ridge Indian Reservation (one host of the chili feed) live below the federal poverty line while 63% are unemployed. Pine Ridge Indian Reservation, and other reservations in South Dakota, are some of the poorest regions in the U.S.

On the surface, Casey seems to be interrogating political discourses of the American Politic. In the end though, he gives us the same hollow rhetoric on the American spirit. It would be lovely if success was just a matter of pulling up our bootstraps, but it’s not.

In honor of these hollow words, I offer a recipe. Great American rhetoric during election time reminds me of a rather entertaining dessert; the good old-fashioned American Apple pie. “As American as Apple Pie” is a slogan recognized worldwide and is often used in daily vernacular. The Cambridge dictionary defines it simply to mean, “to be typically American." I offer to you not the standard golden brown, cinnamon-infused gooey apple delight shown in magazines and on television. Instead I offer something much more devious, hollow, and fitting: The Mock Apple Pie.

It looks mouth wateringly delicious, and deceptively passes as the Real Deal when looked at from afar all the time. Something about its core is rotten, however. The missing piece? There are no Apples. Back in the day of the pioneers, this little gem had a simple saltine core. Now? RITZ crackers have cornered the market.

And there you have it. The Great American Apple Pie, without the Apples. To be fed at all political and celebratory occasions where your pie can be as hallow as your rhetoric.

(Recipe Source: http://www.kraftrecipes.com/recipes/ritz-mock-apple-pie-53709.aspx)

What You Need

Pastry for 2-crust 9-inch pie

36 RITZ Crackers, coarsely broken (about 1-3/4 cups crumbs)

2 cups sugar

2 tsp. cream of tartar

Grated peel of 1 lemon

2 Tbsp. lemon juice

2 Tbsp. butter or margarine

1/2 tsp. ground cinnamon

Make It

PREHEAT oven to 425°F. Roll out half of the pastry and place in 9-inch pie plate. Place cracker crumbs in crust; set aside.

MIX sugar and cream of tartar in medium saucepan. Gradually stir in 1-3/4 cups water until well blended. Bring to boil on high heat. Reduce heat to low; simmer 15 minutes. Add lemon peel and juice; cool. Pour syrup over cracker crumbs. Dot with butter; sprinkle with cinnamon. Roll out remaining pastry; place over pie. Trim; seal and flute edges. Slit top crust to allow steam to escape.

BAKE 30 to 35 minutes or until crust is crisp and golden. Cool completely.