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Thursday, April 22, 2010

A TOPIC IN SLAVERY NOT SO WIDELY RESEARCHED
































The term intermarriage typically refers to marriages between individuals of different socially constructed racial and ethnic groups. In the United States, however, these unions are usually defined as interracial . Such unions are often depicted as being between white and nonwhite persons, with an emphasis on white-black unions. Historically, interracial sexuality, especially between white women and nonwhite men, was forbidden in both public discourse and laws; it was legally and socially stigmatized. For white men, having sex with women of any race was acceptable as long as it was not public. Legal, political, and social restrictions against these relationships have existed at various times, and even in the early twenty-first century interracial marriage rates remain low, accounting for only 5.4 percent of all marriages in the country, according to the 2000 Census. THE EARLY HISTORY OF MISCEGENATION IN AMERICA

Maintaining racial purity within the white race has been the dominant discourse in marriage laws and intermarriage prohibitions. Historically, legal restrictions placed on inter-marriage and miscegenation have varied by state. In some states intermarriage was legal, while in others it was illegal. Miscegenation had been discouraged and treated as socially deviant since the arrival of African slaves in the American colonies, but it was not until 1691 that interracial sex was made illegal. Virginia passed the first statute against miscegenation between blacks and whites. The goal was to prevent “that abominable mixture and spurious issue which hereafter may increase in this dominion, as well by negroes, mulattoes, and Indians intermarrying with English, or other white women, as by their unlawful accompanying with one another” (Wadlington 1966, p. 1192).

Since the beginning of the sixteenth century, people involved in interracial sex have faced informal sanctions, punishment, and social exclusion. White women romantically or sexually involved with black men were punished, often by being banished from the colony or by being beaten and arrested. The political and social ideology centered on protecting white womanhood and demonizing black men, and free access to black women was largely held by white men in positions of power. These beliefs and social norms were never formally legalized, but the ideology penetrated the legal system. Interracial sex was constructed as deviant within the institution of slavery, and from the beginning this view was primarily aimed at preventing black male slaves from engaging in sexual relations with white women. The frequent abuse and lynching of black men for allegedly raping or desiring sexual relations with white women, as well as the widespread rape and sexual abuse of black women by white men, played an integral part in the socio-historical construction of race and the rules of race relations.

Legal sanctions, as opposed to social ones, were more often focused on interracial unions than on interracial sex. Indeed, interracial sex reified the racial divide and hierarchy through the sexual mistreatment of black women by white men, and through the severe punishment of black men who were sexually involved with a white woman. By 1940, thirty-one states had laws against interracial marriage, but only six had laws prohibiting interracial sex. But both laws and social sanctions against interracial sex and marriage were racist social constructions, formulated largely by white men to protect the “purity” of the white race and prevent racial mixture.

Interracial sex was also used as a symbol of white male privilege. Sex between black men and white women was punished, for these relations posed a threat to the power and privilege of white men. But sex between white men and black women did not threaten the white power structure, but instead reinforced the domination of white men up through the 1800s. White men had free access to black women, and these relations often involved rape or other forms of violence. Black women were oversexualized in the minds of white men, especially in contrast to white women. White men used this depiction to justify the idealization of the white woman, the degradation of black women, and the privilege awarded to white men, especially in terms of unlimited sexual access. Interracial sex did not challenge the purity of the white race because children born of white fathers and black mothers were demoted to slave status.

Wednesday, April 21, 2010

PROJECT: 4

RE- PERFORMING
I choice to re- perform "Funk Lessons: White People Can Dance" originally done by Adrian Piper.



This was very easy to re- perform mainly because I can identify with the ideas of the piece. It was almost perfect being that I am the only black person in the class! The common stereotype and misconception is that white people just can't dance and being at Cornell and experiencing white people and their dance habits, I've come to find many situations and examples that fully support this argument. But my question is who sets the standard for what is or isn't dancing? Since dance is a verb I feel like anyone can technically do it. Of course the real issue is the matter of what society deems as dance that is pleasing to them, and these opinions differ all way down through different social groups, class, ethnicities, cultural backgrounds, age ... so on and so forth.
Dance is seen as a skill whether it be the fine art of dance or competition or hobby or past time, but I feel that some part of dance is internal, mindful, even spiritual. Having the presence of mind to move in the ways in which you decide is a big part of " your dance". I believe that everyone has their "own dance".
FEEDBACK: What do you see as having "your own dance"
  • Can it be taught (your own dance not just dance the skill)
  • How does this phrase apply beyond the common definition of dance
  • Does everyone really have their "own dance" or am I false and getting way to artsy lol
Here's what WIKIPEDIA had to say about it:

Dance (from French danser, perhaps from Frankish) is an art form that generally refers to movement of the body, usually rhythmic and to music,[1] used as a form of expression, social interaction or presented in a spiritual or performance setting.

Dance may also be regarded as a form of nonverbal communication between humans, and is also performed by other animals (bee dance, patterns of behaviour such as a mating dance). Gymnastics, figure skating and synchronized swimming are sports that incorporate dance, while martial arts kata are often compared to dances. Motion in inanimate objects may also be described as dances (the leaves danced in the wind), and certain musical forms or genres.

Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as folk dance) to virtuoso techniques such as ballet. Dance can be participatory, social or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in ballet or European folk dance, or have a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or express ideas, emotions or tell a story.

Dancing has evolved many styles. Breakdancing and Krumping are related to the hip hop culture. African dance is interpretive. Ballet, Ballroom, Waltz, and Tango are classical styles of dance while Square and the Electric Slide are forms of step dances.

Every dance, no matter what style, has something in common. It not only involves flexibility and body movement, but also physics. If the proper physics is not taken into consideration, injuries may occur.

Choreography is the art of creating dances. The person who creates (i.e., choreographs) a dance is known as the choreographer.




Friday, April 16, 2010

Thursday, April 8, 2010

Response Questions

Dada was not a "movement" in art. What was it?
Dada was an anti-war movement. It was more of a revolutions against the political and social standards and ideas of the period.

Did the Dadaists and Futurists desire to change the status quo? Why???
How and why did they seek to challenge old conventional attitudes?
Change was a definite goal sought after by both groups. The strong demand for revolutionary action against the past, in all its forms, political, social, and artist alike, was the target the Futurists had set in their sites reacting strongly against the government of the time. The Dada wanted to change the principles of art and society and take artistic control away from the bourgeoisie and place it into the hands of the people.
The two groups used art to challenge the old ways rather than use political activism or social theory. The Futurist first, with their paintings and revolting manifestos, and the Dada opting to use action rather than speech about the need for such their art embodied revolt, and their use of style and medium represented their revolt against classical art forms; by using collages, found objects and sometimes even garbage true showing their disregard for the traditional art object and "beautiful" aesthetic.
The common goal of these movements were to spark change into society to allow them to think otherly about what was then viewed as norm. To reach this goal these groups knew that they need to completely remove the conservative and wealthy class from the art and excluded them and their ideas from this movement and show the commoner the true value of art and the worth of expression in what ever way suits the individual.

What is Noise Music?

Noise Music is music that uses socially arbitrary sounds sequenced together in a seemingly or sometimes purposely random way. This is true avant-garde, in most cases using non traditional instruments to create a musical score.

Explain why Marcel Duchamp plays a key role in the history of 20th century Art

Duchamp was a forerunner in the movement to change the state of art. He embodied the notion that art should be more than just appealing to the eye but that I should go beyond that and venture back to the mind turning art back over to the individual rather than what a certain "council" deems worth of the title art or even worth of the creation of said piece at all.

Explain why John Cage is also considered a key figure in body art. Who and what was he influenced by?
Cage was influenced by D.T. Suzuki's lectures on Zen Buddhism. I think his most prevalent tie to Body art is his hand in the development of modern art choreography through his music and collaboration with Marian van Tuyl.





Wednesday, April 7, 2010

INTERMEDIA: FIRST BLOG EVER

My first official blog page is now under construction!
THIS SITE IS SUBJECT TO CHANGE WHILE I FIGURE OUT HOW TO WORK THIS BLOG STUFF