The show is interesting and seems committed to telling the harsh realities of black folks under slavery/white supremacy. I only have a couple of beefs with the show. The insistence on incorporating modern music into the story line. I don’t like being emotionally swayed by a heartwarming slave spiritual, only to have it rudely interrupted with a song about popping bottles. John Legend please stop looking to Django for musical inspiration.
My other issue with the show is the relationship between plantation owner Tom Macon (Reed Diamond) and house slave Ernestine (Amirah Vann).
I can’t remember which episode, either two or three, Ernestine is naked in the wine cellar calling to “master” Macon. He enters the room, strips down, and watches as Ernestine pours wine all over herself. They kiss passionately. In a later episode, Ernestine refuses to have “relations” with Macon in the house. He demands that she does, but apologizes like a kid after she gives him the evil eye.
I hate when shows/movies depict “relationships” between a slave owner and his slave lover as if they are equals. While it may seem Ernestine has some kind of power over Macon, in the end she is still his slave. When you are a slave, it is never consensual sex. You have no true say over your life, no matter how many “rewards”are heaped upon you.
Ernestine touches on this one night as she drunkenly laments her situation. She actually envies the field slaves. “They are worked from sun up to sun down, but they are able to go home to loved ones/be with their own kind.” She says. “Here, I can never be. And after a while you start becoming like them (white folks).”
What is not talked enough in mainstream feminism’s fight against rape culture, is that the foundation of rape culture came out of slavery. Well, it started with the initial exploitation of Native/Indigenous women. But it was heightened with the legally sanctioned sexual abuse of black women. Black women’s bodies were considered property to be done with as one wanted.
Slave women never had any say in the matter. It’s important to remember this.
Badu’s views are alarming, particularly when thinking about how vulnerable young black girls are to sexual violence/abuse, especially from older men. Black girls are already marginalized/stereotyped in educational settings. Are we now going to shrug our collective shoulders when a male teacher is behaving inappropriately because they are of “childbearing age” and wearing short skirts?
Perhaps Badu should speak with some of her fellow black women celebrities. Vanessa Williams, Mary J. Blige, Missy Elliot, and Tisha Campbell have all shared about being victims of sexual abuse as young girls. Folks might argue that they were children, so it’s different. But there have been cases where girls as young as five years old have been blamed for their rapes. For appearing “sexually mature” for their age. That’s why Badu’s words are disturbing, because it then becomes a slippery slope of putting the onus of male self control on girls, no matter what their age is.
Campbell recently made a video about the abuser who hurt her. Campbell, who is 47 years old, struggles to talk about the assault until this day. Sexual violence haunts black girls for the rest of their lives. We owe them more than telling them to wear longer skirts.
Rape is one of the most evil acts one can commit on another. What makes it more alarming is that it tends to be perpetuated by folks we know. Yet, even in 2014, rape is still depicted as a stranger hiding in bushes. The fact is survivors tend to know their assailants. These people tend to be relatives, friends, ex-partners, co-workers, casual acquaintances, etc.
The rapist isn’t a masked man
Approximately 66% of rape victims know their assailant. (2000 NCVS)
Approximately 48% of victims are raped by a friend or acquaintance; 30% by a stranger; 16% by an intimate; 2% by another relative; and in 4% of cases the relationship is unknown. (2000 NCVS)
In communities of color, especially the black community, sexual violence is even more complex. Black women not only have to accept the fact that they know their rapists, but grapple with what will be their next step. Despite being more prone to sexual violence, Black women/women of color tend to be very racially loyal.
A lot of it has to do with Black women worrying about feeding into stereotypes about Black men or not wanting to “lock another brother up.” This fierce community protection comes at the expense of Black women’s physical and mental health:
“Historically, law enforcement has been used to control African-American communities through brutality and racial profiling. It may be difficult for a Black woman to seek help if she feels it could be at the expense of African-American men or her community. The history of racial injustice (particularly the stereotype of the Black male as a sexual predator) and the need to protect her community from further attack might persuade a survivor to remain silent.”
In her film, NO! The Rape Documentary, Aishah Shahidah Simmons does a great job of deconstructing the myths about rape and how sexual violence affects the lives of Black women. She shows how the intersectionality of racism, sexism, classism, heterosexism, etc., prevent Black women from reporting their assaults. She also shows the healing process of the survivors in the film.
I met Aishah a few years ago, when she did a screening of NO! in my city. I was extremely moved by the film, and was so glad that someone was speaking out on this issue.It took her over 13 years to make the documentary. She was committed to making the film because she thought it was important that this issue was discussed in the Black community. Much respect for that!
I have shown the NO! documentary as a way to support Black women’s voices during Sexual Assault Awareness Month (SAAM). I encourage other folks to do so as well. It can be a great way to start a conversation on how this issue is unique to Black women. And the ways Black men can be our allies. If my group had a bigger budget, we would’ve also brought Aishah to speak about her film. If your school or organization has the funds, not only show the film, invite Aishah! She’s an amazing woman who we should support.
The NO! Rape Documentary is a powerful act of resistance against the oppression of Black women’s voices/bodies.
“The month of April has been designated Sexual Assault Awareness Month (SAAM) in the United States. The goal of SAAM is to raise public awareness about sexual violence and to educate communities and individuals on how to prevent sexual violence. By working together and pooling our resources during the month of April, we can highlight sexual violence as a major public health, human rights and social justice issue and reinforce the need for prevention efforts.” —http://www.nsvrc.org/saam/what-is-saam
In order to successfully prevent sexual violence in our communities, we have to acknowledge that we live in a Rape Culture. It’s noted that “in feminism, rape culture is a concept that links rape and sexual violence to the culture of a society, and in which prevalent attitudes and practices normalize, excuse, tolerate, and even condone rape.” For example, when Rick Ross made a casual reference to date rape in his song “U.O.E.N.O” (Put molly all in her champagne/ She ain’t even know it / I took her home and I enjoyed that/ She ain’t even know it.)He was rightfully clowned and called out for using this lyric.
Of course, it isn’t just rappers/entertainers who normalize rape in our culture. It also isn’t a new phenomenon. It can be argued that rape culture has its roots in slavery. In order to justify the rapes/sexual assaults on black women’s bodies (to keep the slave trade business intact), black women were horribly stereotyped:
“The portrayal of black women as lascivious by nature is an enduring stereotype. The descriptive words associated with this stereotype are singular in their focus: seductive, alluring, worldly, beguiling, tempting, and lewd. Historically, white women, as a category, were portrayed as models of self-respect, self-control, and modesty – even sexual purity, but black women were often portrayed as innately promiscuous, even predatory. This depiction of black women is signified by the name Jezebel.1 ” http://www.ferris.edu/jimcrow/jezebel.htm
The young slave woman who has come to symbolize the normalization of abuse on black women’s bodies is Saartjie Baartman. Baartman is often known by the racist term “Hottentot Venus:”
“Sara ‘Saartjie’ Baartman was born in 1789* at the Gamtoos river in what is now known as the Eastern Cape. She belonged to the cattle-herding Gonaquasub group of the Khoikhoi. Sara grew up on a colonial farm where her family most probably worked as servants. Her mother died when she was aged two and her father, who was a cattle driver, died when she reached adolescence. Sara married a Khoikhoiman who was a drummer and they had one child together who died shortly after birth. Due to colonial expansion, the Dutch came into conflict with the Khoikhoi. As a result people were gradually absorbed into the labour system. When she was sixteen years old Sara’s fiancé was murdered by Dutch colonists. Soon after, she was sold into slavery to a trader named Pieter Willem Cezar, who took her to Cape Town where she became a domestic servant to his brother. It was during this time that she was given the name ‘Saartjie’, a Dutch diminutive for Sara.” —http://www.sahistory.org.za/people/sara-saartjie-baartman
I had the misfortune of watching the film “Black Venus.” It’s supposed to be based on the life of Baartman. I felt the film was really a white man’s story, not Baartman’s. She barely has any lines in the film. I also felt ill at ease that the black actress in the film was really being mistreated. However, I did think the film gave some insight into the horrifying ways Baartman was treated on a daily basis. It is a thin line of trying to show the reality of her life, but not being exploitative about it. The director failed. Hopefully, someday the fullness of Saartjie Baartman‘s life will be told.
While I also had some of the same issues with “12 Years a Slave,” I thought the film did at least show the hatefulness of white supremacy and the beginnings of rape culture:
“Although the kidnapped freedman Northup is the main character, the film also does an excellent job of exposing the gendered sexual violence at the very foundation of enslavement. Patsy isn’t the only victim of rape culture, either. In their brief scenes Mistress Harriet Shaw (Alfre Woodard) and Eliza (Adepero Oduye)—both objects of the affection of their masters—intimate a complex interplay between sexual coersion and agency in a corrupt system that gives them zero options. “The Accused,”* the 1988 Jodie Foster film, dramatized victim-blaming in gang rape. “12 Years a Slave” crystalizes in images and in sound what it is to be owned and exploited.”http://colorlines.com/archives/2013/10/i_saw_12_years_a.html
Recently, a friend told me that true liberation can not come about until black women are allowed to give voice to the sexual violence they have experienced in their lives. I agree. Anti-rape activists need to acknowledge that this country was built/continues to be built off the abuse/ sexual assaults on black girls/women, in order to truly dismantle rape culture.