nommo: modern black identity - fall 2020

NOMMO

modern black identity issue

fall 2020

NOMMO NEWSMAGAZINE

A

modern black identity

n almost brand new staff graces this issue of Nommo Newsmagazine, full of inspired writers and visionaries waiting to show their work to the world. We present the “Modern Black Identity” Issue, inspired by the changing definitions and non-definitions of Blackness as they transform the world in front of us. We created this issue as a reminder to ourselves and to our readers that Black people continue to create, inspire, and evolve; at the same time, we continue to fight against global injustices.

This issue unpacks racial biases of the entertainment industry, food insecurity, policing and activism, body image and identity, and features original photography featuring Nommo staff.

- featured entertainment food insecurity policing activism body image identity

As ideas for the magazine rolled in, there was something that felt right-and all encompassing-about the theme, “Modern Black Identity.”There was nothing we couldn’t write about, and it prioritized the experiences and identities of Black people above the impartiality of news. Forming this issue would not have been capable without our amazing staff, and I want to give a huge thank you to them for making this possible. Nommo went from two staff members to twenty in the span of a few weeks, consisting of an entirely new editorial board, writing staff, photography staff, layout staff, and social media team. This issue serves as a testament to their enthusiasm and diligence, as the entire magazine was produced through online communication and collaboration. We hope you enjoy it!

MODERN BLACK IDENTITY ISSUE | FALL 2020

table of contents 06

20

42

Freedom of Speech Isn’t Freedom of AAVE

Insecure

Plus Size Despised

08

22

44

My Music Taste Doesn’t Match my Skin Color

Redefining Femininity: Photos

by Mikiiya Foster

Type 4

10

26

46

Where’s the Flavor on TikTok?

Food Equity in Black Communities

Brown Sugar Babe

12

28

48

KPop & Black Music: An Unexpected Relationship

The Summer of Performative Activism

The New Standard of Beauty

14

30

50

Hollywood is Criminal

Written in the Stars

The Black Sapphic

16

32

54

No Love Allowed

The Perils of Policing

18

38

The Black Friend

Hey Black Child: Photos by Josue Cambara

Black Luxury: Photos by Lauren Brazile

56

Community Acknowledgements

editor-in-chief Leilani Fu’Qua

First, thank you for reading. Whether this is the first time you’ve looked at Nommo’s content or if you’re a constant consumer of our work, thank you! Nommo was founded in 1969 as UCLA’s premiere Black newsmagazine, and it is a privilege to continue its legacy as Editor-in-Chief.

On that note, nice to meet you! I’m Leilani Fu’Qua, a second year Public Affairs and Gender Studies double major and English minor. I’ve been writing for Nommo since fall 2019, but my roots are in broadcast journalism and academic writing. I’m interested in Black feminist writings, beauty and entertainment, astrology, and self-discovery, and I hope my writings reflect that! I’m so thankful to continue with Nommo as Editor-in-Chief, learn more about myself, my staff, and the Black experience.

dear reader

I find it more and more important to highlight representations and testimonies of Blackness that feature intersectional identities, honest and intentional writing, and analyses from Black people about Black issues. Even more so, I knew that when compiling the content for this print, it would be a genuine reflection of my staff’s interests, my own self-discovery, and a recollection of the world we’ve lived in for the past quarter.

I look forward to seeing this magazine adapt and change as our views, understandings, and representations of diasporic identities do, and I’m proud to be a proponent of that change through my contributions to the magazine. Once again, I’m so grateful for this opportunity and I look forward to embracing the responsibilities, struggles, and accomplishments to come.

Best,

5

FREEDOM OF SPEECH ISN’T FREEDOM OF AAVE

By Kamea Taylor

T

he reoccurring issue of Black cultural appropriation on social media platforms has transformed African American Vernacular English (AAVE) and the culture attached to it into a commodity. Recently, there is a surplus of non-Black folx participating in problematic behavior, such as wearing cornrows or box braids, and verbalizing the ‘N-word.’ Still, language stereotypes remain an issue. Ten years ago, a writer by the name of Farhad Manjoo from Slate, an online publishing entity, issued an article called “How Black People Use Twitter,” birthing the concept of Black Twitter: an online community where the Afrikan Diaspora can have a collective voice in political and social progress, educate and support one another, and find a source of comic relief.

Within this social environment, AAVE is commonly used. The subdialect of English evolved from Black Southern and LGBTQ+ communities, with roots stemming from the interactions between West African slaves in America and speakers of English vernaculars.

These linguistic patterns allowed Black people, mid and post-slavery, to form a united community without their White counterparts’ interference. Imagine how aggravating it must be to see AAVE being openly and repetitively used by non-Black folx on social media. Words like “chile,” “woke,” “ratchet,” “period,” “sis,” and countless more are now common sayings that are often misused and overly emphasized by non-Black Twitter users. These words are in tweets and reaction GIFs by influencers, companies, and non-Black people who hope to appeal to younger audiences or receive the “rite of passage” to Black Twitter (there is no such thing).

6

In many cases, Black people find Black speech to be meme-ified through the excessive and incorrect use of AAVE on Twitter. They fail to acknowledge its origins, creating a mockery out of AAVE and refusing to acknowledge its credibility as a dialect of English. This realization is essential because Black people have historically been ridiculed for writing and speaking in AAVE, or even described as uneducated. Black slang is not the result of internet culture. Black people are not trying to gatekeep this language. Yet, if there were prior understandings of privilege, appropriation, education on the historical and contemporary harms facing the Black community, and an assessment of an individual’s use of a specific term as oppressive and dehumanizing, then it would not be an issue in the first place.

Quite frankly, it is embarrassing, yet comical, seeing non-Black people on Twitter catering to Black audiences to only fail in using the language adequately. A prime example would be Tomi Lahren, a former commentator for Fox Nation. She has openly expressed her dispositions with the Black community, and recently tweeted on October 22nd, “Biden is gonna kill jobs. Period. And raise taxes. Period.” She uses the word “period” incorrectly by applying it to politics, butchering AAVE. But she also perpetuates the idea that this kind of dialect, the same language in which Black people have had to face the consequences and repercussions, is “trendy” or “just for fun.” These words do not derive from stan Twitter; they derive from culture. Such illiteracy shows the lack of self-education.

Even more ironically, AAVE is not taught, but rather heard and seen. In retrospect, nonBlack people are taking mental notes to mimic this same dialect on their Twitter accounts in hopes it’ll gain more interaction or a “seat at the table” with the Black community.

“Twitter talk” (whatever that is) is derived from Black Twitter, which manipulates AAVE in ways in which it loses its initial meaning. Theoretically, if everyone used AAVE and urban dialects, Black Twitter simply would not exist. Let that sink in.

These words do not derive from stan Twitter; they derive from culture.

”

More importantly, there needs to be an understanding of how offensive and unaware people are of their actions. Unfortunately, the language is used so broadly on nearly every social media platform that it has become more normalized for non-Black people to tweet and post however they feel. If anything, it demonstrates the desire to seem more “Black,” but not necessarily wanting the melanin and long history of oppression that comes with it. The Black community does not hesitate to correct other Twitter users outside the community that use AAVE or Black slang. But when will enough be enough? How many times must we repeat ourselves? When will they learn that freedom of speech is not freedom of AAVE?

7

MY MUSIC TASTE DOESN’T MATCH MY SKIN COLOR

By Allison Scott

M

y music taste doesn’t fit my

The musical genre is a construct assumed aesthetic. I am created to preserve segregation in the “different” than “other” Black music industry, which thrives off keeping people--as if there is one image wealth out of Black communities. Looking or narrative to define the Black at how companies such as Billboard and experience. I listen to alternative/ The Recording Academy define a genre indie. I like white people music. is just one example of the deep-rooted But what even is “white people music?” racism within the music industry. If these Music that white people make? Music classifications are a matter of technique listened to by only white people? But and content, Lil Nas X would have won a what about hip-hop? Why is a white Grammy for Best Country Song, not Best person that listens to hip-hop invited Pop Duo/Group Performance. to the cookout, but My love a Black person who “The musical genre is a construct for listening listens to rock is under the created to preserve segregation in falls white-washed? alternative/

First, let’s talk the music industry, which thrives indie rock about the genre We off keeping wealth out of Black category. as a system of cannot ignore classifying our music. the incredible communities.”

Just like everything similarities else in America, it’s rooted in racism. between blues, jazz, soul, rock, R&B, Segregation never ended, and it’s and all derivatives of such genres. This present in the creation of genres point reveals that the only genres we based on race. The musical genre was consider to have been pioneered by created for the white-cishet male to Black folks are grouped by the whitegatekeep specific spaces within the cishet male. The fine lines drawn between music industry. We talk about musical these genres are Black versus white, and elements such as instrumentation and “musical techniques” are not considered. lyrical content to define a style. Yet when a Black artist wants to claim country, for example, they are kicked @nommonewsmagazine off the charts. on Spotify

And why does this matter? The “charts” get artists in the music industry recognition, credit, and status. And with status comes money.

8

“We allow “society” to trick us into thinking these genres do not encompass Black creators as a means of preventing Black excellence in multiple sectors of the music industry.”

There are numerous Black artists within the alternative/indie genre-- Orion Sun, Willow and The Anxiety, Toro Y Moi, Steve Lacy, Alabama Shakes. Yet, we allow “society” to trick us into thinking these genres do not encompass Black creators as a means of preventing Black excellence in multiple sectors of the music industry.

These segregation techniques have been applied to target audiences, convincing us to believe that certain genres are not for us. As a Black listener, I have grown up feeling the need to “stay in my lane.”

In reality, the most significant aspect of my identity is my Blackness. But, I am not obligated to separate my skin color from my music taste. The notion that my listening practices dictate the extent of my Blackness is entirely flawed. And even more so, it ignores the fact that Black people contribute and continue to make history in all music areas.

I am a Black listener who listens to anything that makes me feel whole. And more importantly, I am a Black listener who does not compromise my tastes to fit the white majority’s mold.

Where’s the Flavor on

?

TikTok

By Hannah Masresha

I

f our generation could be summed up in one app, it would be Tik Tok. Being the source of trends, memes, and fashion, Tik Tok perfectly defines our generation of teens across the country. Encapsulated in the app is a community full of laughter, support, and political awareness. Yet it is almost wiped of any diversity.

The Tik Tok algorithm is a tricky topic. The main source of content comes from the “For You” page. This page is perfectly curated towards your tendency to like certain things. For example, if you follow a bunch of travel bloggers, your “For You” page will be flooded with travel Tik Toks. Although every “For You” page is different, it’s obvious which type of creators get the most hype based on likes, fame, and follows. That type of creator is white. According to Social Blade, of the Top 50 followed Tik Tok accounts, not accounting celebrities, absolutely none of them are Black. Avani Gregg, who some consider white-passing, is the only Black creator on that list.

For many famous Tik Tok creators, it is assumed that they got famous for their looks.

Charli D’amelio and Addison Rae have a combined 159 million followers, deemed “famous for being pretty.” Bella Porch has 38 million followers for zooming into her face. Dixie D’amelio’s brand is that she’s bad at dancing, yet she has 41 million followers.

It seems that Black Tik Tok creators can’t just be a pretty face. They have to be talented at something. Jalaiah Harmon had to create the “Renegade,” one of the most popular dances on Tik Tok. Larry has to have a comedic personality.

Even Avani Gregg has to showcase her makeup skills. Although these creators are popular, most are nowhere near the top. These creators have to have a “niche” for them to have any sort of following.

10

Some would brush away these instances, and say “It’s just an app.” But it’s not. Tik Tok is used by millions of teenagers across the country, including millions of Black teens. Those who consider this a miniscule issue have yet to realize how emotionally draining lack of representation can be for a person of color. To not see yourself represented amongst top creators sends an internal message: It tells Black teens that they are not the beauty standard. For them to be socially celebrated, they have to have a “bonus.”

This issue is not unique to Tik Tok. It follows every “trendy” app of each generation. Before the next generation of Black teens endure this continuous struggle, we need to advocate against this issue. The power to determine what goes viral is placed on us. This issue can no longer be swept under the rug. Together, we need to unify to spread the word about how Black teens are faced with daily, self-deprecating reminders they are not enough. With widespread acknowledgement, society will finally question the morality of their subconsciousness.

Although this seems like a powerful feat, it is no challenge to what our generation has proven its capable of. We are a generation known for acceptance, strength, and unity.

With these qualities, we can band together and dethrone this underlying problem, to move forward with platforms enriched with true diversity.

“The power to determine what goes viral is placed on us.”

Rising Stars

of

Black TikTok @Wisdm8 Wisdom Kaye Content: fashion, style, editing tips @Laysieeeb Laysie Brandy Content: political commentary, beauty

@Schoollunchtray Travawyn Taylor Content: comedy, dance @Ayaanahmed Ayaan Ahmed Content: comedy, beauty, commentary

@Arrington171 Arrington Allen Content: comedy, commentary

@Monaswain Mona Swain Content: comedy, singing, beauty

11

K-Pop and Black Music: An Unexpected Relationship

By Mary Sutton

O

ne of my first experiences with K-pop was when a friend recommended that I listen to BTS, one of its most popular groups. After falling in love with a few of their new songs, I decided to dig deeper into their history by starting from the beginning. I looked to YouTube for the oldest BTS projects and immediately noticed a striking contrast between their recent music and their oldest work, which took inspiration from 2000s hip-hop culture. Long chains, sideways snapbacks, and casual basketball attire are just a few elements of the aesthetic that I saw in “We Are Bulletproof Pt. 2,” one of their very first music videos. That’s when I saw it.

It took a minute for me to notice and even longer for me to process the image. A group member called RM (previously Rap Monster) sported a tapered fro-hawk as he rapped over an early trap-style beat. More research led to images of the Korean artist wearing his hair in locs before BTS debuted into the world of K-pop.

I was slightly amused and perplexed, but for the most part, I wasn’t surprised. After all, the presence of Black culture in the South Korean music industry spans over several decades.

Modern K-pop originated in the 1990s as a blend of hip-hop, R&B, and dance music. Although K-pop themes differed from the heavy subjects featured in hip-hop music, which mostly related to Black issues, it all sounded similar. Hye Jin Lee, a clinical assistant professor at USC Annenberg, described K-pop as less of a means of political expression and “more of a commercial tool to express one’s so-called swag and coolness.” Additionally, these genres shared similar aesthetics revolving

12

“Unfortunately, music labels in South Korea still make mistakes when borrowing elements of Black culture, but the artists themselves show improvement in appreciating what we bring to the world of music.” around western hip-hop, although South Korean girl groups usually went for more cutesy uniform looks than their racier American counterparts.

O

ver time, both genres adapted to the demands of their audiences by changing their sounds even further.

Subgenres of Black music like trap, emo rap, and alternative R&B became a force to be reckoned with in recent years, with several rappers and singers alike releasing viral songs under these labels. In contrast, K-pop took some time to hop onto the trap wave due to the demand for a different sound, a branch of electronic music called electronic dance music (EDM). This genre was popularized when South Korean hiphop artist, PSY, dropped a viral video for his EDM-pop single “Gangnam Style,” which became an internet sensation in 2012. This decade marked a turning point in K-Pop as it developed a unique identity and built a reputation in western audiences.

Unfortunately, their reputation is not completely clean, seeing as the K-pop industry is notorious for racism and cultural appropriation. Several artists

have scandals tied to their names involving blackface, wearing Black hairstyles, and using blaccent. This behavior likely comes from the fact that South Korea is homogenous and knows very little about Black culture outside of film and music. However, influential K-pop artists like CL and Jay Park are known for using their platforms to educate fans about Black culture’s importance in their careers.

As the world enters a new decade, there is no telling where K-pop will go next. What started as an experiment with hip-hop in a small Asian country turned into a multi-billion dollar industry with millions of fans worldwide. Unfortunately, music labels in South Korea still make mistakes when borrowing elements of Black culture, but the artists themselves show improvement in appreciating what we bring to the world of music. This is evident in BTS’ most recent music video for “Dynamite,” a funk-pop single with a colorful retro aesthetic and fun choreography.

The track takes inspiration from the legendary Michael Jackson. Still, it does so without appropriating hairstyles, facial features, or accents, which leads me to believe that K-pop is heading in the right direction in repairing its relationship with Black culture.

13

Hollywood Criminal

By Ulani Mafate

T

is

here are countless Hollywood movies Not only is this passively racist narrative infamous for their horridly racist demoralizing, but it is actively racist in indiscretions: The Last Samurai (2003) comparison to Selma. Selma depicted the and it’s white-savior complex, Fantasia voter-rights march led by Dr. Martin Luther (1940) featuring a man who is half black, King Jr. It also took place in the late 20th half-donkey, and the list unfortunately goes century, like The Notebook. on. American entertainment consumers ostracized these films due to the sheer The only difference between the two films ignorance, tone-deafness, and magnitude is that Selma did not ignore the deeply of racial stereotypes. However, not much is problematic narratives of said time. done about films that are perfectly aware Coincidentally, no studio in Hollywood of the racist connotations they contrive but was willing to finance it. According to The simply don’t Washington care, and on Post, Oprah “Hollywood is an incredibly the contrary Winfrey attempt to funded Selma. insular industry.” distract the Together, general public these instances - Darnell Hunt from this deepdemonstrate seeded issue.

Hollywood’s pattern of openly suppressing Black Black identity has always been narratives. It is as Darnell Hunt, director misrepresented in America. This is because of the Ralph J. Bunche Center for most of our representation has been from African American Studies at UCLA, states people who know nothing about us. In “[Hollywood is] an incredibly insular modern day, those people are executives for industry,” in that those who make decisions, global industries that profit off of spreading endorsing and financing projects, tend to a eurocentric narrative, despite the growing take care of those who for the most part demand for real Black stories; that industry is look like themselves.

Hollywood.

The Notebook is a prime example of According to Cecilia Kang in The Hollywood’s misconduct. This 2004 film Washington Post, Hollywood executives, was centered around a hetero-cisgender, 99% of which are white, are allowed to attractive white couple and took place in say (out loud) that they don’t like to market the 1940s. It distracted most of America movies starring minorities or films that from its insensitive representation of African confront racial issues because they are Americans by romanticizing the privileged “tougher to sell.” Not only has this mindset perspective of vintage ambiances and kisses been proven flawed time and time again, of sweet infidelity. but it is a prime example of institutional racism at its finest.

14

Institutional racism refers to the policies and practices within and across institutions that, intentionally or not, produce outcomes that chronically favor, or put a racial group at a disadvantage.” Hollywood chronically favors stories that propel the white dominant-narrative, framing the black narrative only in a way that serves the former, and ultimately degrades modern black identity with such misrepresentation. And this is allowed.

It’s convenient for white executives to hide behind Hollywood as a means of avoiding conviction. However, an industry’s size shouldn’t matter.

If anyone is willingly complicit, they should be held accountable and found guilty for racial discrimination. But, unfortunately, racial discrimination is apparently not a chargeable offense when it comes to white movie executives and their money. In reality, suppressing black representation in a worldwide industry for industrial profit should be deemed as a serious crime.

This issue goes beyond movies. Hollywood is an entity that fuels the global narrative. Any offense is an incredibly impactful one. Moreover, other corporations are reprimanded for the exact same conduct; for example, according to The Washington post, two African American job applicants filed a complaint in July 2020, “for Facebook’s alleged bias against African American employees in evaluations, promotions, pay and hiring practices, mounting tension over how Facebook handles issues of race.” However, ironically, Hollywood executives are seemingly exempt from this legal process because they operate on a much larger scale. Almost every producer experiences this racial bias when presenting studio executives with movies centered around a Black actor or the Black struggle. But despite this obstacle, many films, including Selma, The Butler, 12 Years a Slave, and more have broken box office records to become worldwide hits. There is a tremendous and growing demand for minority representation on the big screen, leaving Hollywood with no excuse for racial/cultural discrimination.

Black people should not have to finance their own movies just because they are Black; the same way movie studios should not refuse to finance films because they are Black. The reality that such conduct is not a crime in 2020 means it’s time for a boycott. Because, as Selma director Ava DuVernay said, “Hollywood is criminal.”

15

No Love Allowed

By Kamea Taylor

T

he Black community has endured a great struggle searching for romantic partners within the current dating culture. Though the idea of socializing and conversing with possible partners was impossible before the pandemic, getting into a relationship now seems practically impossible. In particular, Black women are disproportionately limited due to the experiences of exclusion and marginalization in the midst of searching for love.

The pandemic has left many Black women feeling isolated and deflated towards the dating world, while also ironically awakening the desire to seek a relationship. Unfortunately, many conditions discourage them from indulging in the dating scene such as the geographical aspect of dating, the plethora of emotionally unavailable partners, and the exclusion that stems from the tropes and stereotypes associated with Black women.

16

Dating apps have taken away from the full experience of creating genuine relationships, forcing Black women to “roll the dice” when searching for a particular match. The intentions when using these apps often exceed traditional dating methods (yes, I mean playing the PG version of twenty-one questions) and the anticipation to eventually get out of the “talking stage.”

This confinement to men within a specific geographic region, whether near your home, workplace, or school, disables Black women from going beyond local dating. These places usually have dating norms that coerce them to adhere to societal roles or less egalitarian relationships,which makes casual dating more stressful. Residential segregation also plays a huge role in the structural barriers that impact the probability of meeting partners. White men in urban spaces are less likely to initiate conversation in person, thus giving reason to why they are now bolder in DMs. Black men, on the other hand, may show interest in Black women, but interests are often based on preferences mirrored by the “American beauty standard.” Such limitations and barriers hinder Black women from initiating relationships on their own or continuing their own dating journeys. And now with a pandemic impending these processes, it is only another reason to throw in the towel.

Concerning such challenges, the exclusion of Black women within dating culture stems from the recycled tropes and clichés attached to them. Such stereotypes are used as validations for why people do not prefer Black women, but advertently are presumptuous and offensive. Statements that falsely perceive Black women’s physical and social nature reinforce the impression that they are far too unattractive or troublesome to engage with romantically. In relation, Black women are fundamentally blindsided by apps that permit users to select racial preferences.

Olivia Petter’s, “Racism is Rife on Dating Apps,” exposes those projected assumptions that Black women are deemed less appealing based on the clear racial biases and dehumanizing comments within these apps. These ethnicity filters compel users to hold prejudicial attitudes towards people of color (POC), thus maintaining the idea that race should be a criteria for partner selection.

Meanwhile, this also preserves the risk of fetishization and the over-sexualization of Black women. Not only does this create another barrier to find sincere partners on these apps, but it also permits non-Black people, white men exceptionally, to capitalize on exoticism behind closed doors. Dating Black women, specifically during a global epidemic, is seen as an experiment or a way to satisfy an inkling. It is one thing to test the waters, but another to target them because of fantasies based on the habitual over-sexualization of the Black woman. This results in conversations regularly gravitating more towards sex, as they start with a casual nickname of “Ebony queen,” following with statements such as, “No offense, but your ass looks amazing.” Generally speaking, this is just plain rude but these conversations are almost inescapable for Black women from Black men, POC, and white men.

All these factors haunt Black women and inadequately affect their probabilities of finding promising relationships.

“Not only does this create another barrier to find sincere partners on these apps, but it also permits non-Black people, white men exceptionally, to capitalize on exoticism behind closed doors.”

As these experiences are common within the Black community, it is truly bothersome that Black women can find a collective struggle within the dating culture (which should not be normalized). This exclusion from men is upsetting and it is only a matter of time before Black women call it quits. They are the only ones that experience such alienation from their male counterparts, but in reality, dating a Black woman is a privilege, not a burden. So, the real question here is who really is the one missing out?

Hint: it’s not Black women.

17

“The

Black Friend”

By Mary Sutton

I

t goes without question that the Black community spent a good portion of the year advocating and protesting for our rights. While some of our non-Black friends eagerly joined our cause, others reacted with animosity or mockery, and we saw how little they cared about the issues that affect our lives. This kind of reaction can occur in any situation regarding the Black experience. Whether it is hair, music, or work, it seems like any opinion from a Black person is subject to a negative response unless it relates to more inclusive topics. If this seems familiar, then you or someone you know might be The Black Friend.

Some Black people will make this revelation in their lives, and in response, they might receive one of the following reactions:

“Who cares?”

“What makes you so different?”

“Why does it matter?”

Those Black people (including myself) will ask themselves similar questions, all of which have answers shaped by negative experiences relating to their Blackness.

A shared experience among The Black Friend is microaggressions. They differ depending on identity and community, but the results are all the same: a bad taste in your mouth. Instead of confronting them, Black people often stay silent out of fear of coming off as “aggressive” or “over-dramatic.” Similarly, African Americans may have non-Black friends who feign support for Black rights, an act known as performative allyship. An example of this is “Blackout Tuesday,” an Internet-wide social media protest held on June 2nd, 2020, when people posted black squares to support Black Lives Matter. It seemed like an innocent gesture to some, but it was ultimately meaningless, considering many who posted (mainly nonBlack people) barely advocated prior to that day.

18

Combining these experiences and the general lack of adequate representation in many areas in life can result in an array of emotions. Being the only Black person in a friend group can lead to frustration over the lack of understanding that stems from cultural differences. We might also experience sadness from observing our non-Black friends connecting with others easily while we feel disconnected from them. This leads to alienation, which is easy to develop for Black people in majority non-Black groups, especially when we are the only ones in them.

The Black Friend label can feel restraining, but there are different ways to combat this feeling and strengthen your friendships with non-Black people.

People who only have one or a few Black friends tend to be ignorant of other parts of their identity because of unfamiliarity. To solve this, you could take the initiative and discuss different aspects of your Blackness like food, music, fashion, and issues affecting our community. Your non-Black friends should help spread awareness.

At the same time, however, you are not obligated to educate the people who should strive to educate themselves on your racial and ethnic identities. Another way to strengthen your friendships without taking on the role of an educator is to call out problematic behavior. When it

“...You are not obligated to educate the people who should strive to educate themselves on your racial and ethnic identities” comes to situations like microaggressions, Dr. Derald Wing Sue from Columbia University says, “Oftentimes the perpetrator is unaware that they have engaged in demeaning or offensive comments, so you have to make that visible to them.”

When you notice the perpetuation of The Black Friend label through microaggressions or performative allyship—intervene. Not only should your friends recognize and respect your feelings, but they should also understand how their actions could affect other Black people and people of color around them.

Lastly, if you find that your non-Black friends ignore your attempts to correct their behavior, here is one more tip: be true to yourself.

Know your limits, set your boundaries, and make them non-negotiable. If your friends express a lack of empathy or an inability to change for the sake of your friendship, then it is probably your cue to leave. You are worth more than a label.

You are an individual with interesting qualities. Not just an outlier.

19

Insecure

By Ulani Mafate

“I can’t imagine you fucking.”

“Why?” “‘Cause you’re awkward.”

Imagine that, a girl so awkward that she can’t even make the thirstiest guy’s fantasy. Hi, my name is Ulani Mafate.

I’ve gotten better over the years, for lack of a better adjective. Although, I still lovingly cringe at all the socially awkward things I’ve ever said and done. But, that in itself isn’t the issue. Overall, I’ve embraced my awkwardness as well as the embarrassment that comes with it. It’s only right at this point in my 21 years (as of today!). The issue is that I’m awkward and Black.

Being Black is in many ways a quirk in itself. It’s an identity first and foremost, but with it comes a social eccentricity and a phenomenon to outside cultures in the melting pot that is modern-day America. I believe the most marginalized people in said phenomenon is that of the Black woman, and thus the most misunderstood.

As Vice President-Elect Kamala Harris stated in her victory speech, “Black women are too often overlooked.” Though I don’t carry as much weight, Miss Harris, I second that. A CNN article by Alaa Elassar revealed that Black women are often placed at the bottom of the cause of social justice movements even though they face a unique combination of social issues. I believe that this is because our struggles are misunderstood by most. Our pain is often reduced to fads as trivial as meme captions, for example: “Ain’t nobody more racist than a poor ignorant Black woman” or “Black girl with green contacts? B***h, stop it. You look like an Xbox”, both completely undermining the oppression behind our most stereotypical character traits.

20

Furthermore, in the movies and television shows we know and love, Black Women are limited to very few categories, if at all, and with little to none representing us accurately. Take the token Black friend in “Clueless” (1995), the token Black friend in “10 Things I Hate About You” (1999) who, unlike the white-female leads, lacked depth and reasonable morals, “Honey” (2003) where the Black girl wasn’t even Black, and take “MA” (2019), so horribly stereotypical that the title speaks for itself.

Due to misrepresentation, we are also overlooked in the dating world, having the lowest statistical ratings among women in dating apps according to The Glamour Magazine.

With all of these unsettling narratives in the world, I’ve had a hard time feeling validated in my identity. Not even my parents, who are total hippies, could change that. Although they did an amazing job building my self-esteem and shielding me from the world while they could.

As a child, I had an afro. I spent more time with boys than with girls. I never had a phone until I was eighteen. I listened to Fleetwood Mac, African musicians, and every white 80’s pop star, thanks to my parents. I was the singer who wouldn’t shut up. I was also funky, so funky I once went to church with bright pink bikini bottoms over black jeans. In high school, I went through a phase of giant sweaters before baggy clothes were a thing, and I once went to school for a whole week without combing my hair. And, as you probably figured, I was never a girl for the guys; I never even had a ‘talking phase” with one until I was 20. I was, and am, a hot mess. And still, some people, some systems, will only ever see one thing, black.

This reality was hard to accept. I had a role in society from which I could never deviate. And not one mode of Black female representation did me justice. But, in the past few years, there’s been a notable shift through the birth of the concept, “Quirky Black Girl.” This trope has been on the rise in mainstream media over the past few years; it simply represents a space that allows realistic, multidimensional (normal, human) black girls to be free to be whoever they want outside of eurocentric expectations. It’s a plethora of identities that have been marginalized for way too long. Now, at the risk of sounding corny, I knew it was my time. I and all of my Black sisters are no longer confined to the Mammy, the Sapphire, the Jezebel, the token Black friend, the undesirable girl, and any other stereotype that white-dominant society forces upon us. This is the time where we can find our reflection in the world. I can end my day with an episode of “Insecure,” a television show centered around the “Quirky Black Girl” complex. Issa Rae on the screen is healing. I’ve learned to laugh at myself when I’d usually cry. And I’ve also learned that being awkward and black is adorable as fuck.

21

REDEFINING Feminine is defined as 1 female; 2 the embodiment of an ideal feminine nature; 3 having qualities traditionally associated with womxn, especially delicacy and prettiness (Oxford Dictionary).

However, this definition has been reserved for white women, as the media historically portrays Black women as the opposite. With the rise of the “cottage-core� movement across social media, Black womxn have taken ownership of their image and perception of beauty. The cottage-core aesthetic illustrates Black womxn in a care free and happy nature. The modern movement has created a space to defy traditional views of womanhood.

This piece presents an exploration of Black feminity against traditional roles of Black womxn with a look into a soft and feminine portrayal of Black beauty.

Femininity

BLACK IS FEMININE BLACK IS FEMININE BLACK IS FEMININE BLACK IS FEMININE BLACK IS FEM ININE BLACK IS FEMINI NE BLACK IS FEMININE BLACK IS FEMININE BLA CK IS FEMININE BLACK IS FEMININE BLACK IS FEMININE BLACK IS FEM ININE BLACK IS FEMINI NE BLACK IS FEMININE BLACK IS FEMININE BLA CK IS FEMININE BLACK IS FEMININE BLACK IS FEMININE BLACK IS FEM ININE BLACK IS FEMINI NE BLACK IS FEMININE BLACK IS FEMININE BLA CK IS FEMININE BLACK IS FEMININE BLACK IS FEMININE

23

Cottage-core: aesthetic inspired by a romantic perception of western agricultural life; characterized by femininity and nature

24

25

Food Equity in Black Communities A

By Sandi Wiggins

mericans have seen a noticeable uptick in health consciousness in the last 20 years, beginning in our national legislatures and flowing down into citizens’ once-passive minds. As the market begins slowly shifting to accommodate this change in consumer preference, Black citizens are noticeably excluded from the healthboom.

Though initially written off as a fad, people began seeing the noticeable difference in the quality of living when making steady diet changes. This does not equate to a healthier lifestyle being the standard of American living, but this niche class of individuals are gaining in popularity. A 2015 Forbes article states, “While [health conscious shoppers] may be a minority group in terms of overall numbers, the influence progressive wellness consumers have over food culture is disproportionate.” Simply put, the food market is taking into account the current shift in consumption, showing a trend that is likely to only rise from here.

26

Grocery stores specializing in “clean” or non-processed eating have been around for decades but are seeing increased demands as people take an active role in their diet. Trader Joes and Whole Foods have led the clean-living brigade for grocers. These same stores are widely unavailable in low-income, “urban” (corporate America’s coded word for Black) neighborhoods. Separate studies conducted

by Insider.com concluded that between suburban and urban communities, Whole Foods presented a more enjoyable shopping experience in suburban areas due to additions of coffee shops, juice bars, and home living sections, which were not provided for urban stores. Trader Joes showed a similar bias in store-care, with layout, stocking, and customer service having a leg up in suburban areas.

This data is for the minority of urban neighborhoods who have access to healthy grocery stores in the first place. For the neighbourhoods who don’t, a popular term used to describe this intentional division is “food desert.” A food desert refers to those who live more than one mile from supermarket in urban or suburban areas and more than 10 miles from a supermarket in rural areas. Former first lady, Michelle Obama, created campaign called “Let’s Move!” meant to target the 23 million Americans who live in said deserts. While the initiative increased funding and grants for the creation of sustainable grocery markets, it does not target the unique plight faced by Black communities.

a a

This evidence amounts to an overwhelming class “This evidence amounts to an issue. However, the problems do not stop at class for Black individuals. A John Hopkins University overwhelming class issue. study shows that it is not just a class issue, but a However, the problems do race one. The data reported wealthier Black communities were also at a similar disadvantage for not stop at class for Black sustained eating options, specifically when compared individuals... it is not just a class to white/Hispanic areas of similar incomes. This translates into a more significant drawback for issue, but a race one.” impoverished Black families, who, on average, have less access to sustainable supermarkets than wealthy Black districts and poor white neighborhoods. Historically, this scenario has played itself out more than once. The purposeful divide is linked back to a concept that originated in the 1930s called redlining.

Redlining is the denial of financial services/opportunities to residents in specific communities, determined by race. Black people have had loans denied, access to housing rejected, and opportunity for growth taken away on the basis of being undesirable ( living in an area deemed too poor or too Black). The red stamp branded on these communities still serves as a guide today for racist corporations to choose where to expand and avoid. Despite the 1968 ban on racial discrimination by the Fair Housing Act, the lingering effects of its initial run are just as damaging today.

There are a multitude of problems with this denied access to the Black community. This is not a case of being “late to the party.” Black Americans remain uninvited to the party. These actions result in being left out of the new standard in the years to come, once again setting them up to be left behind by a nation that never wanted to make space for them in the first place.

While what’s done cannot be reversed, action at this critical stage could set the forthcoming generations of Black Americans up for the equity and consideration they deserve.

27

THE SUMMER OF

By Natalie Baltimore

Performative Activism

I

am not the only Black person this summer who scrolled through their Instagram only to pass multiple posts of a girl in a bright bikini with the caption “Black Lives Matter” or “#blm.”

Concurrent with the reinvigorated trauma of seeing someone from my community killed on camera for the whole world to see, I found myself infuriated. The posts lingered on my feed: a continuous and real struggle, but just as trendy as wearing low-rise jeans in the early 2000s.

I also came across people I knew from highschool posting an empty black square with “#blackouttuesday.” This one hashtag that is now a part of a caption of over 21.8 million posts. These same people had nothing to say when Jonisha Fonville was killed in 2015, nor Botham Jean in 2018. They actively avoided speaking about race altogether, made offensive jokes (that were never funny), openly said the n-word more than all of the Black students combined, or laughed alongside those who did.

Maybe they had a change of heart since I last spoke to them. Maybe they did begin to care. I will never know, but what I did know was how performative this sudden surge of activism looked on my screen.

Then again, this is not about me. It’s about the community I belong to, disproportionately impacted by a system that runs nationwide and centuries deep. We do not have a choice to wake up in the morning and decide to fight for equality or not. Our mere existence is a fight in and of itself.

Since May 25 of this year, the world witnessed the death of George Floyd over video at the hands of those hired to protect him. The fight against racially motivated violence and police brutality started long before May of 2020. The Black Lives Matter movement began in 2013 and has only added more victims since.

This summer has also seen ample corporations posting vague messages such as “Let’s change” from H&M, or “We stand for equality” from Zara

28

The recipe for 2020 performative activism resulted in the mixture of three main factors: 1: Boredom and the increased use of social media.

Because the pandemic has called for more people to stay home, people peeled themselves to the news and social media. Being stuck in quarantine, with no distractions, the usual excuses to not participate in social justice no longer applied. In part, this has gone to play a role in the magnitude of unrest in light of George Floyd’s murder.

2: The season of famous apologies A famous apology is when a celebrity or influencer publicly apologizes for their past or current words/behavior. Although this has been common in the most recent years, since quarantine in March many celebrities have had to openly express regret and remorse for what they have said and done in the past. These celebrities have included Ellen Degenerous, J.K. Rowling, Doja Cat, Shane Dawson, and so on. This rise in public shaming and disapproval of past actions/words or lack thereof is also reflected on the individual level. It could easily be one day in the future where you are reprimanded for not speaking up.

3: Peer pressure Posts, posters, captions, and constant imagery was also largely shared during the summer with the text “if you are neutral in situations of injustice you have chosen the side of the oppressor” or “your silence is violence”. The intensity of call-out culture for those who would normally stay quiet on any racial issue adds pressure to post something or appear to care for an issue someone would usually dismiss.

while continuing to exploit their majority POC garment workers. These are the same companies who lack diversity in leadership positions as well.

We can approach activism as though on a spectrum. On one end there is the purely performative state: someone who only posts on social media about the movement when centered around themselves, and does no other action. On the other end of the spectrum is genuinely modest activism: someone who donates, participates in protests, has critical conversations with loved ones, all while fully quiet on social media. Between both ends of this spectrum lies the vast majority of people who do aspects of both simultaneously.

in the past, and genuinely believe in the movement.

Particularly as young adults, our capacity to change and grow is seemingly endless. As a Black person to a non Black person, we can decide if we should extend the benefit of the doubt.

Perspective two: They are doing more harm than good

Unfortunately, performative activism exists, and is here to stay. So as a Black community, there are two main perspectives that can be What makes an action performative is when a taken when seeing questionable support on person centres the conflict around themselves. social media: Their intentions for publishing an image of allyship is with the underlying purpose of Perspective one: Fake support is better seeking public approval, and alleviating than no support guilt. This guilt stems from their knowing and understanding that they have benefited from Even if only performative, at least they a system that hurts others. While not actually are spreading putting in the work to seek change, their awareness. By façade alleviating guilt further reduces the sharing a post, hashtag, or photo, likelihood of them actually making change irrespective of that in the future. By faking support, they are also individual person’s reinforcing the idea that fighting for human rights is only essential when a trend. intentions, their amplification of The reality of the matter is that irrespective of such an important our responses, the prevalence of performative message has allyship has and will continue to persist. We the possibility do not have a choice in picking and choosing of encouraging our supporters. What does matter is for us someone that to keep in mind that what we do control is they know to join our responses. Regardless if a person sees the fight or at performative activism through perspective one least get a better or two or a different point of view entirely, the understanding power lies in our hands. It is difficult to gage of what is going the sincerity behind a post on social media. It on. They could is also difficult to tell how much someone has have very easily done for the movement outside of the public learned from the eye. All that we can do is continue to fight our mistakes that battle with or without genuine support. they have made

29

Written in the Stars

By Leilani Fu’Qua

I

n 1995, Pluto moved from the Scorpio constellation to Sagittarius, where it stayed until 2009. A majority of Generation Z, loosely defined as those born between 1997 and 2012, has Pluto in Sagittarius. The sentiment that “this generation is different” is not unwarranted, as seen by the changes in trends, activism, mental health advocacy, and independence that could be heavily influenced by Pluto’s position in the Sagittarius constellation.

Compared to our parents, or even some of our older siblings, we’re more open-minded, culturally curious, optimistic and angsty. With Pluto being the planet of transformation, regeneration, obsession and destruction, our reaction to the previous generation’s (Pluto in Scorpio, 1983-1995) pessimism and decay made us influential, full of dissent, and adventurous.

For Black youth, Pluto in Sagittarius means breaking the trauma bonds between our mothers and fathers, sisters and brothers, ourselves and the world. Our yearn for independence leads us away from our communities, but our anxiety leads us back to heal. Our intrigue at philosophy makes us eager to learn how to better ourselves and our communities. Rather than fear the uncertainty ahead of us, we are willing to confront the injustices and disparities head on in order to make the world more livable. Our willingness to face conflict head on was apparent in this summer’s Black Lives Matter uproar. While those protesting represented each and every age group, we can comfortably thank Generation Z (Pluto in Sagittarius babies) for the mass online efforts towards disseminating information, building global solidarity, and small to large scale organizing during a pandemic.

Our continuous efforts towards self-love, global solidarity, positive change, and accountability make the Pluto in Sagittarius generation a force to be reckoned with.

30

31

The Perils of Policing Enough is Enough.

By Sandi Wiggins

*trigger warning for depictions of racial violence*

T

he diaspora has a policing problem. Or rather, the diaspora is struggling with an over-exploitation problem. Policing is a blithe term, unrepresentative of the destructive history behind these aggressive establishments. The reality is that Afrikaan people across the diaspora are suffering callous human rights violations at the hands of governments, corporations, the media, and apathetic bystanders.

Governments are responsible for creating and funding institutions whose purpose is not to protect but to profit. These institutions work as extensions of the government will, and one comprehensive theme is agreed upon - Black citizens are expendable. It is easy for them because the world often does not care for perspectives outside their own agendas, and the media won’t show what their audience doesn’t care to see. Chalk it up to centuries of dehumanization, but it just seems easier for people to avoid injustices when they are committed towards Afrikaan people.

Tirelessly, the community must advocate for our own. Otherwise, we’d never be heard.

Right now, Nigeria, Congo, and Ethiopia are fighting their own battles against torture, tyranny, and threats to their safety.

“They said that if I die, my blood will never be on their hands.”

32

Currently, in Nigeria, a series of protests are calling for the end of a Special Anti-robbery Squad (SARS). This specialized task force was created in 1992 with the intent to combat a rise of armed robberies. Instead, a report by humanitarian rights source, Amnesty. org, estimates that SARS is responsible for the torture and maltreatment of 82 people between January 2017 and May 2020, with a recent spike in deaths due to increased protests.

When confronted directly, SARS representatives assert that all officers receive human rights training before they become active officers, but quickly after their creation, they built a reputation for cruelty.

The #ENDSARS hashtag has only recently made waves in the United States and other countries, but Nigerians have been advocating for their dissolution since early 2017. The acts of violence extended toward individuals are compounded by rampant extortion towards families of victims. To reiterate, not only are citizens subject to cruel and inhumane treatment, but their families are expected to purchase freedom at exorbitant costs and provide basic necessities on the limited occasions they are available to see them. SARS agents routinely coerce confession through torture that includes gunshots in arms and legs,

hanging people from chains, whippings, beatings, and starvation. The merciless treatment inflicted to obtain these confessions matters none in the eyes of the court, who allow them to remain as admissible evidence in trial. Inmates are not allowed medical care for their injuries. They frequently spend weeks or months without being charged. Access to lawyers and family members are scant. Arrests can be issued for simply looking suspicious. Whereas typical police conduct does not allow for lethal force unless there is a credible threat to an officer’s life, the SARS code allows agents a much wider margin for deadly force.

Torture is not a criminal act in Nigeria but is rather a frowned upon concept. This lack of legislation makes it easy to create loopholes that benefit those in power, namely SARS agents.The citizens they are meant to protect are treated as come-ups. Officers actively fight to become members of SARS, viewing it as a lucrative cash grab. One prisoner named Emmanuel, suffered injuries that left him unable to speak after his mother could not afford the $600 bribe demanded by SARS officers.

So where’s the accountability? The current chain of command for processing violations goes as such: officers must report to the head of the Complaint Response Unit, who in turn report to the Inspector General of Police. The Complaint Response unit are responsible for checking out wrongdoings reported about SARS officers, but despite residing over them, do not have the power to discipline. The person with this power, Inspector General Police, is directly appointed by the acting Nigerian President. To give an example of the President’s character, mere days after the Lekki Toll Gate massacre, in which peaceful protestors had military grade weapons fired at them, he made no mention of the lives lost and rather pleaded with the youth to discontinue their demonstrations against the task force. Those are the actions of a leader who does not take their citizens plights’ seriously.

“As the Nigerian

government earned a reputation for deflecting public scrutiny through baseless public relations stunts, it’s assured that there is still work to be done to bring Nigerian citizens the justice and closure they deserve.”

33

Early this October the Nigerian government, acting on special orders from President Buhari, announced plans for SARS to be dissolved. This directive does nothing to punish the abusive officers, nor does the dissolvement bring any justice toward their victims. As the Nigerian government earned a reputation for deflecting public scrutiny through baseless public relations stunts, it’s assured that there is still work to be done to bring Nigerian citizens the justice and closure they deserve.

Forced Child Labour and Humanitarian Crisis Everyday in the Dominican Republic of Congo, a blind eye is turned to the human rights violations of Congolese citizens. In the aftermath of a tumultuous fight to be freed from under Belgium’s rule, lack of proper infrastructure and fair government has left the country vulnerable to exploitation. Right

“The mineral’s production is indispensable, but the Congolese citizens behind its creation are not.” now the Dominican Republic of Congo is responsible for 65% of the world’s supply of a material named cobalt. Miners risk serious bodily injury to dig this element, and despite the lucrative business behind it, they are paid near nothing for their services.

Cobalt is a chemical element, similar to nickel, that can be found in the Earth’s crust.

Since entering the technological era, it has become indispensable to the creation of high demand products such as iPhones, laptops, and electric cars. It’s exact use in these products are complex. But in layman’s terms, it keeps the battery structure stable as ions are bounced back and forth. It’s purpose in lithium batteries is to provide the power source needed for portable products to work. With the demand for tech services only getting higher, cobalt’s value has steadily increased and demand is expected to double by 2025.

34

The mineral’s production is indispensable, but the Congolese citizens behind its creation are not. It is a grueling process to mine cobalt with little reward. The U.S. recently classified cobalt on a list of minerals that are deemed critical to national security and our economy.

Despite this, a miner can only expect to earn between $1.00 and $2.00 US dollars for a day’s work, paid out by a third-party buying house in local areas. There are no laws protecting children from participating in the labour force, and with a suffering economy children as young as six have been sent out to work. The conditions are appalling as tunnels leave no clean air to breathe, or room to stretch out. Workers can spend up to 24 hours mining in tunnels as far as 85 feet deep.

They work in fear of a landslide leaving them paralyzed or buried alive, which are both common occurrences.

There has yet to be applied reform, and no one is held accountable for the victims injuries, nor the families burdened with the loss of a loved one. Companies are taking advantage of the fraught economy, paying Congolese workers far less than their worth in the name of maximizing profits. #SayNoToWar Ethiopia is on the brink of a civil war.

Government mistreatment and civil conflicts have left the country and its citizens on opposing sides. The nation is an expansive and resourceful country with willful citizens, which has left past leaders unsure of how to maintain control. Rather than govern responsibly, history points to a steady pattern of suppression and regulation when attempting to maintain power in the country.

This cycle leaves Ethiopians in a constant state of rebellion, as they work to ensure their own freedoms in the country.

The Prime Minister of Ethiopia, Abiy Ahmed, is currently locked in tensions with the Tigrayan People’s Liberation Front (TPLF), Ethiopia’s dominant liberation movement. Strain between the two escalated due to a bid by

the Prime Minister to reduce the power Tigrayan people held in government. Soon after winning his election, Abiy Ahmed began removing powerful representatives of the Tigrayan People’s Liberation Front from government positions due to corruption concerns. This has created retaliation between the two, beginning with the liberation front’s refusal to join the Prime Ministers ‘Prosperity Party’ and most recently their decision to undermine Ethiopia’s election process by holding their own. At the start of November, Prime Minister Ahmed called for a military offensive against the people of Tigray and to dismantle their regional government, effectively cutting all ties. Citizens are now uncertain of their future, as Tigray’s own working military and experience in overthrowing governments prove dangerous to the brewing conflict. Both sides believe themselves to be in the right and are unwilling to accept any solution other than total surrender. TPLF, once the ruling government party, has faced their own scrutiny for abuses against other ethinc groups, namely Oromo people. Oromos account for one-third of Ethiopia’s population, and live in the largest region of land in the country. Yet for decades they have strived for better government representation and less suppression of their culture. Ethiopia is one of the few countries in the world to run under ‘Ethnic Federalism’ meaning central government powers are divided between their ethnic groups, awarding each class a certain level of self-governance. This presents a challenge for the TPLF, whose people make up only 6% of Ethiopia’s citizens, a vastly inferior number to Oromo’s 35%. Fear of political opposition has created a culture of repression between the ruling government class and Oromo people.

Celebration of Oromo heritage is treated as a direct threat to government power. Any form of Oromo expression is prohibited, including participation in cultural events, wearing traditional clothing, and discussing Oromo history. Public figures who express support for Oromo protests are conspicuously arrested, or killed. Musicians of Oromo descent face increased opposition due to fear their work could incite dissent towards the government.

In the midst of these disputes, Ethiopian citizens are being caught in the crossfire. Upwards of 20,000 Tigrayan refugees have fled to the bordering country Sudan in the aftermath of their displacement. The death toll has risen by the hundreds in light of the air strikes ordered by Abiy Ahmed. The bloodshed spills into neighboring countries, most frequently Eritrea, with whom the Tigrayan people have a sordid history. While TPLF and Abiy Ahmed take turns attempting to cripple one another, residents of seized towns and innocent bystanders to missile attacks are afterthoughts. Lives lost as a result of political violence are considered necessary, and handled without care. No wrongdoing is acknowledged, and no remorse is felt for the victims.

Africa and Afrikaan people are in a crisis. Black people can only rely on other Black people to speak out against the miscarriages of justice faced. Time after time nations are built on the backs of our hard work, but we are not celebrated for these accomplishments. They have tried to erase our history, the proof of the atrocities done to us, andour culture in order to claim it as their own. It is not that this world wishes we never existed. The world would not turn without our ideas, inventions, and labour. What those people wish is for a quiet unsuspecting class of people to abuse when they want and capitalize from. However, the movements in Africa have shown us unfettered strength, power, and wisdom. Where we don’t fit into a joyless, broken world, there is always space for us with each other.

35

*NOMMO stands with the countries fighting their own battles for freedom to live free of abuse and exploitation. Below are digital resources to support those in need:

Nigeria:

Ethiopia:

Diasporans Against SARS:

Islamic Relief USA:

EiE Nigeria:

Global Giving:

Yiagi Africa:

36

Congo: Friends of the Congo:

UNICEF:

Global Giving Children’s Trust:

37

Hey, Black Child This spread captures how the Black youth views the world. In this new, post-covid world, many young people have had to adapt, as we are experiencing a time in which things are limited and large gatherings are not permitted. For the youth, finding things to keep us entertained have gotten harder.

Whether that be wandering through train tracks or playing in a playground, this piece seeks to humanize the community of young Black folks, as they struggle to find ways to adjust but still keep a youthful and positive outlook on the world.

Photographed By Josue Cambara

38

40

Plus Size Despised

By Mary Sutton

G

rowing up as a chubby Black girl, there was very little representation for people like me on the TV screen. I had the option of watching Glee and reruns of That’s So Raven since both shows centered around young people, and more importantly, they had amazing characters like Mercedes Jones and Raven Baxter. But even as I watched Amber Riley belt her head off and Raven Symone be a teenage fashion icon, it was hard to relate to their vibrant and outspoken personalities. They were interesting and complex, but still fell under the generalized “big sassy Black girl” trope that shows up in many other movies and TV shows. Despite this, I am eternally grateful for their presence in my childhood, and I consider them prime examples of how to write plus size Black girl characters.

Unfortunately, for every Mercedes and Raven, there is a Madea and Rasputia (coincidentally portrayed by Black men). Not only are those characters big Black women, but they have little to no redeeming qualities about them; they are obnoxious, aggressive, and less intelligent than the people around them. Outside of shallow comedic relief, big Black female characters tend to be victims of some kind of severe trauma, which usually stemmed from misogynoir and/or sizeism (e.g., Precious in Precious, almost every Black woman in The Help). It pleased me to see how their strength and courage inspired others, but watching the graphic depictions of their struggles made me less eager to finish those films.

In other words, society puts big Black women in a box that is very difficult to escape. Through advocacy and mutual inspiration, we broke free, but we still face ignorance and discrimination regularly.

Growing up can be a hellish time for people, especially Black girls, and additional pounds does nothing to ease the stress of aging. It wasn’t until high school when I started experiencing discrimination, most of which came from someone in my close circle. Comments about my eating habits and jokes about fitness (or lack thereof) happened frequently during the first half of high school. I ignored them at first and saw them as harmless jokes, but I eventually laughed at them, too. It horrifies me to think about how I let that happen to me, but what was I to do when that situation was so commonplace in movies and TV shows?

Furthermore, how could I remedy my problems when the only solution presented on screen was to be confident in myself?

I have this thought very often, and I ask myself why I always take the initiative in these reimagined scenarios. Similarly, scenes in film or television that portray my own experiences had similar conclusions. A plus-size Black girl is pushed to hate her body, makes it a mission to lose weight after getting bullied, then realizes that she should love herself (sometimes she confronts the bully).

I went through the first two steps of that process and took several years to start the third step, yet many portrayals make us out to be entirely self-sufficient beings who can recover from anything as long as we have high self-esteem.

In reality, not all of us can pick ourselves back up when we constantly get pushed down, and praising our confidence can only do so much.

Outside of friendships, relationships were even more challenging to navigate. After I stopped talking to most of my friends, I moved on to build new friendships and rebuild my shattered confidence. At this point, I noticed a behavior in my male classmates that brought up a similar feeling to the discomfort that I felt in past friendships. Whenever they answered the infamous preference question, most of them talked about white or Asian girls, and the “no preference” guys usually pursued white-Latinx girls and Asian girls anyway. I blame it on the lack of Black girls (especially plus size Black girls) in our grade, but it may also tie to their preconceived notion of plus size Black girls, which ultimately made us undesirable in their eyes. It is difficult to determine the truth of the matter, but I cannot help but wonder if my chances of finding a relationship would be better if I were thinner and non-Black.

I do not say this to dismiss non-Black women’s struggles in the plus-size community, but there is no denying the disparities between their obstacles and ours. In an interview on UKbased show Lorraine, author Stephanie Yeoboh brings up how the fat-acceptance movement “has shifted focus away from bodies who needed that safe space and given its visibility to bodies that [have] a bit more privilege.” This becomes obvious when looking at areas like the fashion industry, which often excludes larger women with darker skin tones in favor of light-skinned and curvy women. As someone with features from the latter description, I am fully aware of my privilege and do my best to show support for plus-sized darkskinned women and femmes.

After graduating from high school and starting my first year at UCLA, I started using my abundance of free time to reflect on my life as a chubby Black woman. While I realize that most college kids are more mature and less likely to pick on me because of my size, I understand that the problem might come up in other life areas. I might struggle in future jobs and in seeking relationships, but knowing that the world is continuously changing for the better, I am not as wary as I was in the past.

For now, I plan to focus on maintaining good grades while engaging in life outside of online classes. Some of the ways I cope with school stress are exercise, listening to music, and watching all the Black sitcoms that recently came to Netflix. Even though shows like Moesha have similar archetypes to the aforementioned “big sassy Black girl” trope, I still consider characters like Kim Parker to be a great representation (even though her character in The Parkers was not as great). I can only hope that future movies and shows will take notes on her beauty and confidence without going to the extremes to portray a plus-size Black woman.

43

Type 4

By Allison Scott

I

used to wear a hood every day in high school because I was embarrassed about my hair.

Even when it was 70 degrees and sunny out, I hid my curls. Sometimes I made an effort to do a cute style like half-up, half-down, or space buns. But most of the time, I just didn’t. What did it matter if it was just going to look “wild” by the end of the day? Double-consciousness--no matter how confident I am in my hair, I always know that non-Black folx will view it differently.

I have 4a/4b hair, which is on the kinkier side of the spectrum. My parents said it was thick and too much work for them to do. So I watched countless tutorials for wash-n-go’s and twist outs.

However, most of the girls I looked up to didn’t share my same hair type. The Amandla Stenberg and Zendaya Coleman’s of the world are the standard--the acceptable Black girl. I wanted hair just like them, but my natural-born curl pattern was never something I could change.

After graduating from high school, I learned how to do box braids and eventually knotless. I had non-Black roommates in a three percent Black institution and was too embarrassed to do my hair in front of them. I kept my curls protected in my braids 11 months out of the year. And after six weeks, I would drive home, just to braid my hair again, in the privacy of my Black home.

44

Lockdowns earlier this year allowed me to take a break from the braids and experiment with my curls. At 20 years of age, I finally figured out how to moisturize and define my curls in a way that I loved. But then I became exhausted. Tired of lifting my arms above my head for hours on end and tired of being afraid of what all my nonBlack friends will say about my new ‘do, I cut it all off.

T

he big chop is something many Black girls find themselves doing at some point in their natural hair journey. It is quite liberating, whether it’s to get rid of damage or just for a new look. For me, it was because I still hated my hair after all this time. Looking back at photos of my long, luscious Black curls, I had absolutely no reason to trip. My hair was gorgeous. But it took the shedding of most of it for me to see that.

Stepping out of my best friends home after she cut it off in eight little ponytails, I had never felt so free in my entire life. I remember saying, “I feel like everyone is looking at me” (insert Debby Ryan meme). At 21 years old, I finally can say I love my type 4 hair.

But there is a massive problem with this. I have lived most of my life feeling that my curl pattern and hair texture wasn’t good enough. I braided my hair so my roommates wouldn’t see my coils on the ground when I brushed my hair. I pressed my hair for picture day and family events. I allowed the ideals that Black hair was unkempt, unless otherwise manipulated, to translate into personal exhaustion from prepping my hair for the outside world.

“My hair was gorgeous. But it took the shedding of most of it for me to see that.”

45

brown sugar babe

By Kamea Taylor

S

kin tones are known to have a broad range within the Black community, but the issue lies when using food to compare skin tones. This “perfect combination” of sugar and creams does not explain why a Black person’s skin color is described as light, dark, and all that is in between.

In many instances, these statements are often mistaken for compliments and impressively mask the negative connotations that follow when your skin color is compared to chocolate, caramel, brown sugar, or other sweets.

Though unintentional, these “analogies” can make individuals within the Black community feel uncomfortable and dehumanized. Praises like, “Your skin’s like a caramel latte,” or my personal favorite (unless said by a non-Black person), “I love me some chocolate men,” unveils the underlying aggression and appropriation that links to colonialism. This has been used as another way to assert dominance, and it is a disgusting practice that has unfortunately grown to be cliché.

Before individuals begin inquiring about why Black people can speak to one another in the manner and the white community can not, a specific word comes to mind: slavery. It is extremely rare for the Black community to refer to their white counterparts as vanilla or other dairy products to compare their skin tones. Still, such expressions from white people can evoke dehumanizing flashbacks and unwanted reactions. Regarding this observation, the terms “cocoa” and “coffee” are far more triggering when used to compare the skin tones of Black people. The value of these goods were the pinnacle of the slave trade. Therefore, these statements just reinforce the recycled ideologies of the Black body being reduced to a commodity and dismissing the generational traumas that came from it. This would then explain why it is acceptable for mutuals within the Black community to use such language as conversational jokes or to “hype up” each other. A great example of this would be tracks like D’Angelos’, “Brown Sugar” and Tupac’s “Keep Ya Head Up,” that show appreciation and admiration for Black people of all shades, openly celebrating the sunkissed and golden melanin passed down from our ancestors.

More proper terminology to describe skin tone is simple. There are basic colors such as Black, Brown, and Beige, but these alone do not represent the range. Complex colors like Umber, Gold, Sepia, and many others aid in narrowing down shades and skin tones. For example, instead of describing one a Black man as an “attractive caramel man,” the more appropriate description would be, “He was tall and slim with golden brown skin.” See, sounds better already.

46

47

W

e live in a world where beauty is narrowly defined. Eurocentric features are deeply rooted in society and continue to shape the images of beauty represented in the media. Each generation and each culture reinforces its standard of beauty through music, art, media, and even through politics, so it is important to recognize that we have the power to influence now. We have colonized notions of beauty, and it is time that society makes an effort to decolonize.

History of Beauty Standards The juxtaposition of Black people to white standards of beauty is primarily rooted in the transition from Africa to North America during the North Atlantic slave trade. Since then, the ideals of beauty within the Black community have been minimal and white-centered. As a result, Black womxn have been trying to reclaim their beauty by making efforts to assimilate to European-American ideals. Over time, the transition of Western beauty standards has consistently catered to white womxn, with features such as lighter skin, longer and straighter hair, and lighter eyes deemed more attractive. This image is perpetuated in the media, through television, films, magazines, advertisements, etc. Throughout history, Black womxn have been bombarded with society’s push to be a certain kind of beautiful by emulating figures from Marilyn Monroe and Audrey Hepburn to today’s Angelina Jolie and Kardashian-Jenner family. With Black womxn being the farthest thing from society’s vision of “beauty,” there were bound to be repercussions within the Black community and how womxn have shaped their identity.

A New Standard of Beauty

By Kristal Ombogo

own. For representation to come about, there has to be a catalyst. And now, that catalyst In 1947, Kenneth and Mamie Clark published for the Black campaign has been Black mxn one of the first studies on how Black children and womxn across the diaspora. perceive themselves, known as the “Doll Test.”

During the study, Black children were shown When we look at the positive representation two sets of dolls: one white and the other Black. of Black people within the media today, About two-thirds of the tested children showed companies like Essence Magazine come to that they liked the white doll better, regardless mind. Founded by Edward Lewis and currently of their own skin color. This illustrated how run by Richelieu Dennis, Essence Magazine is European beauty standards had a profoundly an example of how Black people have taken negative effect on Black children. According charge of the narrative by creating our own to ABC News, about 58 years later, in 2005, spaces for celebration. The magazine serves a 16-year-old student named Kiri Davis to define beauty through a Black lens for recreated the same experiment and found Black audiences. Modern Black moguls like that the same message was still prevalent Rihanna have also taken it into their hands to over time. The doll study indicated that Black shift society’s beauty standards in other ways, children internalized self-hate based on specifically through the makeup industry.

European beauty standards and a When Rihanna founded Fenty “Even across lack of representation. Not only are Beauty in 2017, the campaign Black children significantly more made waves across social media social media, vulnerable to media portrayals of as it featured womxn of all shades Black womxn Blackness due to their higher rates continue to be and monumentally celebrated of media consumption, but the the diversity of beauty. Rihanna the stimulus psychological effects have proven issued a new era within the to carry on overtime. This idea of self- for change and makeup industry, as other makeup hatred within the Black community representation, brands followed suit to include has had the most significant impact a more diverse range of shades as they are no on Black womxn, specifically, as longer accepting and products for womxn of color. we have seen how societal views Today, this change continues the bare have shaped low employment and as Black womxn are no longer minimum.” marital status within that group. penalized for not fitting into the These effects could explain other same fairer-skinned mold that was issues that translate to the poor mental health historically considered the only level of beauty. of Black womxn in adulthood. Even with studies that prove how influential representation and Even across social media, Black womxn beauty standards are on the Black community, continue to be the stimulus for change the question remains: who will fix it? and representation, as they are no longer accepting the bare minimum. To undo the Modern Trailblazers generational pattern of self-hate brought about by unrealistic and Eurocentric beauty As a young Black girl, I often found myself standards, the Black community has pushed mindlessly staring at dolls’ racks in stores. Ten for social media campaigns such as “Black years ago, Barbie dolls only came in a few is beautiful” and the natural hair campaign. ranges, but they had one thing in common: Black individuals make their voices heard most of them were white. However, when I by pressuring and criticizing companies enter stores like Target, Walmart, and others, I for lack of diversity in their advertising and am shocked at the range of faces and bodies marketing. By taking ownership of our beauty, that companies have created. Oh, to be a the Black community demonstrates its power little Black girl now. But, it is important to note in numbers and challenges preconceived that these changes didn’t happen on their notions of beauty. We have created our own Black identity.

Impact on Black Identity

49

The Black Sapphic

By Leilani Fu’Qua

W

through familial, romantic and/or omen are traditionally and platonic relationships with each other. fundamentally underrepresented, When we view our relationships with Black underappreciated, and women as active efforts to appreciate, devalued in societal relationships. For protect, support and love them, we Black women, this is amplified with actively resist the constraints placed upon Black men’s allegiance to heterosexism, women by patriarchal societal structures misogynoir, and any claim to the and male-serving institutions. privileges of the patriarchy they cling to, adding another level to the “When we view our relationships he Black community subordination of with Black women as active traditionally Black women.

Lesbianism, and efforts to appreciate, protect, operates under a silent matriarchy: Black lesbianism support and love them, we a network of specifically, has operated as a actively resist the constraints women-bonded women and lesbian silent phenomenon placed upon women by women providing within the Black community, out of patriarchal societal structures support and the Black fear of threatening and male-serving institutions.” sustaining family structure Black nationhood from “behind and unity. The the scenes.”

Black women as mothers, surge in women’s public allegiance to aunties, friendly neighbors, lovers, and protecting, supporting and loving Black caregivers actively support each other women has created a new phenomenon by providing caregiving assistance, which serves a function of modern social protection from violence caused by men, identity as we move towards dismantling emotional labor, and social education for male supremacy. their community. A lot of Black youth are raised “by the village,” but rarely reflect apphism, otherwise known as on and appreciate the impact of Black lesbianism, refers to the romantic women-bonded women. We rely on these and sexual attraction between women. women for emotional stability, sustenance, While traditionally used only in reference care and expect them to shape our to romantic relationships, I will use perceptions of femininity and womanhood. the term “Black sapphic” and “Black The absence of a mother figure is sapphism” to refer to a Black woman controversial in our community, but their who divests from their allegiances to presence is rarely celebrated and even patriarchy, heterosexism, misogyny, and overlooked as standard. As the Black men to create meaningful, mutual, and family structure changes and divests from reciprocal relationships with women

T

S

50

the nuclear, heteronormative family, Black sapphism challenges the dependency on patriarchy as the basis of familial relationships.

When the opioid/heroin epidemic ravaged through Black, lowincome communities, Black grandmothers became the most likely demographic to raise their grandchildren, despite the lack of resources available to them “Black sapphism allows for from government entities. In instances like this, we turn to mutual, meaningful, and our village. We ask for support, love, and caregiving assistance reciprocal allegiances to women from the women around us. occur even non-romantically.”

Unfortunately, regardless of the monumental impact Black women have on our communities, our allegiance to upholding patriarchal values alters the experiences of Black womanhood. Often out of fear, isolation, and instability, we view women-bonded relationships and lesbianism as a threat to Black nationhood (which rests on upholding the institution of patriarchy and heterosexism), as mentioned in Audre Lorde’s “Sister Outsider.” As modern Black women reshape our ideas of liberation, family, and choice, we adopt the ethic and efforts of women-bonded women before us and take further steps to cherish their work.

T

to

he platonic social network of Black women is an oasis for Black sapphism.

Aside from romantically, communities of Black women rely on each other to discuss the nuanced experiences of their identity that only other Black women can relate to. Additionally, these experiences overlap as these cohorts serve as support groups for family struggles, career difficulties or accomplishments, relationship advice and social relief. Nonetheless, being in the physical presence of women can birthe a sense of belonging, comfort, and familiarity that allows women to prosper with each other. The love we elicit from platonic relationships can be as influential and cathartic as familial or romantic love, especially if the romantic and familial relationships are a point of concern or unease in a person’s life. Black sapphism allows for mutual, meaningful, and reciprocal allegiances to women to occur even non-romantically.

52

Audre Lorde’s Sister Outsider describes this active effort to decenter men as a reorganization of social relationships, which traditionally places men above women.

Lorde states, “Women identified women who are no longer dependent upon men for their self-definition may well reorder our whole concept of social relationships.”

When women divest from their own subjugation through the commitment to placing themselves and other women above the interests of men, they divest from heteronormative and male-serving social scripts. In her essay Lesbianism as Resistance, Black lesbian feminist author Cheryl Clarke states, “If radical lesbian-feminism purports an anti-racist, anti-classist, anti-woman hating vision of bonding as mutual, reciprocal, as infinetely negotiable, as freedom from antiquated gender prescriptions, then all people struggling to transform the character of relationships in this culture have something to learn from lesbians.”

R

omantic relationships between women, and especially Black women, get little to no screen time in modern media.

However, the romantic aspect of women bonded relationships adds an additional dimension to the commitment to decenter men and divest from the patriarchy. Clarke states, “The Black woman, having neither maleness or whiteness, has always had her heterosexuality, which white men and black men have manipulated by force and at will,” emphasizing the act of resistance that is being a Black lesbian (sexually and romantically). The commitment to loving women is not out of spite for men, but for the improvement of women’s lives in all aspects.

L

esbianism allows for compassion to understand the nuances of femininity in addition to actively resisting misogynist, capitalist, and male-supremacist social constructions.

Clarke describes this as a “potential for mutuality” in her relationship, as the lesbian has decolonized her body and rejected servitude to men. For Black women, romantic relationships with each other allows for gender and cultural mutuality. A lover who understands and resonates with the extent of your oppression, oppression that is triple-bound to sexuality, gender, and race, is a lover who can care for and empathize with these struggles as she faces them herself.

The subtleties of the Black experience, like hair care, colloquialisms, cultural recipes, political opinions, fashion and music are shared phenomena for Black lesbians: rather than existing as teachable moments, these subtleties exist as commonplace. With partners of any cultural background, lesbian relationships encapsulate platonic, maternal, romantic and sexual energy that contributes to the liberation of women from male-centered structures and institutions.

B

lack sapphism is an occurrence of the modern Black identity. Black women around the globe continue to struggle for their freedom and turn to each other for solace, collaboration, and love. As we combat sexual slavery, child labor, lynchings of Black transwomen, violence against women, misogyny, malesupremacy, capitalism, and imperialism, the works and writings of Black women guide the rest of the world to a clearer vision of liberation. When we work together, celebrate together, fight together, and love together, dreams of progress move towards visions of reality.

53

LUXURY

BLACK

Photos by Lauren Brazile

This shoot was intended to showcase the wealthy Black girl aesthetic. This portrayal seeks to dimantle societal ideas of the way Black women are represented in the media. Today, Black women have expanded beyond stereotypes and are encouraged to live freely. This piece captures a designer shopping spree for the girls with an expensive taste who deserve to spoil themselves. This is inspired by today’s popular Instagram influencers and trend setters through avenues of fashion and high-end style.

a message to the community Black Bruins,

This year has been a tumultuous one, not only for Black students but for Black people in general. From the Black Lives Matter movement taking the world by storm due to relentless police brutality, to the COVID-19 pandemic disproportionately affecting our community, 2020 has had it out for Black people. The Afrikan Student Union (ASU) has been there with you all through it all, looking to give support in any way we can. We also accomplished some major wins on-campus. We want to give a few updates on what our organization has done, not only this quarter, but through this entire year in the name of transparency and celebration.

First and foremost, Chancellor Gene Block agreed to establish a Black Resource Center on campus (though UCLA is the last of the UCs to establish one). This is an extremely exciting milestone, as Black students will have a space large enough to actually hold people, to congregate, program, and thrive. Though we cannot be physically in the space until the campus reopens, ASU leadership has been working tirelessly with the Black Graduate Student Association, the Harambee Council, and Student Affairs to ensure that the center best serves Black students. This space will not only serve as a programming space for any Harambee Council organization, but it will also be home to new student jobs, a full-time staff member, and office hours for Counseling and Psychological Services, Academic Advancement Program, the ASU projects, and other entities on campus that can help to give retention resources to Black students.

ASU has also been forced to shift the way that we view programming along with every other organization on campus. Through our virtual game nights (one of which was co-programmed with Stanford’s Black Student Union) and our healing discussions, we have been able to keep the family nature of the Black Bruin community alive. However, when thinking of the last time we were able to all congregate in person, I am amazed at what we were able to accomplish. The last in-person event organized mainly by ASU staff members was the anti-police brutality protest in June which over 1,500 people attended. Although this was not an ASU-exclusive event, it is still astonishing that the last time a lot of us saw each others’ faces was at a rally for Black lives, which shook the Westwood community.

These accomplishments not only speak to ASU as an organization, but to every Black Bruin on campus. We love one another and are able to come together not only when it is time to have fun, but when the community needs us as well. Thank you for always having our backs and always feel free to reach out when you need us to have yours.

In love and solidarity, Simone Walker and Alex Dunkwu 2020-2021 ASU Co-Chairs

56

acknowledgements nommo staff editors Allison Scott Sandi Wiggins Andrea Robinson Kristal writers Allison Scott Sandi Wiggins Leilani Fu’Qua Kristal Ombogo Kamea Taylor Mary Sutton Hannah Masresha Natalie Baltimore Ulani Mafate Kenneth Beckford photographers Mikiiya Foster Lauren Brazile Josue Cambara social Media Andrea Robinson Matthew Bethea Layla Payne digital Press Foluke Salami

this issue layout and design by: Kristal Ombogo Leilani Fu’Qua

Nommo Newsmagazine is published and copyrighted by the ASUCLA Communications Board. All rights are reserved. Reprinting of any material in this publication without the written permission of the Communications Board is strictly prohibited. The ASUCLA Communications Board fully supports the University of California’s policy on non-discrimination. The student media reserve the right to reject or modify advertising whose content discriminates on the basis of ancestry, color, national origin, race, religion, disability, age, sex, or sexual orientation. The ASUCLA Communications Board has a media grievance procedure for resolving complaints against any of its publications. For a copy of the complete procedure, contact the publications office at 118 Kerckhoff Hall at (310) 825-9898.

covers: Mi’jon Woods, photographed by Mikiiya Foster Instagram: @mijonlwoods

57

modern black identity