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When American Sniper opened in theaters last week, I started to see reviews that pointed out Kyle's use of the word savage to describe Iraqis. That word has been used to describe American Indians. I wondered if Kyle made any connections between "savage" and American Indians in his book. The answer? Yes.
In his autobiography, Kyle uses "Injun" in two places. Here's what he said on page 267:
Or we would bump out 500 yards, six or eight hundred yards, going deep into Injun territory to look and wait for the bad guys.
And here's what he said on page 291:
Our missions would last for an overnight or two in Injun country.
See? He made connections between "savage" Iraqis and "savage" Indians. In his book, he used the word "savage" several times. Here's page 4 (the book uses caps as shown):
SAVAGE, DESPICABLE EVIL. THAT'S WHAT WE WERE FIGHTING in Iraq. That's why a lot of people, myself included, called the enemy "savages."
Later on that same page, he says that when people asked him how many he's killed:
The number is not important to me. I only wish I had killed more. Not for bragging rights, but because I believe the world is a better place without savages out there taking American lives.
On page 147:
THE BAD GUYS THE ENEMIES WE WERE FIGHTING WERE SAVAGE AND WELL-armed
On page 173:
It was near a hospital the insurgents had converted into a headquarters before our assault, and even now the area seemed to be a magnet for savages.
On page 219:
I hated the damn savages I'd been fighting.
On page 228:
They turned around and saw a savage with a rocket launcher lying dead on the ground.
On page 244:
They had heard we were out there slaying a huge number of savages.
On page 284:
There was a savage on the roof of the house next door, looking down at the window from the roof there.
On page 316:
"...after we killed enough of the savages out there," I told him.
On page 338:
I'd have to wait until the savage who put him up to it appeared on the street.
Of course, Kyle is not the first person to equate American Indians with Iraqis. In 2008, Professor Steven Silliman of the University of Massachusetts did a study of the use of "Indian Country." His article, The "Old West" in the Middle East: U.S. Military Metaphors in Real and Imagined Indian Country
includes a chart of how it was used in the Middle East, by media and soldiers.
And, anyone who has paid attention to the use of "savage" or "Injun" in children's literature will be able to list several books that use either word to dehumanize American Indians. Here's a few examples:
- Laura Ingalls Wilder used "savages" in her Little House on the Prairie.
- Carol Ryrie Brink used "savages" in Caddie Woodlawn.
- Lois Lenski used "savage" in Indian Captive.
- Elizabeth George Speare used "savages" in Calico Captive and "savage" in Sign of the Beaver.
- Eoin Colfer used "savage Injun" in The Reluctant Assassin.
When we share books with the dehumanization of American Indians, do we inadvertently put people on that road to being able to dehumanize "other" in conflicts, be the conflict that takes place in war or on the streets of any country?
A colleague in children's literature, Perry Nodelman, has been sharing his collection of images of Indians in Peter Pan books illustrated by various authors over the last 100 years. If you want to see them, search twitter using #EthnographicInaccuracy.
Among them is Oliver Herford's The Peter Pan Alphabet, published in 1907. Here's the cover:
Here's the title page:
You can read the whole thing if you want to: The Peter Pan Alphabet.
I'm interested in two pages. Here's the page for the letter I:
And here's the page for the letter R:
Some of you might be sighing with relief, thinking that the 1907 publication year of this book means that such things are of-the-past. They aren't.
In the ever-popular Caddie Woodlawn
a "scalp belt"
figures prominently. The townspeople fear being scalped. And I trust readers of AICL are well aware of a professional football team in Washington DC that is named "Redskins." Setting aside that word, note Herbert's "What a Treat to see "Injuns" sit up and Behave!" Why did he put Injuns in quotation marks? The "sit up and behave" indicates he thought that Native people were... Lazy? Wild? Out of control? Naughty?!
Interestingly, that "wild Indian" appears in Caddie Woodlawn!
Caddie is a tomboy. People ask her mom when she's going to make a "young lady" out of this "wild Indian."
My point in sharing these two pages from Herford's 1907 book? To note that those sentiments are still very much a part of today's society.
In an earlier post, I wrote about how NBC had hired a Chickasaw man to rework the "Ugg-A-Wugg" song, replacing that phrase with a word used by the Wyandott people. Other musical changes were made, too, he said. That song was replaced with a new one, called True Blood Brothers. NBC's live production of Peter Pan aired last night (December 4, 2014).
So how did it turn out?
As Tiger Lily stands before Peter Pan for this song, she says something like "O a hay" instead of Ugg a wugg. The music that plays during this song? Classic Hollywood fakery. Below are some screen captures from the video available on YouTube
. At the very bottom is the video itself.
Tiger Lily steps back from Peter and crosses her arms in front of her:
Tiger Lily and her tribe begin to dance. Note their attire:
Here, they sing "Beat on a drum!" And I will come and save our brave noble warrior." With their hands, Tiger Lily and Peter Pan 'play' the drum (the backs of the men on whom they stand). Because they're both singing, I guess Tiger Lily is saying Peter is a brave noble warrior, and he is saying it of her, too:
Everyone dances to that Hollywood Indian music, and then John and Michael start singing "Hickory Dickory Dock" (rather than O-a-hay o-a-hay o-a-hay). They're pretending to be Indians at that point. See that blue feather? And that loin-cloth-thingy?
More Hollywood Indian music, more dancing, a dummy meant to be Captain Hook, and the number ends with Tiger Lily and Peter Pan singing they'll be blood brothers to the end.
As I watched the clip, I didn't see any Indian women. Just Tiger Lily. All the rest of her "tribe" are men.
The take away? Lot of stereotyping:
Indians with crossed arms: check
Scantily clad Indians: check
Playing drum with hands: check
Kids playing Indian: check
Hollywood Indian music: check
Overrepresentation of men: check
"O-a-hey" is supposed to be a Wyandotte word. Does that make this all better? No. Not at all.
I wonder how many kids are at school today singing "o-a-hey o-a-hey o-a-hey" as they prance about with their arms crossed? I wonder about the Native kids at school today. Are they looking at their peers doing this silly song and dance?
Here's the video:
Did you tune in? It is getting slammed by reviewers this morning. What do you think about it?
Over the weekend, Heather (a reader of AICL) wrote to ask if I'd seen a Salon article about changes made to music and lyrics in the version of Peter Pan that NBC is going to air in December. Though I knew about the production, I didn't know about these changes. Thanks, Heather, for letting me know.
In a nutshell, NBC hired Jerod Tate, artistic director of the Chickasaw Chamber Music Festival. He's Chickasaw but I don't know anything else about him other than what his bio (linked with his name) says.
With his assistance, the song "Ugg-a-Wugg" was changed.
Ugg-a-Wugg is a duet sung by Peter Pan and Tiger Lily. If either one is in trouble, they'll call on the other for help. The code word they'll use as a signal is ugg-a-wugg. If Tiger Lily needs help, she'll use that code word and Peter will come to save "the brave noble redskin." And if Peter Pan needs help, Tiger Lily will help him. They will be "blood brothers to the end." I think it was/is ludicrous but people love it. Do you remember it? Here. Take a look:
Enter Jerod Tate. Here's what he said, in the Salon article, about that song:
And then the really big thing that we worked on was the replacement of [the lyrics] “ugg-a-wugg.” Just a little background: In general, what we all know is that the Indian tribe that’s represented in Peter Pan was influenced by knowledge of Northeast Indians of the United States. So we’re talking Iroquois, Huron, Wyandotte, Algonquin, these kinds of cultural regions. So what I did was I set out to find a replacement word for “ugg-a-wugg” that was literally a Wyandotte word.Tate won't say what the word is, but he does say it means "come here." The interviewer asked him if he also worked on the costumes, but he said he only worked on the music and lyrics for the songs. He thinks the change is great, because the phrase is accurate. I disagree. The show and story will always be one in which the point of view is of Indians as exotic and detribalized. In chapter ten of Barrie's book, the Indians prostrate themselves in front of Peter Pan, calling him "the Great White Father." That point of view is the foundation for Barrie's story.
Now let's look at the new film from Warner Brothers.
The trailer for the new movie due out next year has a scene where Pan is on the floor, spears aimed at him. It looks like he's about to be killed, but an older man (which I imagine the script says is an elder or maybe Tiger Lily's dad) stops them. In his hand is a necklace of some sort that Peter was wearing. The man says:
"The little one. He wears the pan."Here's a screen capture of that scene in the trailer:
The trailer cuts to Tiger Lily, played by Rooney Mara, who says:
"The Pan is our tribe's bravest warrior." Here she is in that moment:
Her line (Pan is our tribe's greatest warrior) points right at the foundation for Barrie's film. Indians who worship whites. That's not ok. It was't ok then, and it isn't ok to give that racist garbage to kids today. Right?
Some of you know that there was a lot of discussion when Rooney was selected as the actress for the part. Many people said that a Native actress ought to be cast instead of Rooney. I disagree with that idea, too.
Fixing the words in the song, and/or casting a Native person in that role does not change the point of view(s) on which the story rests. These are, through and through, "the white man's Indian." There is no fixing this story or any production of it so that the Native content is authentic.
Attempts to do so remind me of the many schools that sought/seek to make their Indian mascots more "authentic" so that they could keep objectifying Native people, using their ideas of who Native people are for their own purposes.
Can we just let that stuff go?
Wouldn't we all be better off with a major studio production of a story written by a Native person? One that shows us as-we-are (or were if it is in the past), as human beings who do not say things about how we worship a "great white father" or a white guy who is our "greatest warrior"?
By remaking this story, and/or by staging it in schools and theaters, we're just recycling problematic, stereotypic, racist images. Why do it?!
Here's an irony. NBC released a promo featuring Allison Williams talking about the production. There's a part near the end where Williams is singing "it never never ends" as Tiger Lily drops to the stage:
I want it to end. Don't you?
Today is one of those lazy Sunday's in which I pick up an acclaimed young adult novel to read--not for AICL--but just because it is important that I read books that win major awards.
Please Ignore Vera Dietz,
by A. S. King, was named as an Honor Book
in YALSA's Michael L. Printz Award for Excellence in Young Adult Fiction in 2011. I started reading it a couple of hours ago. I paused when I read this:
I drive over the bridge into town. The whitest town on earth--or, more accurately, once the whitest town on Earth until the Mexicans moved in. Once you get through the crowded old suburbs where the large Victorian homes sit on the hill and past the rows of cupola-topped row houses, it's an ugly town--a mishmash of 1940s asphalt shingles, multicolored bricks, and gray concrete. There's too much litter, and too many people look angry. Dad says it wasn't always like this. He says it's not the Mexicans' fault that the city council would rather spend the city's money on new arts initiatives and a big flashy baseball stadium than more police on the streets. So now, while there's wine, cheese, and doubleheaders downtown, poverty has taken over and crime is at an all time high uptown. I lock my doors.
So--Mexicans live in the ugly part of town, but if the city spent more money on police, that part of town wouldn't be dirty, ugly, and filled with people who look angry? Really?! Just how would more police help with that?
I kept on reading. Vera's home is on Overlook Road, near the top of a hill. So is Charlie's. They're next door neighbors, but their houses are a hundred yards apart, in a wooded area where, I gather, the wealthy people of the city live. Vera's neighbor on the other side is the Ungers. The Ungers have a boat, two Cadillacs, and a lawn with ornaments that includes
lawn jockeys (the black kind), and three cement deer--a doe and two fawns.
The Ungers also have gnomes, which Charlie and Vera move around for kicks. There is no further mention of the lawn jockeys. What are we readers to make of that?! Thinking that I'd come across something that tells me the Ungers are racist, I kept on reading. The chapter titled "History--Age Seven" opens with Charlie telling her about "the spirit of the Great Hunter." Of course, that passage gave me pause. Again. Here's that excerpt:
As far as Charlie was concerned, the Great Hunter was an Indian spirit who lived in our woods. He drank from the lake. He watched the stars from the ridge. He protected hikers and hunters and tree-climbing little urchins like us, and he created the most sacred tree of all, the Master Oak, for us to grow up in.
How nice (not)! An Indian spirit who looks after white kids.
Not all Mexicans, or all African Americans, or all Native people, will pause at King's references to them/their culture, but I noted all three instances, and frankly, I'm more than a bit annoyed. Each of these three passages yanked me out of the story King is telling.
I looked through reviews, and not once have I found a review from a reviewer at a journal, or from a blogger, that noted these references. Didn't anyone notice them? Or did they get noticed but were then deemed unimportant? Are such things so much a part of white culture that they are unremarkable?!
Needless to say, I am setting aside King's Please Ignore Vera Dietz.
Did you notice the passages?
Update--5:03 PM, August 31, 2014: In my post (above), I should have provided a synopsis of what the book is about. Here's what you'll find at Amazon:
Vera’s spent her whole life secretly in love with her best friend, Charlie Kahn. And over the years she’s kept a lot of his secrets. Even after he betrayed her. Even after he ruined everything. So when Charlie dies in dark circumstances, Vera knows a lot more than anyone—the kids at school, his family, even the police. But will she emerge to clear his name? Does she even want to?
Update: 5:44 PM, August 31, 2014:
Well, I kept on reading...
I came across a "Nazi skinhead" named Mick who is boyfriend to one of Vera's coworkers (Vera works at a pizza place). One evening, Vera gives Jill a ride home. They've got Sly and the Family Stone cranking. When they get to Jill's apartment, Jill reaches over and turns the volume way down so Mick can't hear it. She turns to Vera and says "What can I do?" With Jill's action and question, we understand that King wants us to know that Mick is racist towards blacks. Why couldn't she give us something like that about the Ungers, too?
Later, Vera is remembering being on the bus when she was in 8th grade. She was listening to Al Green on her headphones. A senior guy sits with her and asks her what she's listening to. His name is Tim Miller. Vera doesn't want to tell him what she's listening to because he uses the n-word and she's sure he won't like the music she listens to. There's also a Confederate flag in his yard. He lives at the bottom of the hill. He tells Vera she's a rich kid. Given the location of his house, his family is low on the SES scale. He's obviously meant to be racist. Again--why don't we have anything to mark the Ungers as racist? Why couldn't Vera have said "the racist black kind" rather than just "the black kind" when she noted them on the Ungers lawn?
I'm trying to figure out who Vera is... She is well-off, doesn't like the n-word, and is aware of white supremacist racism towards African Americans. Is that a plus for Vera? For King?
You may have remembered a few months ago, I begged for responses to a long thing about gender and stereotypes and then a few weeks later I begged for responses to a shorter one. HUGE THANKS TO ALL OF YOU FOR GIVING ME RECS OF WHAT TO READ AND THINK ABOUT AND/OR DATA TO QUOTE HERE!
This was for a level two project, also known as a higher project qualification or HPQ. We got to choose anything to research and come up with a 2000 word essay on it. It was finished in February 2014, and came back with an A* :)
Anyway, I chose to write about YA and how heavily gender stereotypes feature in it. A googledoc of this essay can be found here; the essay is uncut here, but there you can find the whole bibliography, and results of the shorter surveys.
What do you think? Does YA challenge or reinforce gendered stereotypes, or is it changing? Share your thoughts in the comments.
Does Young Adult Fiction challenge or reinforce gender stereotypes? Gender stereotypes invade every aspect of life. From the moment a child is born and pronounced a boy or a girl, they will have the trappings of gender thrust upon them. However, by the time they are teenagers, they will have started questioning these, and many other things about the world around them. Literature written for teenagers, also known as Young Adult literature (YA), addresses many issues such as grief, bullying, drugs, suicide and rape. However, in my years reading a wide range of books on the market, I have not found many books that prominently challenge gender stereotypes, unless it is one of the few with a main character on the transgender spectrum. I have also often thought about the more general representation of gender throughout YA-the characteristics, traits and ideas attached to characters of different genders. In my time as a book blogger, I have also grown to know the methods of marketing YA literature, and I am going to analyse these, and if and how gender plays a part in these. Gender stereotypes are rife throughout all forms of media, not just young adult literature. But as teens question and explore life, and are influenced by the media they consume, the books they read challenging or reinforcing gender stereotypes will help form their ideas that will stick with them throughout their lives. The majority of my research involved reading and rereading many books on the YA market. As the selection is much too large for me to read in its entirety, I selected major books and book series in the YA category, and books with protagonists that challenge gender stereotypes. I have also drawn on books I have read previously and have stood out to me as reinforcing or challenging gender stereotypes. To gain an idea of other peoples’ opinions on gender in YA, and the gender distribution of those involved with it, I conducted an online survey, read blogs and articles by readers and authors, and directly asked authors, both in person and over the internet. Do major YA books feature characters that conform to gender stereotypes? Stereotypes placed on women in everyday life include being emotional, passive, flirtatious, and dependant. Examples of passive and dependent women in YA include Bella (Meyer, S., 2005) and Nora (Fitzpatrick, 2009). Girls challenging this view a major feature in YA, as seen with Katniss (Collins, 2008) Celaena (Maas, 2012) and Tris (Roth 2011). However, as these girls are, in-universe, challenging the norm of women being submissive and obedient, it could also be said that these books reinforce the idea of most girls being weak. Even in these worlds, reinforcing the passive, romantic female adds value to their character; in The Hunger Games, Katniss’s worth increases when she has a boy-kissing Peeta earns her gifts to survive in the arena, and when presenting her as victor, she is made to look “like a girl. A young one. Fourteen at the most. Innocent. harmless” (Collins, 2009, p431), compared to the independent, fierce fighter she was in the arena. Katniss’ conformity to traditional feminine stereotypes is further reinforced when her story ends not with the end of the revolution, but her marriage to Peeta and her raising children (Collins 2010). Another common idea attached to female characters in YA literature is the idea that they need to have a romantic relationship with a boy, or possibly two, being in the centre of a love triangle. Not only is this heteronormative, it reinforces the idea that a woman must be dependent on someone, often a man, an idea that feminists have spent years trying to combat. Boys also fit into one of a few major stereotypes. There are ones such as Four (Roth, 2011), Jace (Clare, 2008), and Gale (Collins, 2009), heroic and adventurous, who are providers, and independent when they are not tied in to romantic relationships. There’s the dark brooding immortal supernatural creature such as Edward (Meyer, S., 2005) and Patch (Fitzpatrick, 2009), who conform the idea that men do not share their emotions very well. There are also emotional and non-aggressive boys such as Peeta (Collins, 2008), who also challenges stereotypes by being skilled at “feminine”, creative activities such as painting and cake decorating, and Simon (Clare, 2007), Charlie (Chbosky 1999), Dash (Cohn and Levithan, 2011), and all of John Green’s protagonists. These have become so common in young adult literature that they are becoming a stereotype in themselves. However, as these boys do not conform to traditional views of men, they can be said to challenge stereotypes. Some stereotypes grow in popularity due to high sales of a book that features it. Twilight (Meyer, 2005) is responsible for the popularity of vampires, paranormal romance and, unemotional boys with ordinary but special girls, selling one million copies in two and a half years in the UK (Alexander, 2009), and the series selling over 100 million copies worldwide (Sellers, 2010). Strong girls fighting against a dystopian system have exploded in the wake of The Hunger Games, which has sold over 65million copies across the trilogy (Scholastic, n.d.) in the US alone. Books with such a large audience will majorly reinforce any gendered stereotypes, as examined above, contained within them. How are characters challenging gender stereotypes presented? For a category of literature with such a wide appeal, the amount of characters challenging the stereotypes in their everyday life is surprisingly small. Within the small, slowly growing, selection of queer fiction, trans* and intersex representation is negligible, with only two books featuring trans or intersex main characters published by mainstream publishers being published in 2013 (Lo, 2013a), and 7 (4% of 167 books featuring queer characters) featuring trans characters in a decade by “the big six” and three other major US publishers (Lo, 2013b). Agender and nonbinary-gender characters are practically non-existent, unless mentioned in passing. The erasure of characters who, with their gender expression, challenge cisgender norms, aids in the reinforcement of the gender binary and attached stereotypes. Cisgender characters challenging their gender stereotypes have often been girls attempting to pass as boys, for example Deryn from Leviathan (Westerfeld, 2009), Polly from Monstrous Regiment (Pratchett, 2003) and Jacky from Bloody Jack (Meyer, L., 2002) to gain freedom, owing to the repression of women in their respective worlds . Rare are characters challenging gender stereotypes in contemporary settings, although over the past few years, the selection has been slowly growing; for example Jesse from The S Word (Pitcher, 2013) and Eleanor and Park (Rowell, Eleanor and Park, 2012)who challenge gender stereotypes by the way they dress, and Ben, who takes up knitting, a conventionally feminine hobby, and ends up enjoying it, becoming the “only male knitter to have ever attended” the English Knitting Championship (Easton, 2014, p227 ). These help to challenge perceptions, both in-universe characters’ and readers’. What also helps challenge stereotypes is characters being supportive of these characters, for example Megan Hooper (Easton, 2014) and Angie (Pitcher, 2013). However, as the characters challenging stereotypes for them to support are few and far between, their effectiveness at challenging stereotypes is limited Do covers reinforce gender stereotypes? The marketing of a book is based mainly around a cover. Books aimed at boys often feature darker colours used in a more aggressive way, explosions, weaponry and technology, reinforcing the stereotype of boys being violent, active and dominant. Covers on books targeted at girls often feature a girl in a long flowing, especially in paranormal romance, even if the dress is not relevant to the plot at all, for example Gena Showalter’s Alice in Zombieland (2012), possibly because the stereotypical girl has through her life, in the words of Stacey Whitman, been “romanticizing…the fairy tale, including all the pretty things to wear.” (Wan, 2013). All these tactics used by publishers’ art departments reinforce gender stereotypes to do with the perceived audience of the book, and have the added effect of unnecessarily gendering genres and stories. The colour pink will also mark a book as girly, regardless of the content. An example of this is What’s Up with Jody Barton (Long, 2012), which features a bright pink cover, off-putting to boys, despite the fact that the main character is a teenage boy. Over time, book covers that are more gender neutral than others have emerged. Examples include the US first editions of The Hunger Games series, the Divergent series, and certain editions of John Green’s novels, particularly Penguin’s 2012 editions. Features of these covers include block colours, symbols, a lack of cover models, whose gender will assumedly influence the gender of readers, and no suggestion of romance. Gender stereotypes in book covers may also be influenced by the author. In May 2013, prolific author Maureen Johnson (2013a) tweeted “I do wish I had a dime for every email I get that says, “Please put a non-girly cover on your book so I can read it. – signed, A Guy”, then challenged her 77000 followers to take any novel, imagine that the author was a different gender to what they are, and redesign the cover accordingly (2013b). This activity was performed on books from all genres, but you can see stark cover design differences by author gender. Books with female authors were given symbols in place of people, and books with male authors were given people in place of symbols. The altered cover designs reinforce the lack of emotion often associated with men, and the gentility often associated with women. Johnson (2010) also suggests that “female stories are consistently undervalued, labelled “commercial,” “light,” “fluffy,” and “breezy,” even if they are about the very same topics that a man might write about”. While books will be marketed on merits such as content and tone as well as the author’s gender, this labelling of women’s work and the Coverflip exercise shows that gender stereotyping is still, to some extent, present in the publishers’ marketing departments. Are reading and writing gendered activities? Genres are heavily gendered. Romance is seen as a feminine genre, due to the idea that women are emotional. Contemporary is also seen as a feminine genre, with the exception of John Green novels, as many contemporary books heavily feature romance, even though they also deal with harder issues. Thrillers, action and science fiction are seen as male genres, due to the stereotype of men being intellectual, active, and technical, which can lead to women using initials when publishing in these genres, which reinforces these stereotypes. Dystopia is a gender neutral genre; however many dystopian novels with female authors have a stronger romantic subplot, while dystopian novels written by male, or initialled, authors emphasise the control and destruction of the regime. Women are often said to dominate the YA market. At first glance in a teen section of a bookstore, you would think so, and in my survey, 75.3% of the writers were female, but when it comes to bestsellers, it’s the men who win. In 47 weeks, two women topped the New York Times YA list for five weeks total (Jensen, 2013a), and at no point, women have had more than 4 books in the top 10. This seems strange considering that 75% of the authors on a selection of “Best of” lists in 2013 were female (Jensen, 2013b). The reason why more male-authored books have higher sales figures despite critics believing female-authored books are better are unknown; but it could be partially due to the idea that women are less likely to produce quality product. The use of gender concealment reinforces gender stereotypes. Louisa May Alcott, Marian Evans and the Bronte sisters all used pennames to conceal their gender, (Anderson, 2011) in a time when women had strict restrictions on control over their rights, property, and money. The author who is often credited with kick-starting YA as a genre, Joanne Rowling, used initials J.K. to avoid a negative impact on marketing to male readers. Women who take on initials in modern YA include J.R. Johansson, S.J Kincaid, D. J McCune, and S. D. Crockett. They may use initials because they are all writing from male perspectives, and may not be taken as seriously as a woman, or because their books are not heavily romantic, as would be expected from a woman, and these two facts would impact the sales of the book based on the preconceptions about the book based n the gender of the author. Men taking on initials was common in classical literature, for example J.R.R Tolkien, T.H. White and J.M. Barrie, however I can only find two modern male authors using initials- M.T. Andersen, who wrote Feed, a science fiction novel, and T.S. Easton, who wrote Boys Don’t Knit. Easton, who uses pseudonyms, also wrote My Year in Agony and My Summer on the Shelf, two books about a girl who becomes the school’s anonymous Agony Aunt, under Lara Fox, a female pseudonym, (Easton, n.d.), and Haven, a thriller, under his full male name, which reinforces the gendering of genres. A Canadian survey (Katz & Sokal, 2003) found that 24% grade 2 boys found reading feminine. A recent survey conducted by the National Literacy Trust found that 56.8% girls like reading “quite a lot” or “very much”, compared to 43.9% of boys (Clark 2013), and a survey carried out by the Canadian Council of Learning (2009) found girls outperform boys by 23 points in reading tests. That reading is feminine activity is reflected in the fact that, of the 149 people I sampled, 84.6% of the readers were female, 84.7% of the book bloggers, people publishing book reviews to the internet, were female, and 80% of the workers in publishing were female (see appendix). There are many possible explanations for this. One is the fact that reading is not seen as a “masculine” activity-it does not require physical exertion, is not technically challenging, and often invokes emotion. Another reason may be that “as the majority of the teen publishing industry is female, boys see reading as a female activity, and are put off by it”, as suggested by Darren Hartwell (personal communication, 31 January 2014). I believe that a major factor is the androcentricism in society, combined with marketing. Jacqueline Wilson, writer of books for children that cover topics that affect many children, such as abuse, divorce, grief and mental illness, said that she had been told in the past that the books had to be pink because “it would sell “twice” as many copies among girls even if it put boys off.” (Bingham, 2013) This attitude is effective at upholding the stereotype of pink for girls, blue for boys. In the same interview, Wilson then “I do think that with books a boy is going to have to feel really quite confident if he is going to be seen in front of his mates with a book that is bright pink because it is immediately code for this being 'girlie'.” Bluemle (2012) says “We steer kids—no, we steer boys—away from stories they might respond to from a very early age.” Wilson and Bluemle are referring to the stigma that society places on boys who do “girly” things, even while accepting girls who do “boyish” things. Due to the majority of books being believed to have “girly” covers, as 88.5% respondents believed most books have covers aimed at girls, covers not only unnecessarily gender a book, they also gender reading as a whole.
Does YA challenge or reinforce gender stereotypes? The aim of every author is to tell a good story, with an intriguing plot and fully developed characters. Many authors don’t go out of their way to include or avoid stereotypes. However, being ways of quickly conveying information about a character or situation, it is inevitable that stereotypes will appear in any form of fiction. The aim of this report was to examine whether or not gender stereotypes are reinforced by young adult literature as a whole. The extent of this research is limited by the fact that I am unable to analyse every book on the YA market, and that people have different ideas of stereotypes relating to genders; however, I believe my research has given me a good overview of the market. My findings have led me to believe that gendered stereotypes have grown in popularity due to high sales of books featuring these idea, and waves of similar books riding on their success perpetuates them, as seen in the dystopian and paranormal romance genres, which are full of romantically dependent girls and protective boys. Gender stereotypes are also reinforced by the marketing of a book, which is influenced by both the content and the author’s gender, and is expressed in a book’s cover and words used to promote it. As the selection of YA increases week by week, characters that challenge gender stereotypes are slowly gaining visibility, and as attitudes towards queer people change and we see more and more, gay characters, in time, maybe we will have a full range of characters, both trans* and cisgender, challenging stereotypes . However, as the market stands, I believe that YA fiction as a whole does reinforce gender stereotypes. Chbosky, S., 1999. The Perks of Being a Wallflower. New York: Simon and Schuster Clare, C. 2008. City of Bones. London: Simon Pulse Cohn R, and Levithan, D., 2011. Dash & Lily’s Book of Dares. Richmond: Mira Ink. Collins, S., 2009. The Hunger Games. 2ndEdition. London: Scholastic. Collins, S., 2010. Mockingjay. 2ndEdition. London: Scholastic. Easton, T.S., 2014. Boys Don’t Knit. London: Hot Key Books. Easton, T. S, n.d. YA Books. [online] Available at: http://www.tomeaston.co.uk/#!books/cee5 [Accessed 14 February 2014]. Fitzpatrick, B., 2009. Hush Hush. London: Simon and Schuster Jensen, K. 2013a. On Cover Flipping. Stacked Books, [blog] 9 May 2013. Available at: http://www.stackedbooks.org/2013/05/on-cover-flipping.html [Accessed 2 February 2014]. Johnson, M., 2010. Sell The Girls. Maureen Johnson, [blog] 22 September 2010. Available at: http://www.maureenjohnsonbooks.com/2010/09/22/sell-the-girls/ [Accessed 10 February 2014] Katz, H., and Sokal, L., 2003. Masculine literacy: One size does not fit all. Reading Manitoba, 24(1), 4-8. Lo, M., 2013b. LGBT Young Adult Books 2003-13: A Decade of Slow But Steady Change [online] Available at: http://www.malindalo.com/2013/10/lgbt-young-adult-books-2003-13-a-decade-of-slow-but-steady-change/ [Accessed 21 January 2014]. Long, H., 2012. What’s Up with Jody Barton? London: Macmillan Maas, S. J., 2012. Throne of Glass. London: Bloomsbury Meyer, L., 2010. Bloody Jack: Being an Account of the Curious Adventures of Mary "Jacky" Faber, Ship's Boy. Boston: HMH For Young Readers Meyer, S., 2005. Twilight. UK Edition. London: Atom. Pitcher C., 2013. The S-Word. New York: Gallery Books Pratchett, T., 2003. Monstrous Regiment. London: Corgi Roth, V., 2012. Divergent. New York: Katherine Tegan Books. Rowell, R. 2012. Eleanor & Park. London: Orion Books Scholastic, n.d. The Hunger Games|Scholastic Media Room. [online] Available at: http://mediaroom.scholastic.com/hungergames [Accessed 4 January 2014]. Showalter, G., 2012. Alice in Zombieland. New York: Harlequin Teen. Sokal, L. et al, 2005. Boys will be “Boys”: Variability in Boys’ Experiences of Literacy. [online]. Available at: http://ajer.synergiesprairies.ca/ajer/index.php/ajer/article/viewFile/550/537 [Accessed 15 February 2014]. Wan, M., 2013. An Insider’s Take on Cover Story. Forever Young Adult. [blog] 23 August 2013. Available at: http://foreveryoungadult.com/2013/08/23/an-insiders-take-on-cover-story/ [Accessed 11 February 2014]. Westerfeld, S. 2010. Leviathan. London: Simon and Schuster Children’s Books
Last week, Sharon H. Chang tweeted a couple of images from a 1987 copy of Where's Waldo that I am adding to AICL's page, The Foul Among the Good. Here they are:
My response?May 29, 2014
Yes, in fact, I've seen that a lot in children's picture books and in dog photos created by people who apparently don't know much about Native peoples. For us, feathers are not playthings. They are sacred. I am guessing you know that eagles are protected in the United States. I'm guessing that you do not know that there are also laws that recognize that eagle feathers have religious significance to Native people. If you want to know a bit more about it, the New York Times ran a story about this in 2011.
I'd also like to note, Waldo, that your depiction of "Indian" people is stereotypical. You drew a tipi, the fringed clothing, and what I think you meant to be a "peace pipe." There are over 500 federally recognized Native Nations in the U.S. Rather than anything meaningful, you're giving your readers monolithic imagery that doesn't do anyone any good.
I'm hoping that line in your post card, the dog, and the tipi are gone from later editions of your book.
Sincerely,Debbie ReeseAmerican Indians in Children's Literature
The title for today's blog post comes from this math worksheet:
The photo was taken by the mother of a Native student in a school in Wisconsin. Indian Country Today has the full story
, and I urge you to read it, talk with fellow teachers in your school, and evaluate teaching materials in your school, library, or home, with an eye towards identifying similarly offensive materials as this math worksheet.
Natives names carry significance---just like the naming of any people, anywhere---and this worksheet trivializes Native people by mocking Native names. It happens a lot. And "squaw" though widely recognized as derogatory, appears in a lot of children books
Curious about the origin of the question/answer math worksheet, I found the "joke" in these places:
I also figured out that the book the math worksheet is published in is Masterminds Multiplication & Division: Reproducible Skill Builders & Higher Order Thinking Activities Based on NCTM Standards
, published 1995 by Incentive Publications. Masterminds Multiplication & Division
is apparently used in a lot of schools. Is it in yours?
IndieCade, or, the International Festival of Independent Games was held last week, October 4-7, 2012.
Ben Esposito's "Kachina" (which I gather is still in development) was designated as a 2012 Official Selection. Here's a screenshot from the website:
Here's what the description says. See, in particular, the text I put in bold:
Kachina is a physics-based toy that evokes Katamari Damacy's sense of order & scale mixed with Windowill's childlike wonder. Drawing as readily from Hopi folklore as it does Bruce Springsteen, Kachina invites you to play with the creatures and artifacts of North American mythology.
And, here's a video from IndieCade, showing the game being played:
I taught elementary school for several years and know the value of games that help children understand physics, but...
Esposito and the IndieCade people who selected it as an Official Selection must not know that teepees and totem poles have nothing to do with the Hopi people. They obviously have no idea what kachinas mean to the Hopi people, and they also likely have no idea that calling the religious traditions of an Indigenous people "folklore" is derogatory.
It may not matter to Esposito, but I think teachers who want games like this for their students and
who have knowledge of American Indians would reject it. I'm going to tweet this post to Esposito. Maybe he can change it before it is finished.
Last year, students in Ohio University's S*T*A*R*S (Students Teaching About Racism in Society) student group launched a campaign to push back on Halloween costumes of cultural groups. They created a series of posters, including this one, in which the people (in the photo) are wearing feathered headbands, in what they believe to be Indian costumes.
The campaign got some national media attention from CNN
. Dressing up as an "Indian" is not ok. Though it is often well-intentioned, its outcome is generally one that puts ones ignorance on display. Will you say anything to students you see dressed like Indians this Halloween? I hope so.
Thanks to Erin for letting me know about Brandon Mull's Fablehaven series...
Launched in 2007, the first book is titled Fablehaven. Subsequent ones have subtitles. I haven't read any of them, but plan to do so. The second volume is Rise of the Evening Star. Here's what Erin pointed out in her Goodreads review:
The illustration is on page 165 of the paperback. The girl in the illustration is Kendra. She's looking down at a foosball table. It doesn't look anything like any of the foosball tables I've played on... Here's the text from page 163:
Spitted on rods were four rows of Indians and four rows of cowboys. The cowboys were all the same, as were the Indians. The cowboy had a white hat and a mustache. His hands rested on his holstered six-guns. The Indian had a feathered headdress, and his reddish-brown arms were folded across his bare chest.
Some questions... Have you seen a foosball table like that? And why was that particular scene chosen for illustration?!
When Kendra beats "the Sphinx" (he's "a black man with short, beaded dreadlocks" whose "skin was not merely a shade of brown--it was as close to truly black as Kendra had ever seen") at a game of foosball, he tells her "I feel like General Custer."
More questions... Custer? Why? What does it add to the story to have a cowboy and Indians foosball table?! Why did Mull include any of this?
And why have no reviewers noted it?
In 1657, John Amos Comenius wrote and illustrated Orbis Pictus, an encyclopedic picture book for children that is now commonly recognized as the first picture book for children. In honor of Comenius, the National Council of Teachers of English established a nonfiction book award and named it the Orbis Pictus Award for Outstanding Nonfiction for Children. Comenius included Indians in the book in the section about religion, where he wrote:
The Indians, 10. even at this day, worship the Devil, 11.
Here's the illustration. The Indian and Devil are on the right. The Indian is kneeling. To, as Comenius said, "worship the Devil."
I don't mean to suggest that NCTE ought not to have named the award after the book, but I do wish that writers, illustrators, reviews, publishers, teachers, and librarians would be more thoughtful about misrepresentations in things they write, illustrate, publish, teach, and share today. You can't, of course, misrepresent what people like Comenius think, but you can present their thoughts in a way that points out the err of that thinking.
A few weeks ago, I pointed to stereotypes in Brandon Mull's Fablehaven: Rise of the Evening Star. Today, I'm pointing to problems in his Fablehaven: Grip of the Shadow Plague.
First---here's an overview, by Denise Daley (her review is at Barnes and Noble):
Strange things have been happening in Fablehaven. A mysterious shadow plague is slowly overtaking the once peaceful magical creatures that live there. The nipsies are like regular people except they are only about half an inch big. Some of their kingdoms have recently been attacked by other nipsies who have somehow been transformed into sinister beings. Seth is the first to discover the disturbing changes. He and his sister Kendra have been staying with their grandparents at Fablehaven. Kendra has unique abilities that can possibly help, but the situation is extremely dangerous. Kendra's grandparents reluctantly grant her permission to visit a special place where she is inducted into the Knights of the Dawn. She and several other knights immediately begin an assignment to retrieve a hidden artifact.
That assignment takes her to the "Lost Mesa preserve" (p. 94) in Arizona which is on Navajo land. The hidden artifact is one of five. Together, all five of the artifacts can open a demon prison called Zzyzxa. In chapter 7, Kendra and the other knights arrive at Lost Mesa. Here's the illustration at top of that page:
Some of you will say "but that's Taos!" when you see that page. I sure did! (For those who don't know about Taos Pueblo, do an Internet search of images on Taos Pueblo and you'll find plenty of them.) There are, in fact, pueblo people in Arizona. The Hopi Nation is there, and, they do have structures like the ones at Taos, but seriously---do the search and there's no denying that a photo of Taos was the inspiration for Brandon Dorman's illustration of Lost Mesa.
Kendra and her group are driven to Lost Mesa by "a quiet Navajo man with leathery skin, probably in his fifties" (p. 122). His name is Neil. He's wearing a cowboy hat and a bolo tie, and though Kendra tries to get him to talk to her, he answers her questions "but never elaborated or made inquiries of his own" (p. 123). Though some of us are quiet like that, I suspect that Mull is drawing on stereotypes of the stoic Indian.
Neil starts talking a bit more when they get closer to Lost Mesa. He tells her they call it Painted Mesa, and that
Almost nobody knows, but part of the reason the Navajo people ended up with the largest reservation in the country was to conceal this hallowed place" (p. 125).
How, I wonder, do people who aren't Native, or who don't pay attention to the quality of Native content in children's and young adult books, process that line?! Part of it is true. The Navajo Nation does have the largest reservation in the United States. But that bit about having the largest reservation so they could conceal a hallowed place?! Who, in Mull's fantasyland, did THAT?!
Mull has done some research for this book. His research is evident in this exchange, when Kendra asks about Lost Mesa (p. 125):
"Do Navajo's run it?" Kendra asked.
"Not solely. We Dine are new here compared to the Pueblo people."
"Has the preserve been here long?" Kendra asked. She finally had Neil on a roll!
"This is the oldest preserve on the continent, founded centuries before European colonization, first managed by the ancient race outsiders call Anasazi. Persian magi actually established the preserve. They wanted it to stay a secret. Back then, this land was unknown across the Atlantic. We're still doing a good job at remaining off the map."
"Painted Mesa can't be seen from outside of the fence?" Kendra asked.
"Not even by satellites," Neil said proudly. "This preserve is the opposite of a mirage. You don't see us, but we're really here."
In Mull's book, Lost Mesa is an "it" that is "run" by someone. He might know that Native Nations are sovereign governments, but he might also think they're like corporations to be run by someone. From Neil, we learn that the Navajo and Pueblo people run Lost Mesa together. Remember what I said earlier... there are, in fact, Pueblo people in Arizona, but they generally refer to themselves as Hopis. Historically speaking, the Navajo are newcomers to that area.
Let's assume that Mull is talking about villages on one of the Hopi Mesas. They were, in fact, founded centuries before European colonization. But, "first managed by the ancient race outsiders call Anasazi" is a bit messy. "Managed" confirms my suspicion that Mull thinks of Native Nations as companies rather than governments. "Ancient race" is Hopis, but I think it was the Navajo people that called them Anasazi, and then, that term was widely used by anthropologist and archaeologists. For a long time, a lot of people thought the Anasazi people vanished, but today, it is widely acknowledged that we (present day Pueblo Indian) are descendants of that "ancient" people and that we didn't vanish.
But what to make of "Persian magi" who "actually established the preserve" before Europeans even knew the continent existed?! These magi must be part of Mull's fantasy world. He doesn't say they established the village. He specifically says "the preserve."
And then that part about being invisible?! We're supposed to be with Mull in his fantasy world, but as a Native person who knows a lot about the ways that mainstream power structures misrepresent and omit Indigenous people, I gotta say that this is wacky!!!
On page 127, Neil pulls up at a hacienda. There's a pueblo near the hacienda. We meet "a short Native woman" named Rosa and her daughter, Maria, who is "a tall, slender Native American woman with a broad jaw and high cheekbones." Rosa has "copper skin" and is the caretaker of Lost Mesa. They also meet Hal, who is Maria's father and Rosa's husband. He is described as a "potbellied man with narrow shoulders, long limbs, and a heavy gray mustache." I think he's white, don't you? White is the default. Generally speaking, writers only describe skin color when a character is not white.
Hal takes Kendra and Gavin (a youngish knight like Kendra) on a tour of Lost Mesa. They see "an old Spanish mission" with a cemetery and "a pueblo" which, Hal says, "are the oldest structures on the property" (p. 131). Hal stops to feed the zombies in the cemetery.
Yeah... you read that right. Hal tells them that it is the oldest and biggest zombie collection in the world. In the cemetery, there are almost 200 graves. Beside each grave, there's a bell on a small pole, with a cord attached to the bell. The cord goes down into the grave. If a zombie is hungry, it rings its bell. Hal lifts a tube, unstops it, puts a funnel in it, and pours "goopy red fluid" from a bucket down into the grave. Are you creeped out? Or grossed out?!
Next stop is a museum that houses "the world's largest collection of freestanding magical creature skeletons and other related paraphernalia" (p. 135). Gavin objects to the display of a dragon skeleton, because, he says dragons are sacred, and its sacrilegious to display their bones. That's an interesting turn, given that complete skeletons of Native people were, for many years, displayed like museum objects. For more info on that topic, this video is worth watching:
Back to Mull's story....
That night, the group of knights climbs Lost Mesa to "the Old Pueblo" (p. 204):
Lightning blazed across the sky, the first Kendra had noticed since setting out. For a moment, the entire expanse of the mesa flashed into view. In the distance, toward the center, Kendra saw ancient ruins, layer upon layer of crumbling walls and stairs that must once have formed a more impressive pueblo complex than the structure neighboring the hacienda. Briefly her eye was drawn to the movement of many dancers prancing wildly in the rain on the near side of the ruins. Before she could consider the scene, the lightning flash ended. The distance and the darkness and the rain combined to obscure the revelers even from Kendra's keen eyes. Thunder rumbled, muffled by the wind.
"Kachinas!" Neil cried
The middle-aged Navajo rapidly loosed Kendra from the climbing gear, not bothering to remove her harness. Lightning flared again, revealing that the figures were no longer engaged in their frenzied dance. The revelers were charging toward them.
Ok, I'm going to stop reading Mull's book.
Equating kachinas with revelers is offensive. Using "prancing wildly" and "frenzied" to describe them is also offensive. Seems to me that Mull is the one in a frenzy! Caught up in superficial knowledge of Native peoples, he inserts stereotypes and misinformation into another genre of children's literature. Some might find his books engaging. I find them insulting.
Why, I wonder, did Mull feel compelled to write Native people into his book?!
No doubt, fans of Mull's series will submit comments to this review, telling me "its just a book" and "its fantasy, not non-fiction, so leave it alone!"
The fact is, it isn't ONE book. It isn't just Mull's Fablehaven series. Its misrepresentation and stereotyping in books published every year, going back hundreds of years. It'll only stop when we stop buying books like this.
Consider what you have on your library shelves right now. If you started a pile of fiction and nonfiction books that misrepresent Indigenous people, and placed alongside it ones that accurately portray Indigenous people, you'd see what I mean. And hopefully, you'd start to deselect those with misrepresentations. Course, you'd have a lot of space, but you could fill that space with books that don't misinform your patrons and students. Won't that be better? For all of us?
Over at BuzzFeed, Leonora Epstein posted 15 Unbelievably Racist Valentine's Day Cards. I'm sharing two of them in this post. Before I do that, though, let's take a look at the subtitle for her post. She writes "This collection of V-Day cards circa 1900 to 1930 or so will make you wish Valentine's Day never existed." With that subtitle, she suggests that times are different. I think she's not paying attention to mascots like the ones for the Washington Redskins or the Cleveland Indians. She must not know about the Gwen Stefani video either.Problems:
Let's take a look at two of the cards:
"Ugh ugh" - I'd love to know who it was that first put down "ugh ugh" as words or speech of Native people!
The headdress itself - One of the common stereotypical ways that a headdress is drawn.
The geometric trim around the heart - I guess this could be traced to textiles Native artists weave on looms. But don't artists from other groups also use looms in creating their woven items?
Wondering about his "give me" line. What do you think about that?
And or course, he is playing Indian. The artist didn't intend you to think the boy is actually Native. That's different (mostly) from the other Valentine's Day cards in the BuzzFeed article...
Here's the second one:Problems:
"How" - Another utterance someone attributed as the way that Indians say hello. You remember it from Disney's Peter Pan?
The headdress - Another of the common ways that a headdress is drawn...
Given her skin tone, we can speculate that the artist meant her to actually be Native, but that's not likely. Like the boy in the card above, she's most likely playing Indian, too.
If you want to see more, check out the ones Adrienne K. has been posting each year
at Native Appropriations. As far as I know, makers of the Valentine's day cards no longer use these stereotypes. I wish authors and illustrators of children's and young adult literature would stop, too!
Upon learning that Champaign Public Library's 110 Books for Every Child included books with blackface and that stereotype American Indians, Creek author Durango Mendoza wrote that children and their families "could feel ambushed by the foul among the good."
I'm going to ask him if I can use that phrase as a label for any time that I write about a book in which a child--Native or not--might be ambushed by the foul in a book that has received much acclaim by others.
Today's post is about three of those books.
First is Harry Allard's The Stupids Step Out. Though the text never mentions American Indians, James Marshall decided to put Kitty, their dog (so named because they're stupid), in a headdress:
In The Stupids Have A Ball
, Marshall presents Kitty in a headband with one feather (leaf?!) in it:
series is very popular. Scholars who write about how best to engage reluctant readers point to these books as ones teachers should use. Teachers that use those two books with Native children are likely giving then more reasons to be reluctant to read! And anyone with insight into stereotyping and why it is wrong will have found the foul among the good
that Durango Mendoza expressed.
We can do better! If The Stupids
books were the last books on earth, we might have to use them, but they aren't. We can set them aside, can't we?
And while you're in the 'setting aside' mode, take a look at Marshall's George and Martha, Encore.
In it, he's got George playing Indian...
Why would we, in 2013, use books that stereotype American Indians? Doing so affirms (or introduces) playing Indian, and we don't affirm or introduce playing ______ (fill in the blank), do we?
__________________Stupids Step Out
, first published in 1974, by Houghton MifflinStupids Have A Ball,
first published in 1978, by Houghton MifflinGeorge and Martha, Encore,
first published in 1973, by Houghton Mifflin
This week, I'll be giving two free public lectures in which I'll talk about misrepresentations of American Indians (dates/times/locations listed at bottom of this post). In both lectures, I'll draw connections between the stereotypes of American Indians in children's/young adult literature and mascots.
While I'm out there doing that, the University of Illinois student body will be voting 'yes' or 'no' on this question:
Do you support Chief Illiniwek as the official symbol of the University of Illinois at Urbana-Champaign?
For those of you who are new to AICL, here's "Chief Illiniwek" (I use quotes around that phrase because I do not want to convey any idea whatsoever that I think the mascot ought to have that title):
See the words at the bottom of the photo? The organization "Save the Chief" was active in a campaign to stop the university from getting rid of the mascot. It was/is only one of many similar organizations that, in one way or another, keep up the idea that mascots like "Chief Illiniwek" honor American Indians. They do that in spite of the fact that Native organizations, associations, and tribes have called for an end to the use of Native imagery in this way. And, thank goodness, the university chancellor said that the university will not bring it back because the university wants to go forward in being inclusive, not backward.
It is hard to chip away at the embrace of this kind of stereotyping.
American's are taught to have an affinity for this stereotype. This starts when they're young. Do you remember Clifford the Big Red Dog? Dear, dear, Clifford... I like him, too, but not when Emily Elizabeth thought he could be an Indian for Halloween:
Are you a fan of the Berenstain Bears books? Do you remember the one where Brother Bear and Sister Bear go to camp and listen to Grizzly Bob tell stories dressed this way?
I plan to incorporate research on the harm of such stereotyping in my talk. Research studies show its detrimental impact on Native students, and, its impact on non-Native students, too.
The University of Illinois finally got rid of its mascot, but it wasn't due to any concerns about it as a stereotype. It was retired because if it continued, the university would not be able to hold NCAA championships on its campus. I'm certain that some of the people responsible for actually making the decision to get rid of it understood the harm of stereotyping, but too many people did not, and too many people do not understand it.
I believe that children's books play a role in maintaining the illusion that such stereotypes are honorable.
I hope you can attend one of the talks! Please let your child's teachers know about the talks, too. And the school librarian! Displacing stereotypes with factual information about who American Indians were--and are--is going to require that more people understand stereotyping and its harm.
Wednesday, March 6, 1:00 PM
Bronco Student Center - Centaurus
California State Polytechnic University, Pomona
Thursday, March 7, 6:30 PM
Hall of Letters, 100
University of Redlands
It is no surprise to anyone that a majority of UIUC students voted yes last week "in support of Chief Illiniwek as the official symbol of the University of Illinois at Urbana-Champaign."
The outcome of the vote reflects the lack of leadership at the university. When the mascot ("symbol" if you prefer) was retired in 2007, the university failed to fully address the ignorance that kept it in place for so long.
Instead of calling it a race-based or racist or stereotypical mascot, they blamed the NCAA for its end, saying they were ending it due to the NCAA policy about these mascots.
Instead of instituting broad campus-based educational efforts to help students and alums learn what is wrong with such mascots, they did nothing.
Instead of making a clean break with it, they let it live on in the hearts and minds of students and alums by way of the "Three In One..."
Pre 2007, when the mascot danced, it did so to a piece of music called the "Three In One." It has Hollywood "Indian" music that people mistakenly associate with American Indians. Post-retirement, that music was/is still played at halftime of basketball and football games. Fans solemnly rise when that music starts, and they cross their arms in front of them like the mascot did,
and they imagine the mascot doing its dance on the court/field. As with the mascot, they speak of how this behavior "honors" American Indians. Someday, some of them will look back on all of this, and feel a bit embarrassed.
Students and alum ought to feel indignant that an institution of higher learning allowed/allows ignorance to go unchecked. I believe the people who created that mascot meant well. I believe they and most of those who embrace that mascot today really mean to honor American Indians, but the way they're doing it is wrong. So wrong, in fact, that the two tribal nations the pro-chief group tried to get support from, issued statements condemning it. So have local and national Native associations and organizations. The American Indian Studies program at Illinois has several pages
of information about it.
Rather than revere a stereotyped romantic image, students and grads can do something meaningful, like learning about why the Violence Against Women Act
is important to us, or why Native people don't want the Keystone Pipeline
on our lands.
Fans could spend time studying misrepresentations of American Indians that they've seen since early childhood, too. It starts with dressing up as Indians for birthday parties and Halloween:
and continues through the play-Indian activities done at summer camps and by young men in the Order of the Arrow.
Seeing all of it from a critical vantage point can help fans understand why they embrace the mascot. Reading research studies on stereotypes, racism and bias can help fans develop their understanding of the origins and impacts of stereotypes.
Learning to think critically can help fans become informed allies of American Indians as we are
, not as fans imagine us to be. I believe people must own their own ignorance, but I'm also aware that learning can't happen in a vacuum. The university has done nothing about that vacuum. It is a shame, and it reflects poorly on an institution of higher learning.
The current chancellor, Phyllis Wise, issued a statement
letting students know that their referendum will not bring the mascot back, but she must do much more to help students and grads move past their current state of ignorance.
On May 31 of last year (2013), Education Week pointed to a new study of high school graduation rates that reported that the graduation rates of American Indian students had declined in three out of the five years the study examined. In 2010, Susan C. Faircloth and John W. Tippeconnic published a paper in UCLA Civil Rights Project that had similar findings. In their full report, they cite work by previous studies that tries to make sense of why this happens. Some factors are lack of empathy among teachers, irrelevant curriculum, lack of interest in school.
Anyone who follows Native news or political dimensions of sports news knows that for the last year, there has been an increase in the media coverage of the use of Native imagery by sports teams. Some news outlets have decided to stop using some team names in their reporting, and many are critical of Dan Snyder's misguided efforts to garner support from Native people for his entrenched use of "Redskins" as the name of his team.
In 2008, Stephanie Fryberg's research provided empirical data on the damage mascot imagery does to the self efficacy of Native students. Her research was of such import that the American Psychological Association issued statements calling for an end to their use. If her study was replicated with younger children, using images they see in picture books and fiction they read or are asked to read in school, I think the results would be the same.
I am hopeful that increased attention to mascots like the one used by the Washington DC pro football team, or the one used by the Cleveland pro baseball team will bring an end to their use of that imagery. With that increased awareness, I hope that Native and non-Native parents look with informed eyes at images of Native peoples in the books their children read for pleasure or study. The images that adults embrace are images they've seen since they were children. Some of those images were in movies, some on items in the grocery store, and many were in children's books.
On October 19, 2013, I wrote about the Washington DC pro football team and shared images from children's books that are similar to its mascot. Today, I'm showing images that resemble those of Cleveland's mascot.
Here is the "Chief Wahoo" currently in use alongside the image used from 1946 to 1950.
Here's a page from the 1952 Little Golden Book of Disney's Peter Pan
. Is the book on your shelf? Is the CD or DVD amongst your collection?
Syd Hoff's Little Chief came out in 1961. It is an easy reader published by Harper & Row in its "I Can Read" series:
In 1970, Random House published The Nose Book by Al Perkins in its "Bright and Early" books for Beginning Readers. With its image of the Cat In The Hat in the corner, you'd recognize the series right away. In the line-up of animals shown below, Perkins included an Indian. No doubt it seemed clever. But it was racist and wrong. In the 2003 edition with new illustrations, that image was not included.
Those are older books, but I urge you to look on your shelves. If you held on to books from your childhood, the titles I pointed to above (or others with similar imagery) may be among them. You can do one of two things with them. Put them away and use them later with your child when you teach him or her about stereotyping, or, if you're not attached to the book for sentimental reasons, throw it out.
Here's some images from more recent books. You'll find a lot of them if you look in books about Thanksgiving.
This image is from More Snacks! A Thanksgiving Play
. It is in the Ant Hill series of Ready-To-Read books published by Aladdin. Written by Joan Holub, illustrated by Will Terry, it came out in 2006.
Here's a character from the popular Amelia Bedelia books. This image is from Amelia Bedlia Talks Turkey
by Herman Parish, illustrations by Lynn Sweat. It was published in 2008 by HarperCollins.
Such imagery is also in newer movies made for children, like last year's Free Birds
. Here's turkey Indians from it:
The images I'm sharing in this post are a sample. You will find others. Too many others. They are not harmless. They reduce American Indians to detribalized caricatures or props in stories that misinform readers. They affirm stereotypical ideas, and are part of what I believe causes Native students to disengage from school.
As I noted above, I hope that the increased awareness of the harm in mascots used by sports teams can be brought to bear on children's books and media.
If you are getting rid of those books, replace them with better materials! At the top right of this page, you'll see links to lists of books that I recommend. Order them for your home library, and ask your library to get them, too. Give them as end-of-the-year gifts to your child's teachers!
Let's work together and get rid of stereotypical imagery of American Indians, on and off the playing field.
School Library Journal's much anticipated special issue on Diversity was uploaded today (May 1, 2014) in the midst of the We Need Diverse Books campaign, much of which focuses on promoting books by writers who are not white able-bodied males.
Looking over the list of books they recommend, I am astonished to see Rosanne Parry's deeply flawed Written in Stone on the list. Her outsider perspective is all through that book, and she made up several things (which, she says, is "what fiction writers do"), thereby adding to the already-too-high-pile of misinformation that circulates as information about Native peoples.
Why did SLJ choose here, simultaneously contributing to the invisibility of Native writers?
Why did they go with Parry over any of the 30+ authors of the books on the Focus On list that I wrote for them in November, several of which were singled out for distinction by the American Indian Library Association? Presumably they invited me to write that column (in 2008 and 2013) because they trust my work.
What gives, SLJ?
By: Elizabeth Gorney,
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, Psychology & Neuroscience
, Social Work
, Battered Women's Protective Strategies
, domestic violence
, Sherry Hamby
, Add a tag
By Sherry Hamby
The common stereotypes about battered women are wrong and not based on up-to-date science. Here are five common myths about battered women and the real truths about the realities and complexities of domestic violence.
Battered women keep domestic violence a secret.
Reality: Countless research studies show that most battered women disclose their partner’s violence to at least one person—about 80% to 90% of victims in many studies. Victims not only tell, they often tell multiple people and agencies. The problem is not that women don’t tell, it is that they do not receive useful help when they do disclose.
Victims just need to call the police.
Reality: Police officers cannot offer a cure-all for domestic violence. Police arrest perpetrators less than half the time when they are called to the scene of domestic violence incidents, according to the most recently available national data. Worse, arrested perpetrators seldom go to jail—approximately five out of six perpetrators arrested for domestic violence never serve any jail time.
Battered women don’t seek professional help.
Reality: Despite the limitations of police and victim services in many communities, battered women seek help at rates that are similar to people facing other problems. Battered women report to the police at rates that are similar to many other crime victims, and also similar to the helpseeking of people with psychological problems such as depression and anxiety.
Battered women just need to leave.
Reality: All sorts of dangers can increase when women try to leave, including separation violence, stalking, and increased homicide risk. Further, custody battles and other risks can, in some ways, pose even greater threats to women’s well-being and that of their children. We all wish that there was a simple solution like walking out, but the reality is far more complex.
Most women need professional help to cope with domestic violence.
Reality: Most women cope with the problem of domestic violence with informal helpseeking. In nationally representative data, it was ten times more common for women to go to a friend or family’s house than to a domestic violence shelter.
If you want to help women who have been victims of domestic violence, listen to their assessments of what is important, respect their values, and help them come up with a plan or seek resources that address all of the complexities and realities of domestic violence.
Sherry Hamby, Ph.D., is Research Professor of Psychology and Director of the Life Paths Research Program at the University of the South. She is author of Battered Women’s Protective Strategies: Stronger Than You Know.
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Image Credit: Violencia de género. Photo by Concha García Hernández. CC-BY-3.0 via Wikimedia Commons.
The post Rethinking domestic violence: learning to see past the stereotypes appeared first on OUPblog.
By: Debbie Reese
Blog: American Indians in Children's Literature
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, grave robbing
, Julia Mary Gibson
, middle grade
, middle school
, not recommended
, Pub year: 2014
, Add a tag
In Copper Magic, twelve-year-old Violet Blake is digging by a stream near her house in Michigan and finds a "talisman" -- a copper hand that she comes to call "the Hand." Violet feels that this hand has some kind of power. She thinks she can use it to make wishes come true. Course, her first wish (for a new dress) does come true (actually she gets TWO new dresses), so she's thinking about how she'll use it to get her mom and little brother back home. Her mother is half Odawa.
Well, it turns out there was more than just that copper hand in the spot where Violet was digging. There's also a skeleton there that is dug up (another kid finds it), reassembled, and displayed as a curiosity in a local hotel.
Cue some fake Hollywood Indian music...
Can't be messing around in them Indian burial grounds, right?! We've seen THAT enough times in movies and TV shows to know that messing with bones and artifacts means bad things are gonna happen. And of course, bad things happen to the people in Copper Magic. Lots of bad things. A wicked storm. Lake water behaving in odd ways. Death. Before all that happens, Mercy (Violet's new friend) talks about how there might be a curse on the grave... Violet and her mother (remember--her mom is half Odawa) have special powers, too. They can see things other people can't.
Cut that fake Hollywood Indian music, that is, and an emphatic "Cut it out!" as my parents would say when I was doing something wrong.
Cut it out, Julia Mary Gibson!
Cut it out, Susan Cooper!
Cut it out, Rosanne Parry!
"Cut what?" you may wonder... Quit writing about Native spirituality! You mean well, but you don't know what you're doing. From a place of ignorance, you're adding to an already-too-tall pile of garbage that gets circulated as information about Native people.
A good many writers have a moment in their life that touched them in such a way that they feel they must write about Native people. Gibson's moment is described in her Afterword. When she was eleven years old, she and her family found some bones near their summer cottage in Michigan. "[A]n expert" said they were "most likely American Indian but not old enough to be archeologically significant" (p. 329), so her grandfather "pieced together a skeleton and mounted it on plywood." Her "superstitious" grandma didn't like it and insisted the bones be reburied. This took place in the late 1960s or early 1970s (my guess, based on Gibson's bio at Macmillan
that says she was born "in the time of Freedom Rides and the Vietnam War").
Gibson goes on to say that her grandfather didn't know better.
In Copper Magic
, Violet is Gibson. The person who puts the skeleton on display is Mr. Dell, a hotel owner intent on increasing his business. The superstitious person who wants the bones reburied? Well, that is Mrs. Agosa, an Odawa woman who tells Violet to "Watch out for ghosts out by you" because "mad ghosts can throw out curses" (p. 134).
and many other writers poke around a bit and pack their stories with bits of info that make it sound like they know a lot about American Indians. Gibson does that in Copper Magic
when she has some of her characters talk about grave robbing and why it is wrong. She also does that when she has Mrs. Agosa talk about the hotel owner burning her people's village and orchards because he wanted their land. In the Afterword, Gibson tells us that part of the story is true (p. 330):
"The real people of the Chaboiganing Band were yanked from their houses by a crooked land grabber and the local sheriff, who flung kerosene over homes and orchards and burned down the whole village, just as Mrs. Agosa tells it."
The burning of that village is important information. It is what major publishers like Macmillan (publisher of Copper Magic
) ought to make known. I wish Gibson had made it the heart of her story. Instead, she chose to tell a story about grave robbing, curses, and mystical Indians. There's more to the "mystical Indians" theme... Interspersed throughout Copper Magic
are pages about two ancient women: Crooked Woman and Greenstone. Those parts of Gibson's novel are presented in italics. They feed the mainstream monster of stereotypical expectations--where people love to read about "mystical Indians" and our tragic history.
In Copper Magic,
Violet's dad is a steady voice saying that Indian graves deserve respect and ought to be left alone. Violet parrots some of what he says but doesn't really understand. Ironically, Gibson is more like Violet than she realizes. Her understanding is superficial. Violet wants to use the hand to get what she wants. Gibson uses the childhood story to do what she wants.
As you may have guessed by now, I don't like what Gibson has done in Copper Magic.
And of course, I do not recommend it. Copper Magic
is another FAIL from a major publisher.
Tweets I read yesterday prompted me to read Victoria Foyt's young adult novel, Revealing Eden. Some call it provocative, others call it misguided, and others call it utterly racist.
Revealing Eden came out in January of 2012 from Sand Dollar Press. It didn't get reviewed by any of the major review journals. That is due to it being published by Sand Dollar Press, which has only published one book: Revealing Eden.
In an interview posted at Amazon, Foyt said she drew on her "deep fears about Global Warming" to write this story in which "an overheated earth turned social standards upside down." On her website, she writes that she wanted to create a world where "environmental chaos turns today's prevailing beauty standards upside down."
So... she created a story set in the future in which "Coals" are black people whose dark skin makes them more resistant to "the Heat" (skin cancer). That makes them more powerful than the "Pearls" whose white skin makes them more susceptible to skin cancer. The Coals survived "The Great Meltdown" (caused by depletion of the ozone) in greater numbers and are now the ruling class. The Pearls are the lowest class. They all live together underground. The Pearls coat their white skin and blonde hair so their skin is darker and their hair is black. The product they use is called "Midnight Luster." It has to be reapplied every few days. It wears off, and if it gets wet, it comes off. It can also be rubbed off. They wear it for protection from the sun (which would make sense if they went above ground, which they don't) and so that their white skin doesn't antagonize the coals. "Midnight Luster" allows Pearls to pass as Coals. Lowest in class are "Cottons" (Albinos). Between the Coals and the Pearls are the Ambers (Asians) and just above them are the Latinos who I think are "Tigers Eye."
It is difficult to follow the story itself. There are gaps and inconsistencies that an editor would have caught. The logic of the world Foyt creates doesn't hold up. I suggest you read Margaret J. B. Bates's critique at Legendary Women. It has links to other sites with information about the book and does an excellent job of discussing blackface.
Writing about Foyt's book lets me call attention to the ways that Foyt (and those who like the book) are caught up in stereotypical ideas about Indigenous people.
Yeah... Indigenous people are in her book, too.
But they don't have a category like Coal or Pearl. They don't live in the tunnels. Instead, they're on the surface near the equator, and they're the Huaorani. Somehow, they've made it into Foyt's future (on the surface), but she doesn't tell us how they were able to survive the Meltdown.
In the story, Eden and her father (a scientist experimenting on "Interspecies Structural Adaptation") and a coal named Bramford leave the underground when a radical Coal group led by a guy named Jamal attacks the lab. But before they leave, Bramford asks her father to do his experiment on him, which turns him into a creature that is part jaguar.
They fly to Sector Six which is "a lawless, barren land" where "drug lords," or "The Heat" or predators might kill them (p. 48). As we'll see, Sector Six is near the equator. This reference to drug lords is one of the things that doesn't make sense and isn't explained. Instead, it just IS. It is not unlike the ways that a lot of Americans---today---blame Latin America for drug problems.
When they land, Eden sees "a half-dozen, short, muscular Indians wearing a rag-tag assortment of clothes" (p. 50). Some have machetes, some have blowguns (and poison darts), and, "Despite fanciful feathers tucked into simple bowl-cut hairstyles, the warriors appeared fierce" as they stood by their vehicles (p. 50).
Her father is excited to see "The Huaorani" (and yeah, Foyt uses a capital T every time she references The Huorani) who, he says, are "the world's last independent indigenous tribe. No one knows how or where they've survived." Course, that is his (outsider) perspective (Foyt's, that is). Obviously, the Huaorani know how and where they survived. Not telling us (readers) keeps them in the realm of an unknowable exotic mythical tribe.
They're expert hunters, her father says, who hunt "cowode" which are "non-humans or anyone different from them" (p. 50). Since Bramford isn't human, Eden thinks she can get the Huaorani to kill him. Eden, Bramford, and her father get off the plane, and she yells "cowode" and points to Bramford, but instead of killing him, they "fell to their knees and began to chant in ecstatic voices" (p 51):
"El Tigre! El Tigre!"
I'm guessing that the Huaorani people of Ecuador speak their own language and Spanish, too, so their use of Spanish in the novel is plausible.
Anyway, it turns out that the Huaorani think Bramford is El Tigre ("the Jaguar Man") who is the "long-awaited Aztec God" and because Eden is with him, they look upon her with "equal reverence" (p. 51). I guess Foyt want us to think that the Huaorani and Aztec have the same gods. Indigenous people, whether we're in North or South America... some writers think our ways are the same, no matter our location or history. Monolithic, ya' know! Interchangeable!
The Huaorani take Bramford, Eden, and her father to a village where (p. 54):
Native women and children in tattered rags stood by, staring blankly at the arrivals. They looked ill with patchy hair, and red, scaly rashes on their brown skin. Their stomachs were swollen, their eyes lifeless. Two drunken men sprawled in a heap of garbage. One of them raised his head, eyed the commotion, then spit and turned over.
Blank stares and lifeless eyes? This portrayal of the Huaorani isn't consistent across the novel. Here, it sounds like she's looking at a 'save the children' commercial. And drunken men?! Why is THAT there?
The nearby river is covered with green and black layers, which her father says is residue from oil mining (p. 54):
"My hypothesis is the tribe sold their oil rights long ago, probably for worthless cash. I suspect no one ever explained the consequences."
Ah, yes! Primitive, ignorant savages! Except that's not the case in reality. It is a trope, however, that works when the author and her audience are all steeped in stereotypes of primitive Indians.
From that village, Eden and Bramford go to another one where the people aren't as destitute. They are mostly naked, and wear their "ragtag" clothes when they're going to town (p. 85). They make no sound when they walk (ah, yes! Another stereotype!) and boys become warriors only after they've been initiated by being stung by dozens of "bullet ants" (p. 88). They are a happy people with shamans and remedies and a lifestyle that Bramford wants to preserve and emulate. Sounds like Lieutenant Dunbar in Dances With Wolves
! Or that guy in Avatar
Soon, Eden wants to be Native, too!
She asks Maria, a Huaorani woman, to cut her hair in the Huaorani style (bowl-cut). As her blonde hair falls to the floor, she wonders if Maria's daughters think it "held some potent magic or evil" (p. 112). As she looks in the mirror, she thinks she "might pass as a tribeswoman" (p. 112). Her father asks her and asks if she's "going Native" (p. 114).
Towards the end of the novel, Eden and Bramford go to "Heaven's Gate" to get a root they need to save her father's life. There, they see an "ancient, fortress-like stone terrace" that Bramford tells her was built by the Aztecs.
Did they really go all the way from Ecuador to northern Mexico?! Or, has Foyt got us back in the interchangeable Indian space again?
At Heaven's Gate, Bramford tells Eden that the Aztecs are watching them but are afraid of Eden's skin color. The pair dig up roots that Eden realizes are the "proverbial Fountain of Youth" (p. 130). Later, Aztec warriors help Eden and Bramford fight the radical group that wanted to take over the underground. The warriors appear and disappear without a sound.
The novel ends with Eden and Bramford kissing, ready for part two in Foyt's "Save the Pearls" series.
A too-kind word that sums up my appraisal of the book? Ick. My concluding thoughts
Foyt's book is a mess. Through most of the story, her main character is racist. She says and thinks things about Coals and Huaorani that are racist, arrogant, and ignorant. Because of that, her early comment that she wants to mate with a Coal (Jamal) to improve her standing doesn't make sense. She is sexually attracted to Jamal and later transfers that attraction to Bramford, but she detests Coals, and, what are we to make of the title of the series title, "Save the Pearls"?!
Eden does blackface and isn't happy. Happiness only comes when she goes Native, with "going Native" an act that is based on stereotypes and romantic notions of what it means to be Indigenous. In that way, Revealing Eden
is a lot like the picture book, Brother Eagle Sister Sky
, in which white people learn to take care of the earth only when they adopt romanticized ideas of Native views.
Foyt is asserting that the story is about global warming, and while that is part of the story, it seems to me that the overwhelming storyline is calculated to stir things up in a bid for attention... Like an internet troll. There's nothing to learn or think about in this story. Its too rife with stereotypes and us-versus-them binaries. The writing is bad, and I struggled to read the book. I thought I could just stop, but given the rise in self-published novels and the apparent success this one is receiving, I stuck with it, in hopes that other might-be-self-published authors would read it and revisit any Indigenous themes they may be exploring. Stereotypes will sell, but don't do it.
The book cover (shown here), story, and video promoting the book caused a great deal of conversation on the Internet. Given the way Foyt described Eden when she goes Native (with the "bowl-cut"), some clever person could figure out how to show the three faces of Eden. But then again, maybe Foyt will do that herself on the cover of her next book.
Let's hope that there is no next-book.
Barbara Cooney's Miss Rumphius
Editor's Note: Back in 2009, I wrote up a short note about Barbara Cooney's Miss Rumphius. Because the book is on the We Give Books site, I decided to revisit that short post, add to it, and repost a cleaned up version of it here, today:
Though it is much loved and winner of an American Book Award, every time I think of Barbara Cooney's Miss Rumphius
, the image that I recall is not the lovely lupines she walks amongst or the landscapes people adore. Instead, I remember this page:
(Source for image: http://theartofchildrenspicturebooks.blogspot.com/2011/03/miss-rumphius.html
Here's the text for that page:
Now he worked in the shop at the bottom of the house, making figureheads for the prows of ships, and carving Indians out of wood to put in front of cigar stores.
"He" is Cooney's great grandfather. He's the one who carved cigar store Indians. So... what is wrong with that page?
|Source: Oklahoma Historical Society|
Noted Creek writer, Alexander Lawrence Posey
that the cigar store Indians "are the product of a white mans's factory, and bear no resemblance to the real article." Posey died in 1908.
Is Cooney wrong for including this information in her book? It is factual as Cooney wrote it--carvers of that time period did carve figureheads for ships and wooden Indians, too--but given that Miss Rumphius
was published in 1982 and the information about these carvings being stereotypical is quite old, perhaps she could have inserted "stereotypical" in front of "Indians."
If she had done that, the text on that page would be:
"Now he worked in the shop at the bottom of the house, making figureheads for the prows of ships and carving stereotypical Indians out of wood to put in front of cigar stores."
Course, if Cooney did that, the story wouldn't be as charming as it is, but it would be more accurate
, and it could prompt teachers, parents, and librarians to address stereotypes whenever they read the book to children. What do you think?
At the end of May, I wrote about Elizabeth Warren (running for US Senate against incumbent Scott Brown) and her family story about how they are part Cherokee.
Last night was the first debate between Warren and Brown. The first thing Scott Brown brought up was Warren's identity. He said "Professor Warren claimed she was a Native American, a person of color. And as you can see, she's not."
Scott Brown's ignorance is showing!
Brown's remark suggests that a blue-eyed blonde could not be American Indian. He is wrong about that.
Being a tribally enrolled member or citizen of a federally recognized tribe is what matters (and yes, there is a lot of debate about federal recognition and state recognition). Is Native identity determined by skin color? Nope. Hair color? Nope. Obviously, his idea of what an American Indian should look like is based on stereotypes!
The Cherokee Nation has several videos about being a citizen of the Cherokee Nation. Here's one:
As the video demonstrates, Cherokee's "look" lots of different ways with regard to hair and skin color.
Scott Brown ought to watch that video!
And maybe he should read Cynthia Leitich Smith's short story, "A Real-Live Blond Cherokee and His Equally Annoyed Soul Mate" in Moccasin Thunder,
edited by Lori Marie Carlson.
There's a lot of ignorance in America (around the world, in fact) about who American Indians are, but there are a lot of outstanding children's and young adult books that can unseat that ignorance. Moccasin Thunder
has short stories by several leading Native writers: Joy Harjo, Sherman Alexie, Richard Van Camp, Linda Hogan, Joseph Bruchac, Greg Sarris, Lee Francis, and Susan Power. Pick it up today. Elizabeth Warren and Scott Brown could learn a lot by reading it.
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Did you see the video that started circulating yesterday? The one that shows Scott Brown's staff making war whoops and doing the tomahawk chop at an Elizabeth Warren event? The media is portraying it as a mockery of Warren's Native heritage.
"Outrageous!" the pundits exclaim.
On one hand, I'm glad they're seeing it as outrageous. On the other hand, I'm going to pull on Floyd Red Crow Westerman's song, "Where Were You When":
Did you listen to it?
I wonder where Warren and all the pundits have been all this time? All these years when Native people have been fighting mascots.
Has Warren issued statements
At the University of Illinois, countless people came forward to say they were part Native, and that they like these mascots because they honor American Indians. With their "part Native" proclamation, they felt quite emboldened to attack Native people whose identity is part of our daily lives. By that, I mean Native people who are tribally enrolled or tribally connected to a Native Nation. In his excellent report on Brown and Warren
in Indian Country Today
, Mark Trahant includes a video clip in which Cherokee Nation Chief Baker said that he wishes "every Congressman and Senator in the U.S. had a... felt a kinship to the Cherokee Nation." Presumably, Baker thinks they would be allies of Native Nations and our needs. My experience at Illinois tells me that kinship of that kind works against us more than it does in support of us.
Warren is saying that if her staff had done what Scott Brown's staff did, there would be "serious consequences." She's telling him to DO something.
I'm asking HER to do something. This is a chance for her to regain support from people who have lost faith in her due to the way she is handling the identity issue.
Ms. Warren: Mascots and stereotyping have serious consequences for Native children and their nations. You're seeking a senate seat in a city that has a stereotypical mascot. Issue a statement condemning it.
Here's another suggestion: To help us displace the stereotypes planted in the minds of children, take a minute each day to highlight a book by a Native author
who tell stories of our lives as-we-are, rather than the classics that stereotype us. I can help you select books to highlight.
This is an opportunity for you!