**The following piece draws on addiction theory in adapting "The 16 Steps of Discovery and Empowerment," by Charlotte Kasl in working on psychological barriers to understanding one's white privilege. It is somewhat tongue in cheek, and hopefully offers an articulation of some of the mechanisms which may support an unquestioned perception of innocence in systems of racism. In addition to teachings and readings by indigenous folks and people of colour, for a basic illustration of what constitutes "white privilege" click here.
The Steps:
1.) We affirm we have the power to dismantle systems of racism and stop being dependent on white privilege for our self-esteem and security.
2.) We come to believe that our Inner Spirit/Connecting Force/Universal Love/Higher Power awakens the healing wisdom within us when we open ourselves to understanding our white privilege.
3.) We make a decision to become our authentic selves and trust in the healing power of understanding and challenging the disproportionate benefits we receive based on our whiteness.
4.) We examine our beliefs, actions, and successes in the context of living in a capitalist, colonial-imperial, patriarchal, ableist, racist, genocidal, transphobic, homophobic society.
5.) We share with other white folks, the Universe, and meditate within ourselves on all the reasons inside of us we feel shame and guilt related to systems of racism that benefit our whiteness.
6.) We affirm our own humanity and humility in challenging ourselves to see the implications of the disproportionate benefits we receive for our whiteness.
7.) We become willing to let go of shame, guilt, and any behaviour that keeps us from acknowledging our white privilege and the impacts of systems of racism.
8.) We make a list of the ways in which we have been conditioned to accept access and privilege based on our whiteness and the resultant harms to people of colour (poc) and indigenous folks (IP). We take steps to accountability by committing ourselves to an ongoing process of understanding and reflecting on the impacts of white privilege.
9.) We express love and gratitude to others, and increasingly appreciate the wonder of life and the blessings of gaining awareness of the impacts of our privileges.
10.) We learn to trust the realities of poc and IP and daily affirm that they see what they see, they know what they know, and become sensitive to what they feel.
11.) We promptly admit to mistakes and make amends when appropriate. We do not cover-up, excuse, or abdicate responsibility for the impact whiteness has on others.
12.) We seek to create relationships, settings, workplaces, and social spaces where people address their white privilege and do not seek to avoid situations that require us to work across difference for shared understanding.
13.) We take steps to nourish our bodies, spiritual selves, relationships, heal from trauma, connect with others and have fun.
14.) We incorporate our understanding of white privilege into our daily passions and develop the will and wisdom to challenge the systems, institutions, practices, and relations that benefit us.
15.) We accept that conflict may arise and the difficult communication and emotional processing that challenging white privilege entails. We use these opportunities as lessons for our continued personal growth.
16.) We grow in awareness that we are sacred beings, interrelated with all living things, and we contribute to restoring peace and balance on the planet by committing ourselves to taking active steps to dismantle these systems of privilege.
***Please feel free to add additional steps and understandings.
Monday, February 27, 2012
Monday, February 6, 2012
Albert Nobbs: What Reviewers Missed
After seeing the much anticipated thirty-years-in-the-making film version of Glenn Close' darling character Albert Nobbs this past Friday... I can safely say most reviewers just don't get it.
Close herself, in interviews about the film has made little mention nor hint of the under/overtones of muted sexuality and gender swapping expression situated as the historical precedent of modern LGBT* identities. Given the time period, this makes sense. Terms like "lesbian," "butch,"
"trans," "FTM," while possibly accurate, were not in common use in the Victorian setting of Nobbs' transgression. Reviewers and Close have ubiquitously referred to the little man's character as a woman, excruciatingly trapped in the charade of passing as a man - for economic purposes. "She" was "born a woman" and has taken on passing for male in order to survive in a harsh Dublin in which lower class women are beaten down and sexually assaulted for their efforts at self sustainability. Most reviews I read took great pains to emphasize the pathetic nature of Nobbs and his passability as a real man. The allusion of a sexless, flat affected, gnome comes to mind from their unanimous descriptions. In fact, the secondary character of Hubert Page was conceded much more male "credibility" for his tall frame, exaggerated swagger, and oozing confidence.
But, what such reviews inevitably miss in their fixation on Nobbs' believability as a "real man" who performs real masculinity is the entire history of butch lesbian and trans history and invisibility. Whether Nobbs is, indeed, butch or trans or both is besides the point. But, given it is the first such overdue overt historical portrayal by mainstream actors and cinema of female masculinity and performance, the significance of Nobbs' actions and painfully awkward, tight roping path of near discovery has been completely overlooked. Close' portrayal of Nobbs' frozen affect and stiff regard, whilst subtley and poignantly conveying his pervasive emotional intake, responses, and reactions to his environment are what make the story. It is a story of the psychology of passing in a time where few did, that is worthy - not whether Close' slight frame, facial features and makeup, hand size etc. do the trick. In fact, Close/Nobbs' stature and affect are precisely what induce panic and stifled appreciation in the audience and him/her/hirself, of every moment undiscovered. It is the invisible history of (passing) butch women and trans people that reviewers are oblivious of which renders the plot inaccessible to them for any more meaning than deflated manhood and missing plot.
Yet, it is precisely this snippet of watching what is possibly quite an accurate portrayal of a facet of early lesbian, butch and/or trans history that is so enticing and exciting for viewers who pay attention to the interplay of sexual and gender transgression. The subtle nuances of identity formation and desire which come to fruition as a result of happenstance, fit, and exploration pre-identity terms are of special interest in that lines between identity are altogether lost. It really doesn't matter if Albert regards himself/herself as man or woman, neither or both. It is clear from the interplay of stories between Nobbs and Page that there has been from early days, an overlap in the experiences of those who were assigned female/feminine roles as birthright, though quietly and defiantly seek otherwise.
Close herself, in interviews about the film has made little mention nor hint of the under/overtones of muted sexuality and gender swapping expression situated as the historical precedent of modern LGBT* identities. Given the time period, this makes sense. Terms like "lesbian," "butch,"
"trans," "FTM," while possibly accurate, were not in common use in the Victorian setting of Nobbs' transgression. Reviewers and Close have ubiquitously referred to the little man's character as a woman, excruciatingly trapped in the charade of passing as a man - for economic purposes. "She" was "born a woman" and has taken on passing for male in order to survive in a harsh Dublin in which lower class women are beaten down and sexually assaulted for their efforts at self sustainability. Most reviews I read took great pains to emphasize the pathetic nature of Nobbs and his passability as a real man. The allusion of a sexless, flat affected, gnome comes to mind from their unanimous descriptions. In fact, the secondary character of Hubert Page was conceded much more male "credibility" for his tall frame, exaggerated swagger, and oozing confidence.
But, what such reviews inevitably miss in their fixation on Nobbs' believability as a "real man" who performs real masculinity is the entire history of butch lesbian and trans history and invisibility. Whether Nobbs is, indeed, butch or trans or both is besides the point. But, given it is the first such overdue overt historical portrayal by mainstream actors and cinema of female masculinity and performance, the significance of Nobbs' actions and painfully awkward, tight roping path of near discovery has been completely overlooked. Close' portrayal of Nobbs' frozen affect and stiff regard, whilst subtley and poignantly conveying his pervasive emotional intake, responses, and reactions to his environment are what make the story. It is a story of the psychology of passing in a time where few did, that is worthy - not whether Close' slight frame, facial features and makeup, hand size etc. do the trick. In fact, Close/Nobbs' stature and affect are precisely what induce panic and stifled appreciation in the audience and him/her/hirself, of every moment undiscovered. It is the invisible history of (passing) butch women and trans people that reviewers are oblivious of which renders the plot inaccessible to them for any more meaning than deflated manhood and missing plot.
Yet, it is precisely this snippet of watching what is possibly quite an accurate portrayal of a facet of early lesbian, butch and/or trans history that is so enticing and exciting for viewers who pay attention to the interplay of sexual and gender transgression. The subtle nuances of identity formation and desire which come to fruition as a result of happenstance, fit, and exploration pre-identity terms are of special interest in that lines between identity are altogether lost. It really doesn't matter if Albert regards himself/herself as man or woman, neither or both. It is clear from the interplay of stories between Nobbs and Page that there has been from early days, an overlap in the experiences of those who were assigned female/feminine roles as birthright, though quietly and defiantly seek otherwise.
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