Chauncey DeVega “Race, Sex and BDSM . . .”

TUE AUG 14, 2012

Race, Sex, and BDSM: On “Plantation Retreats” Where Black People Go to Serve Their White “Masters”

by   chaunceydevega       Follow

plantationretreat1

Those who have loved and dated across the color line have to negotiate the realities of race in our society, and by extension, its impact on their relationships. For many, this is done through explicit conversations. For others, these dialogues come implicitly, through gestures, and taken for granted shared assumptions.

But how many folks actually talk about how race impacts their own sexuality, attraction, physicality, or notions of the erotic?

We live in a society that is structured around many different hierarchies of power, authority, and difference. As Foucault brilliantly observed, Power is not sitting out there in the ether, an abstraction that we just talk about in philosophy classes. Power acts through and upon bodies. Certain people are racialized in American society for example. Their bodies are locations of power–and yes resistance. Likewise, certain types of bodies are marked as “normal,” while others are deemed “different” or “abnormal.”

The “popular” imagination holds many assumptions about particular types of bodies. The black male body is something to be policed, controlled, and feared. It is both envied and despised. The Asian female body is “erotic” and “submissive.” The black female body alternates between being fecund, always available, and out of control, while simultaneously being marked as “masculine,” asexual, and unattractive. Latinas are “hot” and “sexy.” White bodies of a certain type are taken as the baseline for what is considered “beautiful” or “normal.”

Ironically, the bodies of black and brown people which are considered beautiful or attractive by the white gaze are judged as such either by how “different” they are from white norms (the exotic or savage) or how close these racialized bodies–almost like impostors or stand-ins–are to the normalized white body.

The very language we use to discuss race, the physical, and the sexual, is a quotidian example of Power in action. But, how are matters complicated when a significant part of a given person’s sexuality, and sense of the erotic, is centered on playing with the dynamics of dominance and submission?

Consider the following passage from the Colorlines article “Playing with Race”:

Contrary to popular notions, BDSM is not about abuse. It’s consensual and trusting and people refer to it as “play” (as in “I want to play with you”). The point of BDSM is not sexual intercourse. In fact, when Williams recalls her first experience as a masochist seven years ago, she says she met her partner, a white man, at a bar and “fell in love at first sight.” They made their way back to his hotel. “For the first time I felt someone could see who I really was.” And that was someone who found it erotic to be a submissive to her partner.In recent years, Williams has added another element to her repertoire as a masochist. She’s begun to engage in what is called “race play” or “racial play”—that is getting aroused by intentionally using racial epithets like the word “nigger” or racist scenarios like a slave auction.

Race play is being enjoyed in the privacy of bedrooms and publicly at BDSM parties, and it’s far from just black and white. It also includes “playing out” Nazi interrogations of Jews or Latino-on-black racism, and the players can be of any racial background and paired up in a number of ways (including a black man calling his black girlfriend a “nigger bitch”).

White master seeking black slave, however, seems the more popular of the combinations.

I could not engage is such types of role-playing. My personal politics would not allow it; my libido would not respond.That is my choice. I do not deny others their pleasure.

raceplay3However, as someone interested in the relationship between race, politics, and racial ideologies, I am fascinated by how individuals negotiate white supremacy and Power.

Are people like Williams or Mollena more “evolved” and “progressive” than those of us who cannot decouple the realities and burdens of race from their bodies and psyches in the present? Alternatively, could this deep sense of both owning and living in a racialized body, be turned into a location for pleasure and catharsis:

Vi Johnson, the black matriarch of BDSM, has presented on race play at kinky conferences and she believes the appeal is different for each person. “When you’re being sexually stimulated, you’re not thinking that what’s stimulating you is a racist image, ” she says. “You’re just getting turned on.”So, for some, she says, race play is about playing with authority and for others, it might be humiliation.

Well-known sexuality and SM educator Midori, who is Japanese and German, often presents her theory that humiliation in BDSM is linked to self-esteem. Take the woman who likes it when her boyfriend calls her a “slut,” Midori says. Perhaps the woman internalized the idea that “good girls don’t,” but she enjoys her sexuality. Because the boyfriend sees her in all her complexity, Midori says, when he calls her a slut, “he is freeing her of the social expectations of having to be modest.”

That’s different than having some stranger (and jerk) calling you a slut. The stranger doesn’t see the full woman. It’s similar with race play, Midori says. By focusing, for example, on a black man’s body, while he’s bound as a slave, she’s bolstering his own perception of himself as strong and powerful…

Her workshop demonstrations have included full auction scenes mimicking those of the Old South. In them, she is the plantation mistress inspecting a black man for “purchase.” He’s in shackles and “I slap him on his face and push him down on the ground, make him lick my shoes,” she says, emphasizing that she only does the demonstration after the “psychological” talk.

In the interest of transparency, I am a sex positive person (at least according to the survey onyourmorals.org). In many ways, I am also a bit of a libertine and a hedonist who is comfortable in both exclusive and open relationships. I also have certain predilections and tastes that more “vanilla” folks could find “kinky” or “different.” Ultimately, I am just myself, and do not know how to pretend to be anyone else.I am also full of contradictions and complications as sexuality and the erotic are not neatly bounded constructs (for example, I do not like watching interracial porn where white men have aggressive sex with black women as chattel slavery looms too large in my mind; however, I have no problems watching black men have aggressive sex with white women). I have also dated many women from a range of racial backgrounds: I love women; I love variety.

I share those details not to titillate; rather, because while I am rendering a judgement of sorts, I would not want to sound “judgmental.” The difference is a subtle, but nonetheless, an important one.

One of the questions I will be asking Viola Johnson from the Carter Johnson Leather Librarywhen I interview her in the next few weeks (fingers crossed) is how do we separate more “healthy” types of race play from those encounters that are rooted in disdain for the Other and white supremacy. Are these just inter-personal contracts or do these types of sexual relationships gain power (and are made erotic) precisely because of how they signal to larger societal taboos?

If the website Fetlife is any indication, there is apparently a not insubstantial number ofpeople who engage in sexual roleplaying and BDSM using the motif of chattel slavery in the antebellum South. A cursory review of the member profiles suggests that many of these people are white supremacists. This is apparently not a deterrent to the black men and women who want to “serve” these white masters.

plantation2Here a white “slave owning” master offers some insight on race play and “plantation retreats”:

My major kink-interest is in chattel slave-ownership in today’s world but following the historical models of 8,000 years of historical slave-ownership tradition (from Greek-Roman through modern day)…along with everything that might relate to it (which sometimes can go pretty far into the realm of BDSM activities, depending on the partner). I’m very knowlegable in the field of historical slavery.Some of my other non-kink interests include history and philosophy, classic cars, music, science, singing and writing lyrics, architecture, comparative culture, language, reading and counseling..

I get a lot of questions about “Plantation Retreat”…so here are some basic facts:

My goal in creating and hosting Plantation Retreat is to provide a safe and welcoming, private place (and opportunity) for White Masters and plantation slaves/niggers to meet and explore their mutual fantasies. I get a lot of questions and answer many individual questions. To simplify things…here is some general basic information:

The gathering lasts for up to 2 weeks this year, with the main gathering around the 4th of July…folks can stay as long or as short a time as they want (some stay even longer). Masters can stay at the compound here or in a hotel if they want to (as can any personal slaves that they bring with them or any other slave that is ordered to do so).

Slaves arriving on their own stay here and are considered (and protected) as property of the plantation or my personal property.

Slaves sign up for a specific length of service. Slaves can specify what their limits are or that they will serve in any way the Master/guests desire. Sex is not required, but depends on individual choice (as do other activities). Most Masters desire to use slaves sexually in addition to normal domestic services. Some slaves are used only for hard labor. A slave’s assignments and duties are based on its experience and ability-level (some require whipping or punishment). Masters have their own king or queen bed (up to 5 available); slaves sleep where they are told to sleep (unless they are ordered into a Master’s bed and allowed to sleep there). Normally a slave sleeps at the foot of a Master’s bed, but some can be chained or caged elsewhere.

The minimum requirement for slaves is that they be obedient and respectful of all Masters and work to give the Masters and enjoyable time. This can be anything from preparing and serving drinks and meals, doing housework or yard work, to providing sexual relief on demand, to hard labor in the compound (depending on the slave’s previously-stated limitations). Slaves should expect Masters to be totally comfortable and free in using humiliating or degrading racist speech in referring to or speaking to mud-slaves. It’s not all punishment and misery for slaves…there is plenty of time for camaraderie and playful fun also. Some slaves even form a brotherly bond with the other slaves that serve with them. Masters also form lasting bonds and friendships based on their mutual interests and sharing slaves.

It’s just a small friendly gathering of White Masters at my house/compound….being served by mud-slaves as might have been in a modern version of slave-days. one might call it a situation of consensual non-consent/slavery. Slaves can set their limits and the time they will be in service as slaves in advance…. and also what they expect to learn and experience from the experience. The more that a slave lets me know about itself in advance, the better I can guide its growth from the experience.

Backstage racism mates with BDSM, the eroticization of the black body, and finds a place online through a variant of cyber-racism. Amazing. We do in fact live in interesting times.White supremacy is a mental illness. Western (and global) society is sick with it. All of us, across the color line, have been impacted by white supremacy and white racism. But who are we to judge how adults in a consensual relationship decide to work through its pain and ugliness?

As is per my tradition, here are some concluding questions.

Have any of you engaged in race play? For those of you in inter-racial relationships, how do you negotiate these bigger questions of race and the erotic? If our kinks and sexual predilections are in some way a function of life experience, trauma, early childhood experiences, etc. what happened in the life of a black person who is willing to play a slave for the pleasures of white racists?

WHO IS CHAUNCEY DEVEGA ?

Chauncey Devega is an OUR COMMON GROUND Voice . . . of himself, he offers

“I am the editor and founder of We Are Respectable Negroes.
I am also a race man in progress, Black pragmatist, ghetto nerd, cultural critic and essayist.
I have been a guest on the BBC, Ring of Fire Radio, Ed Schultz, Joshua Holland’s Alternet Radio Hour, the Thom Hartmann radio show, the Burt Cohen show, and Our Common Ground.My essays have been featured by Salon, Alternet, the New York Daily News, and the Daily Kos.

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Why the United States Is Destroying Its Education System l Chris Hedges

Why the United States Is Destroying Its Education System

April 1, 2013

Photo illustration by PZS based on an image byLin Pernille Photography

By Chris Hedges

A nation that destroys its systems of education, degrades its public information, guts its public libraries and turns its airwaves into vehicles for cheap, mindless amusement becomes deaf, dumb and blind. It prizes test scores above critical thinking and literacy. It celebrates rote vocational training and the singular, amoral skill of making money. It churns out stunted human products, lacking the capacity and vocabulary to challenge the assumptions and structures of the corporate state. It funnels them into a caste system of drones and systems managers. It transforms a democratic state into a feudal system of corporate masters and serfs.

Teachers, their unions under attack, are becoming as replaceable as minimum-wage employees at Burger King. We spurn real teachers—those with the capacity to inspire children to think, those who help the young discover their gifts and potential—and replace them with instructors who teach to narrow, standardized tests. These instructors obey. They teach children to obey. And that is the point. The No Child Left Behind program, modeled on the “Texas Miracle,” is a fraud. It worked no better than our deregulated financial system. But when you shut out debate these dead ideas are self-perpetuating.

Passing bubble tests celebrates and rewards a peculiar form of analytical intelligence. This kind of intelligence is prized by money managers and corporations. They don’t want employees to ask uncomfortable questions or examine existing structures and assumptions. They want them to serve the system. These tests produce men and women who are just literate and numerate enough to perform basic functions and service jobs. The tests elevate those with the financial means to prepare for them. They reward those who obey the rules, memorize the formulas and pay deference to authority. Rebels, artists, independent thinkers, eccentrics and iconoclasts—those who march to the beat of their own drum—are weeded out.

“Imagine,” said a public school teacher in New York City, who asked that I not use his name, “going to work each day knowing a great deal of what you are doing is fraudulent, knowing in no way are you preparing your students for life in an ever more brutal world, knowing that if you don’t continue along your scripted test prep course and indeed get better at it you will be out of a job. Up until very recently, the principal of a school was something like the conductor of an orchestra: a person who had deep experience and knowledge of the part and place of every member and every instrument. In the past 10 years we’ve had the emergence of both [Mayor] Mike Bloomberg’s Leadership Academy and Eli Broad’s Superintendents Academy, both created exclusively to produce instant principals and superintendents who model themselves after CEOs. How is this kind of thing even legal? How are such ‘academies’ accredited? What quality of leader needs a ‘leadership academy’? What kind of society would allow such people to run their children’s schools? The high-stakes tests may be worthless as pedagogy but they are a brilliant mechanism for undermining the school systems, instilling fear and creating a rationale for corporate takeover. There is something grotesque about the fact the education reform is being led not by educators but by financers and speculators and billionaires.”

Teachers, under assault from every direction, are fleeing the profession. Even before the “reform” blitzkrieg we were losing half of all teachers within five years after they started work—and these were people who spent years in school and many thousands of dollars to become teachers. How does the country expect to retain dignified, trained professionals under the hostility of current conditions? I suspect that the hedge fund managers behind our charter schools system—whose primary concern is certainly not with education—are delighted to replace real teachers with nonunionized, poorly trained instructors. To truly teach is to instill the values and knowledge which promote the common good and protect a society from the folly of historical amnesia. The utilitarian, corporate ideology embraced by the system of standardized tests and leadership academies has no time for the nuances and moral ambiguities inherent in a liberal arts education. Corporatism is about the cult of the self. It is about personal enrichment and profit as the sole aim of human existence. And those who do not conform are pushed aside.

“It is extremely dispiriting to realize that you are in effect lying to these kids by insinuating that this diet of corporate reading programs and standardized tests are preparing them for anything,” said this teacher, who feared he would suffer reprisals from school administrators if they knew he was speaking out. “It is even more dispiriting to know that your livelihood depends increasingly on maintaining this lie. You have to ask yourself why are hedge fund managers suddenly so interested in the education of the urban poor? The main purpose of the testing craze is not to grade the students but to grade the teacher.”

“I cannot say for certain—not with the certainty of a Bill Gates or a Mike Bloomberg who pontificate with utter certainty over a field in which they know absolutely nothing—but more and more I suspect that a major goal of the reform campaign is to make the work of a teacher so degrading and insulting that the dignified and the truly educated teachers will simply leave while they still retain a modicum of self-respect,” he added. “In less than a decade we been stripped of autonomy and are increasingly micromanaged. Students have been given the power to fire us by failing their tests. Teachers have been likened to pigs at a trough and blamed for the economic collapse of the United States. In New York, principals have been given every incentive, both financial and in terms of control, to replace experienced teachers with 22-year-old untenured rookies. They cost less. They know nothing. They are malleable and they are vulnerable to termination.”

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The World As It Is: 


Dispatches on the Myth of Human Progress

A collection of Truthdig Columns
by Chris Hedges

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A Theory of Obama Cinema? “Killing Them Softly” is the Defining Movie for the Age of Obama

We are respectable negroes

WEDNESDAY, JANUARY 16, 2013

A Theory of Obama Cinema? “Killing Them Softly” is the Defining Movie for the Age of Obama

I am suspicious of unifying theories which try to explain the relationship between popular culture and politics. However, A.O. Scott’s piece in the New York Times on the defining Hollywood films of the Obama era is pretty compelling:

Last year in The New York Review of Books the critic J. Hoberman wondered when we would see an “Obama-inflected Hollywood cinema.” “The longing for Obama (or an Obama),” he wrote, “can be found in two prescient 2008 movies,” citing “Wall-E” and “Milk” as releases about creative community organizers, with Harvey Milk also a political symbol of hope. It may be too soon to identify an Obama Cinema, but the president’s second inauguration seems like an appropriate time to try.

Film is one of the sites where societies negotiate meaning, develop and challenge their own mythologies, and express the hopes, anxieties, and feelings of the collective subconscious. Films talk to us, talk to each other, all the while revealing the “spirit of the age.” In total, popular culture is an informal type of public opinion, a barometer for the attitudes of a given society.

Obama’s election in 2004 was supposed to usher in postracial America. It did not. Hope and change was met by the twin realities of a coordinated assault on the legitimacy of the country’s first black President, as well as how practical governance is an exercise in realpolitik. As such, hope and change had to be surrendered to practical realities–here Obama’s right-leaning centrism was greeted by upset on the part of Progressives, and recast as treason and Socialist-Communist-anti-white tyranny by Conservatives.

How do the films in the Age of Obama reflect these dynamics?

Films can be considered political in a number of ways. They can deal with explicitly political matters of public policy or public concern as plot devices. Lincoln and Zero Dark Thirty fit this mold.

[Question: Am I the only person who thought both movies were exercises in tedium? Am I the only person who thought that Cloud Atlas was one of the year’s best movies and should have been nominated for an Oscar?] 

Films can also be implicitly political as they reflect changing attitudes, beliefs, anxieties, or social relationships in society without offering explicit commentary on “politics” per se. Likewise, films can tell us something about politics and society by how they reflect unstated cultural values and tropes–the lies and stories we tell to make sense of ourselves as a nation and community:

Some of the connections between politics and movies are obvious, but we wanted to go beyond the topical resonance of films like “Zero Dark Thirty” and enter into the realms of allegory and national mythology.

What these period pictures have in common is a sense that righting our wrongs is a shared burden. Or, as Nick Fury, in describing another battle between good and evil, puts it: “There came a day, a day unlike any other, when Earth’s mightiest heroes found themselves united against a common threat.”

“Marvel’s The Avengers” might have been called “Team of Rivals” — the title of the book, by Doris Kearns Goodwin, that was one of the sources for “Lincoln.” And Joss Whedon’s Marvel costume party is, like Mr. Spielberg’s historical costume drama, largely about an urgent response to a political crisis. It is also about community organizing, as Fury mobilizes a fractious group of individuals whom he must persuade to pursue a set of common interests.

As such, “The Avengers” may be the exemplary Obama Era superhero movie, replacing the figure of the solitary, shadowy paladin with a motley assortment of oddballs and, despite the title, focusing less on vengeance than on interplanetary peacekeeping. A similar ethic informs “X-Men: First Class,” which takes place around the time of Mr. Obama’s birth (at the height of the cold war and the civil rights movement) and which shows how the idealistic pursuit of justice and tolerance can end up tragically divided between radical and conciliatory impulses…

A.O. Scott omitted the movie Killing Them Softly from his theory of Obama Cinema. This is unfortunate. I would suggest that no other movie has captured the cynicism, anxiety, fear, and liminal moment between the end of Bush’s tenure and Obama’s election in 2008 with such clarity and insight.

The Great Recession is in almost every frame of Killing Them Softly. The disappointments of how easily Hope and Change became more of the same–where the banksters win, and the drones keep killing innocent people, while the 1% laughs all the way to the bank–lingers over the final scene of the movie as an ending note on what is a 90 minutes or so meditation on life in the Bush era and how it did (or did not) transition into “Obama’s America.”

Watching the hope embodied by 2008 election of Barack Obama in 2012, four years after we have seen the realities of his tenure, in a film about how even hitmen and gangsters are impacted by a failed economy is a profound comment on the American dream, and the realities of “austerity” and neoliberalism/hyper-conservatism.

Killing Them Softly came and went in the theater during the course of a few weeks. Maybe it spoke too much truth to power to be popular among the masses.

What do you make of A.O. Scott’s list? Are there any movies which you think speak to the Age of Obama with a particularly sharp amount of clarity and insight, and which should have been included in his theory of Obama Cinema?

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POSTED BY CHAUNCEYDEVEGA AT 4:01 PM  

Chauncey DeVega is an OUR COMMON GROUND Voice

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Activist. Angela Davis, “Bury the Ratchet” campaign interview

During an interview with television personality Jacque Reid last week, civil rights activist Angela Davis (pictured) announced a new campaign, “Bury the Ratchet,” aimed at improving the depictions of Black women in mainstream media.SEE ALSO: George Washington’s Runaway Slave, Harry

The “Bury the Ratchet” campaign specifically targets Black women who live in Atlanta, Ga., because of reality shows such as “The Real Housewives of Atlanta.” According to Davis, when people encounter African-American women from Atlanta, “the first image that comes to mind is mean, gold-digging women. It has become completely evident that there has been a brand of women from Atlanta that are adverse to what most of these women are like.

Which is why Davis is starting this campaign, “The goal is to get the spotlight off the ratchetness and on the successful women in Atlanta.”

Consequently, Davis will launch a symposium at Spelman College in March 2013, where she will engage other African-American leaders in analyzing how reality television is harming Black culture. Bury the Ratchet will then pool its resources into creating a public service announcement showing how young Black women feel about their depictions in the media.

But can this really help change what women think of these reality programs without removing them from the air? Davis seems confident it can.

“We want to change the mind of young women who absorb these images,” she said. “The first thing we are doing is giving them a voice.”

http://newsone.com/2100749/angela-davis-bury-the-ratchet/