Race

Subterms

    More stories

    • 213 Shares149 Views

      in US Politics

      Trump will not stop until every American relic reflects his imaginary world view | Kellie Carter Jackson

      by

      Last week, Donald Trump issued another executive order, this one aimed directly at the Smithsonian Institution, and called for “Restoring Truth and Sanity to American History”. He contended that the Smithsonian had “come under the influence of a divisive, race-centered ideology” and that it advocates “narratives that portray American and Western values as inherently harmful and oppressive”. Specifically, the order targeted American history and art that focused on stories of race and racism.Being responsible for the distillation of the nation’s narrative is no small thing. The Smithsonian oversees 21 museums, libraries, research centers and the National zoo. Every year millions of people visit various sites that are free to the public. The collection of museums represents the pinnacle of public history and the story America tells the world about itself.But Trump’s executive order is not about restoring the truth. Quite the opposite. It creates false narratives and myths that promote the supremacy of whiteness. This executive order has the potential for harm because erasure is violence; it robs the public of the truth. Because there is no way to explain slavery and segregation as not “inherently harmful and oppressive”, Trump would rather not explain it at all.One of the most popular Smithsonian sites is the National Museum of African American History and Culture (NMAAHC), affectionately known by Black people as the “Blacksonian”. The museum was conceived of as early as 1915 by Black veterans who fought during the civil war and wanted recognition for their service and valor. These soldiers were not only left out of national memorials and ceremonies, but also faced tremendous discrimination often culminating in deadly violence when they returned home. They wanted a space and memorial that would honor their achievements and pivotal contributions.It was impossible to separate the story of Black military service and valor from racial discrimination and violence. Similarly, one cannot separate out the “good” from the “bad” in creating an honest narrative about the United States. Accordingly, the NMAAHC holds a special place in America, one where the complexity of George Washington and Thomas Jefferson are recognized as founding fathers and slaveholders. There is no abolitionist movement without slavery. There is no suffrage movement without women’s denial. There is no civil rights movement without racism and oppression. These are the facts. Museums exist to collect, preserve and exhibit the past as it happened. Archivists and curators care deeply about their mission to be accurate and authentic.An America that will re-erect statues and rename military bases after Confederate generals, while simultaneously stripping the evidence of race and racism from the Smithsonian history museums isn’t correcting the historical record. That nation is whitewashing the political record to legitimize the actions of those in power. Slavery is a fact. Jim Crow is a fact. Racist and exclusionary immigration laws are a fact. Japanese internment is a fact. Native American removal and extermination is a fact. Mexican and Mexican American expulsion is a fact. Removing them from the sight of the public doesn’t change the facts, it only changes one’s perspective on and relation to them politically.Museums offer cautionary tales, hard lessons about where the country has been and where we hope to never be again. They hold a great deal of public trust, perhaps more than schools, media, newspapers or even films. Patrons get to experience first hand documents, letters, original photographs and artefacts. Museums are public time capsules of where we have been. I will never forget seeing Emmett Till’s casket, Harriet Tubman’s shawl, Nat Turner’s Bible or an early flag of the First Republic of Haiti. These artefacts do more than defy the odds by still existing; they tell a powerful story about who people were during the times that they lived. Museums should not be party to culture wars. Our history is a collective memory whether Trump likes it or not.A nation that cannot reckon with its past, triumph and tragedy, is ultimately a weaker one; puffed up with its own delusions of grandeur. There is more power in the truth than there is in a lie. The efforts in the last 50 years to give the powerless a place politically, academically and legally is not from a revisionist view of American history, but rather a move to make all of America the democratic nation it claims to be.Moreover, key features of the NMAAHC reflect optimism, spirituality and joy because anti-Blackness is not the totality of the Black experience. The museum showcases Black food pathways, artistry, music, sports, film, ingenuity and technological advancements. It is a celebration of achievement despite the barriers and challenges racism presents. But even if museums solely focused on slavery, they still deserve a right to exist. America has been a land with enslaved people longer than it has been a county without slavery.Are museums contested spaces? Absolutely. No one space can include everything and offer an exhaustive history of a country, person or movement. But what is included or not included is painstakingly considered. Museums are bipartisan sites where everyone can grapple with the good, bad and the ugliness of nation making. But Trump will not stop until every American relic reflects his imaginary world view, a place where few can see their lived experiences on full display. More

    • 250 Shares109 Views

      in US Politics

      As Trump rewrites even America’s history, institutions have two choices – submit or find ways to resist | Charlotte Higgins

      by

      It has come to this: we are now in Ministry of Truth territory. In Washington DC, the Smithsonian Institution, the US’s ensemble of 21 great national museums, last week became the subject of an executive order by President Donald Trump. “Distorted narratives” are to be rooted out. There will be no more of the “corrosive ideology” that has fostered a “sense of national shame”. The institution has, reads the order, “come under the influence of a divisive, race-centered ideology” that portrays “American and Western values as inherently harmful and oppressive”. The vice-president, JD Vance, is, by virtue of his office, on the museum’s board. He is charged by Trump to “prohibit expenditure” on programmes that “divide Americans based on race”. He is to remove “improper ideology”. The order is titled “Restoring Truth and Sanity to American History”. George Orwell lived too soon.The move is deeply shocking, but predictable. After Trump’s insertion of himself as chair of the John F Kennedy Center and his railing against the supposed wokeness of the national performing arts venue, the federally funded Smithsonian was bound to be next in line. Those who imagined the Kennedy Center was a one-off, attracting the president’s ire for personal reasons, were deluding themselves about the scale of Trump’s ideological ambition. Picked out for opprobrium in the executive order are the Smithsonian American Women’s History Museum for celebrating transgender women (the museum, it should be pointed out, has yet to be built); the National Museum of African American History and Culture; and an exhibition titled The Shape of Power: Stories of Race and American Sculpture at the American Art Museum.I visited the Museum of African American History for the first time a couple of weeks ago. It is a vast book of a museum, heavy with text. It was full, when I visited, of mostly Black families seeking out an encounter with a narrative that has long been a footnote to, or erased completely from, the main national story. You could spend days absorbing the web of stories that the museum offers, beginning in its basements with the transatlantic slave trade, where one of the most moving objects is, unexpectedly and profoundly, a piece of iron ballast that took the place of a human body after a ship’s cargo of enslaved people had been disgorged on the triangular route between Africa, the Americas and Europe. The whole strikes a fascinating balance between an unflinching gaze on systems of oppression, and a sense of Black achievement and cultural richness that has nevertheless effloresced.Lonnie Bunch, the founding director of the museum, gave a talk at the House of Lords in 2011 about the institution, which was still in the planning, and would open five years later. I can still recall how moving it was to hear about the difficulties of making a museum – a place where a story is told through objects – from communities traditionally poor in material things. The institution had put out a call for loans and donations. Precious, carefully treasured objects – a bonnet embroidered by someone’s enslaved grandmother, for example – were arriving into the new collection.Fast forward to the present, and Bunch is in charge of the entire Smithsonian Institution. This is a man who believes, as he told Queen’s University Belfast last year, that history can be used to “understand the tensions that have divided us. And those tensions are really where the learning is where the growth is, where the opportunities to transform are.” That compassionate vision of the past, as a means through which the citizens of the present can better understand each other, is completely opposed to the monolithically triumphalist spirit of Trump’s executive order, in which history is reduced to “our Nation’s unparalleled legacy of advancing liberty, individual rights, and human happiness”. How much easier it is, to sink into this pillowy, comforting notion of glorious progress than to grapple with the kind of knotty, often upsetting and confronting history that the Museum of African American History offers its visitors. But it makes me wonder: can the museum survive this government?I visited, too, the American Art Museum, whose show The Shape of Power is targeted in the executive order as emblematic of the Smithsonian’s decline into “divisive, race-centered ideology”. The exhibition, which was years in the careful making, points out what is surely obvious, once it has been given a moment’s thought: that race is not an inherent and prepolitical category, but rather a constructed set of ideologies that served (and still serve) a set of economic and political interests. (One way to tell that race is a socially constructed category, in fact, is by looking to the Greeks and the Romans – the people who established, in the minds of many on the US right, “western civilisation”. They were xenophobic in their own way, and enslavement was a fact of their societies. But as is obvious from their literature, whiteness and Blackness were for them simply not operative categories.) The exhibition is an eye- and mind-opening look at how race ideology has translated into and been reinforced, or deconstructed, by sculpture – that peculiarly lifelike and thus “truthful”-seeming artform.The catalogue quotes Toni Morrison, who once wrote that “I want to draw a map, so to speak, of a critical geography and use that map to open as much space for discovery, intellectual adventure, and close exploration as did the original charting of the New World.” Such intellectual adventuring is not what is wanted by the White House now. Trump’s world is more like Viktor Orbán’s, under whose government the school history curriculum has been rewritten to glorify Hungary, or Recep Tayyip Erdoğan’s Turkey, where the novelist Elif Shafak, as she recalled in a Guardian Live event last week, was prosecuted for “insulting Turkishness”, her lawyer obliged to defend in court the views of her fictional characters. The Smithsonian and all who work there have an unenviable choice, one that has already been put before other great or formerly great institutions such as Columbia University: to comply with Trump’s dark demands; or to find ways to defy them.

      Charlotte Higgins is the Guardian’s chief culture writer More

    • 113 Shares179 Views

      in US Politics

      Advertising giant WPP cuts diversity references from annual report

      by

      The British advertising giant WPP has become the latest company to cut the phrase “diversity, equity and inclusion” from its annual report as the policies come under attack from the Trump administration.The agency, which counts the US as by far its largest market, boasts the storied “Madison Avenue” agencies J Walter Thompson, Ogilvy and Grey among its top brands.In WPP’s annual report, which was released on Friday, the chief executive, Mark Read, told shareholders that “much has changed over the last year” due to political events.“In today’s complex world, a pressing question for brands and organisations is whether to engage on social issues in a more contested public arena, and how to navigate the expectations of different audiences with competing views on sensitive topics,” he wrote.The same document axed all references of “diversity, equity and inclusion”, “DE&I” and “DEI”. The policy attracted 20 mentions in the previous year’s report. The earlier document mentioned three times that the company was seen as a “diversity leader”.The omissions, which were first reported by the Sunday Times, included changes to how the company reports on measuring top executives’ non-financial performance, which contributes to the size of their short-term bonuses. In the new report, the phrasing has switched to “people and culture”.WPP declined to comment on whether the new wording was a response to anti-DEI policy moves by the Trump administration. The company said that, while the phrasing in its annual report had changed, the way in which executives’ short-term bonuses are calculated was unaltered.Within his first few days in office, Donald Trump instructed US government agencies to shut down their DEI programmes and federal employees working in diversity offices were immediately put on paid leave.Trump signed two executive orders targeting DEI programmes within the federal government. The first executive order largely scrapped the DEI efforts that took place under Joe Biden, who had ordered all federal agencies to come up with equity plans.skip past newsletter promotionafter newsletter promotionA second executive order effectively ended any DEI activities within the federal government. This order overturned a handful of executive orders from past presidents, including one from Lyndon B Johnson that was signed during the civil rights era that required federal contractors to adopt equal opportunity measures.The Financial Times recently reported that more than 200 US companies have removed references to “diversity, equity and inclusion” from their annual reports since Trump’s election. More

    • 138 Shares179 Views

      in US Politics

      Visions of America: 25 films to help understand the US today

      by

      This is a dire moment in the US. It’s a moment where there’s an opportunity for people with a lot of money to rip apart all of the guidelines enacted by the Roosevelt administration, way back in the day, to guard against the brutality of unfettered capitalism. Capitalists like to have all the power that they want, whenever they want it. They’re not much interested in democracy either, it turns out. Nor, apparently, the rule of law. The government is not the solution – it’s the problem. And now a vengeful president who just wanted a get-out-of-jail-free card is going to punish his enemies and show us all how to destroy the American administrative state by using the big stick of Elon Musk’s chequebook.It reminds me of that moment in Once Upon a Time in the West, when Henry Fonda sits behind the rail tycoon’s desk and says: “It’s almost like holding a gun, only much more powerful.” The US has always been about money. That’s been our blessing and our curse. It’s the land of great opportunity, but that obsession with money over everything else has now taken us to a very bad place. We’ve reached the dark side of the American dream.As a film-maker at this moment, I feel defeated in one sense: you always look in the rear-view mirror and wish your films had had a more lasting impact. Yet the fight for liberty and democracy is a never-ending one, so I’m still very much engaged. I’m reminded of what Salman Rushdie said at the Pen America World Voices festival in 2022: “A poem cannot stop a bullet. A novel can’t defuse a bomb. But we are not helpless. We can sing the truth and name the liars.”Art can always have an impact, but it isn’t Pavlovian. It isn’t a vending machine. A film won’t make someone go out tomorrow and pass a law. What you hope for is that it will be a kind of a slow-motion timebomb in the psyche of the audience, where they begin to reckon with essential human values. When I made The Crime of the Century, my documentary about the opioid crisis, I wasn’t thinking to instigate a particular kind of change. That wasn’t the purpose of the film. I was concerned that people tended to look at the crisis as something that just “happened”, like a hurricane. I wanted to emphasise that it was an intentional crime, in which people were literally killing people for money. It wasn’t something to be endured, but to be reckoned with. I wanted the film to help reorient the vision of the viewers.I’ve got a diptych of films coming out next month called The Dark Money Game, all about the power of dark money and how that’s become part of the American system. It’s about how white-collar crime is now almost legal: so long as rich people are stealing, it’s OK. And I’ve also been working for two years on a film about Elon Musk, to get at some deeper understanding of not only who this man is and why he’s doing what he’s doing, but also why we’re letting him. A lot of my films are crime films, in a way. It was Chekhov who said that if there’s a gun on the mantel in the first act, it had better go off in the third act. So very often I’m faced with the spectacle of a gun going off. My job is to look back to find the guns on the mantels.I’m naturally drawn to the film-makers who explore the dark side: the Scorseses of this world. And at a time such as this, you want to engage the darkness of the moment – but you also want films that reaffirm your sense of humanity. It’s not an American film, but I was deeply inspired recently by Walter Salles’s I’m Still Here, about surviving a military dictatorship: it was so finely observed and so deeply human. There’s always a way out. This is a pendulum and it swings back and forth. But, you know, if we don’t wake up, then it’s going to be a very long, dark period. Alex Gibney (as told to Guy Lodge)American Factory(Julia Reichert and Steven Bognar, 2019)Best for: a look at what the American workforce faces in a globalised economy.View image in fullscreenAn Oscar winner for best documentary feature and the first film acquired by Barack and Michelle Obama’s Higher Ground production company, this perceptive, humane film examines the initial promise of a modified, modernised American dream, as an abandoned General Motors plant in Ohio is reopened by a Chinese company, only for the new owners’ labour practices and values to clash sourly with those of their working-class American employees. Shot between 2015 and 2017, it captures a country’s growing insularity at the outset of the Trump era.The Apprentice(Ali Abbasi, 2024)Best for: a primer on how the Trump mythos began.View image in fullscreenFew were especially looking forward to a Donald Trump biopic from Iranian-Danish director Ali Abbasi when it premiered at Cannes last year: don’t we see enough of him as it is? But this period-perfect, video-grainy portrayal of his rise to celebrity in the 1980s is caustically gripping and insightful, as Sebastian Stan’s dead-on performance captures the chronic insecurity behind his bluster, while Jeremy Strong’s venal lawyer Roy Cohn models the behaviour of a toxic sociopath. A stark, shattering scene of Trump raping his former wife Ivana, meanwhile, was a gutsy inclusion.Bisbee ’17(Robert Greene, 2018)Best for: understanding how the US confronts its history, or doesn’t.View image in fullscreenIn 1917, in the small Arizona mining town of Bisbee, more than 1,200 immigrant mine workers were kidnapped and illegally deported to the New Mexico desert 200 miles away. Robert Greene’s highly original hybrid documentary studies how the Bisbee of the 21st century processes this shameful history, as local people mark the centenary of the event by staging a grand-scale re-enactment that raises debate and dissent in the general community. It’s a wise, eerie reflection on how Americans can compartmentalise or rationalise the past – but also acts as a mirror for anti-immigrant sentiment in the present day. History is never fully over.Bowling for Columbine(Michael Moore, 2002)Best for: fuelling rage against US gun laws.View image in fullscreenThe obnoxiously hectoring documentary style of Michael Moore might now seem of a previous era, but in the 22 years since this ferocious polemic won an Oscar, the frank absurdity of the US gun crisis hasn’t been more vigorously addressed on screen. By now, mass school shootings such as the Columbine massacre are distressingly commonplace stateside; Moore’s restless, roving examination of its causes and effects still hits hard, and bitterly underlines just how little has been done to prevent such occurrences in the intervening decades.The Brutalist(Brady Corbet, 2024)Best for: a timeless dissection of the soured American dream.View image in fullscreenBrady Corbet’s Oscar-winning, three-and-a-half-hour-plus epic might be set between the 1940s and the 1980s, but it has plenty to say to the 2020s, as it unfolds the plight of a Hungarian immigrant architect whose personal fortunes and creative ideals are gradually stymied by the Faustian allure of American capitalism. As a miserable east coast mogul seeking to own not just art but the artist, by dint of sheer wealth, Guy Pearce unnervingly encapsulates the ruinous entitlement of the 1%.The Crime of the Century(Alex Gibney, 2021)Best for: a journalistic exploration of the continuing US opioid crisis.View image in fullscreenWeighing in at nearly four hours overall, Gibney’s two-part documentary is as comprehensive a film as has been made on the opioid epidemic plaguing the US today, beginning with a look at how the Sackler family got OxyContin approved by the Food and Drug Administration, before getting into the mass marketing of fentanyl – taking on all manner of corporate corruption and human devastation along the way. If you can handle more rage against big pharma after watching it, pair it with Laura Poitras’s more emotive, award-winning All the Beauty and the Bloodshed.Don’t Look Up(Adam McKay, 2021)Best for: summing up the divided US stance on the climate crisis.View image in fullscreenAdam McKay’s brash, broad social satire split critical opinion a few years ago, but there’s resonance in even the silliest aspects of its farce, as it captures the grating, oppressive cacophony of a population at war with itself, even in the face of universally impending disaster. The environmental crisis isn’t directly addressed, but the metaphor couldn’t be clearer: a planet-destroying comet is headed towards Earth, but scientists can’t make Americans take heed over a din of debate, denial and political spin.Election(Alexander Payne, 1999)Best for: American electoral politics brought down to brass tacks.View image in fullscreenAny number of films have been made about the complex vagaries of American electoral campaigns, but have they ever been summarised as simply and cruelly as they are in Alexander Payne’s lethally dark high school comedy? The stakes might be comparatively low in this anatomy of a midwestern student body vote, but try telling that to Reese Witherspoon’s indelible overachiever Tracy Flick – an analogue for every ambitious, capable woman ever deemed too unlikable to succeed by dominant male mediocrity.A Face in the Crowd(Elia Kazan, 1957)Best for: a prescient vision of the US media landscape at its most cynical.View image in fullscreenNot a great success upon its release in 1957, Elia Kazan’s nearly 70-year-old media satire has enjoyed quite a revival in recent years – even being adapted into a stage musical at the Young Vic last year. That’s because, its mid-century milieu notwithstanding, it speaks directly to the modern era of faux-populist celebrity construction and public manipulation. Its protagonist, Larry “Lonesome” Rhodes, a drifting Arkansas hayseed discovered by a New York radio producer and turned into a merchant of increasingly hypocritical homespun wisdom, is an idiot savant monster whose popular touch calls Joe Rogan to mind.The Florida Project(Sean Baker, 2017)Best for: a slice of life on the poverty line.View image in fullscreenSeveral years before he stormed the Oscars with his sex worker story Anora, Sean Baker received less than his due for one of the definitive modern portraits of poor white America, turning an attentive and compassionate gaze to a demographic often dismissed with cruel stereotypes. Playing out largely through the eyes of Moonee, the six-year-old daughter of an unemployed stripper barely surviving day to day in an Orlando fleapit motel, it avoids condescension as it shows us the wonder that the young girl routinely finds in squalor.Hale County This Morning, This Evening(RaMell Ross, 2018)Best for: an immersive, unsensationalised view of everyday life in the south.View image in fullscreenBefore switching to fiction with his recent, radical adaptation of Colson Whitehead’s Nickel Boys, RaMell Ross made his name with this exquisite, Oscar-nominated mosaic of daily routines and rhythms among the predominantly Black residents of Hale County, Alabama. Interspersing carefully observed vignettes with more lateral poetic meditations, it was described by Ross as an “epic banal” work, aiming to “bring elation to the experience of blackness”. The film’s calm lyricism and granular detail stand out against other, more vocally political modern docs on that experience.Here(Robert Zemeckis, 2024)Best for: a telling boomer viewpoint on the US past and present, for better or worse.View image in fullscreenRobert Zemeckis’s kitschy, AI-assisted graphic novel adaptation about centuries of American life playing out on one patch of land bombed in cinemas, and not undeservedly so – but I’m not sure I’ve seen a film recently that captures the stiflingly conservative family values of the modern US with more inadvertent accuracy, or the political overreach of white liberal worldview. (Its passages on Indigenous trauma and the Black Lives Matter movement are a veritable time capsule of cringe.)I Am Not Your Negro(Raoul Peck, 2016)Best for: bringing a fresh context to the history of US racism.View image in fullscreenThis Bafta-winning documentary from Haitian film-maker Raoul Peck is based on Remember This House, an unfinished manuscript by trailblazing Black writer and activist James Baldwin, and brings vital visual information to his literary examination of racism in the US. Told via Peck’s own experiences and through reflections on the work and legacy of Martin Luther King Jr and Malcolm X, among others, it’s a fascinating history lesson bristling with modern relevance.In Jackson Heights(Frederick Wiseman, 2015)Best for: a celebration of American diversity.View image in fullscreenVeteran documentarian Frederick Wiseman is the foremost US chronicler of the country’s institutions and communities, whether in his midwest portrait Monrovia, Indiana or his exhaustive administrative study City Hall. But his most vital recent work is this vast cinematic patchwork of life in the teemingly diverse New York City neighbourhood of Jackson Heights, as its gaze takes in everything from a Muslim school to an LGBTQ support meeting to a Jewish community centre – adding up to a compelling study of how the US, at its best, can evolve to meet the needs of a changing population.Joker(Todd Phillips, 2019)Best for: a popular touchstone of current American masculinity.View image in fullscreenWhen Todd Phillips’s unexpectedly artsy, ambitious superhero spinoff movie premiered at Venice, scooping up the Golden Lion, the heated critical debates began: had he made the ultimate “incel” manifesto, or a snarling critique thereof? Six years and one flop sequel later and there’s still no consensus, not least because some audiences adopted Joaquin Phoenix’s downtrodden, mentally ill, ultimately murderous Arthur Fleck as an anti-woke icon and others recoiled from his toxic villainy. Phoenix’s Oscar-winning performance makes him disturbingly sympathetic in either light.RoboCop(Paul Verhoeven, 1987)Best for: a not-so-futuristic projection of where the American police state is heading.View image in fullscreenForget the various meat-headed sequels and increasingly kid-targeted cartoon violence. Verhoeven’s original action blockbuster was an ice-cold, viciously satirical vision of American capitalism and militarisation heading towards an unholy worst-case scenario: a privatised corporate police force staffed by ruthless droids, with predictably dire consequences for humanity. Nearly 40 years later, it’s ageing horribly well: under Trump, its dystopian world-building seems only slightly far-fetched.Shy Boys IRL(Sara Gardephe, 2011)Best for: a snapshot of the origins of incel culture.View image in fullscreenGardephe’s viral short is scrappily shot and only half an hour long, but remains a definitive visual text in our understanding of what, in 2011, had not yet been popularly named “incel culture” – an online community of young men, frustrated by their failure to meet and date women, whose involuntary celibacy seeds an increasingly toxic view. Gardephe’s film, which has recently enjoyed a resurgence on TikTok, treated incels as a subculture then, but today looks prescient in identifying a far broader social phenomenon.Sound of Freedom(Alejandro Monteverde, 2023)Best for: an insight into rightwing blockbuster heroism.View image in fullscreenOn the face of it, Alejandro Monteverde’s sentimental search-and-rescue thriller is straightforwardly gung-ho stuff, following an intrepid homeland security agent (played by The Passion of the Christ star Jim Caviezel) as he sets out to crack a child sex-trafficking ring in Colombia. But as produced and marketed by conservative faith-based entertainment company Angel Studios, the film became laden, intentionally or otherwise, with intricately coded QAnon conspiracy theories, and was championed by the right as a rejoinder to the supposedly reprobate output of leftist mainstream Hollywood. Sure enough, it was a sleeper hit, and there’s a lot to be learned from watching it.Stillwater(Tom McCarthy, 2021)Best for: a canny distillation of the culture gap between the US and Europe.View image in fullscreenPlainly inspired by the Amanda Knox case, Tom McCarthy’s quietly potent culture-clash thriller was unfairly written off by many critics, but there’s some acute wisdom in its portrayal of a gun-loving, blue-collar Oklahoma dad navigating the intricacies of the French legal system – and eventually taking his own roughneck revenge – to save his imprisoned daughter. It’s a criminal melodrama with blunt contrivances softened and complicated by Matt Damon’s knotty, humane portrayal of a character who would be easier to demonise.Strong Island(Yance Ford, 2017)Best for: a searingly personal account of the struggles of social integration.View image in fullscreenIn 1992, Yance Ford’s brother William, a young, unarmed Black man, was shot dead by a white 19-year-old who claimed self-defence and was subsequently acquitted by an all-white jury. That might have been more than 30 years ago, but Ford’s pained, unflinching documentary points to enduring unequal treatment in its first-hand portrait of a Black family who anticipated a better life on moving to the suburbs of Long Island, only to find, ultimately, they were unwelcome outsiders. Ford, a trans film-maker, has a sharply intersectional understanding of minority identity; his film is both an elegy and a plea for change.Support the Girls(Andrew Bujalski, 2018)Best for: A snapshot of labour politics with a side of lively feminism.View image in fullscreenThere may be no brand more absurdly and quintessentially American than the lurid, unabashedly chauvinist “breastaurant” Hooters, and it gets a wicked send-up in this breezy but bittersweet workplace comedy, starring a wonderful Regina Hall as the world-weary manager of one such institution. Following her across her last two days of employment, and glancing upon the various crises of its female staff members, it’s a casually piquant skewering of unjust labour practices in a still-patriarchal society, and a warm valentine to the women who endure them.13th(Ava DuVernay, 2016)Best for: a thorough breakdown of the US prison-industrial complex.View image in fullscreenThe title refers to the 13th amendment to the US constitution, abolishing slavery and involuntary servitude – except as punishment for convicted criminals. In her first documentary, Ava DuVernay uses this caveat as the basis for a compelling argument that slavery continues to this day in the US prison system, further challenging the corporations that profit from it. With interview subjects ranging from activist Angela Davis to politician Newt Gingrich, it’s the most expansive and searching work of DuVernay’s career.Time(Garrett Bradley, 2020)Best for: an unromantic, long-view take on fighting the power.View image in fullscreenIf 13th offers an essayistic takedown of the prison-industrial complex, Garrett Bradley’s heart-wrenching documentary takes a more personal view of the subject, portraying Black abolitionist Fox Rich, AKA Sibil Fox Richardson, and her 20-year campaign for the release of her husband, Robert, sentenced to 60 years in prison for his role in an armed bank robbery. It’s a powerful study of systemic dysfunction and the lives caught up in it, but also a hard, realistic view of the exhausting grind of long-term activism.Us(Jordan Peele, 2019)Best for: an allegory for the class divide in the Black US.View image in fullscreenJordan Peele’s 2017 smash, Get Out, immediately established him as a leading Hollywood merchant of political commentary as entertainment, as it probed the threat posed to the Black population even by supposed white liberals. But this even better follow-up film got into thornier, more nuanced territory with its ingenious examination of American privilege, classism and gentrification, alongside its ramifications as visited upon a bourgeois Black family terrorised by their “tethered” underclass doppelgangers. It’s witty, frightening and rings violently true.White Noise(Daniel Lombroso, 2020)Best for: explaining the rise of the far right.View image in fullscreenIt’s cold comfort that the three principal subjects of Daniel Lombroso’s upsetting documentary on the surge of the “alt-right” movement in the US – Richard Spencer, Mike Cernovich and Lauren Southern – are no longer as prominent in the news as they were when the film was made five years ago: they’ve simply been surpassed by other toxic celebrities as white supremacy has expanded from the fringes to the mainstream. Produced by news publisher the Atlantic, the film works as an excavation of the movement’s roots, and is suitably pessimistic about where it’s heading. More

    • 150 Shares199 Views

      in US Politics

      How Indigenous basketball teams are preserving culture: ‘This is a healing process’

      by

      Long before Michael Jordan changed the sport of basketball, another Jordon transformed the National Basketball Association’s (NBA) history by breaking the league’s racial barrier as its first Native American player.In 1956, Phil “the Flash” Jordon, a descendant of the Wailaki and Nomlaki tribes, was drafted by the New York Knicks and played 10 seasons in the league. Though he may not carry the same cultural cache as other hoopers throughout professional basketball’s century-plus existence, Jordon embodies a longstanding Native American fixation on the sport – especially at the community level. Throughout the years, Native Americans have embraced basketball and made it their own. One way they’re doing so today is with “rez ball”, a lightning-fast style of basketball associated with Native American teams.Although the notion of Native Americans in basketball hasn’t fully permeated the mainstream sports consciousness (basketball gyms on reservations are still among the most overlooked in the country by talent scouts), the NBA, Women’s National Basketball Association (WNBA) and other basketball entities have begun to acknowledge native hoopers and their rich legacy more fully.Rez Ball, a LeBron James-produced film currently streaming on Netflix, is based on Canyon Dreams, an acclaimed book about a Navajo high school team in northern Arizona. The Toronto Raptors unveiled an alternate team logo designed by Native American artist Luke Swinson in honor of the franchise’s annual Indigenous Heritage Day; the illustration depicts two long-haired, brown-skinned hoopers flowing inside of a basketball silhouette, which doubles as an amber sunrise. And earlier this season, NBA superstar Kyrie Irving – whose family belongs to the Lakota tribe of the Standing Rock Sioux reservation in North Dakota – went viral for meeting with a group of Native American fans after a Dallas Mavericks game. The eight-time All-Star also debuted Chief Hélà, his pair of Indigenous-inspired sneakers, during the 2024 NBA finals last June.View image in fullscreenAs for the WNBA, the league boasts the only professional sports franchise owned by a Native American tribe. The Mohegan Tribe purchased the Connecticut Sun (formerly the Orlando Miracle) in 2003 and relocated the team to the Mohegan Sun arena in Uncasville, Connecticut.Still, there’s much left to be desired for Native American representation and their conservation of traditions and identity at large, both on and off the court. It’s something Native basketball players and coaches are hustling to retain and defend.“Imagine not being able to speak your language, that’s having your identity stolen,” says Adam Strom, a member of the Yakama tribe in Washington state. “I’m not fluent in Ichiskíin [a Yakama dialect]. I only know a few words. But there’s a big push in Indian country to preserve and hold on to your language. Basketball is a conduit for that.”For Strom and others invested in the Native American basketball community, the sport offers a chance to celebrate Native American history, retain Indigenous languages and provide an inviting, accessible space for intergenerational exchange.Strom is the head coach of the women’s basketball team at Haskell Indian Nations University – the only Native American institution in the country that offers a sanctioned four-year athletic program for Native Americans, and which Strom compares to an HBCU equivalent for Indigenous students. For that reason, it’s unlike any other campus in the nation.But Strom’s role – along with various staff positions at Haskell – have come under fire by the Trump administration’s budget cuts. The recent executive order has put the Native American institution directly at risk. After slashing tribal funds and attempting to revoke Native American birthright – a draconian move which a federal judge has deemed as “unconstitutional” – it’s an especially precarious moment for Haskell and its students. That hasn’t stopped Strom or his basketball program from trying to instill a winning mindset imbued with cultural awareness in the next generation of Native American community members. Despite formally losing his job, Strom – a 24-year veteran and son of the late basketball coach, Ted Strom – is leveraging his basketball prowess to proverbially level the playing field. Or, in his case, the hardwood court.“At Haskell, we play for Indian country,” Strom says, who is now working without pay as a volunteer due to Trump’s unprecedented firings. “Any time my players step on the court, they represent Native Americans throughout the United States. My recruiting pool is a sliver compared to those other universities we participate against. Players have to meet that bloodline. There’s a lot of pride in that.”View image in fullscreenAccording to the NCAA, only 544 student athletes out of 520,000 are Native Americans competing in Division I sports. As the least represented ethnic group in all of college sports, it speaks volumes that Native American women account for roughly 19% of all Native Americans in Division I competition. Players such as Jude and Shoni Schimmel, two Indigenous sisters who were raised on the Umatilla Indian Reservation in Oregon, are examples. The sisters went on to have successful careers at the University of Louisville, with Shoni becoming an All-American first-round draft pick of the Atlanta Dream in 2014.In a New York Timesarticle about the Schimmels, Jude referenced basketball as “‘medicine’ that ‘helps and heals’ Native Americans”. Shoni (who pleaded guilty to abusing her domestic partner in 2023) has since retired from the WNBA, while Jude, after playing overseas in Spain, is currently signed to Athletes Unlimited Pro Basketball.More than any institutional accolades or professional achievements, though, the Native American spirit for basketball is most visible at the grassroots level, where significant assists are being made to carry forth a vibrant legacy. For basketballers in Indian country, it’s a way to stay interconnected by passing generational knowledge on to the next player.“Without language you lose culture; without culture you lose your people. Kids from this community, their great-great-great-grandparents spoke [Indigenous] languages. So how do you count, pass, catch, run in that language?” says Mitch Thompson, co-founder of Bilingual Basketball and an assistant coach with the Seattle Storm.The program is designed to support marginalized communities by providing free basketball camps that utilize bilingualism and sociolinguistics as part of their core mission to reclaim historically overlooked spaces through basketball.Thompson, a basketball coach with experience working for NBA and WNBA organizations in the United States and Mexico, is a passionate advocate for social equity and cultural empowerment through the sport. Having grown up in northeastern Oregon, Thompson became familiar with rez ball through the nearby Yakama, Cayuse, Walla Walla and Umatilla reservations.View image in fullscreenHis vision for Bilingual Basketball came to life in 2021 after Adrian Romero, a Mexican American basketball player he had formerly coached, and their friend, Irma Solis, decided to offer the program to local youth. At the time, that meant serving a predominantly immigrant, Spanish-speaking demographic. To date, they’ve served around 2,000 participants, mostly in the Pacific north-west.Everything changed in 2024 when Thompson teamed up with his former colleague, Strom, to bring the program to Native American reservations for the first time – starting with the Yakama in White Swan, Washington.“Adam and I worked closely with the Yakama language department. I believe it was the first ever basketball camp offered in Ichiskíin,” says Thompson. “There are only around 100 conversational speakers of this language on earth. Everything needs to be approved by tribal elders. But if you can combine that identity and those nuanced cultural aspects with basketball, that’s powerful.”The weekend-long camp mixed English with Ichiskíin. The program offered Indigenous prayers, a “basketball powwow” (dances and songs used to pass down Native American traditions), and dribbling routines led by ceremonial drummers. It may be the first and only basketball camp of its kind, according to Thompson, who has extensive experience working with non-traditional basketball communities around North America.“This is culturally sensitive. These communities had boarding schools and the kids were stolen from their families and forced into spaces where only English was spoken,” says Thompson. “They had to practice Christianity [and] cut their hair. This is the opposite of that. We’re celebrating language. This is a healing process.”Bilingual Basketball followed up their Yakama camp by working with the Prairie Band Potawatomi Nation (PBPN) in Kansas – a tribe with even higher linguistic preservation needs. In 2019, the PBPN language and cultural department coordinator, Dawn LeClere, declared the Potawatomi language as nearly extinct, with only five known fluent speakers, a dwindling fraction of the estimated 10,000 that once flourished in the 1700s.Language preservation – outside of basketball – is a lifeline for North American tribes. To be sure, translating modern basketball jargon into an ancient language that isn’t fluently spoken isn’t easy. It requires tremendous creativity, and the phrases often don’t match on a 1:1 basis.There is no word in Ichiskíin for “basketball”, for example, so professional linguists and community members teamed up to invent a literal translation that combines the native words for basket and ball. For participants and coaches alike, it’s all a new experience.View image in fullscreen“We have learned so much working with the Yakama and Potawatomi nations,” says Romero, one of the program’s co-founders and directors. “The involvement from the language programs has been huge by providing translation of basketball terminology and everyday phrases. There have also been many volunteers to help teach the language throughout the duration of the camp. The kids got a chance to enhance their language skills and also learn cheers and cultural dances like Native American hoop dance.”As a bilingual speaker in English and Spanish, Romero learned new phrases including “kgiwigesēm” (“you all did good”) and “tuctu” (“let’s go”). If you try Googling those words, nothing appears. And that’s exactly the kind of gap that Strom and Bilingual Basketball are trying to bridge – rather than destroy – with basketball as their tool. While these native communities face persecution in other arenas outside of basketball, the 134-year-old recreational sport has offered an unlikely pathway towards cultural preservation. It’s something that Strom and the founders of Bilingual Basketball are committed to passing forward in real time.“There’s a sense of amnesia in American culture that [Indigenous] communities and people don’t exist anymore. They absolutely do,” says Thompson. “Their language and culture has persevered through genocide, boarding schools, and other intentional ways to keep them impoverished. Most Americans don’t have any real, interpersonal connection to tribal communities. Really connecting to the communities, going into the spaces. But they’re still there. It’s important for non-Indigenous Americans to realize it’s not just something of the past.” More

    • 175 Shares159 Views

      in US Politics

      ‘It’s a scary time’: artists react to White House’s recent targeting of Smithsonian Institution

      by

      Artists, academics and politicians have shared their outrage in reaction to the Trump administration’s latest executive order targeting the Smithsonian Institution, the world’s largest museum network.Late on Thursday, Trump announced that his administration had ordered a large reshaping of the Smithsonian in an attempt to eliminate what he described as “improper, divisive or anti-American ideology”.“Once widely respected as a symbol of American excellence and a global icon of cultural achievement, the Smithsonian Institution has, in recent years, come under the influence of a divisive, race-centered ideology,” read the order.Trump’s order specifically criticized the Smithsonian American Art Museum (Saam) exhibit The Shape of Power: Stories of Race and American Sculpture. The exhibit features 82 sculptures from more than 70 artists to “[examine] the role of sculpture in understanding and constructing the concept of race in the United States”, according to the museum’s website.The artist Roberto Lugo, who is featured in the Shape of Power exhibit, said it felt “scary” to watch the Trump administration attempt to censure his and others’ work.“The idea of something that I’ve made being in such an important exhibition, and being targeted by people who run the entire country,” Lugo said. “It’s a scary time because you just don’t know if your work is going to be used to help people understand one another or if it’s going to be used as a tool to further divide people,” he added.To create his featured sculpture, DNA Study Revisited, Lugo had to physically encase his entire body in plaster and rubber for hours at a time. It then took more than a month to create the finished piece.The creation of art, Lugo said, allows him to “process experiences”.“I have faced violence in my life because of racism,” Lugo, who is Afro-Latino, said. “As a child, I was assaulted with a baseball bat for trying to play in the wrong neighborhood.” He added: “This was a very therapeutic experience to feel like my DNA is represented in such an important exhibition.”Trump also condemned the widely lauded National Museum of African American History and Culture (NMAAHC). The museum, which formally opened in 2016 at a ceremony with then president Barack Obama, has been celebrated for its thorough curation process of Black American history.As a part of the “Restoring Truth and Sanity to American History” executive order, Trump has ordered his vice-president, JD Vance, to “remove improper ideology” from the Smithsonian’s museums, educational centers and more.Trump’s executive order has already sent shocks through the art and museum spaces, as officials weigh how to continue their work with an administration focused on limiting truth.Texas congresswoman Jasmine Crockett shared her frustration at Trump’s order and broader opposition to diversity and inclusion on social media.“First Trump removes any reference of diversity from the present – now he’s trying to remove it from our history. Let me be PERFECTLY clear – you cannot erase our past and you cannot stop us from fulfilling our future,” she said in a post on X.US representative Steven Horsford accused the Trump administration of “trying to erase Black history and silence conversations about systemic injustice” with this latest executive order. “By defunding institutions and banning critical conversations, they’re rewriting the narrative,” he said in a statement on X.The attorney and civil rights lawyer Ben Crump emphasized how Trump had specifically called out the NMAAHC, despite its historical archival work that benefits the national as a whole.“The National Museum of African American History and Culture reveals the truth about our nation’s past. Yet a new executive order calls for removing “divisive ideology” from the Smithsonian Institution and singled out the NMAAHC,” he said on X.Educators have also voiced their dismay at Trump’s attempts to attack the work of reporting on American history.Eddie S Glaude Jr, a professor of African American studies at Princeton University, wrote on X, “And they said it was about eggs … ,” referring to Republicans’ purported focus on inflation and egg prices.In comments to the Washington Post, Chandra Manning, a professor of American history at Georgetown University, said: “It seems to suggest that if we allow anyone to hear the whole story of challenges that Americans have overcome, our nation will shatter. The American people are not so fragile as all that.”Of his Saam exhibit, Lugo said it is an opportunity for selected artists and the communities they represent to have a chance to share their own experiences.“The exhibition is really about telling people’s stories, just as human beings. For some of us, how we appear on the outside has driven people to act a certain way towards us and stereotype us,” said Lugo. He added: “My work is really about harmony and showing people how we’re alike and how we should celebrate each other’s histories. A blanket overall statement that anything regarding race is divisive is really misunderstanding the role of the artists and what it is that we’re trying to achieve with our work.”How and when Trump’s executive orders will take place remain unclear. The Smithsonian has not released a statement on the orders or how it plans to address ongoing attempts at the federal level to shape its content. More

    • 138 Shares99 Views

      in US Politics

      US Naval Academy to no longer consider race when evaluating candidates

      by

      The US Naval Academy has changed its policy and will no longer consider race as a factor when evaluating candidates to attend the elite military school, a practice it maintained even after the US supreme court barred civilian colleges from employing similar affirmative action policies.The Trump administration detailed the policy change in a filing on Friday asking a court to suspend an appeal lodged by a group opposed to affirmative action against a judge’s decision last year upholding the Annapolis, Maryland-based Naval Academy’s race-conscious admissions program.Days after returning to office in January, Donald Trump signed an executive order, on 27 January, that eliminated diversity, equity and inclusion programs from the military.The defense secretary, Pete Hegseth, two days later issued guidance barring the military from establishing “sex-based, race-based or ethnicity-based goals for organizational composition, academic admission or career fields”.The US Department of Justice said that in light of those directives, V Adm Yvette Davids, the Naval Academy’s superintendent, issued guidance barring the consideration of race, ethnicity or sex as a factor in its admissions process.The justice department said that policy change could affect the lawsuit filed by Students for Fair Admissions, a group founded by affirmative action opponent Edward Blum, which has also been challenging race-conscious admissions practices at other military academies.Blum’s group had been seeking to build on its June 2023 victory at the supreme court, when the court’s 6-3 conservative majority sided with it by barring policies used by colleges and universities for decades to increase the number of Black, Hispanic and other minority students on US campuses.That ruling invalidated race-conscious admissions policies used by Harvard and the University of North Carolina. But it explicitly did not address the consideration of race as a factor in admissions at military academies, which the conservative supreme court chief justice, John Roberts, said had “potentially distinct interests”.After the ruling, Blum’s group filed three lawsuits seeking to block the carve-out for military schools. The case the group filed against the Naval Academy was the first to go to trial.But a federal judge in Baltimore, Richard Bennett, sided with then president Joe Biden’s administration in finding that the Naval Academy’s policy was constitutional. More

    • 100 Shares189 Views

      in US Politics

      University of Michigan shutters its flagship diversity program

      by

      The University of Michigan has shuttered its flagship diversity, equity and inclusion (DEI) program and closed its corresponding office, becoming the latest university to capitulate to Donald Trump’s anti-DEI demands.The school launched the program in 2016, at the beginning of Trump’s first administration, and it became a model for other DEI initiatives across the country. In announcing the DEI strategic plan’s end, university leaders pointed to the success the program had.“First-generation undergraduate students, for example, have increased 46% and undergraduate Pell recipients have increased by more than 32%, driven in part by impactful programs such as Go Blue Guarantee and Wolverine Pathways,” the statement said. “The work to remove barriers to student success is inherently challenging, and our leadership has played a vital role in shaping inclusive excellence throughout higher education.”Since the supreme court ended affirmative action in 2023, programs geared towards diversity have been targeted by conservative groups. In an email on Thursday, the university of Michigan’s leadership referenced the enforcement of Trump’s anti-DEI executive orders, along with the threat to eliminate federal funding to colleges and universities that did not eliminate their DEI programs. According to the statement, some at the university “have voiced frustration that they did not feel included in DEI initiatives and that the programming fell short in fostering connections among diverse groups”.In addition to closing the DEI office, the University of Michigan is also terminating the office for health equity and inclusion and discontinuing their “DEI 2.0 strategic plan” despite its success. The closures comes after the school decided last year to no longer require diversity statements for faculty hiring, tenure or promotion.The university said that it will now focus on student-facing programs, including expanding financial aid, maintaining certain multicultural student spaces and supporting cultural and ethnic events on campus.“These decisions have not been made lightly,” university leadership said in a statement announcing the changes.“We recognize the changes are significant and will be challenging for many of us, especially those whose lives and careers have been enriched by and dedicated to programs that are now pivoting.”The university’s decision was met with immediate concern.“The federal government is determined to dismantle and control higher education and to make our institutions more uniform, more inequitable, and more exclusive,” Rebekah Modrak, the chair of the faculty senate, wrote in an email to colleagues about the decision, according to the Detroit Free Press. “They are using the power of the government to engineer a sweeping culture change towards white supremacy. Unfortunately, University of Michigan leaders seem determined to comply and to collaborate in our own destruction.” More