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Why âKarensâ Are a Threat to Racial Progress
From Ida B. Wells to Emmett Till to the âKarensâ of today, the trope of white women in danger has been used to harm Black people.
I have white women in my life whom I like and love but, for some white women, a predatory element lingers just under the surface of their smiling faces. Because in many ways, white womanhood is the secret weapon in the perpetuation of white supremacy: When a white woman feels âunsafeââparticularly in situations that involve a Black woman conscious of an injustice or a Black male simply existingâwhatever solution that follows cannot be questioned. Â
The many facets of the Human Family Daily News (via HT Media Ltd.)
When did we lose that phrase, “human family”, to what we now so snappily call the “international community”? I was conjuring its many vibrant, tactile associations when, on the weekend of March 27, I came across an article in the Jamaica Gleaner where Prathit Misra, an Indian diplomat in Kingston, celebrates 175 years of the Indian community in Jamaica and quotes Bob Marley’s granddaughter Donisha Prendergast, as she recalls that “sharing energy with the sadhus (ascetics) on the riverbank in Varanasi (in India) was parallel to the experience of being with the Rastaman in Jamaica. There’s an old connection between these cultures: when Indian indentured labourers were brought to the Caribbean plantations, they brought with them ideas of spirituality, spices and the beautiful plant that would become a central part of the Rastafari culture.”
A new movie short directed by a Black filmmaker gives a raw take on racial injustice and will be showcased at the Sundance Film Festival in Utah this month.
“Black Bodies,” a four-minute film vignette about the impact of deadly police violence against the Black community, is slated to make its United States premiere Jan. 28 at the nation’s largest independent film festival.
The movie was shot last year just outside of Toronto. It portrays a Black man who steps into an empty warehouse and finds the bodies of all the victims of fatal police encounters strewn across the floor. The man, played by poet/artist Komi Olaf, is left to grapple with his own internal turmoil at the sight of his fallen brethren.