At the Crunk Feminist Collective, there are educators among us who teach in unsafe classrooms, around uncomfortable kitchen tables, in crumbling youth centers, and between warring crowds on police-barricaded streets. We teach because we believe that offering a lens and the language to critically engage the world are fundamental to changing the world. It seems to be a lofty charge, but we are anchored by it especially when we spend thankless, countless hours preparing the “perfect” lesson plan and notes to incite and inspire young folks.
Today, I am bringing the classroom to the blog. From a horsefly’s golden bum named Beyoncé to poisonous Tupperware-like butt pumping parties, the CFC has covered how the booty continues to frame desirability and identity. We have described how the commodified, sexual display of Black buttocks dates back to the iconic backside of South African Sarah Baartman, dubiously dubbed the Hottentot Venus.
Let’s talk about eating the Other as theorized by bell hooks. Here are two recent objects/images of dismembered Black female bodies molded as cakes and offered up for public consumption.
The first object/image circulated this Spring when the Swedish Minister of Culture kicked off World Art Day with a ceremonial cut to the genitals of the black-coated, blood-colored cake. The blackface performance artist screamed amid gawking onlookers who laughed, snapped photos, and later gobbled the cake, bottom upward. The viral video sparked outrage across the globe. In a refined statement the Black male artist, Makode Linde, said his intention was to make viewers uncomfortable and to call attention to “genital mutilation” or more specifically clitoridectomy (i.e., the removal of the clitoris). The second object/image is also of a cake—a cake in the shape of a thong-wearing booty that is presented to the Black male artist 2Chainz in a music video. In the chart topping record, “Birthday Song,” the rapper repeats: “All I want for my birthday is a big booty hoe.”
If you can stomach watching both of the videos, tell us: Is there any difference between the two cakes?
(Warning: Videos links contain explicit material.)
Further Reading: Willis, D. (2010). Black Venus, 2010: They called her “Hottentot”. Philadelphia, Pa.: Temple University Press.
The Crunk Feminist Collective will talk to three authors about hip hop feminism featured in their new books, Wish to Live: The Hip-Hop Feminist Pedagogy Reader edited by Ruth Nicole Brown and Chamara Jewel Kwakye, and Hip Hop’s Li’l Sistas Speak: Negotiating Identities and Politics in the New South by Bettina Love.