Plantation Retreats- Black Degradation and White Depravity

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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.”
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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 around with the dynamics surrounding dominance and submission?
Consider the following passage from the Colorlines article “Playing with Race”:
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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.

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However, 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 on yourmorals.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 Library when 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 of people 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.
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Here 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 knowlegble 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 our tradition at WARN, 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?
Article by chaunceydevega

Get Out- Interracial/Horror Film(Hidden truths)

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Jordan Peele’s directorial debut Get Out proves a fascinating engagement with the racial truths of the contemporary world. The film centers on interracial couple Chris and Rose who are traveling to meet Rose’s parents in a New York City Suburb.

Prior to their visit, Chris asks Rose if she told her parents that he is black. Rose makes a mockery of this query, a query that encompasses the film’s many acts of foreshadow and dramatic irony. Get Out proceeds to illustrate that it is Chris’ blackness that makes him Rose’s prey. The couple’s visit to meet Rose’s parents proves a sick and calculated effort to abduct black bodies and re-appropriate them as a means to enhance the lives of a white counterpart. In short, the film’s resonance lies not in the images themselves but what lies beneath.

1.White Liberal

One of the most demonstrative illustrations in the film is its portrayal of the “white liberal.” Rose, Chris’s girlfriend not only dates a black man but defends him in the face of overt discrimination. Chris is racially profiled by a police officer on the way to meet Rose’s parents. The policeman asks Chris for his identification, to which they receive Rose’s wrath. After the incident, she states that she won’t let anyone “F%ck with her man.” But little does Chris know, Rose is merely protecting Chris the object and not Chris the person. This objectification becomes clear in the silent auction that takes place in Rose’s parent’s garden. What they disguise as “Bingo” is an auction where interested white buyers place bids for the black body Rose brings home. So questions like “Is it better?” referencing black male sexual performance, is the query of a prospective buyer desiring a worthy investment.

Rose portrays a physical embodiment to the phrase “every shut eye ain’t sleep and every goodbye ain’t gone.” An assumed ally can very well bear oppressive feelings towards a marginalized body. Assumed allies often veil self-interest in seemingly supportive gestures. Namely, Rose does not verbalize her prejudices yet is not any different or better than her parents or their “garden party” guests.

2. The Poisonous Apple

Get Out depicts Chris, a black man,  as an Eve-like figure and Rose, a white woman, as the poisonous apple that exploits his vulnerabilities and renders a series of irreversible consequences. The film intertwines physical hypnosis to induce black acquiescence to a  new identity. Rose acts as a form of hypnosis in her pursuit and pseudo-love for the black male. In seeking to consummate white acceptance and assimilation in his romantic relations with white women,  the black male body enters a vulnerable state exploited by his “prize.” Thus, Rose uses her external appeal to sink her thorns deep into the black male psyche. Just as their love seems to bloom, it is not Rose who dies, but her black lover–illustrating the measure of a rose’s beauty is the ability to distract admirers from its thorns sinking into their flesh.

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3. Science and black experimentation

The Armitage family abducts blacks, hypnotizes them, and uses the black body to improve white quality of life. The procedure leaves a small portion of the black brain but replaces the majority with a white brain. Thus, the black person becomes “a passenger” in his own body. This procedure seems synonymous to the abduction of African bodies and displacing them onto indigenous soil. This displacement renders the black body a passenger in the western experience as each generation proves more distant relationship to their African origins. While the African brain may not be physically extracted, it becomes westernized so that descendants of abducted Africans feel more American than African–making the black body a commuter in their own oppression.

Interestingly, upon first meeting, Chris and Rose disclose that they hit a deer on their way up. In response, Rose’s father remarks that they “did a service” by hitting and ultimately killing the deer. It is this same ideology that prompts the white conservative to seek out black bodies to dismember for their own personal benefit. In their minds, the Armitage family does a service to blacks abducted for their procedure, as their procedure affords the black body a purpose believed to not exist outside of serving whites. Prior to preparing Chris for the procedure, Mr. Armitage asks him “What is your purpose, Chris?” To pose this question prior to their intended procedure suggests that their use of his body incites a purpose otherwise non-existent.

It is this same ideology that prompted white doctors and scientists to use black bodies to test out medical procedures. Henrietta Lacks’ doctor felt entitled to the contents of her vagina, so much so that he did not even consult her next of kin prior to abducting her cells. The pearl-like substances that killed her would acquire purpose in the lives Lacks would come to save following her death. Thus, just as the Armitage family deems the black body purposeful in servicing whites,  Henrietta Lacks’ story similarly illustrates the black body as purposeful solely when appropriated for western motives.

Slavery and the contemporary world implement a similar ideology as the most celebrated black figures: athletes, entertainers, and actresses all serve whites. Thus, the television, radio and even the education system all act as an informal hypnosis implemented as a means to control black bodies and place them on a dead end path to white servitude.

Film Review Get Out

4. The unassumed intellect

Get Out channels Charles Chestnut’s “The Goophered Grapevine” and “Dave’s Neckliss” in illustrating the unassumed intellect in Chris’ TSA friend, Rod Williams. For those unfamiliar with Chestnut or these stories, a prevalent style of Chestnut is to implement a character who due to their vernacular speech prompts most to assume that he is intellectually deficient. The unassumed intellect uses these preconceived notions to his advantage and deceives his “intelligent” counterparts by the story’s conclusion.

Similarly, Williams provides comedic relief to audiences in his delivery. Yet the dramatic irony evokes laughter from some and frustration from others as audiences know that Williams is the sole party in the film that knows the truth. This depiction functions positively, as it evokes a caricatured black image as a means to exploit presumed western conceptualizing of black intellect. In a perfect world, caricatured imaging of blacks would disappear completely. However, it is an act of advancement to include stereotypes in a way that prompts contemplation, or that performs in a way to challenge western predilection for the compartmentalized black body.

The Final Verdict

The most resounding part of the film for me is when the black male body reappropriated as the Artimage grandfather, snaps out of his hypnosis and not only shoots Rose but shoots himself. This depiction illustrates black detachment from a controlled identity as a necessary component to disabling mental enslavement. Furthermore,  blacks not only have to rid themselves from physical obstacles but the part of ourselves that encompasses these harmful ideologies.

My least favorite component of the film was the means in which the hypnotized black body reverts back to semi-consciousness. Although the black body is held hostage by a white brain, it a flash or white light that snaps them back into consciousness. Thus, although it is a black man who physically saves himself from his pending imprisonment–it is a stroke of white light that enables his escape.

Thus, while seemingly a cautionary tale to interracial dating, or to the black body trusting whites in any capacity–the film evokes a white savior in representation rather than form. At surface level, the film seems to evoke the separatist ideology implemented by civil rights leaders like the late Malcolm X. However, the authorship of said movie makes this close reading impossible to take seriously. For this reason, Get Out reminds me a lot of Birth of Nation.

After viewing both Birth of a Nation and Get Out, I left the theater somewhat content. These feelings faded almost instantaneously as I realized that these movies while depicting the complexities of the historical and contemporary black experience can only resonate but so deeply. Namely, both Peele and Parker write and produce movies that should be revolutionary, but are not.

Jordan Peele and Nate Parker both conclude their films in the same manner. Specifically,   Birth of a Nation and Get Out end with all central white characters are murdered by blacks. While fatalities at the hands of blacks substantiate black bestiality, it also functions to depict white bodies as factors that must be eliminated to free blacks from an oppressive state. Like Birth of a Nation, Get Out is authored and directed by a black male married to a white woman. This dynamic casts said black authors as significantly less harmful and least likely to actually eliminate the white demographic because to do so would be to not only murder their wives but the mother of their children. Furthermore, with their interracial unions, the black male writer and director assumes a non-threatening stance in which the murder of fictive white characters seems an artistic choice rather than a means to uplift the black collective.

While the western world attaches a taboo labeling to interracial unions, these unions function favorably to foment white supremacy. The strongest black leaders are strong not because of what they say but because of what they do. Thus, these films are noteworthy, not revolutionary, as it is not enough to implement images that suggest an ideology disconnected from the thought and action of the author.

Writer and producer Jordan Peele also complicates the ability to take Get Out seriously with his comedic background. Thus, his depiction of a white family who abducts blacks and uses their bodies for their own benefit—becomes a well-executed joke rather than reflective of a past and present horror not limited to a New York City suburb.

Article by C.C. Saunders

 

Paris Jackson: Culturally Black vs Genetically Black

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The woman on the current cover of Rolling Stone is Paris Jackson. She is the daughter of the late music icon Michael Jackson. In the cover story Paris says that she knows for sure her father was killed.  That may or may not be true but that’s a story for another time.  This post is about the fact that Paris says in the interview that she considers herself a black woman.  Of course social media went crazy over this story. In the interview she says:

“He is my father. He will always be my father,” she said. “He never wasn’t, and he never will not be. People that knew him really … say they see him in me, that it’s almost scary.”

She even expounded a bit more, saying that because of the “Smooth Criminal” singer’s instilling words, she considers herself a Black woman.

“I consider myself Black. [Dad] would look me in the eyes and he’d point his finger at me and he’d be like, ‘You’re Black. Be proud of your roots,'” she said. “And I’d be like, ‘OK, he’s my dad. Why would he lie to me?’ So I just believe what he told me. ‘Cause, to my knowledge, he’s never lied to me.”

Despite what her father told her, she said the outside world still sees her as white: “Most people that don’t know me call me white,” she said. “I’ve got light skin and, especially since I’ve had my hair blond, I look like I was born in Finland or something.”

Let me be clear,Paris is NOT a black woman. Anyone with eyesight can see that. I don’t give a damn  what her father told her.  She looks purely European to me. From a biological standpoint,she is more European than anything else. I personally believe that Paris and her two siblings are not biologically related to Michael Jackson.  I think Michael used the sperm from a white man to impregnate Debbie Rowe because he didn’t want  his  children to look even  half black.  I went to school with plenty biracial kids and most don’t look like this woman.  Let’s be honest here,Michael Jackson was a very gifted singer/dancer.  I can’t take that away from him.  But he had serious self-hate issues.  I think Jackson hated himself so much he didn’t want to see a reflection of his blackness.  I still can’t believe he married that ugly white woman Debbie Rowe. That woman is hideous! But that shows his self hatred(anti-blackness) was really deep.  I saw black people on YouTube arguing in defense of Paris saying she was at least “culturally black”.  I have heard this term many times before.  I knew a white girl in high school that was adopted by a black couple.  She listen to rap music and dressed in hip hop clothing.  She told me she liked soul food,dated only black boys and spoke in a certain “black vernacular”. So many would say she is culturally black. So some may put Paris Jackson in that category.  But Paris and the white girl I knew in high school are still not black women.

EXCLUSIVE: Never-before-seen pictures of Michael Jackson and his children

Some like to say that being black is a mindset.  But I disagree. You either have African genes are you do not.  You have melanin or you don’t.  It’s that simple. This type of mentality diminishes the black experience and insults our ancestors. We are blessed to have African DNA in us.  And we have to get away from worshipping whiteness and being ashamed of blackness.  This is the mental illness many of us suffer from.  Many of us can’t appreciate our blackness unless it’s close to whiteness. That’s why some us have interracial sex so we can have mixed babies.  And then say “Isn’t this a beautiful black child?” This is why you have black fools saying “Paris should be allowed to call herself black.”  This is an insult to authentic black people.  It’s an insult to dark brown,dark skinned blacks with African textured hair.  Paris has none of the physical traits of a black person. If she does have any African genes she must be about 0.000001 % black.

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This picture(above) is Paris with her brothers Michael Jackson Jr and Prince.  They are pictured with their grandmother Katherine Jackson.  These children may have been raised around black people but that doesn’t make them black people.  And we as black people have to stop giving everyone a pass.  We must stop making blackness all inclusive.  It makes us look stupid. They are making a mockery of our beautiful blackness.  It’s because many of us don’t have the courage to create a definition of what is an African person.  By allowing people like Paris to be considered is  black is an insult  to our intelligence. Paris or anyone that looks like her is not black. Michael Jackson told her to “be proud of your roots”.  He must’ve meant her European roots.

Swirling is what a toilet does after it’s flushed!

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Actress Garcelle Beauvais with husband and children.

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NBA star Tim Duncan with wife and children.

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Singer Seal with ex wife model Heidi Klum and children.

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OJ Simpson with ex wife Nicole and children.

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NBA player Kobe Bryant with wife Vanessa and children.

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Rapper Kanye West,Kim Kardashian and their daughter.

The 74th Annual Academy Awards - Arrivals

Film legend Sidney Poitier with wife and daughters.

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The three children of music legend Michael Jackson.

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Actress Alfre Woodard with her husband and children.

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Legendary singer/actor Sammy Davis Jr with wife and children.

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Famous singer/actress Diana Ross with daughter and granddaughter.

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Actor Alfonso Ribeiro with wife Angela and children.

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Actor Taye Diggs with wife and son.

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Actor Omari Hardwick with wife Jennifer and their son.

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NFL player Robert Griffin III kissing the pregnant belly of white wife.

I think this is the way to end the racism that black people have been dealing  with for centuries.  Instead of loving our blackness and embracing our culture we should just get rid of it!  Just procreate with other races until blackness is all GONE!   And problem is solved!  Any questions?

Was Fidel Castro a friend to Africans?

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The Cuban revolutionary leader Fidel Castro passed away on Friday 25th November. I am not going to provide an account of the Cuban Revolution, rather I just wanted to pay a brief, but heartfelt tribute to Castro, without deifying him or pretending that he was perfect, which is a common tendency when people write about people they admire. Why do I admire Castro? Is it because I am a Communist or Marxist revolutionary? No, certainly not. I admire him because he was one of the few true friends, in terms of significant political leaders, that Afrika has had during the 20th century. Whilst some of the Afrikan leaders of the ‘frontline states’, during the apartheid era in South Africa,  either sat passively by or in some cases, actively co-operated with the apartheid regime, such as the arrogant neo-colonial lackey Dr Hastings Banda who “… was careful never to appear radical in front of the former colonial masters and pleased the British government by maintaining trade and contact with South Africa, condemning his fellow African leaders more than he did apartheid.”  http://www.independent.co.uk/news/obituaries/obituary-dr-hastings-banda-1296534.html  Fidel Castro put Cuban forces into battle against colonial regimes in South Africa, Namibia, Mozambique and Angola. Much Cuban blood was shed on the battlefields of Southern Africa in aid of Afrikan liberation.
A great example is the Battle of Cuito Cuanavale. “The battle of Cuito Cuanavale and the Cuban intervention in Angola is one of the turning points in Southern African History. It led to the movement of powerful Cuban armed force, into the west, towards the Namibian border. The fighting in the south western part of Angola led to the withdrawal of the South African, ANC and Cuban presence in Angola, and to the Independence of Namibia.”  http://www.sahistory.org.za/topic/battle-cuito-cuanavale-1988 This battle was hugely significant in that it not only led to the withdrawal of South African troops from Angola and independence of Namibia, but it also destoyed the aura of invincibility surrounding the South African Defence Force (SADF), and was a  significant contributory factor in the release of Nelson Mandela and end of apartheid in South Africa.

You have to put this all into context by remembering that the white world vacillated between overt and covert support for the apartheid regime, as perhaps best exemplified by UK Prime Minister Margaret Thatcher referring to the Afrikaners as “our kith and kin” during a state visit to the UK by the then South African leader, the despicable war criminal, PW Botha. In global terms Cuba is a small island nation with a small population and which has been under economic and political attack by the United State ever since the revolution in 1959. Over the years there were more than a dozen documented assassination attempts against Castro by various US governments and yet despite living in the shadow of a hugely powerful; hostile neighbour, Castro had the vision and commitment to reach out to African people in Afrika, the Caribbean and other parts of the world and lend direct practical military, economic and medical aid. Just take the example of the massive earthquakes in Haiti where Cuba sent teams of doctors and the US sent in hordes of soldiers. That is a direct legacy of Fidel Castro and also illuminates the Euro-American mindset of always coming to conquer. Cuba even offered to send in medical teams in the aftermath of Hurricane Katrina whilst the US government once again sent in teams of soldiers to face down a non-existent threat from the stranded, mostly Afrikan residents of New Orleans. Over the years Cuba has run a program giving free medical training to African-Americans.

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Castro should also be remembered for his strenuous attempts to wipe out racism in Cuba. I should be clear that he did not succeed in this, but it was not for the want of trying. Racism is still alive and kicking in Cuba as you can see by the behavior and attitudes of many of the European Cubans who migrate to the US from the island. Since, as I have mentioned many times before, racism is a normative part of European culture, all Castro could do was to suppress overt manifestations of racism in Cuba, but he could never kill its cultural root. I recall an Afrikan woman telling me of her holiday to Cuba, which took place in the last 10 years, and how she was constantly asked for her ID on the private beach associated with the hotel she was staying in and how it was regularly insinuated that she was a prostitute. You also have all of the skin color and shade issues in Cuba as is found in places such as Jamaica, UK, US etc. as well as the same European beauty ideal.

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Human Rights – We have to speak about human rights because this will be the biggest criticism made of Castro.  Did the Castro government suppress people’s human rights? To my mind the answer is obviously yes, however I think again we have to look at this in context. What do you think is going to happen when you lead a  tiny nation with the most powerful nation on Earth as a very hostile near neighbor which is  making every attempt to not only overthrow your government but also to directly kill you? It would be naive to think that you can have an open society under such abnormal conditions. Just take the failed ‘Bay of Pigs’ invasion in 1961 as an example of US hostility  http://www.bbc.co.uk/news/world-latin-america-13066561  No one knows for sure how Cuba would have developed if it was not faced with the ongoing US economic embargo designed to impoverish the Cuban people and destabilise the Cuban government.

The Future – With the transition of leadership to Fidel Castro’s brother Raul in 2008, the lifting of the US economic embargo and the flow of US money into Cuba which will become a tidal wave, the future for Cuba is likely to be Back to the Future. Prior to the revolution Cuba was a playground for the rich and famous from the US, a place where the Mafia could launder money and  centre for gambling, drugs and prostitution. I predict that in 5-10 years Cuba will be transformed. There will be huge infrastructure investment in the key tourist areas with hotels, casinos, theme parks etc popping up and a massive spike in property prices in these areas. Cuba will become one of the top holiday destinations for US citizens and will become a hotspot for sex tourism. Some Cubans are going to make  significant amounts of money, whilst the US transnational corporations are going to make a killing. Cuba will become yet another neo-colonial island in the sun.

Article written by Ifayomi Grant