Chime Edwards or Patrica Bright.

The online culture and influencer had not yet come to the surface.

Gabrielle Union, Kyla Pratt, Rihanna, Monique Coleman, Brandy

phy: The Office (U.S.)

Who am I hurting?:

Stop and think:

Research

Becoming aware:

Letting people know this is a thing:

We haven’t even fixed racism yet, how could even tackle as something “smaller” as blackfishing.

“where do we go from here?”

Many young black women and men who followed the blackfishing influencers believed that they were black and now feel deceived (and rightfully so) because they innocently supported a caricature of themselves

this image

For the people defending it saying, “it’s just makeup and beauty” or “these women are not harming anyone,” then they do not understand the full idea of what they (blackfishers) are doing.

Blackfishing on social media is humanizing the blackface our ancestors had to deal with, and that is a difficult concept to grasp and accept.

Safe Online Spaces Become Unsafe

Instagram is like a breeding ground for white women who can cosplay blackness while receiving attention from the very people who kind of hate black women.

racial ambiguity

Cultural appropriation is at the heart of this because it isn’t solely about culture; it’s about power

“Appropriation happens when you have a position of power…to take the parts of a culture that you enjoy, divorce them from their original meaning, and use them for entertainment value without considering their original context or having to deal with the negative ramifications that someone from that culture would have to deal with if they were to do the same thing.”

Having that safe online space is how black women have been able to even come this far by letting the internet know that black is beautiful.

“Even now in certain workspaces, black women can’t wear their natural hair out

then it becomes a trend or “cool.”

they not only understand, but they are aware of the importance of culture or religion. They know that there are traditions and meanings behind what they are doing or what they like. Not only that, that person is aware that the marginalized group has a history of oppression and by no means does this act reflect that.

culture appreciation.

“the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture.”

Culture appropriation

These women need to be careful about how they are deceiving people.

eople were telling Alicja to kill herself after posting those pictures online.

I am so sorry to those who may have been offended, and for perpetuating a culture of appropriate. I recognize that I have a responsibility to understand the intentional and unintentional impacts of my actions and platform.”

“We’re coming into a time where you see a lot of black women really expressing themselves and stepping into their blackness, and owning it, and not being ashamed of it anymore. So it makes sense why it’s happening. Because I guess some people, who are white-presenting feel like they’re not the standard anymore. So now they’re trying to do things to stay relevant and keep their popularity.” (Thompson)

tread on Twitter,

I think they are liars, but not racists.

Deception

he Office (U.S.)

“Kardashian Effect”

: A Different World 

There is even a video of her applying brown makeup to her skin.

I wish they could see that.

But there is a price to being a person of color.

All of these innocents happened to me because I AM black.

Everyone wants to be black until it is time to be black.”

She said, “Everybody wants our rhythm, but nobody wants our blues.”

Jeanie seemed as if she didn’t see a real issue with this like it was just beauty and makeup.

Basically, I caught her in a lie.

Loni made a lot of great points, but something she said that stood out to me was, “She’s not making money off her white skin. She’s making money and gaining followers by her tan skin. There are no pictures of her on Instagram in her white skin during any time of the year. Each picture is in tan skin.”

The first one was taken on August 21, 2016, and the second one was taken on January 1, 2016. Although her skin appears lighter in January, she still looks like she is mixed or a person of color. Hallberg has also denied tanning her skin. However, she posted this picture

The angry and hurt tone of voice seen in these tweets are just a few examples from every day black men and women who are fully aware of the history behind one changing their skin tone to appear black.

It seems as if there’s pressure to compete with women of color.

Scrolling through a feed has caused so much low self-esteem, lack of self-care, lack of motivation, and identity confusion.

blackness is viewed as a commodity.”

There is a black aesthetic

it will also hurt the person who is deceiving people.

something that has a racist history behind it

When a young girl scrolls through their Instagram feed, what would they think or how would they feel when they discover that who they saw on Instagram is fake?

An African American, such as myself, can’t switch off and on skin color or facial features.

If Hough simply put her hair in the same style as Susanne, who is the only one in the show with Bantu Knots, people would have known she was that character.

There are many ways a person can appreciate a character or person without pointing out their skin color.

ill Smith

performances

new ‘blackface.’

disturbing.)

Blackfishing.’

‘Blackfishing’,

Native American clothing for Halloween

Julianne Hough, a p

about?

alchemists

Does this give you some ideas or questions about what alchemists did or thought about?

Where in the World and When did Alchemy start

chymistry.

Translation is a symbiotic act. Between writer and translator, of course, but also between languages. In becoming its vessel, you carry over something of yourself but also something of the original language, because that is the way that language works. It is a communal heritage, but is also something entirely individual, entirely your own. And that is what gives it its transformative possibility: this inevitable commingling of self and other, of self and culture, of personal history and collective history.

Fear is something you get used to, it becomes the new baseline from which your body operates.

I had become used to feeling light. I did not want my country hanging around my neck like a weight I must always carry; unable to take it off or put it down.

Translation is not just about transposing words from one language to another. But transplanting a feeling, a way of seeing the world, from one vocabulary of experience to another. I think of the verb, to transplant. A seedling from soil to soil. But also an organ from body to body. The procedure must be as delicate, as cognizant of the original conditions of creation in order to nurture and ensure a continuation of life

There is a violence in undoing someone’s words and reconstituting them in a vocabulary foreign to them, a vocabulary of your own choosing.

All I can think of is my journal, with all the poems I have written over the years.

My classroom observations focused on the students’ lived experiences.

While he details his “unessay” assignment to demonstrate what creativity might look like in writing classrooms, he points out that different genres and ac-tivities can achieve similar goals.

In this essay, however, I am urging that composi-tion pedagogy be measured by its own standards—which, I am proposing,include a dialogic function. I find myself taking an argumentative tack paral-leling that of W.E.B. DuBois in The Souls of Black Folk:nineteenth-centuryAfrican Americans suffered from a racial “double consciousness” in which theycould fully appraise themselves neither by their own standards nor by those ofwhite people.

The arguments ofliterature scholars can also be traced in the college catalogues that listadvanced offerings in literature but only required normative courses in com-position

Critical life episodes or encounters precipitate an examination of past beliefs and practices, often initiated by an act of racism and feelings of disequilibrium (Bean, 2001; Bean, et al., 1996; Ponterotto & Pedersen, 1993; Wurzel, 1988).

Instead of clear anchors in family, community, and institutions like schools to forge a coherent identity, these fluid spaces engender feelings of disconnection and alienation (Mansfield, 2000). Identity in a mall culture is constructed through consumption of goods, with selfhood vested in things. Because this is ephemeral, feelings of panic and anxiety flow into teens' live

Technology and mass media provide people with unprecedented exposure to and options for participating in a “mass-mediated imaginary that frequently transcends national space” (Appadurai, 1996, p. 6)

During the course of the study, I spent three years as a participant observer on the site. This included approximately ten to twenty hours per week of writing and publicly posting my own stories, provid-ing feedback for other writers’ texts, and interacting with a diverse group of fans both on FFNand in the broader fan fiction community.

nstead of focusing on narrowing attention, youngpeople often respond to a rich media environment by multi-tasking—scanning for relevantshifts in the information flow while simultaneously taking in multiple stimuli.

The schoolsystem’s inability to close this participation gap has negative consequences for everyoneinvolved

Pre-Writing Activities: How much students got feedback from faculty and others about their writing ideas and drafts.Clear Expectations: How much instructors provided clear explana-tions of the goals and criteria of the writing assignments.Higher-Order Writing: How much students wrote assignments involv-ing summarization, analysis, and argument.Good Instructor Practices: How much students collaborated with classmates, reviewed sample writing, and were assigned practice writ-ing tasks.Integrated Media: How much students included numerical data, multi-media, and visual content in their writing. (22)