Video by India Arie connects to the Womanist movement and body neutrality. It broadcasts ideologies found in the womanist movement by rejecting the ideals associated with whiteness and femininity. Black women are often ignored in the conversation about equality and representation. India Arie sings about not needing wealth or fancy things to be happy. Through this language, she is rejecting the idea of wealth in order to be feminine. This is part of what the womanist movement rejected from the first-wave feminists. First-wave feminism focused on white, upper-middle-class women instead of the intersectionality and marginalization of different women. India Arie also aims to spread body neutrality by accepting herself and not nourishing the unrealistic beauty standard. She makes references to not shaving her legs, not combing her hair, not getting plastic surgery, and not wearing pantyhose. This is deconstructing the ideals and standards set for women. In the class reading about body hair, it explains how in the late nineteenth century, body hair removal was normalized to show racial superiority and modernization. The Instagram book review writes, “Maintenance of white women’s ‘proper’ physical appearance became about maintaining ‘health’ of the white race in the face of migration and racial unrest” (@alokvmenon). This was an effort by men to control (white) women’s femininity and sexuality. The understanding of black women as inferior because they have body hair connects back to the womanist movement. The standards, acceptance, and discrimination between white and black women were very different. Black women had to deal not only with sexism but also racism. White men during this time aimed to control Black women while simultaneously interpreting them as racially inferior. The need for a movement that accepted all women regardless of race, socioeconomic status, and body size came from the rejection of Black women into the feminist movement. The chorus says, “I’m not the average girl from your video. And I ain’t built like a supermodel. But I learned to love myself unconditionally. Because I am a queen.” This song expresses modern feminist thought by inspiring women to take control of their lives and do what makes them happy. As a Black woman, India Arie tells the story of acceptance, self-love, and independence from the controlling society we live in.
This song is personally inspiring to me as a Black woman because it rejects the beauty standard that is reinforced through all aspects of society. So often, young girls are told they are too fat, too skinny, not tall enough, too tall, etc. This song teaches young girls that they are beautiful just the way they are. Unlike many current artists, India aims to empower not degrade women. I grew up listening to her in my household which I believe positively impacted my self-esteem.
Black literature is often criticized more heavily and held to a higher standard than the literature of other races. The lack of historical Black narratives has left many Black writers focused on constructing non-fictional literature and realistic portrayals to rewrite history and break down racist ideologies. Non-fiction has always and will continue to have a place in society, however, much can be learned and expressed through speculative fiction. Bodyminds Reimagined investigates Black speculative fiction as a necessary avenue to understand the implications of the intersectionality of (dis)ability, race, and gender. However, many Black authors criticize this hybrid genre and accuse other Black writers of betraying their mission. The question then arises, does Black speculative fiction have a place in Black literature and provide alternative modes for understanding oppression?
Mastermind magazine produced this image of Willow and Jaden Smith in the 2019 fall issue. Mastermind magazine releases bi-annually and focuses on current events and attitudes of the younger generations. It is a space to be creative and display a range of talents and people. The intended audience ranges from young adults to millennials. This exclusive magazine was founded in 2017 and is available for purchase online and paperback. They chose to include Willow and Jaden in the 2019 issue because of their impact on gender expression, unique styles, and confidence as individuals. Willow and Jaden both actively participate and advocate within queer spaces. They also have developed into queer fashion, music, and film symbols. Willow and Jaden reinforce that beauty, individuality, and confidence does not have to fit into the narrow boundaries of what society portrays as normal and abnormal. As young, black, queer adults, Willow and Jaden represent the positive ways non-conforming people can live in our nation. As the younger generations become more accepting and educated on topics of gender and sexuality, we come to realize that beauty and gender have no particular features, shape, or color, and Willow and Jaden depict this with no remorse. The photograph from the magazine presents a symmetric reflection of Willow and Jaden gazing upward, hands identically pressed to their cheeks. They are challenging this notion of physical difference between men and women. If one did not know the Smith siblings prior, would the gendered differences be obvious? I believe this is the question they are forcing the audience to reconcile with and reflect on. This photograph examines the viewer’s bias and understanding of how gender functions as invented categorizations to divide people.
Although intersectionality of gender and race play into the lives of Willow and Jaden, it does not consume this photograph. As a person of color, perhaps I brush over the fact of their blackness when gazing at the photograph, or perhaps it was looking for an intentional gender-directed reaction. However, I want to acknowledge the intersectionality in this photo as another product of social construction that produces real consequences. Willow and Jaden also come from a previously wealthy family which contributes to their success and ability to be openly unique individuals. Intersectionality plays an important role when discussing aspects of gender and sexuality because it often influences and dedicates the way we interact with it.
Willow and Jaden break down the gender norms and stereotypes associated with the binary in the photograph. As Jonathan Van Ness explains in his Netflix special, Can We Say Bye-Bye to the Gender Binary, gender is performed and enforced in society. This can be seen through the segregation of colors inflicted on people in society. Jaden projects a commonly feminine look with his pink eyebrows and hair. In the context of public expectation and presentation, blue is typically for boys, and pink is for girls. Pink has not always been associated with femininity. Pink was more of a boy’s color, if a gendered color at all, in the late 19th and early 20th centuries. People dressing in gendered clothes is a relatively new invention. Jaden proves in this photograph that people can dress, alter, and perform gender in any way they choose. It also connects deeper to the ideas of how the binary should project and display itself. Men are supposed to be tough and masculine whereas women are soft and emotional. Jaden and Willow’s gazes are identical with soft, innocent-like features. Neither of them is visibly wearing makeup, contributing to the vulnerable look. They both wear rings in the photo, revealing that jewelry does not belong to a singular gender. Willow does have earrings and a nose piercing, however, this just means that every individual is different. It is celebrating diversity, preferences, and choices between human beings. Willow Smith wears a similar short hairstyle to Jaden further breaking down the ideas of what is supposed to be masculine. Society loves to associate female beauty with hair, but Willow shows that beauty exists beyond long this. As Lorber explains, “For the individual, gender construction starts with an assignment to a sex category on the basis of what the genitalia look like at birth… A sex category becomes a gender status through naming, dress, and the use of other gender markers” (Labor 55). Gender is not determined by biological or psychological differences. There are no features that accurately reproduce the binary, but instead, it is a construction of our surroundings, interactions, media depictions, and upbringing. This calls to question the title of this photograph. If their names were not written across the page, neatly drawn into their boxes, would it be obvious which image was Jaden and which one was Willow? In a way, it feels as though the magazine wants to be progressive, but not to the extent of complete freedom. If the magazine did reject all gender norms, it would not have placed the lettering where it did. Alternatively, it could simply be educating viewers who are unfamiliar with the Smith siblings. There are multiple ways to interpret the purpose and placement of the title.
Willow and Jaden Smith have become icons of the younger generation for their confidence, identity expression, and talent. Mastermind magazine exhibits Willow and Jaden’s beauty and originality in this edition. The photograph calls to question our notions of gender and forces us to reconcile with our constructed worldview. The upcoming generations are more and more open to diverse gender expressions, giving me hope that many adolescents looked to this photograph as inspiration, not with hostility.
