Ethnic Studies

I've had Nina Simone's “sinnerman” on repeat for months. The propulsive force of Simone's 1965 live version of this gospel song drives its ten-minute ferocity straight into the contemporary American zeitgeist. As she tells her audience in the lead-up to a lesser-known performance of the song, recorded in 1961, Simone learned “Sinnerman” when she was a “little bitty girl in revival meetings. It happened when my mother and lots more like her tried to save souls.” The song's judgment-day tale of redemption's refusal is told doubly, both by the sinner—“I cried rock / don't you see I need you, rock”—and by those from whom the sinner begs, if not forgiveness, then simply some measure of mercy from the divine justice to come: “Oh sinnerman, where you gonna run to?” The break in the middle of the 1965 recording strips the song down to Simone's handclaps on the second and fourth beats. All that remains is the tenuous intensity of the time neither of redemption nor of damnation but merely of “accompaniment” in the in-between (Tomlinson and Lipsitz). Called forth from that time, in all of Simone's live recordings, and missing from those of Les Baxter or the Weavers just a few years earlier, comes the insurgent cry for “Power!” over and over, to the point of near exhaustion.

Osagie K. Obasogie's Blinded by Sight: Seeing Race through the Eyes of the Blind (2014) makes important contributions to both to the sociology of law and to critical race studies. The book challenges “colorblind” racial ideology by showing empirically that people who are blind from birth nevertheless “see” race, grasping it as a nearly omnipresent feature of social interaction and social organization. These insights, however, do not diminish the importance of the racial body. Beyond refuting colorblindness, Obasogie's book points to a neverending tension, embedded in what we call racial formation, between the social construction of race and the corporeality of race. This tension has been present since the dawn of empire and African slavery. Obasogie's achievement of falsifying colorblindness should not lead us to neglect the importance of the racial body.

© 2016 Women & Performance Project Inc. Using the auto/biography, Vanessa del Rio: Fifty Years of Slightly Slutty Behavior as the primary text, this paper investigates how an embodied understanding of race and class alters our understanding of gendered experiences of violence and pleasure. It asks: what happens when the life experiences of an aging Afro-Latina porn star are positioned at the very heart of feminist investigations into the relationship between sexual experience and knowledge production? In the process, this paper reflects on how images and text function as complicated triggers for the attachments, identifications, desires, and traumas of our own corporeal embodiments and sexual histories.