A Quote by Vivek Shraya
I have dedicated a significant portion of my time and artistry to making art that addresses various forms of oppression, including white supremacy, misogyny, and biphobia.
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If we're united, I wouldn't care about a White school board getting me a little something. The hell with the school board; that's the White supremacy board and the White supremacy board wants you reading stupid books rooted in the idea of White supremacy. I don't want a thing to do with White supremacy.
I don't draw any distinctions between forms of bigotry or forms of ideology that lose sight of the humanity of people. I can't stand white supremacy. I can't stand male supremacy. I can't stand imperial subjugation. I can't stand homophobia.
In my profession more generally, it's not an exaggeration to say that masculinity is viewed as the root of all evil. If you were to take a literary theory course, you might think it would be about literature, but it's really not. It's about all the various forms of oppression on earth and how we can see them playing out in literary works. And behind all these forms of oppression is a guy.
The progressive approach to policy which directly addresses the effects of white supremacy is simple - talk about class and hope no one notices.
Climate change is an issue I care passionately about and have dedicated a significant portion of my life to addressing.
I do believe motion pictures are the significant art form of our time. And I think the main reason is, they're an art form of movement, as opposed to static art forms of previous times.
I don't support white supremacy. I'm the one who made them take 'white supremacy' off the roster that was the symbol of the Democratic Party in this state.
I think that because human difference for so long, in all its various forms, has been the root of so much oppression, sometimes there's the impulse to say let's deny the difference, as though by wishing away the difference we can then wish away the oppression.
What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.
We're all in the race game, so to speak, either consciously or unconsciously. We can overtly support white-supremacist racial projects. We can reject white supremacy and support racial projects aimed at a democratic distibution of power and a just distribution of resources. Or we can claim to not be interested in race, in which case we almost certainly will end up tacitly supporting white supremacy by virtue of our unwillingness to confront it. In a society in which white supremacy has structured every aspect of our world, there can be no claim to neutrality.
…“white supremacy” is a much more useful term for understanding the complicity of people of color in upholding and maintaining racial hierarchies that do not involve force (i.e slavery, apartheid) than the term “internalized racism”- a term most often used to suggest that black people have absorbed negative feelings and attitudes about blackness. The term “white supremacy” enables us to recognize not only that black people are socialized to embody the values and attitudes of white supremacy, but we can exercise “white supremacist control” over other black people.
As the country has become more diverse, not just states like California and New York, but throughout the nation, it's no coincidence that we have seen a resurgence of white supremacy and violent extremism. And history's clear: voter suppression is rooted in white supremacy.
There are no vital and significant forms of art; there is only art, and precious little of that.
I'm just challenging white supremacy at its intellectual heart every day. It's a pedagogy that I deploy against some of the most vicious resistance to blackness that whiteness is able to throw up. I engage in a lot of intellectual combat with supremacists and with the predicate of white supremacy and white indifference to black identity, and brown and red and yellow identity too, for that matter.
The whole evolution of present-day society tends to develop the various forms of bureaucratic oppression and to give them a sort of autonomy in regard to capitalism as such.
The fact that apartheid has been tied up with white supremacy, capitalist exploitation, and deliberate oppression makes the problem much more complex. Material want is bad enough, but coupled with spiritual poverty, it kills.
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