What Makes Us Different Vs. What Makes Us Alike

“What makes us different is so much less important than what makes us alike.”

– Oprah Winfrey

Do you think of a specific person right away when you hear this statement? I did. And it struck a chord with me because I realize I feel this way about not just one person, but several. In fact, for most of us, this is probably true.

It is said, “Like attracts like;” or “Show me who your friends are, and I can tell who you are.” Therefore, we might be more apt to look at this in terms of our friends -- what we have in common with them being what makes us friends. However, the way I think this was meant is in light of race and culture – our differences and our similarities – and how the likenesses are that which gives us strength as a global community.

A very real and present example of this today may be: our cultural and racial identities as Americans, compared to, say, that of Iraqi, Afghani, Jordanian, or Turkish women. We all see the differences in religion, in dress, and their women’s disallowance of certain freedoms we American women typically take for granted. But, what we do not often stop to realize is just how much they are like us: They care about and have deep concern for their families, their children; they undoubtedly miss their loved ones who are also off fighting in a war; and they take pride in who they are and what they believe in. Similarly, they have hobbies and crafts that they do to pass the time, (or by which they make a living). These all are similar ideals, thoughts, and ways of living that you and I are likely to have.

What does this mean to you and me? Hopefully, it means that we realize there are similar traits among our fellow Americans and fellow citizens of the world, which often divide us: Muslim against Jew, Catholic against non-denominational, gay against heterosexual, or White against Hispanic or Native American. But, what comes to my mind, from these instances in our similarities with Iraqis, for example, is that if nothing else, they bond us. I, for one feel more compassionate towards them when I realize those seemingly “small” details of their lives. They have children, too; they have loved ones who are suffering, too; and they want to see an end to violence, just as we do. I recall the early days of the Iraq and Afghanistan wars, when every day I would look, cringingly, while we passed a hillside while on the train, covered in white crosses: one for each American life lost. There are many such hillsides – marked or unmarked – so many places in the world.

So, my challenge to all of us is that next time you encounter someone whose looks, views, or way of life is different from yours, take a moment to see what you might have in common, instead. Perhaps ask yourself: If he or she was sitting before me, what would I ask them in order to know them better? Or more to the point: How would I go about suggesting a commonality we may have? I know from personal experience just how rewarding such a revelation can be.

Once you have stepped outside of your “comfort zone” to see another culture or way of life through someone else’s eyes, your world grows. You will feel how such an eye-opening experience can help you and enlighten you. And, all this is possible because you chose to find out, not, "how am I different from this person next to me?," but how are we the same. At the end of the day, and in the words of former President John F. Kennedy: “What unites us is far greater than what divides us.”

Ellen Gallagher: An Ad for the Unspoken

Ellen Gallagher is an American-born, contemporary multimedia artist that speaks about our inner thoughts and the obscured details that push the less palatable down. Gallagher's works confront what we all eventually face: deep, nagging insecurity, broad and unknown danger around the corner, and disappointing interpersonal moments. A person's art work most certainly speaks about what they have decided to look at and, finally, let surface.

This past week, a humbling and insightful discussion led me to consider the process of repression. As an individual, what subject bothers me enough to work through it in visual form? Can I explain it? Does it have to wholly bother me or is there a space somewhere between curiosity and shame that elicits artistic response?

Gallagher's answer would be yes, and she would display her own self through her striking collaged imagery. The origins of Gallagher's works is highly accessible--they are what some might consider instructional "aids" to looking your best. Wig ads especially stand out to Gallagher, and she speaks about how she aims to "activate" characters in her painted, repeated figures. She also refers to our early imaginations of what it was to "be" a certain way, and how sometimes as adults, we (as artists and/or in our daily lives) can manage these recollections and create alternate narratives. Following are clips that exemplify her elegant and astute approach to visual culture.

I enjoy looking at a work of art that doesn't attempt to do it all at once--surely, the topic of sexuality, beauty, or race can overwhelm an artist with the best intentions. It can be rooted in the fear of being misread, too. Sometimes, when making art, a person can just hold back and work on something else that satiates their basic desire to speak but does not speak enough.

To relax, and to meditate upon the lines, the color, the balance--can be a calming exercise as good as a vibrant conversation. To view Gallagher's work is to acknowledge an artist's goal to examine an industry that was considered necessary and that required iconography of its own. Systems of iconography are created and recreated each day. What an important reminder for anyone who is unsure of where to begin in the seemingly endless maze that is the 21st century visual landscape. Perhaps it might help to just begin a conversation about these anxieties, and take it from there?

If you enjoy Gallagher, check out Kara Walker, whose bold silhouettes recreate the largely shameful history of the depiction of black women and men in American history. These two artists are just two of the many women who have sat down and considered the lack of sympathetic, realistic, and heroic imagery for women of color.

Recently, I began a list of stereotypes or hurtful images that I could recall about Mexican culture or Latinas. Immigration sprang up immediately, and was followed by the ever-present maid figure in pop culture. There was a lot to think about. I researched Latina artists working today, and could not find many at all--this is a space that also needs to be occupied and engaged by young or mature artists as well. Besides Ana Medieta, Isis Rodriguez, and Frida Kahlo, there is a similar lack of visibility for Latinas.

Again, acknowledgment and response sometimes feels like a tall order--and the fear of reinforcing negative stereotypes persists--but pushing these highly reflexive cultural details down would be a tragedy. Check out Walker's discussion about the occasional doubts in her own creative process:

If you are intrigued by Kara's work, read Seeing the Unspeakable: The Art of Kara Walker by Gwendolyn Dubois Shaw.

Skin Lightening: Dangers and Cultural Perils

Many people are aware of the dangers of tanning from UV exposure, with the link between skin cancer being well documented. On another shade of the spectrum, the use of skin lightening creams among almost every non-European race on the planet is far less documented and researched. Yet today in the West, women of all cultures and races are a growing clientele in dermatologist's offices, as a result of the side effects of harsh, often toxic, and sometimes carcinogenic skin lightening creams.

There is a wide range of reasons for skin lightening in non-white cultures. Most commonly, colonization is blamed, and the promotion of lighter skinned women in the media seems to have a direct link with the self esteem of women and their skin color. Sociologists have found that the idea of skin color and social success are linked. There are clear connections with lighter skinned individuals having greater socio-economic success in western economies. In countries like India, Thailand and the Philippines, marital success is considered to be related to the lightness of your skin.

Women may be aware of the dangers of skin lightening treatments, but as shown on the Tyra Banks show, no matter how great the risk to the woman’s health, the idea of being considered more "beautiful" or accepted in society negates the risk for many women. Furthermore, skin lightening has remained an underground movement. Most cultures who have grown up with it are aware of their mothers, sisters and aunts caking their skin in white lotions on the weekends or even nightly, yet no one talks about it. It is considered the secret beauty treatment. There has been no sustained campaign from medical bodies about the dangers of skin lightening (as there has been with UV exposure). Individual communities sometimes host awareness events, but the scale of such events hardly compares to the imprint of mass media and social norms.

Health risks with skin lightening comes from the unregulated and toxic products used in the creams. These include Hydroquinone, a substance banned in Europe and Japan for it’s direct carcinogenic link, with prolonged use it accumulates in the skin. However it is widely available in ‘alternative’ beauty stores in the USA, Canada and Europe. Mercury which strips the skin of it’s natural pigmentation, is well known for its toxicity, which can cause kidney and liver failure. More commonly known is the ingredient Hydrogen Peroxide which temporarily whitens the skin through oxidation. It is absorbed by the skin and can cause metabolic problems, resulting in pain and gastric issues. Its most visible side effect is the patchy depigmentation of the skin known as Vitiligo. Many times these unregulated underground creams do not list ingredients fully, so consumers can't know what is going on their skin. Side effects are vast and can include toxicity, burning, bruising and thinning of the skin as well as acne and depigmentation.

The reality is that no matter how much we preach about the dangers of certain chemicals, the message falls on dead ears. A sustained public health campaign is needed, with more research from the medical community resulting in an evidence campaign to warn against damages. Further action is needed by communities to tackle the social impact; this has been initiated by documentaries such as ‘Dark Girls’, which has done a fantastic job of highlighting the roots of this health destructive and overpowering detrimental process.

Is Popular Culture Bleaching Out Cultural Identity?

Last week a friend turned my attention to Beyoncé’s new look at the Grammys. Normally, I'm not drawn into celebrity culture. Vapid and unattainable, it makes me depressed and overly concerned. But the recent pictures of her took me aback. Blonder and fairer than ever, Beyoncé looked like she had morphed into Gwyneth Paltrow.

As a pop culture role model for women, Beyoncé stands tall. She is an intelligent, attractive, and well-spoken performer and she is also an ardent businesswoman, even holding her own against her partner Jay-Z, the successful rapper. Undoubtedly, she exists within an industry where she has to emulate "a look." For a while, I couldn’t tell the difference between her, Shakira, and Jennifer Lopez -- some of the most culturally diverse performers in mainstream music. Yet, their styles seemed to blend seamlessly into one another. Largely emulating the original material girl, Madonna, these performers are walking advertisements for various brands -- be it hair, make up, clothes, shoes, or cars. On one side, the argument is that these women have in a capitalistic, male-dominated industry been able to create their own lucrative deals and take charge of their own money. But, what about their identity? Are the effects of celebrity-driven culture removing important aspects of their cultural identity?

Beyoncé is a lighter-skinned woman of color. While she usually has the highly moneyed, honeyed hair she had for the Grammys, she has also experimented with various hair colors and styles. However, Yasmin Alibhai-Brown, a British writer and journalist who grew up in East Africa with ancestry from Pakistan, much like my own parents, was up in arms about Beyoncé's appearance at the awards. She wrote in the Daily Mail accusing Beyoncé of betraying her African-American cultural heritage and of betraying women of color.

I do think in the entertainment industry, where hair is an art form in and of itself, accusing Beyoncé of trying to "be white" is too simple and unfair. As a woman of color, I have done all sorts of things with my hair. Naturally, I am dark chocolate with big waves. But I’ve had light brown, orange, straight, and kinky hair. I’ve partly shaved my head and also had pink and red spikes. I was never trying to look white or wash out my cultural identity. Rather, I was trying to have as much technicolor fun as I could with my hair. I was "experimenting." What then is the problem with Beyoncé’s recent image?