For black women, that form of money was embodied by the very nature of how we came to be in America.
Our bodies were literally production units. As living cost centers we not only produced labor as in work but we produced actual labor through labor, i.e. we birthed more cost centers. The legendary “one drop” rule of determining blackness was legally codified not just out of ideological purity of white supremacy but to control the inheritance of property. The sexual predilections of our nation’s great men threatened to transfer the wealth of white male rapists to the children born of their crimes through black female bodies.
Today much has changed and much has not. The strict legal restriction of inheritable black deviance has been disrupted but there still exists a racialized, material value of sexual relationships. The family unit is considered the basic unit for society not just because some god decreed it but because the inheritance of accumulated privilege maintains our social order.
Thus, who we marry at the individual level may be about love but at the group level it is also about wealth and power and privilege.
Black feminists have critiqued the material advantage that accrues to white women as a function of their elevated status as the normative cultural beauty ideal. As far as privileges go it is certainly a complicated one but that does not negate its utility. Being suitably marriageable privileges white women’s relation to white male wealth and power.
The cultural dominance of a few acceptable brown female beauty ideals is a threat to that privilege. Cyrus acts out her faux bisexual performance for the white male gaze against a backdrop of dark, fat black female bodies and not slightly more normative cafe au lait slim bodies because the juxtaposition of her sexuality with theirs is meant to highlight Cyrus, not challenge her supremacy. Consider it the racialized pop culture version of a bride insisting that all of her bridesmaids be hideously clothed as to enhance the bride’s supremacy on her wedding day.
Only, rather than an ugly dress, fat black female bodies are wedded to their flesh. We cannot take it off when we desire the spotlight for ourselves or when we’d rather not be in the spotlight at all.
This political economy of specific types of black female bodies as a white amusement park was ignored by many, mostly because to critique it we have to critique ourselves.
When I moved to Atlanta I was made aware of a peculiar pastime of the city’s white frat boy elite. They apparently enjoy getting drunk and visiting one of the city’s many legendary black strip clubs rather than the white strip clubs. The fun part of this ritual seems to be rooted in the peculiarity of black female bodies, their athleticism and how hard they are willing to work for less money as opposed to the more normative white strippers who expect higher wages in exchange for just looking pretty naked. There are similar racialized patterns in porn actresses’ pay and, I suspect, all manner of sex workers. The black strip clubs are a bargain good time because the value of black sexuality is discounted relative to the acceptability of black women as legitimate partners.
There is no risk of falling in love with a stripper when you’re a white guy at the black strip club. Just as country music artists strip “badonkadonk” from black beauty ideals to make it palatable for to their white audiences, these frat boys visit the black body wonderland as an oddity to protect the supremacy of white women as the embodiment of more and better capital.
My mentor likes to joke that interracial marriage is only a solution to racial wealth gaps if all white men suddenly were to marry up with poor black women. It’s funny because it is so ridiculous to even imagine. Sex is one thing. Marrying confers status and wealth. Slaveholders knew that. Our law reflects their knowing this. The de rigueur delineation of this difference may have faded but cultural ideology remains.
Cyrus’ choice of the kind of black bodies to foreground her white female sexuality was remarkable for how consistent it is with these historical patterns. We could consider that a coincidence just as we could consider my innumerable experiences with white men and women after a few drinks an anomaly. But, I believe there is something common to the bodies that are made invisible that Cyrus might be the most visible to our cultural denigration of bodies like mine as inferior, non-threatening spaces where white women can play at being “dirty” without risking her sexual appeal.
I am no real threat to white women’s desirability. Thus, white women have no problem cheering their husbands and boyfriends as they touch me on the dance floor. I am never seriously a contender for acceptable partner and mate for the white men who ask if their buddy can put his face in my cleavage. I am the thrill of a roller coaster with safety bars: all adrenaline but never any risk of falling to the ground.
I am not surprised that so many overlooked this particular performance of brown bodies as white amusement parks in Cyrus’ performance. The whole point is that those round black female bodies are hyper-visible en masse but individually invisible to white men who were, I suspect Cyrus’ intended audience.
No, it’s not Syria but it is still worth commenting upon when in the pop culture circus the white woman is the ringleader and the women who look like you are the dancing elephants.