Aug 15, 2015

Campus Liberals Banning THIS Famous Southern Tradition Because RACISM

By on Saturday, August 15, 2015

 Earlier this year, concerned students and school officials at the University of Georgia came together to ban old-fashioned hoop skirts because the clothing might come across to some as racially insensitive.
Many on the left supported the ban. For example, Elizabeth Boyd wrote in the Washington Post yesterday:
When administrators at the University of Georgia declared a ban on hoop skirts in the spring, I could only think, what took you so long? …
[Although] donning a hoop skirt on occasion may not constitute a hate crime[,] whether it is a crime of fashion is another matter…
Read that last sentence again: “Donning a hoop skirt on occasion may not constitute a hate crime.” The use of the words “may not” leaves room for doubt over whether or not donning a hoop skirt actually constitutes a hate crime. And based on the rest of Boyd’s article, it’s very clear that her support for the ban has nothing to do with crimes against fashion, but crimes against precious liberal sensibilities.
Boyd isn’t content to just ban hoop skirts. She wants the singing of the song “Dixie” banned, too.
She must not know that “Dixie” was Abraham Lincoln’s favorite song and, at the end of the Civil War, reclaimed it from the Confederacy as an American tune:
“Our adversaries over the way attempted to appropriate it, but I insisted that we fairly captured it,” he said of the song.
The Confederate flag must also be banned, Boyd insists. No surprise there, of course.
What’s really surprising, however, is Boyd’s call for a ban on “the Southern belle” and everything associated with her and her culture.
Why? The usual laundry list of liberal laments:
Boyd argues:
Long after many universities had officially done away with a variety of Old South symbols, the feminine figure most clearly identified with Dixie — the Southern belle — continued to enjoy free rein. College administrators who had long since banned the Confederate battle flag, nixed the singing of “Dixie” and given plantation-owner mascots the boot were still saying yes to the dress. …

The Southern belle performances routinely staged on campuses across the South constitute choreography of exclusion. And most do not even require a hoop skirt. In campus productions — sorority rush, beauty revues and pageants, sporting traditions — young white women serve as signs of nostalgia for a bygone, segregated South and all its attendant privileges.
In highly stylized renditions of femininity (which differ markedly from their day-to-day routines and visage), otherwise thoroughly contemporary collegians demonstrate their ability to “do” white Southern womanhood: the attire, the manners, the demeanor, the shared references and, above all, the lineage. Such performances stun with their continued ability to consolidate privilege and fly under the representational radar where masculine symbols have all but vanished. Discounted but powerful, these belle performances may not stem from conscious ill intent, but they are surely racial symbols as much as any noose or flag. And they can be plenty intimidating.


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