Thank you!
Your support is sustaining the future of local news in our communities.

Why racism? It solves nothing

Four hundred or more years ago, the first missionaries into Africa wrote of the “ebony skin” of the native population. Some speculated that if a black skinned person interbred with a white skinned person the result could be like a zebra’s stripes. I am not kidding.

In America the name calling, categorizing, mental segregation, differentiation and just plain overt racism in America seems not only acceptable but desired across all political factions. Here are some of the divisive words used as description heard just this morning on NPR and ABC (and I quote in each case): Jew, Black, Afro-American, Italian-American, Hispanic, of color, of racial background, Jewish (people in New York), Mexican-Americans, Gay, lesbian, Arab-Americans, Baptists, Arabic citizens (of America), Native Americans, Indian and tribal.

As a child, I was taught that to singularly choose or differentiate between people based on color, creed, choice or religion was bigotry, racism and un-American. Yet here we are bombarded every day with the media and politicians telling us that it is not only normal to do so, it is acceptable. I refuse to think of the color of someone’s skin as a defining character that should be used as a means to know who he or she is. 

I do not think the term “Black director” when talking about Spike Lee tells me anything, unless the purpose is to tell me that the user is a racist who thinks that the color of Mr. Lee’s skin somehow colors the work he is able to produce. Now, before anyone tells me I’ve missed the point, that his very ethnicity does affect the timbre and impact of his creativity, let me say that I do feel his background, his sensitivity to oppression and slavery, injustice and struggle, and the plight of a significant portion of American society with those issues all do color his creativity. 

My argument is, what the hell does his skin color have to do with it? If you simply express these factors as one of color, you allow racism to be reduced to sound-bite acceptability. He’s “Black,” his work is “Black,” and, therefore, you can only see it in that context. Art, surely, does not need to be segregated in your mind. Do you really need to know the color of his skin to see the movie?

America was not created as a people within a people, a nation holding nations. We were created as “One Nation under God.” Why, then, do we allow the media to talk of politicians pandering to the “Christian vote” or the “Afro-American vote” or the “Jewish vote?” Are they referring to people of a specific race or religion who, somehow, are apart from the rest of American society? Are they, perhaps, referring to people who have issues of a particular religious significance (e.g. Israel and Palestine) with which they would like to see politicians fall into accord? Is it important that their religion is Jewish? No. Is it that their sympathies are pro-Israel? Probably. However, to label them, stick that star on them and call them Jewish, is to segregate them in the reader’s mind, to reduce their collective and individual opinion on serious issues to one only of different religion. That is un-American.

As someone who has traveled fairly extensively, I have briefly been discriminated against because of skin color or ethnic origin. I had the option to return to our country where that is supposed to be forbidden and thereby avoid the hurt and frustration that differentiation brings. People who have, historically or recently, been discriminated against because of their origin, choice, beliefs or skin color, need a safe haven here in America, they need a place where the laws protect them and where they are no longer treated as separate, or identifiable as separate. We need to remove the stars from their breasts, yellow, pink, Black, rainbow, or otherwise and accept them for what they are: individual Americans. 

Any time you use the words “he’s a Black guy…” or “they’re Hispanic…” or “she’s pro-Jewish…” you are condoning a type of segregation that allows those who are racists and bigots to ply their trade. Let’s beat them at their game and see people, talk about people, and understand people for the complex individuals they really are not simply the ancestors of those discriminated against.

 

Writer Peter Riva, a former resident of Amenia Union, now resides in New Mexico.

The views expressed here are not necessarily those of The Millerton News and The News does not support or oppose candidates for public office.

Latest News

Original art, attainable prices

Original art, attainable prices

Kenise Barnes Fine Art presents “Cool & Collected ’26,” its annual exhibition celebrating the joy of collecting, featuring works priced under $2,000.

D.H. Callahan

There’s a corner of YouTube populated by real-time footage of high-dollar art sales from prestigious New York and London auction houses like Sotheby’s, Christie’s and Phillips. Hundreds of thousands of viewers routinely watch with rapt attention, popcorn and cocktails in hand, as recognizable pieces from art history make their way to the upper echelons of grossly unattainable hammer prices. Pieces can often start with opening bids of tens of thousands of dollars and work their way up to multiple millions. Bidding increments alone can grow to sums unattainable for the average American family in several lifetimes.

Kenise Barnes Fine Art in Kent, Connecticut, wants to help make fine art more accessible. The 2026 version of the gallery’s annual “Cool and Collected” exhibition is subtitled “The Gift Edit” and features dozens of works by fine artists at prices that are much more in reach than an art-world outsider might expect. More than 30 artists contributed pieces to the show. Almost all available works are priced under $2,000, with many below $500. The collection features paintings, drawings, collage and ceramics.

Keep ReadingShow less
Jennifer Terzian’s sanctuary for contemporary art
Jennifer Terzian, founder of Jennifer Terzian Gallery in Litchfield.
Provided
The gallery is really meant to create a very intimate relationship with the artist and the story behind their work.
—Jennifer Terzian

On a recent crisp, fall afternoon in Litchfield, Jennifer Terzian welcomed a steady stream of collectors, artists, and art-world insiders into her jewel box of an art space on South Street, just off the town’s manicured historic Green.

The occasion was an opening for Jenny Kemp, an artist noted for balancing fluidity and structure in her abstractions through repetition, variation, and gradual shifts in hue. Hers is exactly the kind of tactile, process-driven work Terzian champions at a subterranean space that feels less like a commercial art gallery and more like stumbling into an impeccably edited sanctuary of contemporary thought.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Peter Cusack is finding the eternal in North Canaan
Peter Cusack in his studio.
Provided

“I think art is the thing that allows us to feel there’s something in the universe that loves us,” said painter Peter Cusack in his new studio, a mid-19th-century stone church on Main Street in North Canaan.

For Cusack, art has always been a way of reaching toward something beyond the physical world. That sensibility runs through “Eternal: New, Recent, and Near Distant Paintings,” his upcoming exhibition in the church, a setting that seems an improbably good fit.

Keep ReadingShow less
Cowboy Junkies celebrate 40 years at the Mahaiwe

Cowboy Junkies celebrate 40 years together at the Mahaiwe Nov. 14

Heather Pollock

Now celebrating 40 years, Cowboy Junkies will perform Saturday, Nov. 14, at the Mahaiwe Performing Arts Center in Great Barrington, Massachusetts.

The band is celebrating its long career with a triple-vinyl retrospective album called “Open to Beauty,” featuring a selection of songs from 2000 onward, including material from its most recent release, “Such Ferocious Beauty.”

Keep ReadingShow less
Mike Selbach finds the extraordinary in everyday life
“R46 Interior” (2026). Solid cherry and acrylic, 21” x 26.75” x 0.75”
Provided

Subway stations may seem unlikely places to encounter the divine, but amid the rumble of trains, the crush of commuters and the cavernous underground passageways, Salisbury artist Mike Selbach finds moments of unexpected beauty.

In “Subway Saints,” his solo exhibition opening Thursday, Nov. 12 at the Warren Family Gallery at Berkshire School in Sheffield, Massachusetts, Selbach transforms ordinary commuters and familiar transit spaces into sacred moments.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.