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Quannah ChasingHorse on Joyful Resistance

Quannah’s joyful resistance embodies the beauty of being the revolution. She embodies strength, beauty, power and we are here for it. Quannah ChasingHorse (she/her) is a Han Gwich’in and Sicangu/Oglala Lakota land protector, climate justice activist, and fashion model from Eagle Village, Alaska, and South Dakota tribes. Born on the Navajo Nation, she grew up in various locations and raised in a subsistence lifestyle with her family, Quannah’s connection to her homelands and people guides her activism. Quannah is a model who uses her platform to promote Indigenous representation and sustainability. She has worked with top fashion houses and appeared on the covers of Vogue Mexico, Vogue China, and has received numerous accolades, including Teen Vogue’s Top 21 under 21, Forbes 30 under 30, and USA Today’s Women of the Year. In June 2022, she premiered “Walking Two Worlds” at the TriBeCa Film Festival, a documentary about her family’s fight to protect their sacred lands and Indigenous representation.
Quannah was in conversation with her Auntie, Princess Daazhraii Johnson, an Emmy-nominated writer/producer of Gwich’in and Ashkenazi descent, who lives on the traditional territory of lower Tanana Dene lands in Alaska. A co-founder of Deenaadàį’ Productions, Princess is dedicated to narrative sovereignty for Alaska Native filmmakers. She serves on the boards of Native Movement and NDN Collective, is a 2023 Grist 50 Climate Leader, and has been deeply involved in protecting Native Ways of Life. With a background as a Sundance Film Alum, SAG-AFTRA and Television Academy member, and credits including the Peabody Award-winning PBS Kids series “Molly of Denali” and HBO’s “True Detective: Night Country”, she is currently developing her first feature film, an adaptation of “Two Old Women,” which she will direct.

Quannah
I really appreciate this platform because it gives us an opportunity to reach out to people, especially within the Native community. Just yesterday, a Native guy got upset with me and Dallas Goldtooth for speaking out about Palestine, the Congo, Sudan, and other places where people need voices right now. He told us we should focus on our own people, saying those others don’t do anything for us. This is what it looks like—connecting, building bridges, and recognizing the similarities in our struggles.
Princess
You’re diving right into the question of what collective liberation really is. I think you’re highlighting a crucial aspect: creating a shared understanding. Given how our histories have been so intentionally suppressed, introducing people to the true histories is essential for reaching that shared understanding and for us to see ourselves in each other. So, I’m curious, what else does collective liberation look like to you?
Quannah
To me, collective liberation looks like what many of us are already doing—looking beyond our immediate experiences and making connections with what’s happening elsewhere. We recognize that if the same events were unfolding in our communities, as they have throughout history, we have a responsibility not just to uplift those voices but to show the world that we stand in solidarity.
Collective liberation means not just standing together but also utilizing tools like social media to access and share information. It’s alarming to see not only uninformed individuals but also political figures spreading misinformation and perpetuating harm, often through internalized racism. Collective liberation is about showing up and doing your part, whatever that looks like. It’s important for people to understand that there’s no one way to show up.

Princess
As you were talking, I was reflecting on a recent trip I took to Arctic Village and Circle, where I had an incredible interview with our elder, First Traditional Chief Trimble Gilbert. We were at a Gwich’in gathering, and I interviewed him about our traditional dances, like the fiddle dances and the rope dance, where everyone ends up holding hands. He talked about how we’ve made these dances our own—how the way we play the fiddle is uniquely Gwich’in, and those dances are uniquely ours. It’s a metaphor for how, in our community, coming from a background of survival, we had to work together and unify.
As someone who is both Gwich’in and Ashkenazi Jewish, and born in the West Bank, I think a lot about borders—physical fences and walls, and how people and animals around the world have been displaced.
Collective liberation is also about our animal relatives, our waterways. If we could take away nationalism, weapons, bombs, and all the things that cause destruction, I think we’d see more clearly that we are in a climate crisis.
Quannah
Exactly. Growing up, I learned not just through words, but by example, that we see ourselves as part of nature—not above or below it, but as nature itself. When we protect nature, we’re protecting ourselves, our bloodlines, and our animal relatives. That teaching is deeply ingrained in me, and it’s hard to comprehend that others don’t see the world that way.
As you mentioned, we need to rematriate society—how we move and show up in this world. The world could truly benefit from our teachings, which are rooted in love. But that’s what’s missing today—humanity and love.
You don’t have to post every five minutes or put your life on the line, but many have, and that’s the strength of our people—we’ll put our lives on the line for what we believe in, for our community’s right to clean water, clean air, and control over our lands.
Being raised in a matriarchy, I was taught to amplify women’s voices and to stand behind strong, knowledgeable women who represent us well. Everything we do is fueled by love. I see that love in you, in my mom, my aunties, and that’s how I navigate the world—with love for my people, my community, our animals, our waters, and other Indigenous communities that need to be heard.
Princess
Yes, everything truly does happen for a reason, and it’s essential to acknowledge that we’re riding the wave of thousands of years of Indigenous knowledge and wisdom. I see our lands, our animals, our mountains—everything we hold sacred. You carry all of this with such care and power, and that’s absolutely vital.
Listening is something we both value deeply, and in a world full of noise, we’ve been blessed to find quiet moments on the land, on the Yukon River, listening to the river’s song, receiving messages from the Creator. These moments ground us and remind us of our responsibility to educate others, to help them see that our liberation is interconnected with the liberation of all beings.
I agree that our Gwich’in worldview brings a unique blend of emotional and spiritual intelligence. This is where our humanity comes in. Each of us has a role, and sometimes it’s not about finding the perfect words but about making connections through storytelling, poetry, or images that resonate with others.
Collective liberation means having the freedom to love as we choose, to love who we want in the way we want. This is especially significant for Indigenous women, given our history—forced sterilization, the removal of our children. To be comfortable and aligned with our power as Indigenous women, to make choices for ourselves, is a profound political statement.
Your words are powerful, and they articulate the deep connections we have to each other, our lands, and our responsibilities.

Quannah
Absolutely. The ongoing crisis of Missing and Murdered Indigenous Women and People (MMIW/P) starkly illustrates how our very existence as Indigenous people is deeply political. The fact that thousands of Native women have gone missing or been murdered, with so many cases unresolved, highlights a systemic disregard for our lives.
This is why you see Native people advocating so fiercely for our communities. We are the ones who carry the weight of these issues, not just because they affect us, but because we have a responsibility to our ancestors, our communities, and future generations. We’ve all witnessed the effects of the climate crisis and that we are truly dependent upon one another. We’ve seen how politics has infiltrated every aspect of our lives, where even the fight for clean air and water, which should be a fundamental right, has become a political battleground. When we feel liberated, when we reclaim our power, we challenge the very foundations of that system.We are still here, and we are more than our struggles.
We are a people of strength, wisdom, and love, and that’s something no system can take away from us.
Princess
It’s mind-blowing to witness the devastation in Palestine, especially in Gaza, where the destruction has created an environmental and climate disaster affecting all living beings in the region.
You mentioned MMIW, and it struck me because violence against the land is intertwined with violence against women—it’s all connected. I think about the extractive resource industry and how deeply it ties into the dehumanization we’ve faced in the media, going back to dime novels and cartoons that depicted Indigenous and Muslim people as less than human.
I want to draw a parallel for our Indigenous brothers and sisters: what has been happening to the Palestinian people for generations mirrors what’s happened to us on Turtle Island. It’s maddening, especially knowing our tax dollars fund this genocide.
In these moments, we have to channel our rage and frustration, stay committed to our love, and hold onto the vision of collective liberation. Even if progress seems incremental, we must keep pushing in that direction.
Quannah
Mic drop.
I think about environmental racism a lot—how it’s playing out in every Indigenous community through extreme forms of extraction. It’s heartbreaking to see the direct impact on our communities and to realize how it’s spreading across the world. You start by thinking about how it affects your people, but then you realize, if we don’t stop this, it will spread like wildfire, and that’s exactly what’s been happening everywhere.
People are missing this crucial point, like with what’s happening in Gaza. Do you really think they’ll stop? They’ve destroyed everything, and yet they continue. “
Princess
I heard a quote from an older man who said, “It’s just a matter of time before we’re all Palestinians.” We have the opportunity to say no, to refuse to allow genocide to happen. The United States could have intervened by not arming Israel, but they didn’t. Now, it’s up to us, the people, to keep pressuring political leaders. Mother Earth can’t sustain much more of this destruction and bombing.

Quannah
Mother Earth can’t sustain much more. Just the other day, on the second of this month, we officially over-consumed to the point where Earth can’t regenerate. It’s terrifying to think about how we keep taking without giving back or fulfilling our responsibilities as a community of humans. Yes, Indigenous people are doing the work—80% of the world’s biodiversity is protected by Indigenous communities. The teaching of considering the next seven generations guides everything I do. Our identities and how we walk in this world are political.”
Princess
There’s also the element of threat—how simply existing can be seen as a threat, especially when you remind others of the deep ties we have to our lands. This is particularly true when standing against big oil or, as I often compare, the Palestinian people. Their very existence is a reminder of the ongoing Nakba, a symbol of resistance against the occupation and extraction of their lands.
I want to uplift the voices of those on the ground working toward peace, even though it’s hard. Peace cannot come without justice. I follow both Palestinian and Israeli individuals who are striving to have these difficult conversations, despite not being popular. It’s essential to try and reach a place where we see each other as full human beings because right now, that’s what’s missing—recognizing each other’s humanity.
Quannah
Social media is a powerful tool, but it can also expose you to hate, especially when you have influence.
It’s vital to support one another, especially when facing such hatred. When we heal ourselves, we contribute to healing our communities. I try to communicate this to our Native men, who may struggle with seeking help. Getting help doesn’t just benefit the individual—it strengthens the community because, as we heal, we naturally give back.
Often, those who express hate are themselves deeply hurt, raised in environments that foster hatred and ignorance. While it’s not our responsibility to help them unlearn their racism, I believe it’s important to approach them with love. I’ve had conversations with people raised in very right-wing, racist households, and by giving them grace and educating them, I’ve seen them change.
Princess
Exactly. What you’re saying is crucial. It’s disturbing how many people, even within our circles, have remained silent on what’s happening in Palestine and Gaza. When we reflect on historical atrocities like the Holocaust, people often say, “How could that have happened? I wouldn’t have acted that way.” But the truth is, many of us are complicit through our silence. We need to examine our relationship with capitalism, money, and the ways in which fear governs us.
Fear is powerful—whether it’s fear of not being able to feed our families, fear of being doxxed, or fear of the consequences of speaking out. But it takes a deep, spiritual perspective to push past that fear and say, “Despite my fear, I need to speak up.”
Quannah
As you’ve highlighted, Indigenous teachings and values are crucial in understanding the broader context of our struggles. Speaking as a Two Spirit, Indigenous person inherently intertwines with these issues, and it’s a powerful testament to our resilience and dedication.
Reconnecting with the land and our ancestors is indeed a profound way to ground oneself and find clarity in advocating for what’s right. Your strength and commitment are evident, and it’s this dedication that drives meaningful change.
Princess
That’s so beautiful, Quannah. I hope that one day we can all come together to help the Palestinian people rebuild and heal. We’ve discussed many intense issues and brought our ancestors into the conversation. Let’s take 20 seconds of silence to honor all those lives that are transitioning.
Moment of silence…

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{
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"title" : "Quannah ChasingHorse on Joyful Resistance",
"author" : "Quannah ChasingHorse, Princess Daazhraii Johnson",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/quannah-chasinghorse-joyful-resistance",
"date" : "2024-09-20 00:00:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Thumb-QuannahRose_EIP_FILM_087.jpg",
"excerpt" : "",
"content" : "Quannah’s joyful resistance embodies the beauty of being the revolution. She embodies strength, beauty, power and we are here for it. Quannah ChasingHorse (she/her) is a Han Gwich’in and Sicangu/Oglala Lakota land protector, climate justice activist, and fashion model from Eagle Village, Alaska, and South Dakota tribes. Born on the Navajo Nation, she grew up in various locations and raised in a subsistence lifestyle with her family, Quannah’s connection to her homelands and people guides her activism. Quannah is a model who uses her platform to promote Indigenous representation and sustainability. She has worked with top fashion houses and appeared on the covers of Vogue Mexico, Vogue China, and has received numerous accolades, including Teen Vogue’s Top 21 under 21, Forbes 30 under 30, and USA Today’s Women of the Year. In June 2022, she premiered “Walking Two Worlds” at the TriBeCa Film Festival, a documentary about her family’s fight to protect their sacred lands and Indigenous representation.Quannah was in conversation with her Auntie, Princess Daazhraii Johnson, an Emmy-nominated writer/producer of Gwich’in and Ashkenazi descent, who lives on the traditional territory of lower Tanana Dene lands in Alaska. A co-founder of Deenaadàį’ Productions, Princess is dedicated to narrative sovereignty for Alaska Native filmmakers. She serves on the boards of Native Movement and NDN Collective, is a 2023 Grist 50 Climate Leader, and has been deeply involved in protecting Native Ways of Life. With a background as a Sundance Film Alum, SAG-AFTRA and Television Academy member, and credits including the Peabody Award-winning PBS Kids series “Molly of Denali” and HBO’s “True Detective: Night Country”, she is currently developing her first feature film, an adaptation of “Two Old Women,” which she will direct.QuannahI really appreciate this platform because it gives us an opportunity to reach out to people, especially within the Native community. Just yesterday, a Native guy got upset with me and Dallas Goldtooth for speaking out about Palestine, the Congo, Sudan, and other places where people need voices right now. He told us we should focus on our own people, saying those others don’t do anything for us. This is what it looks like—connecting, building bridges, and recognizing the similarities in our struggles.PrincessYou’re diving right into the question of what collective liberation really is. I think you’re highlighting a crucial aspect: creating a shared understanding. Given how our histories have been so intentionally suppressed, introducing people to the true histories is essential for reaching that shared understanding and for us to see ourselves in each other. So, I’m curious, what else does collective liberation look like to you?QuannahTo me, collective liberation looks like what many of us are already doing—looking beyond our immediate experiences and making connections with what’s happening elsewhere. We recognize that if the same events were unfolding in our communities, as they have throughout history, we have a responsibility not just to uplift those voices but to show the world that we stand in solidarity.Collective liberation means not just standing together but also utilizing tools like social media to access and share information. It’s alarming to see not only uninformed individuals but also political figures spreading misinformation and perpetuating harm, often through internalized racism. Collective liberation is about showing up and doing your part, whatever that looks like. It’s important for people to understand that there’s no one way to show up.PrincessAs you were talking, I was reflecting on a recent trip I took to Arctic Village and Circle, where I had an incredible interview with our elder, First Traditional Chief Trimble Gilbert. We were at a Gwich’in gathering, and I interviewed him about our traditional dances, like the fiddle dances and the rope dance, where everyone ends up holding hands. He talked about how we’ve made these dances our own—how the way we play the fiddle is uniquely Gwich’in, and those dances are uniquely ours. It’s a metaphor for how, in our community, coming from a background of survival, we had to work together and unify.As someone who is both Gwich’in and Ashkenazi Jewish, and born in the West Bank, I think a lot about borders—physical fences and walls, and how people and animals around the world have been displaced.Collective liberation is also about our animal relatives, our waterways. If we could take away nationalism, weapons, bombs, and all the things that cause destruction, I think we’d see more clearly that we are in a climate crisis.QuannahExactly. Growing up, I learned not just through words, but by example, that we see ourselves as part of nature—not above or below it, but as nature itself. When we protect nature, we’re protecting ourselves, our bloodlines, and our animal relatives. That teaching is deeply ingrained in me, and it’s hard to comprehend that others don’t see the world that way.As you mentioned, we need to rematriate society—how we move and show up in this world. The world could truly benefit from our teachings, which are rooted in love. But that’s what’s missing today—humanity and love.You don’t have to post every five minutes or put your life on the line, but many have, and that’s the strength of our people—we’ll put our lives on the line for what we believe in, for our community’s right to clean water, clean air, and control over our lands.Being raised in a matriarchy, I was taught to amplify women’s voices and to stand behind strong, knowledgeable women who represent us well. Everything we do is fueled by love. I see that love in you, in my mom, my aunties, and that’s how I navigate the world—with love for my people, my community, our animals, our waters, and other Indigenous communities that need to be heard.PrincessYes, everything truly does happen for a reason, and it’s essential to acknowledge that we’re riding the wave of thousands of years of Indigenous knowledge and wisdom. I see our lands, our animals, our mountains—everything we hold sacred. You carry all of this with such care and power, and that’s absolutely vital.Listening is something we both value deeply, and in a world full of noise, we’ve been blessed to find quiet moments on the land, on the Yukon River, listening to the river’s song, receiving messages from the Creator. These moments ground us and remind us of our responsibility to educate others, to help them see that our liberation is interconnected with the liberation of all beings.I agree that our Gwich’in worldview brings a unique blend of emotional and spiritual intelligence. This is where our humanity comes in. Each of us has a role, and sometimes it’s not about finding the perfect words but about making connections through storytelling, poetry, or images that resonate with others.Collective liberation means having the freedom to love as we choose, to love who we want in the way we want. This is especially significant for Indigenous women, given our history—forced sterilization, the removal of our children. To be comfortable and aligned with our power as Indigenous women, to make choices for ourselves, is a profound political statement.Your words are powerful, and they articulate the deep connections we have to each other, our lands, and our responsibilities.Quannah Absolutely. The ongoing crisis of Missing and Murdered Indigenous Women and People (MMIW/P) starkly illustrates how our very existence as Indigenous people is deeply political. The fact that thousands of Native women have gone missing or been murdered, with so many cases unresolved, highlights a systemic disregard for our lives.This is why you see Native people advocating so fiercely for our communities. We are the ones who carry the weight of these issues, not just because they affect us, but because we have a responsibility to our ancestors, our communities, and future generations. We’ve all witnessed the effects of the climate crisis and that we are truly dependent upon one another. We’ve seen how politics has infiltrated every aspect of our lives, where even the fight for clean air and water, which should be a fundamental right, has become a political battleground. When we feel liberated, when we reclaim our power, we challenge the very foundations of that system.We are still here, and we are more than our struggles.We are a people of strength, wisdom, and love, and that’s something no system can take away from us.PrincessIt’s mind-blowing to witness the devastation in Palestine, especially in Gaza, where the destruction has created an environmental and climate disaster affecting all living beings in the region.You mentioned MMIW, and it struck me because violence against the land is intertwined with violence against women—it’s all connected. I think about the extractive resource industry and how deeply it ties into the dehumanization we’ve faced in the media, going back to dime novels and cartoons that depicted Indigenous and Muslim people as less than human. I want to draw a parallel for our Indigenous brothers and sisters: what has been happening to the Palestinian people for generations mirrors what’s happened to us on Turtle Island. It’s maddening, especially knowing our tax dollars fund this genocide.In these moments, we have to channel our rage and frustration, stay committed to our love, and hold onto the vision of collective liberation. Even if progress seems incremental, we must keep pushing in that direction.QuannahMic drop.I think about environmental racism a lot—how it’s playing out in every Indigenous community through extreme forms of extraction. It’s heartbreaking to see the direct impact on our communities and to realize how it’s spreading across the world. You start by thinking about how it affects your people, but then you realize, if we don’t stop this, it will spread like wildfire, and that’s exactly what’s been happening everywhere.People are missing this crucial point, like with what’s happening in Gaza. Do you really think they’ll stop? They’ve destroyed everything, and yet they continue. “PrincessI heard a quote from an older man who said, “It’s just a matter of time before we’re all Palestinians.” We have the opportunity to say no, to refuse to allow genocide to happen. The United States could have intervened by not arming Israel, but they didn’t. Now, it’s up to us, the people, to keep pressuring political leaders. Mother Earth can’t sustain much more of this destruction and bombing.QuannahMother Earth can’t sustain much more. Just the other day, on the second of this month, we officially over-consumed to the point where Earth can’t regenerate. It’s terrifying to think about how we keep taking without giving back or fulfilling our responsibilities as a community of humans. Yes, Indigenous people are doing the work—80% of the world’s biodiversity is protected by Indigenous communities. The teaching of considering the next seven generations guides everything I do. Our identities and how we walk in this world are political.”PrincessThere’s also the element of threat—how simply existing can be seen as a threat, especially when you remind others of the deep ties we have to our lands. This is particularly true when standing against big oil or, as I often compare, the Palestinian people. Their very existence is a reminder of the ongoing Nakba, a symbol of resistance against the occupation and extraction of their lands.I want to uplift the voices of those on the ground working toward peace, even though it’s hard. Peace cannot come without justice. I follow both Palestinian and Israeli individuals who are striving to have these difficult conversations, despite not being popular. It’s essential to try and reach a place where we see each other as full human beings because right now, that’s what’s missing—recognizing each other’s humanity.QuannahSocial media is a powerful tool, but it can also expose you to hate, especially when you have influence.It’s vital to support one another, especially when facing such hatred. When we heal ourselves, we contribute to healing our communities. I try to communicate this to our Native men, who may struggle with seeking help. Getting help doesn’t just benefit the individual—it strengthens the community because, as we heal, we naturally give back.Often, those who express hate are themselves deeply hurt, raised in environments that foster hatred and ignorance. While it’s not our responsibility to help them unlearn their racism, I believe it’s important to approach them with love. I’ve had conversations with people raised in very right-wing, racist households, and by giving them grace and educating them, I’ve seen them change.PrincessExactly. What you’re saying is crucial. It’s disturbing how many people, even within our circles, have remained silent on what’s happening in Palestine and Gaza. When we reflect on historical atrocities like the Holocaust, people often say, “How could that have happened? I wouldn’t have acted that way.” But the truth is, many of us are complicit through our silence. We need to examine our relationship with capitalism, money, and the ways in which fear governs us.Fear is powerful—whether it’s fear of not being able to feed our families, fear of being doxxed, or fear of the consequences of speaking out. But it takes a deep, spiritual perspective to push past that fear and say, “Despite my fear, I need to speak up.”QuannahAs you’ve highlighted, Indigenous teachings and values are crucial in understanding the broader context of our struggles. Speaking as a Two Spirit, Indigenous person inherently intertwines with these issues, and it’s a powerful testament to our resilience and dedication.Reconnecting with the land and our ancestors is indeed a profound way to ground oneself and find clarity in advocating for what’s right. Your strength and commitment are evident, and it’s this dedication that drives meaningful change.PrincessThat’s so beautiful, Quannah. I hope that one day we can all come together to help the Palestinian people rebuild and heal. We’ve discussed many intense issues and brought our ancestors into the conversation. Let’s take 20 seconds of silence to honor all those lives that are transitioning.Moment of silence…"
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"relatedposts": [
{
"title" : "Skims, Shapewear, and the Shape of Power: When a Brand Expands Into Occupied Territory",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/skims-shapewear-and-the-shape-of-power",
"date" : "2025-11-17 07:13:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Skims_Israel.jpg",
"excerpt" : "On the evening of November 11, Kris Jenner celebrated her 70th birthday inside the fortified sprawl of Jeff Bezos’s $175 million Beverly Hills compound, hidden behind hedges so tall they violate city regulations, a rule he bypasses with a monthly $1,000 fine that functions more like a subscription fee than a penalty. The theme was James Bond, black tie and martini glasses, a winking acknowledgment of Amazon’s new ownership of the 007 franchise. Guests surrendered their phones upon arrival, a formality as unremarkable as valet check-in. Whatever managed to slip beyond the gates came in stray fragments: a long-lens photograph of Oprah Winfrey stepping out of a black SUV, Mariah Carey caught mid-laugh on the curb, Kylie Jenner offering a middle finger through the window of a chauffeured car. The rest appeared hours later in the form of carefully curated photos released by an official photographer, images softened and perfected until they resembled an ad campaign more than documentation. Nothing inside was witnessed on anyone’s own terms.",
"content" : "On the evening of November 11, Kris Jenner celebrated her 70th birthday inside the fortified sprawl of Jeff Bezos’s $175 million Beverly Hills compound, hidden behind hedges so tall they violate city regulations, a rule he bypasses with a monthly $1,000 fine that functions more like a subscription fee than a penalty. The theme was James Bond, black tie and martini glasses, a winking acknowledgment of Amazon’s new ownership of the 007 franchise. Guests surrendered their phones upon arrival, a formality as unremarkable as valet check-in. Whatever managed to slip beyond the gates came in stray fragments: a long-lens photograph of Oprah Winfrey stepping out of a black SUV, Mariah Carey caught mid-laugh on the curb, Kylie Jenner offering a middle finger through the window of a chauffeured car. The rest appeared hours later in the form of carefully curated photos released by an official photographer, images softened and perfected until they resembled an ad campaign more than documentation. Nothing inside was witnessed on anyone’s own terms.The guest list felt less like a party roster and more like an index of contemporary American power. Tyler Perry arrived early, Snoop Dogg later in the evening, Paris Hilton shimmering in a silver column that clung like liquid metal. Hailey Bieber drifted past in a slinky black dress, while Prince Harry and Meghan Sussex appeared in images that were quietly scrubbed from the family grid a day later. Nine billionaires circulated among the luminaries, their combined wealth brushing toward $600 billion. Mark Zuckerberg and Priscilla Chan joined Bill Gates at the poker table, while Bezos himself wandered through the party with Lauren Sánchez, doing the kind of effortless hosting that comes with having $245B in the bank.Jenner, dressed in red vintage Givenchy by Alexander McQueen, floated from conversation to conversation. She paused for a warm embrace with Perry, raised a glass with Hilton, and eventually made her way to the dance floor with Justin Bieber. At 70, she remains the family’s central command center, equal parts mother, manager, strategist, and brand steward. The celebration functioned as a kind of coronation, a reaffirmation that the Kardashian-Jenner empire is not stagnating but expanding, stretching itself into new sectors and new narratives with the same relentless ease that has defined its last decade.Just two weeks earlier, on a bright Monday in late October, a very different scene unfolded at the SKIMS flagship on the Sunset Strip. That morning, the boutique had been cleared to host Hagiborim, the Israeli nonprofit that supports children of fallen IDF soldiers and orphans of the October 7 attacks. Around a dozen girls wandered the store, laughing among themselves, perusing tank tops, and snapping selfies before assembling outside with those unmistakable beige SKIMS shopping bags. The images of the visit were sparse and easily missed unless one went searching; they appeared only on Hagiborim’s Instagram highlights. The event took place on October 28, less than a week before news began to circulate about SKIMS’s upcoming entry into the Israeli market.The launch itself unfolded with clinical precision. On November 10th in partnership with Irani Corp, SKIMS went live on Factory 54’s Israeli website, with in-store boutiques planned for December and ten to fifteen standalone stores projected to open across Israel by 2026. The company’s official language remained on brand, warm and relentlessly forward-looking. It spoke of “inclusivity,” of “community presence,” of broadening the global market. Nowhere did it acknowledge the war in Gaza, though the border sits just over an hour away and the headlines that week were filled with rising casualty counts and allegations of cease-fire violations, an entirely different reality unfolding parallel to the brand’s expansion.Hours after the SKIMS launch, Kardashian’s Instagram shifted into overdrive. She posted a carousel of herself in a gray bikini, captioned with a single emoji racking up millions of likes. The images came just two days after news of her fourth unsuccessful attempt at the California Bar had broken, a reminder that in the Kardashian ecosystem, social media momentum often outweighs any setback.Beneath the SKIMS machine which just raised $225M in funding is a quieter network of capital. Joshua Kushner, Jared’s younger brother, the polished, soft-spoken investor whose firm helped seed Instagram, owns a 10 percent stake and a board seat in SKIMS, a detail that surfaces only in required filings and the occasional business-page profile. The Kushner family’s ties to Israel run far deeper than the brand’s marketing conveys: long-standing real-estate ventures in Tel Aviv, and a family foundation that has funneled at least $342,000 to Friends of the IDF and another $58,500 to West Bank settlement groups and yeshivas in places like Beit El and Efrat. Jared Kushner’s diplomatic work on the Abraham Accords carved geopolitical corridors that SKIMS now moves through. The brand may position itself as apolitical, but the infrastructure of its Israel expansion is built on deeply political ground.Fashion media, however, showed little interest in any of this. A wide sweep through the archives of Business of Fashion, WWD, and Vogue Business yields nothing, not a single headline, not even a line buried in a retail digest. The launch through Factory 54, the long-term plan for as many as fifteen stores, the philanthropic event with Hagiborim, all of it passed in silence in the sector that usually treats Kardashian business moves as reliable traffic drivers.Instead, their coverage was devoted wholly to Kris Jenner’s birthday. Harper’s Bazaar published three separate pieces. W Magazine dubbed it “the Kardashians’ own Met Gala.” Vogue broke down the night with a dutifully detailed recap that leaned heavily on Harry and Meghan’s brief presence, clearly recognizing their value as SEO gold.The Kardashians operate with a level of intentionality that has outpaced many political campaigns. They understand the choreography of public-facing narratives better than any other family in American media. The Hagiborim visit, girls only, modest branding, no Kim in sight, served as a small preemptive gesture, a way to soften potential critique before the Israel launch rolled out. While the party dominated the feed, the expansion passed unnoticed and the charity event remained strictly confined to the margins, a calculated sequence, not chaos, the kind of PR mastery we’ve come to expect from Kris Jenner.The same instinct shapes their political signaling. On Inauguration Day 2025, as Donald Trump took the oath of office for a second term, Kim posted a silent Instagram Story of Melania Trump stepping out in a navy ensemble and wide-brimmed hat. She offered no caption, no endorsement, no framing. The image disappeared within 24 hours, but not before sparking a brief firestorm. It is the same familiar pattern, presence without explanation, the kind of ambiguity that allows the public to fill in the blanks while the family remains insulated.Beyond their insulated world, the conflict continues. Inside the bubble, the champagne is crisp, the Hulu cameras are rolling and the narrative is intact. What remains for the public is the split-screen: Kris Jenner blowing out seventy candles beneath a ceiling of crystals, surrounded by some of the wealthiest people alive; and Kim Kardashian posing in a studded bikini, eyes locked on the lens, hinting at the next product drop. Between the two lies a series of transactions, commercial, political, and moral, that the audience is never invited to examine.As for Kris Jenner’s birthday, it will be remembered. The launch will fade. The girls who posed with their new SKIMS pajamas will grow older; the war will either end or shift into some new phase. And the Kardashian-Jenner machine will keep moving, calculating every image, every post, every angle, ensuring the story that matters most is always the one they control."
}
,
{
"title" : "Unpublished, Erased, Unarchived: Why Arab-Led Publishing Matters More Than Ever",
"author" : "Céline Semaan",
"category" : "",
"url" : "https://everythingispolitical.com/readings/unpublished-erased-unarchived",
"date" : "2025-11-13 10:25:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Unpublished.jpg",
"excerpt" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.",
"content" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.Against this backdrop of erasure, the scarcity of Arab women’s voices in publishing is even more alarming. A bibliometric study spanning 1.7 million publications across the Middle East and North Africa shows that men publish 11% to 51% more than women. What’s more, women’s authorship is less persistent, and men reach senior authorship far faster. Arab women are not only under-published but also systematically written out of the global record.This is why Slow Factory has founded Books for Collective Liberation, an Arab-led, independent imprint committed to telling Arab stories the way they should be told: authentically, empathetically, and wholly. We publish work that would never survive the filters of legacy publishing: the political hesitation, the “market concerns,” the fear of touching Arab grief, joy, or its future. Independence is not an aesthetic choice; it is the only way to protect our stories from being softened, sanitized, or structurally erased.Our forthcoming title, On the Zero Line, created in partnership with Isolarii, is a testament to that mission. It stands on the knife’s edge where memory is threatened with extinction—a book that documents what official archives will not. It is a testimony that refuses to disappear.But books alone are not enough. Stories need a home that is alive, responsive, and politically unafraid. That is the work of Everything is Political (EIP), our independent media platform and growing archive of essays, investigations, and first-person journalism. In an era where Big Tech throttles dissenting voices and newsrooms avoid political risk, EIP protects the creative freedom of Arab writers and journalists. We publish what mainstream outlets won’t—because our lives, our histories, and our communities, dead or alive, should not depend on editorial courage elsewhere.Together, Books for Collective Liberation and Everything is Political form an ecosystem of resistance: literature and journalism that feed each other, strengthening each other, building memory as infrastructure—a new archive. We refuse the fragmentation imposed on us: that books are separate from news, that culture is separate from politics, that our narratives exist only within Western frameworks. This archive is not static; it is a living, breathing record of a people determined to write themselves into the future.When stories from Gaza, Beirut, and the broader Levant fail to make the news—or make it only as geopolitical abstractions—the result breeds distortion and public consent to eliminate us. It is a wound to historical truth. It erases whole worlds. We will not let that happen.Independent, Arab-led publishing is how we repair that wound. It is how we record what happened, in our own voice. It is how we ensure that no empire, no newsroom, and no algorithm gets to decide which of our stories survive.Tonight, we gather at Palestine House to celebrate the launch of On the Zero Line, a collection of stories, essays, and poems from Gaza, translated in English for the first time. This evening, we are centering the lived experiences of Palestinians from Gaza who have been displaced in London. I have the honor of interviewing journalist Yara Eid and Ahmed Alnaouq, project manager of the platform “We are not Just Numbers.” Here, we will discuss how mainstream literature and journalism have censored us—and how we can keep our stories alive in response."
}
,
{
"title" : "The British Museum Gala and the Deep Echoes of Colonialism",
"author" : "Ana Beatriz Reitz do Valle Gameiro",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/the-british-museum-gala-and-the-deep-echoes-of-colonialism",
"date" : "2025-11-11 11:59:00 -0500",
"img" : "https://everythingispolitical.com/uploads/the-younger-memnon-statue-british-museum%20copy.jpg",
"excerpt" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.",
"content" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.The invitation-only event drew high-profile guests such as Naomi Campbell, Mick Jagger, Edward Enninful, Janet Jackson, Alexa Chung, and James Norton. With a theme of ‘Pink Ball,’ the night drew inspiration from the vibrant colors of India and walked hand-in-hand with the museum’s ‘Ancient India: Living Traditions’ exhibition, adding a touch of colonial irony à la British tradition.Unlike its always-talked-about New York counterpart, or Paris’s star-studded affair last year that reunited figures like Doechii, Tyra Banks, Gigi Hadid, and Victoria Beckham, London’s event felt less memorable fashion-wise. With little buzz surrounding it - whether due to a less star-studded guest list, unremarkable fashion, or its clash with the Academy Museum Gala - it ultimately felt more like an ordinary night than a headline-making affair.But the event was not entirely irrelevant. In fact, it prompted reflections rarely discussed in mainstream media. Notably, because in spite of the museum’s sprawling collection of objects from other marginalized countries, the event ‘‘celebrated’’ Indian artifacts looted during colonial rule. Equally noteworthy is the institution’s partnership with BP - the British oil giant whose exports reach Israel, a state that, in the twenty-first century, stands as a symbol of colonialism and the ongoing genocide of Palestinians. And, of course, every penny raised went to the museum’s international initiatives, including an excavation project in Benin City, Nigeria, and other archaeological digs in Iraq.Although excavation is often portrayed as a means of preserving the past, archaeologists acknowledge that it is inherently destructive - albeit justifiable if it provides people with a deeper understanding of the human past. As Geoffrey Scarre discusses in Ethics of Digging, a chapter in Cultural Heritage Ethics: Between Theory and Practice, it matters who has the authority to decide what is removed from the ground, how it is treated, whether it should be retained or reburied, and who ultimately controls it. Something that feels especially relevant when discussing the objects of marginalized communities and the legacies of countries shaped by European colonialism, now just laid bare as trophies to embellish the gilded halls of Euro-American institutions.That the British Museum’s collections were built on the wealth of its nation imperialism is hardly news. Yet the institution, like so many others, from the Louvre to the Met, continues to thrive on those very foundations. As Robert J. C. Young observes in Postcolonial Remains, “the desire to pronounce postcolonial theory dead on both sides of the Atlantic suggests that its presence continues to disturb and provoke anxiety: the real problem lies in the fact that the postcolonial remains.”Although postcolonialism is often mistakenly associated with the period after a country gained independence from colonial rule, academics like Young, Edward Said, Gayatri Chakravorty Spivak, and Frantz Fanon acknowledge that our world is still a postcolonial one, with cultural, political, and economic issues reflecting the lasting effects of colonization. Its aftermath extends beyond labels like “Third World” or the lingering sense of superiority that still marks the Global North; it also fuels a persistent entitlement to our art, culture, and legacy.This entitlement can be seen in the halls of many museums worldwide. And though looting may not always be illegal - as in how these institutions acquire those objects - it is certainly unethical. For decades, scholars and activists have debated that these institutions should restitute the legacies taken from other lands, objects stolen through wars of aggression and exploitation. Still, these museums deliberately choose to hold them, artifacts that bear little cultural resonance for their current keepers, but profound meaning for the people from whom they were taken.But these debates are no longer confined to academic circles. Take Egypt, for instance. Its long-awaited Grand Museum finally opened its doors three decades after its initial proposal in 1992 and nearly twenty years since construction began in 2005. Now fully operational, breathing fresh life into Egypt’s storied past through showcasing Tutankhamun’s tomb among other relics of the country, it is demanding the return of its legacy. Egypt’s former and famously outspoken Minister of Tourism and Antiquities, Dr. Zahi Hawass, for instance, recently told the BBC: “Now I want two things, number one, museums to stop buying stolen artefacts, and number two, I need three objects to come back: the Rosetta Stone from the British Museum, the Zodiac from the Louvre, and the Bust of Nefertiti from Berlin.” Beyond the direct call-out, Dr. Hawass has initiated online petitions demanding the return of the artifacts, amassing hundreds of thousands of signatures. Nevertheless, the world’s great museums remain silent, and the precious Egyptian treasures are still very much on display.With African, Asian, and Latin American legacies still held captive within Euro-American institutions, the echoes of colonialism linger well into the 21st century, keeping the postcolonial order intact. Even fashion, an industry that loves to believe it exists beyond politics, proves such. Whether through events that claim to celebrate certain things but end up being meaningless, the current Eurocentrism that still dominates the industry, or how many labels still profit from the aesthetics of marginalized nations without acknowledgment, fashion, much like museums, reproduces the very hierarchies postcolonial theory seeks to expose.Ultimately, the British Museum’s latest event does not celebrate Indian culture or Nigerian history through its excavation in Benin City. Like so many Euro-American institutions, it reinforces imperial power - masquerading cultural theft as preservation.In fashion as in museums, spectacle too often conceals empire - and beauty, unexamined, can become complicity."
}
]
}