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Add more about race play at the end of Racial fetishism intro, from Miller-Young (pg. 17, 49-58)

Racial fetishism involves fetishizing a person or culture belonging to a race or ethnic group. This can include having strong racial preferences in dating. For example, an Asian fetish focusing on East Asian, Southeast Asian and to some extent South Asian women is quite prevalent in Australasia, North America and Scandinavia. There is also a subsection of BDSM, which involves fetishizing race called "raceplay".

Add two theories from Miller-Young (pg. 9, 27, 53, 61, 102, 111, 242) and Hobson (command F: Fetis-)

Theories[edit]
Homi K. Bhabha explains racial fetishism as a version of racist stereotyping, which is woven into colonial discourse and based on multiple/contradictory and splitting beliefs, similar to the disavowal which Freud discusses. Bhabha defines colonial discourse as that which activates the simultaneous "recognition and disavowal of racial/cultural/historical differences" and whose goal is to define the colonized as 'other,' but also as fixed and knowable stereotypes. Racial fetishism involves contradictory belief systems where the 'other' is both demonized and idolized.

Feminist writer Anne McClintock is interested in opening up the discourse of fetishism to stray away from the phallus and the scene of castration. One of her central arguments is that although race, class, and gender are all different and articulated categories of being, they always exist "in and through relation to each other," and therefore discussions of racial fetishism also always have to do with class and gender as well. McClintock does

Fetishism can take multiple forms and has branched off to incorporate different races. English naturalist and geologist, Charles Darwin, can offer some observations in regards to why some people might find other races more attractive than their own. Attraction can be viewed as a mechanism for choosing a healthy mate. People's minds have evolved to recognize aspects of other peoples' biology that makes them an appropriate or good mate. This area of theory is called optimal outbreeding hypothesis.

Add things from Miller-Young (pg. 9, 27, 53, 61, 102, 111, 242) and Hobson (command F: Fetis-)

Possibly add photos of interracial intercourse photos from the distant past in Miller-Young's text and fill it in with some historical context.

Black women and men[edit]
In 1986, Robert Mapplethorpe had a photographic art show titled Black Males, showing photographs of naked black men exclusively. This work has been highly criticized for fetishizing the black male body, notably by Kobena Mercer in his aforementioned essay. Though it was not necessarily the artist's intention to portray these men as fetishized objects, they have been perceived that way by many audiences, especially in relation to some of his other works concerning gay male BDSM practices. The latter works examine an actual subculture of sexuality that is enacted by the photographic subjects: the men in the photos are wearing/using their own gear and clothing, putting their fetish(es) on display. However, in Mapplethorpe's photos of black men, the subjects are not doing anything but existing as nude bodies, they are hyper-sexualized by the camera, therefore they become the fetish objects.

The fetishization of black women expanded during the Colonial Era, as some white male slave owners raped their black, female slaves. They justified their actions by labeling the women as hyper-sexual property. These labels solidified into what is commonly referred to as the "Jezebel" stereotype.

Charmaine Nelson discusses the way black females are presented in paintings, with an emphasis on nude paintings. Nelson argues that every nude painting feeds into the voyeuristic male gaze, but the way black women are painted has even more undertones." The black female body defies the white male subject's desire for a single subject of 'pure' origin in two ways: firstly, through a sexual 'otherness' as woman, and secondly through a racial and colour 'otherness' as black. It is the combined power of these two markers of social location which has enabled western artists to represent black women at the margins of societal boundaries of propriety." The black woman is considered a fetish in these paintings and she is only viewed in a sexual lens.

One of the more recent popular discourses around the fetishization of black women surrounds the release of Nicki Minaj's popular song, "Anaconda" in 2014. The entire song and music video revolves around the largeness of black women's bottoms. While some praise Minaj's work for its embrace of female sexuality, many[clarification needed] believe that this song continues to reduce black women to be the focus of the male gaze.