【Perez公器私用練英文093】 阿根廷的歧視者問題 Argentina’s Racism Problem
原文網址：https://newlinesmag.com/spotlight/argentinas-racism-problem/
時間：2024/07/30
作者：Pablo Alabarces (阿根廷布宜諾斯艾利斯大學（UBA）社會科學系流行文化教授，亦為阿根廷國家科學及科技研究委員會（CONICET）資深研究員。)
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| 阿根廷的恩佐費南德斯，在2024七月中，邁阿密球場的阿根廷對哥倫比亞美洲盃決賽後，親吻了獎盃 Enzo Fernandez of Argentina kisses the trophy after the Copa America 2024 final between Argentina and Colombia in Florida in mid-July. |
A song against Black French soccer players is a symptom of deep-rooted prejudice
根深蒂固的偏見象徵──由一首攻擊法國黑人球員們的歌談起
One of the first things you learn in any sociology course is to be cautious with generalizations. Saying “Los Argentinos son” [“Argentines are”] is a difficult and improbable phrase: “Argentine men are” is more likely to be accurate, yet it is still bound to fail as an assertion because it will always lack precision in terms of class, ethnicity, age and region. Argentina is a vast country and, although not densely populated, it has enormous differences and inequalities, like any modern society.
在任何一堂社會學的課堂中，首當其衝學到的事情，叫做不能「一以貫之」。要能統整出「阿根廷人都如何」是個困難且不可能的事；「阿根廷男性都如何」是更趨近於準確的，但它仍然不能夠妄斷，因為它會是一個缺乏將階級、種族、年紀、宗教加入評價的評斷。阿根廷是個幅員廣闊的國家，雖然不是地廣人稠，它也正如任何現代社會一樣，包藏著巨大的不同與不平等。
However, in just 200 years of being an independent nation, Argentina has constructed several overarching myths — no nation can do without them. One such myth is that we are a European society inexplicably transported to Latin America, a kind of island on the continent, uneasily sharing that status with Uruguay (or more precisely, the capital Montevideo, which is often seen as a slightly anachronistic Buenos Aires).
然而，在獨立成國的兩百年來，阿根廷由幾個包羅萬象的神話所建構——每個國家都不免俗。其中一個神話是「我們是一個出人意表地轉移到拉丁美洲的歐洲社會」，一座「大陸上的孤島」，並且不安地與烏拉圭分享這個意象(或更精確的說，這個意象是跟烏拉圭的首都蒙蒂維迪歐共享的，這座城市常被視為較為不與時俱進的布宜諾斯艾利斯)。
Another myth is that everyone talks about us all the time. The universe has no other topic of conversation than the adventures of Argentina. If, to make matters worse, the topic is soccer — or sometimes other sports like boxing, motor sports, tennis, rugby or basketball — the world is said to be obsessed with discussing the infinite quality of our athletes (male) and their unwavering galactic superiority. This also extends to the fans: the best (male) fans in the entire world.
還有一個神話，人們提到我們(阿根廷人)的時候總是這麼說。寰宇之中沒有比「阿根廷大發現」更值得被談論的主題。或有甚者，主題是足球的時候會讓狀況更糟—有時候會是像拳擊、競技機車、網球、橄欖球或籃球—全世界對於我們(男性)運動員無可限量的運動品質與堅定不移的銀河量級優勢津津樂道。這也延伸到球迷身上：全世界最好的(男性)球迷。
And then there is another indestructible myth: We are an ethnically unified society.
由此而生了另一個堅不可摧的神話：我們是一個種族單一的社會。
“We Argentines come from the boats,” says a popular song from 1982. The full quote is this: “The Brazilians come from the jungle, the Mexicans come from the Indians, but we Argentines come from the boats.” Though a bad song, it was cited by former Argentine President Alberto Fernandez in 2021, who attributed the idea to the Mexican writer and Nobel laureate Octavio Paz, who had actually written, ironically, that “Mexicans descend from the Aztecs, Peruvians from the Incas, and Argentines … from the boats.”
「我們阿根廷人是乘船而來的，」一首1982年的流行歌這麼唱。整段如下：「巴西的仔來自樹海，墨西哥仔印地安來，我們是阿根廷人乘船而來。」雖然是首糟糕的歌，但它在2021年被前阿根廷總統亞伯特費南德斯引用，激發了作為諾貝爾文學獎得獎者的墨西哥作家奧塔維歐帕斯的靈感，這位作家諷刺寫下：「墨西哥阿茲特克傳人，秘魯是印加文明傳人，阿根廷...就是一名船人。」
The “boats” here signify the perpetuation of the notion of transplanted Europe, via Italian and Spanish migration; this narrative does not account for what happened to the Indigenous populations or the descendants of African slaves who arrived in large numbers throughout the Americas, including what would become Argentina. Serious studies affirm that at the time of independence from Spain in the early 19th century, the population of African slaves was no less than 15% of the total. Since there was no acknowledged or hidden extermination, this illusory transformation into a strictly white country requires some explanation.
「船」彰顯了一個由義大利、西班牙移民轉殖歐洲的堅定意象；這類論述並沒有將原住民的遭遇與大量來到美洲(包括來到阿根廷的)非洲黑奴的消逝囊括在內。幾項嚴謹的研究顯示，阿根廷從西班牙殖民政府獨立的十九世紀早期，非洲黑奴的總人口不少於人口的15%。既然沒有已蓋棺論定或隱匿不報的種族滅絕事件，「轉為高標準的白人社會」的這種幻覺，就需要一些解釋才說得通了。
The explanation is threefold: mixed marriages, concealment, denial. In Argentina, “there are no Black people.” Therefore, thankfully, we are not racist — we cannot be racist. “Black” is used only as a classist insult: Black people are the poor people. The poorer, the blacker. But that is not racism, according to the good conscience of the white, urban middle classes.
箇中理由不外乎三點：混血聯姻、隱藏身世、否認存在。在阿根廷「沒有黑人」。因此，謝天謝地，我們才不是種族歧視者──我們沒辦法變成種族歧視者。「黑」只會被用在老派的羞辱法：黑人就是窮人──人越窮，就越黑。根據都會中產階層白人無愧良知的想法，那才不是歧視。
The latter is, of course, pure irony.
上述後半段的言論當然是純粹在諷刺。
Indeed, everyone has been talking about Argentina recently, but the subject of debate was its racism. The scandal erupted from a brief Instagram video filmed by Argentine soccer player Enzo Fernandez, currently with Chelsea in London, after the national team’s victory in the Copa America held in the U.S. (following the final game against Colombia in Miami). The video features a song that ends when someone on the team bus says, “Cut the live.” This action suggests an awareness that the song was highly inappropriate and shouldn’t be shared on social media.
當然，近期每個人都在討論阿根廷，而爭論的主題是其種族歧視。引發軒然大波的醜聞，來自阿根廷足球選手，目前效力於倫敦球隊切爾西的恩佐費南德斯，在由美國舉辦的美洲盃拿下國家隊勝利之後(在邁阿密的決賽打敗哥倫比亞後)拍攝的短片。影片與那首歌以在某個隊巴上的人喊道「把直播關掉」作結。這個行為表示出的認知是：這首歌是高度不被允許，且不應該在社群媒體被分享出來的。
The song itself is a blatant display of transphobia and racism in varying degrees. The full lyrics state: “Listen, pass the ball: They play for France, but they’re from Angola.” The song goes on to describe French star Kylian Mbappe as a “cometravas,” a slang term that refers to someone who has sex with transgender people, before returning to its initial theme: “Their mother is from Cameroon, their father from Nigeria, but their passports say French.”
這首歌在很多不同角度，赤裸地展示了跨性別恐懼與種族歧視。完整的歌詞是這樣寫的：
「聽著，傳球：他們為法國踢球，但卻是安哥拉人。」並且描述法國球星齊禮安姆巴佩是個「幹跨仔」──一個在拉丁美洲西語指涉「與跨性別者發生性關係的人」的俚語──之後回到了它起初的主題：「他們的媽媽是喀麥隆人、他們的爸爸是奈及利亞人，但是他們的護照會說法文欸。」
The lyrics also reveal a profound ignorance of geopolitical and historical realities: Angola was a Portuguese colony, Nigeria was British, and only Cameroon was French. The song originated during the 2022 World Cup in Qatar from a group of fans who wanted to supplant the popular stadium anthem “Muchachos” (“Boys”). They sang it in front of a sports channel’s cameras; the journalist, shocked by what he heard, asked them not to repeat it. However, it was too late, as the channel had already aired it several times as a colorful piece. At the time, given the popularity of “Muchachos,” the song didn’t gain much traction — until now.
這些歌詞也掀開了與地緣政治與歷史事實相關，深之入髓的無知：安哥拉曾是葡萄牙的殖民地、奈及利亞曾經英屬，只有喀麥隆是法國殖民地。
這首歌的緣起來自2022年卡達世界盃，一群想要對正值流行的(阿根廷隊)現場應援歌「漢子們/男孩們」改詞的粉絲。他們在運動頻道的鏡頭前高唱。記者被他耳聞的歌詞所震驚，要求他們不能再唱。
然而，那為時已晚，運動頻道已經把它當成精彩片段放送了好幾次。在當下，因為「漢子們」的流行，(改詞版)的歌並未獲得太大的關注──直到現在。
A little history of the song (I love the stories behind songs used by soccer fans, their origins, transformations and travels through time and space): Originally, it was a propaganda jingle used by the military dictatorship in Argentina in 1981. It was intended to advise families not to take pets in cars when traveling on vacation. The song’s lyrics went:
“Bobby, my good friend, this summer you won’t be able to come with me. Today I heard Dad say that this time I can’t take you. Bobby, don’t miss me too much. I’ll be back soon. Take care of all my toys, Bobby. Don’t misbehave.”
關於這首歌的一點小歷史（我愛這些被足球迷傳唱的歌曲背後的故事，包括它們的起源、演變，以及它們如何跨越時空傳播）：
最初，這首歌是阿根廷軍事獨裁政府在 1981 年使用的一支宣傳廣告曲。當時的目的是為了建議家長們，在全家開車度假旅行時不要帶上寵物。這首歌的歌詞原本是這樣寫的：
「鮑比，我的好朋友，今年夏天你不能跟我一起出發了。今天我聽老爸說，這次我不能帶上你。鮑比，別太想我，我很快就會回來。看好我所有的玩具，鮑比，不可以調皮喔。」
Like many songs later adopted by fans, it had an easy melody and simple rhythm, making it easy to memorize with appropriate rhymes. Interestingly, before it reached the stadiums, it became a political and antidictatorial song: “Military, son of a bitch, what have you done with the disappeared? The foreign debt, the corruption — you are the worst scum the nation has ever had. What happened to the Malvinas, those kids are no longer here. We must not forget them, and that is why we must fight.”
正如許多後來被球迷化用的歌曲一樣，這首歌旋律簡單、節奏明快，搭配合宜的押韻，極易傳唱。有趣的是，在進入球場之前，它曾一度演變成一首反獨裁的政治抗爭歌曲：「狗娘養的軍隊，你對那些『被失蹤者』做了什麼？外債、腐敗——你們是這個國家史上最惡劣的人渣。馬文納斯島（Malvinas）發生了什麼，那些孩子再也回不來了。我們絕不能遺忘，那就是我們為何而戰。」
Eventually, it reached soccer stadiums as a song expressing love for one’s team without insulting or threatening others: “(Name of the team), my good friend, we’ll be with you again this championship. We’ll support you from the bottom of our hearts; these are your fans who want to see you as champions. I don’t care what they say, what others say. I follow you everywhere, loving you more and more.”
最終，這首歌進入了足球場，成為了對球隊表達熱愛的歌曲，且不帶侮辱或威脅：「（球隊名），我麻吉，這季聯賽我們再次與你同在。我們發自內心地支持你，我們是想看你奪冠的擁護者。我不在乎別人怎麼說，不在乎流言蜚語。我隨你四方，對你的愛與日俱增。」
Over the past 40 years, the style of soccer songs has shifted toward being more aggressive, threatening and violent. Soccer chants now often have three main characteristics: mocking rivals for match outcomes, degrading rivals by casting different social identities negatively, and glorifying violence past and present.
但在過去的 40 年間，足球歌曲的風格逐漸轉向侵略性、威脅與暴力。現在的足球應援歌通常具有三大特徵：針對比賽結果嘲弄對手、藉由醜化不同的社會身分來貶低對手，以及光榮化過去與現在的暴力行為。
This song, once a declaration of unconditional love, was transformed into a homophobic, classist and racist statement. “Listen, pass the ball: The Blacks of Casanova became whores. How cute; we’re going to f— them in the poor hovels near Route 3. The Blacks arrive by car, and they dress as women, to make a couple of pesos because they need to eat.”
於是，這首曾是「無條件之愛」的告白，被轉化為一段充斥恐同、階級歧視與種族歧視的宣言：「聽著，傳球：卡薩諾瓦（Casanova）的黑鬼都成了妓女。真可愛；我們要在三號公路旁的貧民窟幹死他們。黑鬼開著車來，穿得像娘們似的，為了果腹去賺那幾披索。」
Isidro Casanova is a neighborhood in greater Buenos Aires, home to a local club, Almirante Brown, which, like the area, is impoverished and socially marginalized. The creators of the chant were fans of Nueva Chicago, another small team but from the city of Buenos Aires and therefore “richer” and consequently “whiter.” And more “macho.”
「西德羅．卡薩諾瓦」（Isidro Casanova）是大布宜諾斯艾利斯(泛指布宜諾斯艾利斯與周遭城鎮形成的都會區)的一個社區，也是當地俱樂部「阿米蘭特．布朗」（Almirante Brown）的所在地。該地區與該球隊一樣，都處於貧窮與社會的邊緣地帶。這首歌的創作者是「新芝加哥」（Nueva Chicago）隊的球迷，那是另一支小球隊，但因位處布宜諾斯艾利斯市區，因而顯得「較富有」，也隨之顯得「較白」，並且更具「大男人氣概」。
The relationship between fans and crowds has become increasingly masculinized, resulting in metaphors that describe this relationship in homoerotic terms. Being a fan means being “macho” and having “aguante” (endurance), a key term in understanding Argentine soccer culture — and not just soccer culture. Rival fans are metaphorically sexually assaulted, through implied anal or oral relations. These are, of course, metaphors, but they shape a (violent) understanding of the relationships between rival teams and fans. Much has been written about this, both academically and journalistically, for almost 25 years, but to little effect.
球迷與群體之間的關係已日益陽剛化（masculinized），導致用來描述這種關係的隱喻往往帶有「同性色情」色彩。要當一名球迷，意味著必須要夠「帶種」而且夠「哈扣」(『Aguante』，剽悍、草根的韌性與底氣）──這是理解阿根廷足球文化(甚至不只是足球文化)的關鍵字。對手球迷在隱喻中會被施以性侵犯，暗示球迷非自願地進行肛交或口交。當然，這些都是隱喻，但它們形塑了一種對敵對球隊與球迷之間關係的（暴力）理解。近 25 年來，無論是學術界還是新聞界，對此已有諸多論述，但收效甚微。
Ten years ago, following the 2014 World Cup in Brazil, I wrote about a song that had become very popular among Argentine fans: “Brazil, Tell Me How It Feels” (set to the melody of “Bad Moon Rising” by Creedence Clearwater Revival). The song was a long list of insults aimed at Brazilians, concluding with the assertion that soccer legend Diego Maradona was better than the great Brazilian player Pele. At the same time, Argentine fans left a graffiti message on the walls of the Copacabana neighborhood in Rio de Janeiro during the World Cup that used a homophobic sexual slur in reference to Pele. This inscription conveyed a dual message: It was both a declaration of “we were here” (by painting your walls) and an assertion of “we are macho; the Brazilians are not.”
十年前，在 2014 年巴西世界盃後，我曾寫過一首在阿根廷球迷間極受歡迎的歌：〈巴西，告訴我那是何種滋味〉（由 Creedence Clearwater Revival 的名曲 〈Bad Moon Rising〉旋律所做）。歌詞羅列了針對巴西人的種種侮辱，最後斷言足球傳奇馬拉度納優於巴西名將比利。與此同時，世界盃期間，阿根廷球迷在里約熱內盧科帕卡巴納區的牆上留下塗鴉，用極具恐同色彩的字眼羞辱比利。這段文字傳遞了雙重訊息：這既是一場「到此一遊」的宣示（透過在你家的牆壁上塗鴉），也是一種「我們才是男子漢，巴西人不是」的權力宣告。
However, an older chant, which reached its peak of abuse during the 1978 World Cup in Argentina, had extended this attribution to all Brazilians but with a distinctly racist tone: “Everybody already knows that Brazil is in mourning; they’re all Blacks, they’re all fags” (original text: “Ya todos saben que Brasil esta de luto/son todos negros/son todos putos”). In an era of political correctness, it seemed that crowds could not be both homophobic and racist simultaneously: They could express only one form of prejudice at a time.
然而，更早之前的一首應援歌，在 1978 年阿根廷世界盃的惡意高峰期，更曾將這種特質擴展到所有巴西人身上，且帶有鮮明的種族歧視色彩：「大家都知道巴西在哀悼；他們全是黑鬼，全是甲男鴨。」。在現今這個講究政治正確的時代，群眾似乎（理應）無法同時表現出恐同與種族歧視——彷彿他們一次只能消化一種偏見。直到現在（我們才發現並非如此）。
Until now. The lyrics of “Brazil, Tell Me How It Feels” now seem almost Shakespearean compared with “Listen, Pass the Ball.” A journalist recently wrote that, even within a soccer culture as degraded, sexist and violent as Argentina’s, the phrase “Listen, Pass the Ball” signifies that everything said afterward can only be horrible, incorrect and indefensible.
時至今日，與〈聽著，傳球〉相比，〈巴西，告訴我那是何種滋味〉的歌詞現在讀起來簡直像是莎士比亞的劇作。一位記者最近寫道，即使是在阿根廷這樣一個墮落、性別歧視且暴力的足球文化中，〈聽著，傳球〉這句開場白，都預示著隨後說出的話只會是可怕、錯誤且無可辯解的。
Across Latin America, the relationship between Afro-descendant communities and soccer was far from straightforward. Uruguay offers a somewhat different example, although it was not without its challenges. Uruguay had abolished slavery 50 years before Brazil, and its soccer scene reflects this earlier abolition. The first Afro-descendant player in Uruguay was Federico Arrieta, a goalkeeper for the Intrepido team, in 1908. Nacional introduced Antonio Ascunzi in 1911 and Jose Maria Viamont in 1912, causing some dissent among members who preferred segregation. Penarol, founded in 1913, brought in the first two Black stars of Uruguayan soccer: Isabelino Gradin in 1916 and Juan Delgado in 1917. Both played in the inaugural South American Championship in 1916, leading to a protest from the Chilean League, which demanded that the Uruguayan team lose points for including “African players.”
在整個拉丁美洲，非裔族群與足球的關係從非一帆風順。烏拉圭提供了一個稍顯不同的例子，儘管並非沒有挑戰。烏拉圭比巴西早 50 年廢除奴隸制度，其足球界也反映了這種進進程。烏拉圭第一位非裔球員是 1908 年無畏者隊的守門員費德里科．阿列塔。國民隊分別在 1911 年與 1912 年引入了安東尼奧．阿斯昆齊與荷西．馬利亞．維亞蒙特，引發了偏好種族隔離的成員反彈。成立於 1913 年的佩納羅爾隊則帶來了烏拉圭足壇最早的兩位黑人球星：1916 年的伊莎貝利諾．格拉丁與 1917 年的胡安．德爾加多。兩人都參加了 1916 年的首屆南美錦標賽，引發了智利聯賽的抗議，要求扣除烏拉圭隊的分數，理由是他們起用了「非裔球員」。
Starting in 1921, Jose Leandro Andrade, known as “The Black Wonder” (a nickname bestowed by the French press during the 1924 Olympic Games), emerged as a key figure in Uruguay’s international successes from 1924 to 1930. He became the first major African-descended soccer player in Latin America.
從 1921 年開始，被法國媒體在 1924 年奧運期間譽為「黑色奇蹟」的荷西．利安德羅．安德拉德，成為烏拉圭在 1924 年至 1930 年間取得國際成就的關鍵人物。他成為拉丁美洲第一位具有重大影響力的非裔足球員。
In contrast, Brazil had an explicit ban on Black players that persisted until the late 1920s. Similar challenges were faced in Peru, Ecuador, Colombia and Honduras. However, this was not the case in Mexico or Chile. Argentina, as previously mentioned, did not recognize (or see) its Afro-descendant population and continues to overlook it today, despite the fact that Maradona, one of Argentina’s most iconic players, was of mixed heritage, with both Indigenous and African ancestry. Argentine racism was addressed in a simplistic manner: through class. Maradona was considered “Black in soul” but not in racial terms — because of his class.
相比之下，巴西直到 1920 年代後期仍明確禁止黑人球員。秘魯、厄瓜多、哥倫比亞與宏都拉斯也面臨類似挑戰。然而，墨西哥與智利的情況則不同。如前所述，阿根廷並不承認（或看不見）其非裔人口，至今仍視而不見，儘管阿根廷最具代表性的球員之一馬拉度納，其實擁有原住民與非洲血統的混血背景。阿根廷的種族歧視被化繁為簡：透過「階級」闡述。馬拉度納被認為是「靈魂裡的黑人」，而非族裔意義上的黑人——這完全是因為他的階級背景。
This is why Enzo Fernandez’s video sparked so many political reactions. Since, supposedly, there are no Black people or racism in Argentina, no one felt the need to offer any explanation or apology. Worse still, most comments on social media did not even recognize racism in the song, viewing it merely as a “description” of the African heritage of French players — homophobia and transphobia were not mentioned at all — or just an example of “soccer folklore.” When the secretary of sports suggested in an interview that the players could apologize, he was promptly fired from his position by order of President Javier Milei, who asserted that no one could dictate “what to do or say to the world champion and two-time American champion players.”
這正是為何恩佐．費南德斯的影片引發如此強烈政治反彈的原因。既然在(自己的)認定中，阿根廷不存在黑人或種族歧視，就沒人覺得有必要提供任何解釋或道歉。更糟的是，社群媒體上的大多數評論甚至不認為這首歌涉及歧視，而將其視為對法國球員非洲背景的「描述」——至於恐同與跨性別恐懼則完全未被提及——或者乾脆稱之為「足球民俗」。當體育秘書在採訪中建議球員應該道歉時，他隨即被總統米雷伊下令解職，米雷伊斷言，沒有人可以規定「世界冠軍與兩屆美洲冠軍球員該做什麼或說什麼」。
Vice President Victoria Villarruel went a step further, turning the incident into a fervent nationalist and anticolonialist appeal in a post on X (formerly Twitter), which remains on her account @VickyVillarruel: “Argentina is a sovereign and free country. We have never had colonies or second-class citizens. We have never imposed our way of life on anyone. And we will not tolerate anyone doing it to us. Argentina was built with the sweat and courage of the Indigenous people, Europeans, Creoles and Black people like Remedios del Valle, Sergeant Cabral and Bernardo de Monteagudo. No colonialist country will intimidate us with a song on the pitch or by confronting the truths they refuse to admit. Stop pretending to be outraged, hypocrites. Enzo, I support you; Lionel Messi, thanks for everything! Argentinians, always hold your head high! Viva the Argentineness!”
副總統維多利亞．維拉魯爾則更進一步，在 X（原 Twitter）上將此事件轉化為激進的民族主義與反殖民訴求，該貼文至今仍保留在她的帳號 @VickyVillarruel 上：「阿根廷是一個主權且自由的國家。我們從未有過殖民地或二等公民。我們從未將自己的生活方式強加於人，也不會容忍別人對我們指手畫腳。阿根廷是由原住民、歐洲人、克里奧爾人（Creoles，白種人在歐洲的移民後裔）以及像雷梅迪奧斯．德爾瓦萊、卡布拉爾中士與蒙特阿古多這樣的黑人，用汗水與勇氣建立的。沒有任何殖民國家能用球場上的歌，或是透過對抗他們拒絕承認的事實來恐嚇我們。偽君子別再裝作憤慨了。恩佐，我支持你；梅西，謝謝你所做的一切！阿根廷人，永遠昂首挺胸！阿根廷精神萬歲！」
That same night, the president’s sister rushed to the French Embassy to apologize for the vice president’s remarks. While this might seem like a farce, it is happening under a government that claims to be serious.
當晚，總統的妹妹（註：現任秘書長）便匆匆趕往法國大使館，為副總統的言論致歉。雖然這看起來像一齣鬧劇，但它正發生在一個自詡嚴謹的政府治下。
In Argentina, a common way to deny any form of racism, homophobia or antisemitism is to say, “I am not racist/homophobic/antisemitic, and furthermore, I have a Black/gay/Jewish friend.” The key phrase here is “furthermore”: That’s when we start to see the true implications.
在阿根廷，否認任何形式的種族歧視、恐同或反猶太主義的常見說詞是：「我不是歧視者，而且，我還有個黑人/同志/猶太朋友。」關鍵字在於那個「而且」：那是我們看清真實意涵的時刻。
Thus, a photo of Fernandez hugging a Black child was swiftly circulated, clearly conveying the message: “I have a Black friend, so I cannot be racist.” It’s a sentiment that many Argentines might recognize.
於是，一張費南德斯擁抱黑人小孩的照片迅速流傳，清晰地傳達了這個訊息：「我有黑人朋友，所以我不可能歧視。」這種情緒，或許是許多阿根廷人都能心領神會的。
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