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Stories that Ally vs Stories that Appropriate: a Yardstick [The Throwback]

In this February 2010 piece, Thea Lim examines how “Avatar” exemplifies a disturbing type of faux-progressive filmmaking.

By Deputy Editor Thea Lim

How do you know when a story is allying, versus appropriating?

In other words, if someone of privilege writes a story about the political oppression of a group they do not belong to, what is the difference between:

a) a story that brings marginalised voices to a wider platform and advocates for their rights, versus
b) a story that simply appropriates a political conflict for a writer’s own end, taking advantage of the fact that communities who experience marginalisation are rarely ever allowed to speak for themselves?

Apart from the fact that a story that appropriates usually winds up grossly misrepresenting a marginalised group, this is my yardstick for telling friends from foes:  one of the central purposes of a story that acts as ally, is to use one’s own privilege to tell another’s story, in the hopes of ameliorating the others’ situation.  Meanwhile, a story that appropriates just wants to spin a good yarn, get some adulation, and uses another’s story in order to do so.  An ally story is giving, an appropriating story is taking.

Quit jabbering Thea, you may say.  It’s easy to tell the difference between stories that appropriate, and stories that ally! We don’t need a yardstick!

Not true.  At least within mainstream opinion, it is startling and depressing how many stories that appropriate get passed off as political progressive, as allies.  Like Not Without My Daughter.  Or the documentary Born into Brothels, which purported to tell the story of the children of sex workers in Calcutta, but really just seemed more interested in showcasing the magnanimity of the American photographer who worked with the children.* Or another documentary, Paris is Burning, about the black trans/gay vogueing community of New York City, which brought immense praise on the white outsider director, but painted the community as tragic and hopeless, while bringing little benefit to them. I’m sure you can think of loads more films like this.

Including…(drumroll)…Avatar. Which I finally saw last week, in all its headsplitting 3D glory. And it fulfilled all the negative press I had read over countless months, from anti-racist and anti-ableist camps among many others. But seeing how my esteemed peers did a lot of the deconstructing work for me, I was left to ponder another question. If Cameron is as leftist as claimed, why didn’t he tell the story of an actual conflict between big business (or colonialists) and an indigenous group? Why use blue allegory?

Hollywood films have a generally untapped power to sway how people think about political events. Packaging a political story within the rhetoric of emotion (and also I guess, within face-blasting special effects) is often the best way to get people to swallow arguments they would otherwise reject.  Hence a movie that – at least at face value – is very anti-war, anti-military and anti-capitalist is demolishing box office records with hardly a peep from conservative viewers.

Can you imagine the impact that a movie like Avatar could have, if Cameron had used all the CGI to recreate (for example) any area of the Americas the way it looked before first contact with the Europeans, and instead told the real story of an indigenous group struggling to protect themselves from genocide?  Imagine the kind of support it could create for indigenous rights.

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Finding Maria Chiquinquira — On the Road to Racial Completeness

By Guest Contributor Blanca E. Vega, cross-posted from Race-Work, Race-Love

Racially complete. When you are racially silenced, you begin the process of being incomplete. Silence can occur when you are told to stop talking about race. The process begins early for children – through a loss of heritage from the process of immigration, to being racially silenced in schools, to being told, “you’re crazy” from friends and family — the silence around race is deafening. To become racially complete, you have to go backwards, go back to these moments when you were silenced and try to understand what those moments were about. Your voice is the beginning.

I found my voice during Black History Month. I was a sophomore in college and was very unhappy. My experience with race and racism was overwhelming. A predominantly white institution, the college I attended still had a lot of work to do around these issues. Not knowing what race-work was at the time, I was one of the students who discussed racism on our campus with other students, in the corner of a cafeteria. Then, Revolution was only part of my vocabulary and something others did. Not something I could do.

Until one day, my friend Aira, co-coordinator of Black History Month at the time asked me to sit on a panel to discuss the experiences of Women of Color. “You should talk about what it means to be Latina here.”

Oh hell no I thought. I don’t even know what that means. Where would I even start?

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