Tag Archives: identity

Searching for My Pakistani Identity

by Guest Contributor Jehanzeb Dar, originally published at Broken Mystic

It started off funny. I was at the mall buying a birthday gift for a friend of mine and, as usual, the store manager was friendly and conversational. After she took a good look at my gift, the following conversation took place:

    MANAGER: Aww, is this for your girlfriend?

    ME: She’s not my girlfriend.

    MANAGER: That’s an awful lot of money for just a friend.

    ME: (smiles) Well, maybe you can lower the price for me.

She laughed as she scanned the item through. Another customer approached the counter and waited patiently. She decided to chime in:

    CUSTOMER: Ooh, you’re buying gifts!

    ME: (smiles) Yeah, it’s for my friend’s birthday.

    CUSTOMER: Aww, that’s so romantic, your girlfriend is going to Love it.

    ME: She’s not my girlfriend.

    CUSTOMER: Hmm, maybe she’s a special friend!

I laughed at how both of them were teasing me while I waited for the manager to package the gift. The manager was really helpful that day, so I asked her if there was a number I could call to give her an “outstanding” customer service rating. She showed me the number on the receipt and thanked me for asking. As the manager wrote her name on the receipt, the customer waiting in line caught me off guard with an unexpected question:

“What country are you from?”

For some reason, the question struck me in an odd way, as if it triggered an alarm in my head and sprung forth countless things I’ve been ruminating about over the past few weeks. It wasn’t a new question at all. I have brown skin; it’s easy to notice, so I understood. People ask me where I’m from all the time, but it was different now.

Almost immediately, I thought about the current crisis in Pakistan, I thought about the corrupt Pakistani president Asif Zardari, I thought about the Taliban taking control of Swat Valley – a beautiful place that I visited once – and I thought about the U.S. drone attacks in Pakistan and my sheer frustration with Obama’s foreign policy. Even though it only took me about two seconds to respond, I still had more thoughts and feelings swell inside me. I feared that disclosing my nationality would disrupt the friendly interaction I had with the manager and customer. I worried that their response would be offensive or ignorant and that I would go home feeling like an “outsider.” It was too late for that. And it wasn’t their fault.

“Pakistan,” I said slowly with an unfamiliar discomfort in my voice.

I was shocked at the way I responded, it sounded like I was ashamed of it. I noticed the shift in her body language when she replied with a simple, “Oh.” It was the typical response I usually get after I tell people I’m Muslim. An awkward silence followed before she politely said, “cool.” Again, it was nothing new to me, but when I nodded and forced a weak smile, I suddenly felt the urge to leave. I left quickly after the manager handed me the gift. “It’s ok” I told myself as I heard the fast paced rhythm of my shoes walking on the marble floor, “they didn’t say anything wrong.” I thought about the possible conversation that took place behind me. Maybe they said something ignorant. Maybe they didn’t say anything at all. Maybe they had negative thoughts about Pakistan, maybe they didn’t. Maybe they wondered where it was on the map. Whatever they said or thought didn’t matter. What mattered were the countless thoughts that surfaced in my mind. Continue reading

Russell Peters: Still Got It?

by Special Correspondent Thea Lim

A little over half a year ago, I wrote a fawning article about Russell Peters, trying to justify why I love him in spite of the fact that he could easily be criticised for making racist comedy.

I said that I loved Peters because his comedy is (unintentionally?) subversive: it highlights the relationships communities of colour have with each other instead of speaking to, or centering the experiences of white folks. And many commenters on my original piece pointed out, Peters often talks about his sibling communities of colour with fondness rather than ridicule. But then the other night I sat down and watched Red, White and Brown, Peters’ 2008 DVD.

Russell, you cut me deep.

So what’s wrong with Red, White and Brown? Last year Latoya posted an excerpt from a Kate Rigg interview, where Rigg explained very eloquently what makes racist comedy racist:

I’m offended when I see comics get onstage going “…and then I went to the Laundromat. Ching-chong, ching-chong, ching-chong!” Then I’m fucking offended. When someone tells a joke about Asian people and there’s no actual joke – the joke is the Asian people. The joke is [racist-comic voice] the funny way they talkie-talkie! “They don’t use proper diction! Only verb and noun! Verb and noun!” I just heard a comic that I respect doing that fucking joke the other night. An Asian comic. And I was like, “Dude! Write a punch line or you’re just being racist!”

Peters’ seems to have lost his punchline. There’s lots of different things you could criticise in Red, White and Brown. Peters throws in some shallow Michael Moore style criticism of the war in Iraq that still manages to be Arab/Islamophobic. Sepia Mutiny has an interesting analysis of Peters’ jabs at deaf people. Red, White and Brown gave me a lot to think about, and I’d like to address Peters’ “hatred” for deaf people and his comments about Indian authenticity in a later post. But right now I’m gonna focus on that stupid “Chinky” accent.

Peters opens Red, White and Brown with five minutes of his Chinese accent. And hey, I guess people love his Chinese accent. But where it once highlighted a very funny bit about the way Indian and Chinese people do business together, it’s now become the joke. When the only thing Peters is doing is talking Chinky, it’s not a joke anymore.

He starts by pointing to random Chinese-looking people in his audience, and talking in his Chinese voice. But chances are at least one (if not all) of the Chinese people in the front five rows of his New York audience are Chinese Americans. As in, they don’t talk like that. They’re Americans, you jerk.

But you know what? There is a Chinese American accent. Just like there is an African American accent. There’s a WASP accent: I think Dave Chappelle is famous for having perfected it. So why can’t Peters learn the Chinese American accent, and then do that? That would be bringing it back to the arena that Peters once did so well – giving us something in mainstream comedy that we can relate to.

Continue reading

Binary Soul

by Guest Contributor John Jihoon Chang

I often feel as though I’m two men living one life. Many of my peers and contemporaries from an immigrant background have learned how to blend their twin heritages, their cultures passed down from their parents and their cultures locally acquired and somehow become a coherent whole. In my case, an Asian American or more specifically, a Corean American. I won’t say this is true for everyone or even most people, but many have navigated this tricky path or perhaps have chosen one culture to adhere closely to in neglect or abandonment of the other.

Growing up, I was one who had never nurtured the Corean in me, rather concentrating on the present reality that I faced as a young person growing up with almost entirely white American peers. There was little value in my Coreanness, especially as it served to distance me from the only society I’d known. It was an inescapable part of my identity, as my genes had mapped my Asian roots upon my face, but it provided little to no advantages in my daily life, rather often distancing me as a “stranger”, though the life I’d known was, outside of food, language and minor household traditions, largely the same as my peers. Nevertheless, the appearance of difference combined with the few elements that my household practiced always seemed to divide, even as each white American household, I found, had different sets of cuisine, traditions and even occasionally the use of language.

As such, I was an all-American type, as it proved the path of least resistance. My sister naively would label me as “whitewashed” or a “banana”, claiming my abandonment of my Corean heritage while she, all the same adopted the similarly American “AZN” identity, one of the Asian American subcultures defined by heavy adoption of urban mainstream American media tied together with that of a mainstream Asian media as well.
Such a moment left me defensive at the time, but to some extent, she was correct.

Back to that later.

After high school, I’d move on to college and discover my Asian American identity. I found myself socializing a lot more with other Asian Americans, built upon the shared experiences of being differentiated from mainstream white America and often (but not always) upon the shared upbringing by immigrant parents. It’s certainly a comfortable place, where those around you don’t expect you to be different and share the same racial angst as you. And it also created a space for a new part of me to grow: the Corean me. Continue reading

Losing My Religion

by Racialicious Special Correspondent Fatemeh Fakhraie. A longer version of this article appears on altmuslimah.

I finally got around to watching AmericanEast this weekend. Full disclosure: I had originally read Tariq Nelson’s review, which was a pretty good rundown.

AmericanEast is an attempt at mainstreaming American Muslims and attempts to portray the struggles Muslims face in the United States. In my opinion, they overdid it and never established a coherent plot. And on top of that, I found that the characters had no depth and some were cartoonish caricatures.

The movie centers on Mustafa, an Egyptian immigrant who owns a café in a heavily Middle Eastern part of Los Angeles. His life, and the lives of several close to him, is one problem or tragedy after another: at one point during the movie, I asked myself whether anything good was ever going to happen to anyone.

Mustafa has a sister, Salwah. Tariq outlines her character:

Salwah Marzouke, Mustafa’s sister, was a nurse that styled hair in the back of her brother’s restaurant and was arranged to marry her cousin Sabir. However she did not like him and they did not get married. But the cousin was never informed (at least not on camera) and the story was dropped. Salwah was also interested in a doctor at her hospital who was not Muslim.

The movie stresses over and over that marrying Salwah off is Mustafa’s duty (or so he believes). Sabir comes from Egypt to marry Salwah and take him back home with her, although she is less than excited (that’s an understatement) about this arrangement. Even though she often fights with her brother, she gives off major submissive, dutiful vibes that plague many female Muslim characters in the form of wide-eyed, helpless stares contrasted with humbly averted eyes and lowered chin. Continue reading

ALO Again: New Lifestyle Magazine More of the Same Old Orientalism

By Special Correspondent Fatemeh Fakhraie. An expanded version of this piece can be found at Muslimah Media Watch.

Last summer saw the launch of ALO Hayati, “America’s Top Middle Eastern Lifestyle Magazine.” Thanks to a gracious donor, I finally got my hands on a copy of the July 2008 issue.

All lifestyle magazines have an aspirational feel to them, and this one was no different. Chock full of advertisements for Dubai hotels and Swiss watches, ALO wasn’t particularly different than any other lifestyle magazine. Considering the economic situation of magazines, it doesn’t seem like an incredibly auspicious time to launch one aimed at a materialistic lifestyle. I wasn’t able to find any updates about the magazine’s publication on the website, and as far as I’m aware, this is the only edition, though in the magazine they refer to an earlier issue in some places.

As someone who enjoys a good glossy every now and then, I delighted over advertisements with Kim Kardashian, and interview with exclusive designer Bijan, and a fluffy piece on intercultural relationships (though I did not care for the cover teaser: “Shocking Intercultural Stories”).

The magazine featured an interview with Leila Ahmed, which was a great one, likening the current western media representation of Muslim women to the same patronizing Orientalism that played out in the first wave of colonialism in Middle East. Her interview shed lots of light on the history and future of the headscarf. Despite the educational qualities of her interview, I kept thinking, “Who is this educating?”

While not every Middle Eastern person is going to be familiar with the history behind the headscarf, it seems sort of odd to have an educational feature about hijab in a magazine aimed at a demographic that has a fairly lengthy history with headscarves, even if many of them aren’t Muslim. Something about this piece tugged at me. It almost felt as if it was aimed at people who were not Middle Eastern. Continue reading

Andy Garcia: “I’m Not A Latino Actor.”

by Guest Contributor Alex Alvarez, originally published at Guanabee

In a press conference for his latest movie, The Pink Panther 2 (Why, God, why?!), Andy Garcia was quoted as saying, “I’m not a Latino actor, sincerely.” And, well. We think he has a point!

At the press conference, Andy said that, while he is known for being immensely proud of his Cuban heritage, he has tried (unsuccessfully, perhaps) to shed the label of “Latino” from being tacked in front of “Actor Andy Garcia.” He explains:

Everyone knows that I love my culture and that I’m Cuban, but I don’t consider myself a Latino actor, nor do I want other to classify me in that way. All actors should be classified in the same manner.

Dustin Hoffman isn’t described as “Jewish, American” actor. I don’t think heritage has anything to do with acting ability; in reality, we’ll all actors. In my case, I happen to be actor who is American with a Cuban heritage that’s given me a certain sensibility and point of view that maybe others might not have.

Andy also went on to address one of the stereotypes of Latino actors that we most love to loathe:

It’s possible that I’m thought of this way, but I’ve never accepted a script where I’ve had to play the “Latin Lover.” I’m not interested in that type of film.

Continue reading

Disability & Music

by Guest Contributor Bianca I. Laureano

I can’t remember where I was or whom I was with when I heard and realized that we are all temporarily able-bodied. I’m sure it was this decade, perhaps 2003, because I really had not thought about my privilege as an able-bodied person until I began my graduate work and met Angel, a woman in my cohort who was focusing on women of Color with disabilities. I also didn’t think about it until I lost one of my abilities.

Being trained as a scholar specializing in intersectional theory and thought, disability was a “difference” rarely mentioned and discussed unless Angel brought it up. We can see the continued absence and exclusion of people with disabilities in popular culture. Yet, if they are present, we mostly see how people with disabilities are considered anything but “normal,” and usually there is a level of wanting to find a “cure” to become “normal.”

What would images that view disability as a social construction look like? How can those of us who are educators incorporate discussions of disability into our teaching? Where are resources for us? How can we use popular culture when we teach about disability? Continue reading