Hosted by Tami Winfrey Harris and Andrea Plaid with featured guest, Sikivu Hutchinson, author of “Moral Combat: Black Atheists, Gender Politics, and the Values Wars”
Tami: Kumaré follows a filmmaker, Vikram Gandhi, who transforms himself into a fake guru to explore the concepts of blind religious faith and devotion to spiritual figures. It is interesting that Vikram and his assistants–all American-born and -raised–adopted accents in the subterfuge, playing off the magical brown person/foreigner trope.
Andrea: Would he be believable if he didn’t take on the accent?
Sikivu: Channeling the authentic brown magical mystery tour exotic (and I’m thinking specifically here of the sixties cult of the Maharishi Mahesh Yogi legitimized in the West by mega-celebs like the Beatles) wouldn’t be complete without the right “Orientalist” lilt.
Tami: There are plenty of American religious/spiritual figures who inspire a devotion similar to that demonstrated by Kumaré’s followers. But I also think his race and faux accent provided a short cut of sorts.
Andrea: And I think that shortcut allowed the subterfuge to be more successful. Deepak Chopra wouldn’t be where he is if he didn’t have his accent.
Tami: …or if he were named Bob Henderson. It’s the otherness that adds credibility.
Andrea: Great minds, sis! That’s why I see some white people adopt “exotic” names when they become gurus or get deep into yoga.
Sikivu: Yes, and the drooling idolatry of Kumaré’s mostly-white female acolytes underscores this—I know a number of lib/progressive white women who have adopted trendy “yogic” names to buttress their devoutness and confer them with the Eastern mystic equivalent of “street” cred.
Tami: This ties into the biased belief that brown people (and I say that meaning all brown peoples–black folks, Native Americans, etc.) are inherently plugged into something
Jersey-born filmmaker Vikram Gandhi outside of his Kumare costume
beyond the physical world…some magic. And that “magic” can be positioned positively or negatively, but it is part of the mantle of “other.” By adopting guru “drag,” the filmmaker successfully plugs into that idea. A brown guy with short hair and a clean-shaven face in jeans and a button down, may be too Americanized (read: normal) to work his magical mojo.
We went to see this awful movie, The Last Exorcism II, and at some point (of course) the protag goes to visit a black roots woman in New Orleans. I commented to my husband about the character’s vaguely African headwrap and her exaggerated accent. But the viewer would likely not have accepted that part if she had a Queen Bey lace-front and sounded like a black Brooklynite or had my Midwestern twang. We like our magical brown people unassimilated.
Sikivu: And the noble savage sexuality of Kumaré goes hand-in-hand with the way the film trots out and parodies the West’s eternal fascination with the Magical Negro/Indian/Asian (take your pick) other. The blond woman gushing in her living room about how Kumaré has “touched her life” looks practically orgasmic. So much of this guru shtick is tied up with the charade of liberating the repressed uptight “rationalist” white folk from their shackles a la Norman Mailer’s “White Negro” paradigm pimping “black soul” as antidote to all that ails the modern white man. A brilliant send-up on this theme is “The Couple in a Cage,” by Guillermo Gomez Pena and Coco Fusco—they mounted a performance piece where they pretended to be indigenous primitives displayed in their “native habitat” for the delectation of mostly white museum-goers seeking authentic savage artifacts. While there was no overtly religious element to it, the Western impulse to gain validation through the body/essence and “shamanic” wisdom of the other is similar.