Highbrow Magazine - cultural appropriation https://www.highbrowmagazine.com/cultural-appropriation en The Reinvention of Kim Kardashian https://www.highbrowmagazine.com/24055-reinvention-kim-kardashian <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/news-features" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">News &amp; Features</a></div></div></div><span class="submitted-by">Submitted by tara on Tue, 07/18/2023 - 12:28</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1kimk.jpg?itok=lcdPMflO"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1kimk.jpg?itok=lcdPMflO" width="347" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p><em>(See image source below.)</em></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Opinion: </strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In the annals of American popular culture, few families have managed to imprint their indelible mark quite like the Kardashian-Jenner clan. From the debut of their reality television series <em>Keeping Up with the Kardashians</em>, they have not only captivated audiences with their exploits but have also managed to create a veritable media empire. The Kardashians have transcended the boundaries of mere celebrity, sparking conversations and controversy in equal measure as they redefined the notion of fame in the digital age. And whether we like it or not, regardless of whether we keep up with them or derisively turn away, their cultural <a href="https://www.vogue.co.uk/arts-and-lifestyle/article/kardashian-jenner-familys-impact-on-the-world" style="color:#0563c1; text-decoration:underline">impact</a> cannot be denied. Their legacy, then, a tapestry woven with threads of entrepreneurship, social media prowess, and cultural impact, is an object of fascination and critique. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">At the heart of the Kardashian phenomenon lies the reality show that propelled them into the public eye. <em>Keeping Up with the Kardashians</em> (KUWTK) premiered in 2007 on the E! network, and the world <a href="https://www.nytimes.com/2020/09/09/style/kardashians-ending-takeaways.html" style="color:#0563c1; text-decoration:underline">tilted</a> ever so slightly on its axis. The show provided an “unfiltered” look into the opulent lives of a family that seemed as though they were born to be ogled. KUWTK launched the careers of its central cast members, <a href="https://www.latimes.com/archives/la-xpm-2010-feb-19-la-et-kardashian19-2010feb19-story.html" style="color:#0563c1; text-decoration:underline">propelling</a> them into the stratosphere of stardom while simultaneously reshaping the reality TV genre. It was a masterclass in turning the mundane into the magnificent, transforming school runs and squabbles into the stuff of entertainment legend. The Kardashians carved out a new niche in the world of television, inspiring a <a href="https://www.republicworld.com/entertainment-news/web-series/if-you-loved-kuwtk-here-are-some-more-reality-shows-to-check-out.html" style="color:#0563c1; text-decoration:underline">bevy</a> of imitators in their wake.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In the Kardashian universe, <a href="https://screenrant.com/everything-know-kardashians-kim-kardashian/" style="color:#0563c1; text-decoration:underline">Kim</a> is the undisputed queen, a savvy businesswoman who has built an empire on the foundations of her personal brand. But her meteoric rise to fame has been anything but smooth, with controversy nipping at her heels like a particularly tenacious paparazzo. From accusations of <a href="https://time.com/6072750/kardashians-blackfishing-appropriation/" style="color:#0563c1; text-decoration:underline">cultural appropriation</a> to her forays into the world of criminal justice reform, Kim Kardashian's journey through the minefield of celebrity has been nothing short of fascinating.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Her tale begins, as many do, with a stroke of serendipity. In the mid-2000s, Kim Kardashian was but a fledgling socialite, orbiting the <a href="https://www.teenvogue.com/story/kim-kardashian-interview-cleaning-celebrity-closets" style="color:#0563c1; text-decoration:underline">periphery</a> of celebrity as the personal stylist and closet organizer for the likes of Paris Hilton and Brandy. Then, in 2007, a certain scandalous <a href="https://www.thecut.com/2022/09/ray-j-claims-that-kim-kardashian-was-behind-the-sex-tape.html" style="color:#0563c1; text-decoration:underline">video</a> featuring Kim and her then-boyfriend, Ray J, was leaked to the public, catapulting her into the dizzying world of tabloid headlines and watercooler conversations.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2kimk.jpg" style="height:600px; width:400px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Now, it's important to note that the infamous tape was not solely responsible for Kim's meteoric rise. While it certainly provided a springboard for her ascent, it was her shrewd business acumen and indefatigable work ethos that truly propelled her to stardom. In a world where fame is often fleeting, Kim has managed to transform a moment of notoriety into a lasting and lucrative career. But conversely, the importance and weight of the video cannot be minimized. It is what drove the Kardashian name to nearly <a href="https://www.complex.com/pop-culture/2017/03/kim-kardashian-sex-tape-10-years-ago" style="color:#0563c1; text-decoration:underline">mainstream</a> level, and shortly after its release, the seminal KUWTK premiered to change the culture. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The existence of the video, or rather the particulars of its content, is also important because as Kim's notoriety grew, her romantic liaisons with high-profile Black men, such as <a href="https://hellobeautiful.com/739852/reggie-bush-covers-essence-mag-black-women-are-pd/" style="color:#0563c1; text-decoration:underline">Reggie Bush</a> and later, Kanye West, further fueled her ascent. The tabloids couldn't get enough of her love life, her every relationship dissected and analyzed by a public eager for a taste of the glamorous and the salacious. And as her popularity soared, so too did the speculation about her allure to these Black male suitors. Was it her exotic beauty, her curvaceous figure, or something more elusive that drew them in?</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Certainly, as we examine the place that Kim Kardashian occupies within the sphere of Black culture, it is important to consider the broader context in which she operates. As a public figure, she is <a href="https://www.buzzfeednews.com/article/stephaniesoteriou/2022-kim-kardashian-worst-year-problematic" style="color:#0563c1; text-decoration:underline">subject</a> to a level of scrutiny that few of us could ever imagine, her every move dissected and analyzed by a ravenous horde of critics and commentators. Nevertheless, over the years, she has faced a barrage of criticism for her tendency to borrow from Black culture, whether it be through her fashion choices, hairstyles, or beauty trends. From cornrows to Fulani <a href="https://www.essence.com/hair/kim-kardashian-bo-derek-fulani-braid-problematic/" style="color:#0563c1; text-decoration:underline">braids</a>, Kim has dipped into the rich tapestry of Black cultural expression, often neglecting to give credit where credit is due. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Critics argue that her actions perpetuate a long-standing tradition of white and non-Black celebrities profiting off the creativity and innovation of Black communities, while failing to acknowledge the historical context and significance of these cultural markers. This per se will be a remarkable and complex path for Kim K. to navigate as her children, all of whom are half-Black, grow up in the limelight. In fact, Kim has referred to her children’s Black identity to <a href="https://www.bustle.com/p/kim-kardashian-explains-why-she-wears-fulani-braids-despite-all-the-internet-backlash-9505337" style="color:#0563c1; text-decoration:underline">explain</a> her own use of Black culture identifiers (she said that she wore Fulani braids because her daughter, who has naturally curly hair, wanted them to have matching hairstyles). Kim has already <a href="https://www.glamour.com/story/kardashian-jenners-kids-names-trademark" style="color:#0563c1; text-decoration:underline">trademarked</a> the names of her children in a variety of categories, including clothing, toys, cosmetics, and entertainment. This means that she has the exclusive right to use the names in connection with these goods and services, and so it begs the question: Will her half-Black children be afforded the same level of fame, fortune and, importantly, infallibility and favorability as their famous white mother? Or conversely, will Kim K. attempt to shield them from the difficulties of growing up that they will face simply by being biracial?</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3kimk.jpg" style="height:652px; width:434px" typeof="foaf:Image" /></p> <p><em>(See image source below.)</em></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Kim, of course, is not a lone-wolf appropriator. Time and time again, we have seen white celebrities, from pop singers to reality TV stars, adopt elements of Black culture in their pursuit of fame and fortune. Whether it's <a href="https://www.teenvogue.com/story/miley-cyrus-rightful-backlash-past-cultural-appropriation" style="color:#0563c1; text-decoration:underline">Miley Cyrus</a> twerking her way into the headlines or <a href="https://globalgrind.com/4198689/twitter-is-rightfully-furious-about-kylie-jenner-wearing-a-du-rag/" style="color:#0563c1; text-decoration:underline">Kylie Jenner</a> sporting a durag on Instagram, these instances of cultural borrowing have become as <a href="https://www.mic.com/articles/163759/9-times-the-kardashian-jenner-family-were-accused-of-cultural-appropriation-in-2016" style="color:#0563c1; text-decoration:underline">commonplace</a> as they are controversial.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">To begin with, we cannot discuss Kim Kardashian and controversy without touching on the <a href="https://thetab.com/uk/2019/11/05/a-reminder-of-what-the-kardashian-jenners-looked-like-a-long-long-time-ago-130023" style="color:#0563c1; text-decoration:underline">infamous</a>, and <a href="https://www.the-sun.com/entertainment/5959144/kim-kardashian-blackfishing-unrecognizable-resurfaced-ad/" style="color:#0563c1; text-decoration:underline">recurring</a>, <a href="https://www.insider.com/kim-kardashian-addressed-blackfishing-braids-cultural-appropriation-2021-12" style="color:#0563c1; text-decoration:underline">blackfishing</a> scandals. For the uninitiated, "blackfishing" is a term used to describe the phenomenon of white and non-Black individuals altering their appearance to appear more racially ambiguous or Black. Kim has been accused of this on multiple occasions, her penchant for deeply bronzed skin and exaggerated curves sparking debates about racial identity and representation in the digital age. Many argue that her aesthetic choices not only reinforce harmful stereotypes but also contribute to the erasure of Black women's experiences and struggles.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Black culture, with its rich history and enduring influence, has long been a wellspring of inspiration for artists and entertainers from all walks of life. But when white celebrities cherry-pick elements of this culture to further their own careers, they risk reducing it to a mere prop, a fashionable accessory to be donned and discarded at will while the Black community often faces discrimination and marginalization for the same expression of their cultural identity. Which is to say that there is a troubling double standard at play here. While white celebrities can freely <a href="https://www.cnn.com/2021/07/06/entertainment/iggy-azalea-blackfishing-trnd/index.html" style="color:#0563c1; text-decoration:underline">adopt</a> elements of Black culture and reap the rewards of their "edgy" new image, Blacks are often subject to scrutiny, criticism, or even punishment for embracing their own cultural heritage. From <a href="https://www.npr.org/2020/07/22/893970329/texas-school-board-keeps-grooming-code-that-led-to-suspension-of-black-students" style="color:#0563c1; text-decoration:underline">schoolchildren</a> being suspended for wearing their hair in natural styles to professionals being deemed "unprofessional" for donning <a href="https://scholarship.law.stjohns.edu/cgi/viewcontent.cgi?article=1904&amp;context=jcred" style="color:#0563c1; text-decoration:underline">traditional</a> attire, the message is clear: Black culture is acceptable, but only when it is filtered through a white lens. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This is why it’s particularly interesting, and indeed, tricky, to understand the role that Black male desire played in Kim Kardashian's rise to fame and where she has gone from there. Tricky because her space within this culture is on complex intersections of race, sexuality, and power that <a href="https://www.youtube.com/watch?v=6ES3_mU4UwE" style="color:#0563c1; text-decoration:underline">underpin</a> the dynamics of attraction. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4kimk.jpg" style="height:453px; width:600px" typeof="foaf:Image" /></p> <p><em>(See image source below.)</em></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Historically, the Black male <a href="https://blogs.brown.edu/afri-0090-s01-2019-fall/2019/10/04/a-black-gaze-an-oppositional-gaze-or-in-opposition-to-the-gaze/" style="color:#0563c1; text-decoration:underline">gaze</a> has often been both fetishized and demonized, a source of <a href="https://moonlovebastet.medium.com/the-poisonous-black-male-gaze-has-reduced-black-women-to-chattel-3302961aa8fb" style="color:#0563c1; text-decoration:underline">both</a> fascination and fear for a culture grappling with its own racial anxieties. In a society that has long been fascinated by the “taboo,” the figure of the Black man has often been cast as a symbol of raw, <a href="https://www.nytimes.com/interactive/2016/10/30/magazine/black-male-sexuality-last-taboo.html" style="color:#0563c1; text-decoration:underline">unbridled</a> desire -- a trope that has its roots in America's painful <a href="https://www.researchgate.net/publication/249676040_The_Construction_of_Black_Masculinity_White_Supremacy_Now_and_Then" style="color:#0563c1; text-decoration:underline">history</a> of slavery and segregation. Within this context, Kim's relationships with Black men—from her early dalliance with Ray J to her high-profile marriages to Kris Humphries and Kanye West—can be seen as both a reflection of and a reaction to these longstanding cultural dynamics. In other words, Kim's relationships with Black men reflect both a subversion of traditional racial hierarchies and a reaffirmation of the exotic allure of the "other." This, of course, in addition to the often perpetuated idea that Black men prefer curvier women. In Kim’s case, the allure may be that the features typically favored in curvier Black women are now indiscriminately <a href="https://www.huffingtonpost.co.uk/entry/body-trends-black-women-can-never-win_uk_636bb75ee4b06d3e42567051" style="color:#0563c1; text-decoration:underline">displayed</a> on a Caucasian body. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Kim's appeal to Black men may also be rooted in her unabashed celebration of her own <a href="https://www.dailymail.co.uk/tvshowbiz/article-11232335/Kim-Kardashian-flaunts-curvaceous-figure-TWO-clinging-black-looks-New-York.html" style="color:#0563c1; text-decoration:underline">sensuality</a> and the ways in which she deftly navigates the fine line between empowerment and objectification. In a world where women's bodies are often policed and controlled, Kim's unapologetic <a href="https://www.eonline.com/news/476049/kim-kardashian-shows-off-curves-in-see-through-white-lace-dress-over-black-underwear-check-out-the-pic" style="color:#0563c1; text-decoration:underline">embrace</a> of her sexuality can be read as a bold statement of autonomy and agency, one that resonates with a demographic that has historically been subject to similar forms of surveillance and control. This, of course, is not always a benefit <a href="https://www.cosmopolitan.com/sex-love/news/a53471/black-women-sexuality/" style="color:#0563c1; text-decoration:underline">extended</a> to Black women (especially in curvier, larger bodies), whose similar displays of sexuality and self-empowerment are, instead, oftentimes <a href="https://www.thedailybeast.com/lizzos-supporters-see-the-rumors-backlash-for-what-it-isracist-misogyny" style="color:#0563c1; text-decoration:underline">ridiculed</a> and criticized. Meanwhile, it is also essential to recognize that the notion of Black male desire as a driving force in Kim's ascent is, in many ways, a construct; a narrative perpetuated by a media-machine eager to capitalize on the titillating allure of the taboo. In this sense, the role of Black male desire in Kim's fame is as much a product of our collective imagination/indignation as it is a reflection of any objective reality.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">We must also consider the ways in which Kim herself has played a role in shaping and <a href="https://www.huffpost.com/entry/swirl-love-hurl-love-why_b_467268" style="color:#0563c1; text-decoration:underline">perpetuating</a> this narrative. By aligning herself with Black men and adopting elements of Black culture, Kim has managed to tap into the cultural cache of Blackness, harnessing the power of Black male desire to <a href="https://www.huffpost.com/entry/swirl-love-hurl-love-why_b_467268" style="color:#0563c1; text-decoration:underline">bolster</a> her own appeal. This is perhaps most evident in the now-infamous aforementioned sex tape that catapulted her to stardom, a tape that featured her in intimate moments with her then-boyfriend, Black R&amp;B singer Ray J.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Through her carefully curated public image, Kim has managed to both capitalize on and transcend the fascination with her romantic life, using it as a springboard for her many business ventures and philanthropic endeavors. In doing so, she has demonstrated an uncanny ability to harness the power of desire and transform it into a force for her own empowerment. And thus her <a href="https://medium.com/@MyLovelySuqu/black-men-and-the-kardashians-a5aef790cc89" style="color:#0563c1; text-decoration:underline">engagement</a> with Black male desire became more nuanced and multifaceted. From her collaborations with Black musicians like Kanye West to her carefully curated social media presence, she has <a href="https://www.washingtonpost.com/posteverything/wp/2014/11/18/the-kardashians-arent-just-trashy-theyre-dangerous/" style="color:#0563c1; text-decoration:underline">consistently</a> sought to position herself within the orbit of the Black male gaze, using it as a powerful tool to further her own endeavors.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5kimk.jpg" style="height:338px; width:600px" typeof="foaf:Image" /></p> <p><em>(See image source below.)</em></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Within this framework, Kim's relationship with Black male desire looks like a complex dance. Sure, perhaps by aligning herself with Black men and adopting elements of Black culture, she challenges conventional notions of race and desire, pushing back against the rigid binaries that have long defined the American cultural landscape. But when she <a href="https://www.thecut.com/2022/02/really-kim-during-black-history-month.html" style="color:#0563c1; text-decoration:underline">uses</a> Black culture as another steppingstone to fame, without acknowledging the complex history and ongoing struggles of the people from whom she is borrowing, Kim K. perpetuates harmful stereotypes and reinforces systems of power and privilege. In doing so, she then risks transforming from cultural curator into a culture <a href="https://screenrant.com/kim-khloe-kylie-kardashians-exploit-black-culture-creatives/" style="color:#0563c1; text-decoration:underline">vulture</a> -- no matter how much she tells the world that she merely loves Black men. For surely, we have not forgotten that <a href="https://www.youtube.com/watch?v=9sQ9vQnbYhA" style="color:#0563c1; text-decoration:underline">interview</a> with George Lopez where Kim and Khloe said they wanted to take a DNA test to see which one of them was Blacker.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">So an important aspect to consider now is the role of agency in the dance between Kim Kardashian and Black culture. To what extent has Kim actively sought to capitalize on this cultural force, and to what extent has she been shaped by it? This question is particularly salient in light of the <a href="https://time.com/6072750/kardashians-blackfishing-appropriation/" style="color:#0563c1; text-decoration:underline">criticism</a> leveled against her for exploiting Black culture. And also because the tides of public opinion can be as unpredictable as a caffeinated toddler at a toy store and it has become clear that, as it is the case with every culture trend, Kim K.’s influence has begun to <a href="https://www.smh.com.au/culture/celebrity/since-2007-we-ve-been-living-in-the-kardashian-era-is-it-about-to-end-20230322-p5cu6g.html" style="color:#0563c1; text-decoration:underline">wane</a>. As the sun begins to set on her reign as pop culture's undisputed queen, Kim appears to be embarking on a new quest: to reframe her legacy in a way that distances her from her entanglements with Black culture, from her romantic liaisons with high-profile Black men to her penchant for adopting elements of Black style. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In recent years, however, and by using that same agency, Kim has begun to <a href="https://www.theroot.com/kim-kardashian-turns-her-back-on-her-only-true-talent-1849508111" style="color:#0563c1; text-decoration:underline">pivot</a> away from these associations, embarking on a journey of reinvention that appears to be aimed at leaving a different legacy in her wake.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">One of the most visible manifestations of this shift can be seen in her <a href="https://www.eonline.com/news/1337726/you-may-not-have-noticed-this-subtle-shift-on-kim-kardashians-instagram-page" style="color:#0563c1; text-decoration:underline">evolving</a> personal style. Gone are the days of cornrows, durags, and form-fitting bodysuits that seemed to pay homage to the aesthetics of Black femininity. Instead, Kim has embraced a more minimalist, high-fashion approach to her wardrobe, one that favors clean lines, monochromatic hues, and a touch of androgyny. This new look, some might argue, is a <a href="https://globalgrind.com/playlist/kardashian-white-bodies/item/1/" style="color:#0563c1; text-decoration:underline">strategic</a> attempt to distance herself from the accusations of appropriation that have dogged her in the past and to present herself as a more mainstream figure. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But Kim's <a href="https://vogue.sg/body-positivity-in-fashion/" style="color:#0563c1; text-decoration:underline">metamorphosis</a> is not limited to the superficial realm of fashion. In recent years, she has also made a concerted effort to rebrand herself as a champion of social justice, using her considerable platform to advocate for criminal justice <a href="https://www.nytimes.com/2020/04/02/arts/television/kim-kardashian-prison-reform.html" style="color:#0563c1; text-decoration:underline">reform</a> and prison abolition. This newfound passion for activism has been met with both <a href="https://www.nbcnews.com/think/opinion/kim-kardashian-s-prison-reform-efforts-reveal-potential-problems-celebrity-ncna1004571" style="color:#0563c1; text-decoration:underline">praise and skepticism</a>, with some lauding her commitment to change while others have questioned the <a href="https://jezebel.com/kim-kardashians-prison-reform-is-tied-to-a-corporate-sp-1835578644" style="color:#0563c1; text-decoration:underline">sincerity</a> of her motives. These critics argue that the Kardashians' charitable endeavors are often overshadowed by their more self-serving pursuits, and that their activism sometimes seems more like a calculated public-relations move than an honest commitment to social change. Is this a genuine attempt to atone for past transgressions and make a positive impact on the world, or a calculated move to reposition herself in the public eye?</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6kimk.jpg" style="height:338px; width:600px" typeof="foaf:Image" /></p> <p><em>(See image source below.)</em></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Regardless of the <a href="https://www.fridaythings.com/recent-posts/kim-kardashian-race-whiteness-new-look" style="color:#0563c1; text-decoration:underline">motivations</a> behind Kim's Great White Pivot (<a href="https://www.nytimes.com/2019/06/27/fashion/kim-kardashian-west-kimono-cultural-appropriation.html" style="color:#0563c1; text-decoration:underline">trademark</a> pending, possibly), it may be worth considering the broader context in which her reinvention is taking place. In a world that is increasingly conscious of issues surrounding race and representation, it's not surprising that Kim, like many other public figures, would seek to <a href="https://www.dazeddigital.com/life-culture/article/56562/1/from-kim-to-ghetto-hot-cheeto-girls-white-people-are-retiring-from-blackness" style="color:#0563c1; text-decoration:underline">distance</a> herself from her more problematic associations with Black culture. This desire to reframe her legacy may be driven, at least in part, by a recognition that her past actions are no longer tenable in the current cultural climate, and that a new approach is needed to maintain her relevance and respectability. Moreover, as her fame begins to wane, Kim may be looking to secure a lasting legacy that transcends the world of celebrity and positions her as a more serious, substantive figure. By embracing causes such as criminal justice reform, she may be hoping to carve out a new niche for herself as an advocate and influencer, one that will endure long after the spotlight has faded.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Yet, as we consider the many facets of Kim Kardashian's journey to <a href="https://www.vogue.com/article/kim-kardashian-cover-march-2022" style="color:#0563c1; text-decoration:underline">redefine</a> her legacy, we must also acknowledge the inherent complexities and contradictions that lie at the heart of her transformation. Kim must navigate the fine line between reinvention and erasure, between acknowledging her past and attempting to rewrite her own narrative. How can she forge a new identity that both respects and transcends her history, while simultaneously avoiding the pitfalls of revisionism and denial?</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I’m afraid that we, as it is often the case, also have work to do. We must grapple with the implications of her actions for the broader discourse surrounding race, representation, and celebrity. When the lines between appropriation and appreciation are often blurred, what can we learn from Kim's journey about the perils and possibilities of cultural exchange? Can her metamorphosis serve as a cautionary tale, a reminder of the importance of self-awareness, and the need for constant evolution in the pursuit of authenticity and growth? Further, we must confront the question of agency and responsibility in the world of celebrity. To what extent are Kim's actions driven by her own desires and beliefs, and to what extent are they the product of a media-machine that rewards controversy and spectacle over substance? As consumers of pop culture, we must acknowledge our own complicity in the <a href="https://slate.com/culture/2019/11/how-kim-kardashian-west-came-to-represent-america.html" style="color:#0563c1; text-decoration:underline">narratives</a> we consume and perpetuate, and strive to demand more from our entertainment idols.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But one thing remains certain: Kim Kardashian’s <a href="https://www.dazeddigital.com/fashion/article/58116/1/kim-kardashian-end-of-history-princess-diana-marilyn-monroe-mark-fisher" style="color:#0563c1; text-decoration:underline">legacy</a> will not be easily erased. Whether we admire her or admonish her, there is no denying that Kim K. has forever altered the landscape of popular culture, leaving an indelible impression that will continue to ripple through the <a href="https://www.aljazeera.com/economy/2021/3/18/love-them-or-hate-them-the-kardashians-changed-business-forever" style="color:#0563c1; text-decoration:underline">generations</a> to come. In the meantime, we watch with bated breath as Kim continues her journey through the treacherous terrain of fame, her every misstep a reminder of the precarious nature of celebrity and the power of controversy to both create and destroy. Like rubberneckers at the scene of a particularly captivating car crash, we remain transfixed by the spectacle of Kim Kardashian.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It’s at least clear that Kim’s story is as much a <a href="https://www.thedailybeast.com/the-dangerous-kardashian-effect-and-the-profound-impact-of-the-superficial" style="color:#0563c1; text-decoration:underline">reflection</a> of our own cultural anxieties as it is a tale of individual actions and consequences. She is both a product and a purveyor of the controversies that surround her, a living embodiment of the power dynamics and identity struggles that define our age. She is a harbinger of the future, a symbol of the ways in which fame and celebrity have been irrevocably altered by the digital revolution. She is a symbol of our collective fascination with wealth, beauty, and celebrity, as well as an admonition of the perils and pitfalls that accompany life in the spotlight.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Kim Kardashian's legacy, like a pair of perfectly highlighted cheekbones, is a study in contrasts, a testament to the complexities of fame, power, and representation in the age of social media. And as we continue to grapple with these issues, her story can hopefully serve as a cautionary tale: The power of scandal can both captivate and divide. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>This is an opinion piece by Angelo Franco. Franco is the chief features writer for </em>Highbrow Magazine.</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Image Sources:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Danilo Laurio (</em><a href="https://commons.wikimedia.org/wiki/File:Kim_Kardashian_Met_Gala_2017.jpg" style="color:#0563c1; text-decoration:underline"><em>Wikimedia.org</em></a><em>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Eva Rinaldi (</em><a href="https://www.flickr.com/photos/evarinaldiphotography/6307603257/in/photostream/" style="color:#0563c1; text-decoration:underline"><em>Flickr</em></a><em>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Rodrigo Ferrari (</em><a href="https://commons.wikimedia.org/wiki/File:Kanye_West_Lollapalooza_Chile_2011_1.jpg" style="color:#0563c1; text-decoration:underline"><em>Wikimedia.org</em></a><em>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Hotrock Pictures (</em><a href="https://en.wikipedia.org/wiki/File:Kardashians_Sears.png" style="color:#0563c1; text-decoration:underline"><em>Wikipedia.org</em></a><em>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Hayu (</em><a href="https://commons.wikimedia.org/wiki/File:Kim_Kardashian_2017.png" style="color:#0563c1; text-decoration:underline"><em>Wikimedia.org</em></a><em>, Creative Commons)</em></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/kardashians-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the kardashians</a></div><div class="field-item odd" rel="dc:subject"><a href="/kim-kardashians" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">kim kardashians</a></div><div class="field-item even" rel="dc:subject"><a href="/celebrities" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">celebrities</a></div><div class="field-item odd" rel="dc:subject"><a href="/black-culture" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">black culture</a></div><div class="field-item even" rel="dc:subject"><a href="/cultural-appropriation" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">cultural appropriation</a></div><div class="field-item odd" rel="dc:subject"><a href="/kanye-west" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">kanye west</a></div><div class="field-item even" rel="dc:subject"><a href="/tv-shows" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">tv shows</a></div><div class="field-item odd" rel="dc:subject"><a href="/keeping-kardashians" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">keeping up with the kardashians</a></div><div class="field-item even" rel="dc:subject"><a href="/fashion" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">fashion</a></div><div class="field-item odd" rel="dc:subject"><a href="/tv-stars" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">tv stars</a></div><div class="field-item even" rel="dc:subject"><a href="/jenner" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jenner</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Angelo Franco</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">See Image Sources listed below</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Tue, 18 Jul 2023 16:28:09 +0000 tara 11983 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/24055-reinvention-kim-kardashian#comments Jennifer Lopez and Spanish Linguistics in the Age of Black Lives Matter https://www.highbrowmagazine.com/17073-jennifer-lopez-and-spanish-linguistics-age-black-lives-matter <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/news-features" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">News &amp; Features</a></div></div></div><span class="submitted-by">Submitted by tara on Mon, 11/15/2021 - 14:35</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1jenniferlopez_ana_carolina_kley_vita-flickr.jpg?itok=7q_dkC-s"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1jenniferlopez_ana_carolina_kley_vita-flickr.jpg?itok=7q_dkC-s" width="480" height="270" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Just about a year ago, global superstar Jennifer Lopez released two songs in tangent featuring Colombian singer Maluma. The songs, collectively referred to as <em>Pa’ Ti + Lonely</em>, are part of the soundtrack for the two celebs’ upcoming film <em>Marry Me</em>, due for release next year. The song <em>Lonely</em> contains a line that Lopez dialogues in Spanish: <em>Yo siempre seré tu negrita del Bronx</em>. It created a bit of firestorm in an already stuffy and heated racial climate, fueled by the conversations around racial justice, immigration, and identity that were already taking center stage. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">For good reasons, too. The criticism against the lyrics were <a href="https://belatina.com/jlo-maluma-negrita-controversy-translation/" style="color:#0563c1; text-decoration:underline">valid</a> in many ways; and I say in many ways because some of it was, of course, just hateful for the sake of getting to tweet about it. It all centers on the perceived meaning of the word <em>negrita</em> within this context, “perceived” being the key word. Literally, the word translates as “little Black girl.” In other words, in a literal translation, what Lopez sings is: “I will always be your little Black girl from the Bronx.” The initial <a href="https://wearemitu.com/wearemitu/entertainment/jennifer-lopez-racist-lyrics/" style="color:#0563c1; text-decoration:underline">backlash</a> was swift for obvious reasons. It’s worth mentioning that it seems that those who first began calling Lopez out were other Latine people from the United States, who with even the most basic knowledge of Spanish, were able to quickly translate into English what the singer said. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But many also immediately came to Lopez’s defense, explaining that the word <em>negrita</em> doesn’t actually mean “little Black girl” in Spanish, but rather it is a word of endearment that would more accurately be translated as “honey” or “sweetheart.” Now, this is factually <a href="https://metro.co.uk/2020/10/19/jennifer-lopez-fans-debunk-confusion-over-little-black-girl-lyrics-new-song-lonely-13446637/" style="color:#0563c1; text-decoration:underline">true</a>. There were some who mentioned that <em>negrita </em>is a term of endearment for any light-skinned Black girls. But at least in Puerto Rico (where Lopez has roots) and in South America (where Maluma is from), the word <em>negrita</em> is a term of endearment used arbitrarily for any and every girl. The palest, blue-eyed blonde would be called <em>negrita</em> because within this cultural context, it just means “honey.” </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1joearroyo.jpg" style="height:500px; width:500px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But the root of the word <em>negrita</em> by its own merit is <a href="https://www.sandiegouniontribune.com/columnists/story/2020-11-01/latina-professors-discuss-use-of-negrito-negrita-in-latin-culture-after-j-lo-controversy" style="color:#0563c1; text-decoration:underline">racialized</a>, and that’s also factually true. While contextually the word may be a term of endearment in modern use, its origin is still one mired in racist history, colonialism, and colorism; especially because the tone, social standing, and cultural context all play an important facet in how the word is perceived. And this truth is what sparked the biggest conversation around Latinidad, the anti-Black racism that is still prevalent in Latin America, and even who gets to “claim” Latinidad within the American framework. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Latinidad can be loosely translated as “Latin-ness.” It’s a term that’s been around since the mid-1980s as a way to speak about Latine <a href="http://latinxexperiences.leadr.msu.edu/latinidad-the-similarities-and-differences-in-latino-communities/" style="color:#0563c1; text-decoration:underline">communities</a> specifically outside of Latin America, especially within the U.S. It’s an umbrella term of sorts, meant to facilitate the conversation about Latine peoples, culture, language, belief systems, etc. as they are practiced in the U.S. But as any umbrella term, it has its limitation. Because Latinidad is generally viewed within its American context, it’s oftentimes <a href="https://www.thenation.com/article/archive/hispanic-heritage-month-latinidad/" style="color:#0563c1; text-decoration:underline">exclusionary</a> because of the limited outlook that America itself has of Latine people. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In other words, because Latinidad seeks to create a unified Latine experience in the U.S, it undoubtedly ends up painting a monolithic view of what it’s <em>supposed </em>to be like being Latine in America. It inevitable gets corrupted to fit the American narrative; in fact, more modern uses of the word <a href="https://penntoday.upenn.edu/news/la-casa-latina-krista-cortes" style="color:#0563c1; text-decoration:underline">opt</a> for <em>Latinidades</em> to try to cover the plurality of Latine peoples. And to be sure, there are myriad commonalities and shared experiences in being Latine in the US; but because Latinidad is framed within the American experiment, it brings with it the racial connotations that are inescapable in the U.S. along with Latin America’s own ugly racial history. And so Latinidad comes to mean that you’re a hard worker, you have an immigrant story, you have strong family values, your Spanglish is smooth and fluid, you call your mother every Saturday and go to church on Sundays, and you have that idolized Latine look of Ricky Martin or of, yes, Jennifer Lopez.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1christinaaguilera.jpg" style="height:500px; width:399px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">That’s why it’s important to talk about Latinidad when we talk about Lopez’s <em>negrita</em> affair and the intersections of discrimination against minority groups. Because, for once and for better or worse, Lopez does have that romanticized Latine woman look – the straight long auburn hair, the always perfectly-sun-kissed skin tone that’s not too light but definitely not too dark either. We do have to tread carefully and be fair here, because the point is that there isn’t a “perfect” Latine look, and that Lopez embodies what we epitomize as the model Latine face and body speaks more to our culture and society at large than anything else. But because nothing exists in a vacuum, this is irrevocably part of the issue, or at least it informs some of the backlash that the lyrics generated. Lopez has never identified as Black, using this term so blatantly caused some anger, be it for the apparent clout to use an identity that was “in vogue” or because of Lopez’s historied <a href="https://www.washingtonpost.com/archive/lifestyle/2001/07/14/protesters-see-no-affection-in-jlos-use-of-racial-epithet/2b9832d0-6275-4cb6-b1b2-6bb990f2745b/" style="color:#0563c1; text-decoration:underline">misuse</a> of Black culture. And while the meaning of the word <em>negrita</em> within this cultural context is relevant, it too is relevant to the actual roots and real definition of the word. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Slavery and racism in Latin America has a long <a href="https://www.realhistories.org.uk/articles/archive/slavery-in-latin-america.html" style="color:#0563c1; text-decoration:underline">history</a>, and its remnants are still everywhere and very visible, just as they are here in the U.S. It’s no secret that anti-blackness and anti-indigenous racism still <a href="https://abc7chicago.com/latino-racism-latinx-community-colorism-hispanic/11112685/" style="color:#0563c1; text-decoration:underline">exists</a> in Latin America and within the Hispanic populations at large, hard as we may try to sweep it all under the rug of brownish skin tones. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">So the word <em>negrita</em> will always inevitably retain some of its original racial connotations because we just don’t live in a post-racial world, and the semantics do matter. There is even a curious parallel here because just as some English words that were once slurs have been retaken and rightly appropriated by the Black community, so has the word <em>negro/a </em>taken different nuances in Spanish. At its core, the word <em>negro/a</em> means “Black” and it is an adjective that identifies a race, just as it is in English. But in Spanish, the word is also a noun. Historically, the noun form has been used as a pejorative, used to demean and dehumanize. And while that remains true, the noun has been slowly but surely taken back and repurposed.  </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1blacklivesmatter_anthony_quintano-flickr_2.jpg" style="height:401px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Just go to any Latine house party and Joe Arroyo’s <em>La Rebelión </em>will undoubtedly be played – a salsa by a Black Colombia <a href="https://variety.com/2021/film/global/joe-arroyo-salsa-biopic-rebellion-wraps-colombias-chocquibtown-does-cover-on-titular-song-exclusive-1235017042/" style="color:#0563c1; text-decoration:underline">singer</a> that tells the story set in Cartagena sometime in the 17<sup>th</sup> century of a Black couple enslaved to a Spaniard who beats her. The song is truly ubiquitous in any Latine household whenever some dancing is involved, and Black Latine have since claimed it as an anthem of Black pride and identify, because this salsa is basically a draft of <em>Django Unchained </em>in song form (in case it wasn’t apparent, the title of the song translates to “The Rebellion). Same story with <a href="https://www.bustle.com/p/celia-cruzs-la-negra-tiene-tumbao-taught-me-how-to-accept-my-latinx-side-12193558" style="color:#0563c1; text-decoration:underline">iconic</a> Cuban singer Celia Cruz’s <em>La Negra Tiene Tumbao</em>, which would loosely translate to “the black woman has swag.” </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">As exemplified by the above, the ever-shifting nature of language is also an integral part of this matter. As Spanish-speaking immigrants, our language is one of the purest vestiges of our culture that we get to keep (when it’s not being <a href="https://www.wbur.org/cognoscenti/2019/03/04/spanish-hate-crime-oscars-roberto-rey-agudo" style="color:#0563c1; text-decoration:underline">policed</a>). So I must admit that when I first heard of this issue, my initial knee-jerk reaction was to say, “But that’s not what it means! Y’all must be English-speaking Latine because you obviously don’t know Spanish that well!” And immediately after that, I thought, “Wait… so are they not “allowed” to call it out? Are they Latine <em>enough </em>or is that not even a thing?” </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It’s not a thing. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But it’s worth mentioning because Lopez’s own Latinidad has been <a href="https://www.inquisitr.com/1235749/jennifer-lopez-latino-culture/" style="color:#0563c1; text-decoration:underline">questioned</a> before – as far back as when she played beloved late singer Selena. Lopez has been widely criticized for not speaking Spanish well enough. She may be Puerto Rican and claims those <a href="https://www.nic.lat/jennifer-lopez-proud-latina-in-hollywood/" style="color:#0563c1; text-decoration:underline">roots</a> proudly, but she was born in New York after all, so her first language is English. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2jenniferlopez_dvsross-wikimedia.jpg" style="height:453px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">To what extent, then, can she claim the language and specially to use it within the deep cultural context in which the word <em>negrita </em>lives? I don’t know that there’s a specific barometer here or even if there should be one. Likewise, Christina Aguilera has not actively distanced herself from her Latine roots, but that didn’t stop the criticism when she released a best-selling Spanish album even though she infamously doesn’t speak the language; she even <a href="https://www.huffpost.com/entry/christina-aguilera-_n_1258067" style="color:#0563c1; text-decoration:underline">acknowledged</a> that it may not sit well with some people. Aguilera recently returned to <a href="https://www.youtube.com/watch?v=-5l4Xx5eCcs" style="color:#0563c1; text-decoration:underline">singing</a> in Spanish, releasing a feminist-themed guaracha (a Cuban genre of music popular and beloved throughout the Caribbean) where she does sing with a marked accent. That Aguilera is a blue-eyed blonde doesn’t mean she doesn’t get to claim her Latinidad—even her last name is a dead giveaway. And for the record, iconic Mexican-American singer Selena didn’t speak Spanish very well <a href="https://www.thewrap.com/selena-the-series-learn-spanish-phonetically-sing-tejano-songs/" style="color:#0563c1; text-decoration:underline">either</a>.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">So even if Lopez’s lyrics were not meant to be offensive within the culture of Spanish speakers, it was at least tone deaf. In the music video, she even delivers the line while she’s behind bars in a prison. In the end, it should all be about how we can better protect or unite with the most vulnerable. And it is important to maintain our cultural heritage, especially those that are so ingrained in us and prevailing like our language. But language evolves, as it should. We just have to evolve with it and either do away with some terms or be more mindful of the power that they still yield. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Angelo Franco is</em> Highbrow Magazine’s <em>chief features writer.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Image Sources:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Ana Carolina Kley Vita (<a href="https://www.flickr.com/photos/anakley/7444383848" style="color:#0563c1; text-decoration:underline">Flickr</a>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Rafael Amado Deras (<a href="https://commons.wikimedia.org/wiki/File:Christina_Aguilera_(2006).jpg" style="color:#0563c1; text-decoration:underline">Wikimedia</a>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--DVSRoss (<a href="https://commons.wikimedia.org/wiki/File:GLAAD_2014_-_Jennifer_Lopez_-_Casper-37_(cropped).jpg" style="color:#0563c1; text-decoration:underline">Wikimedia</a>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>----Anthony Quintano</em><em> (<a href="https://www.flickr.com/photos/quintanomedia/49984521671" style="color:#0563c1; text-decoration:underline"><em>Flickr</em></a>, Creative Commons)</em></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/jennifer-lopez" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jennifer lopez</a></div><div class="field-item odd" rel="dc:subject"><a href="/maluma" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">maluma</a></div><div class="field-item even" rel="dc:subject"><a href="/lonely" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">lonely</a></div><div class="field-item odd" rel="dc:subject"><a href="/music" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Music</a></div><div class="field-item even" rel="dc:subject"><a href="/negrita" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">negrita</a></div><div class="field-item odd" rel="dc:subject"><a href="/spanish-language" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">spanish language</a></div><div class="field-item even" rel="dc:subject"><a href="/black-lives-matter" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">black lives matter</a></div><div class="field-item odd" rel="dc:subject"><a href="/cultural-appropriation" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">cultural appropriation</a></div><div class="field-item even" rel="dc:subject"><a href="/christina-aguilera" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">christina aguilera</a></div><div class="field-item odd" rel="dc:subject"><a href="/hispanics" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Hispanics</a></div><div class="field-item even" rel="dc:subject"><a href="/racism" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">racism</a></div><div class="field-item odd" rel="dc:subject"><a href="/political-correctness" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">political correctness</a></div><div class="field-item even" rel="dc:subject"><a href="/woke-culture" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">woke culture</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Angelo Franco</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Mon, 15 Nov 2021 19:35:02 +0000 tara 10746 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/17073-jennifer-lopez-and-spanish-linguistics-age-black-lives-matter#comments Should Non-Diverse Authors Write Diverse Stories? https://www.highbrowmagazine.com/12534-should-non-diverse-authors-write-diverse-stories <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/books-fiction" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Books &amp; Fiction</a></div></div></div><span class="submitted-by">Submitted by tara on Tue, 09/07/2021 - 11:00</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/3books_phlip_edmondson-flickr.jpg?itok=065wD_IH"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/3books_phlip_edmondson-flickr.jpg?itok=065wD_IH" width="480" height="366" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In early 2017, several weeks before its scheduled publication, Book Twitter <a href="https://www.sevendaysvt.com/vermont/vermont-fantasy-novel-the-black-witch-sparks-internet-fury/Content?oid=5298299" style="color:#0563c1; text-decoration:underline">erupted</a> in drama over Laurie Forest’s upcoming debut novel <em>The Black Witch</em>. The book centers around Elloren, the heir to a famous magical family who is devoid of magical powers herself in a world that prizes magic. Some fantasy beings (stand-ins for real-world minorities) are the target of discrimination, and Elloren begins to discover that the prejudices she holds against them are the result of long-ingrained sentiments against other cultures, and the book takes her on a journey of self-reflection as she learns to purge her prejudices when she finds herself among the beings she was taught to hate. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But some people who had received advanced reader copies <a href="https://www.vulture.com/2017/08/the-toxic-drama-of-ya-twitter.html" style="color:#0563c1; text-decoration:underline">condemned</a> the book as bigoted and full of dangerous ideas, and the YA Twitter community soon repudiated the book as racist before most people could even get their hands on it. They denounced all the racial theme surrounding the plot and the fact that Forest, a white woman, had taken on the helm of writing a book about racism with myriad diverse characters. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The question of whether white authors should be writing non-white characters or stories about diverse characters is not new. But in the time of hashtags like #ownvoices and #writingmylatinonovel (the latter is a trip of laugh-out-loud proportions) and when readers can directly connect to publishers through several platforms and form parasocial relationships with creators, the topic of who can or should write what is loud and shrill. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The #writingmylatinonovel <a href="https://belatina.com/writing-my-latino-novel-american-dirt-appropriation/" style="color:#0563c1; text-decoration:underline">trend</a> was a direct response to the now infamous <em>American Dirt</em> novel by Jeanine Cummins. It sought to satirize the way in which a white author took a Latin story, well-intentioned as it may have been, and ended up repackaging it in a colorblind box for mass consumption using stereotypes and eyeroll-inducing plot points as an immigrant woman made her way to cross the Mexico-U.S. border. For example, readers called out the stereotypical random use of Spanish that many could have considered as just lazy: “We fled through the night, or /la notche/ as Mami calls it,” read a tweet poking fun at the use of Spanish in the book. And many suggested that we should maybe leave a story about an immigrant crossing the border to be told by an immigrant who actually knew what that experience was like in their Own Voice. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">You may have seen “#ownvoices” tagged at the end of a book blurb on Goodreads, or as a hashtag on some social platforms in an influencer’s review of a book. More often than not, people <a href="https://deenaadams.com/should-white-authors-write-diverse-characters/" style="color:#0563c1; text-decoration:underline">confuse</a> Own Voices with “write what you know” with a dollop of racial identity, but that’s far from correct. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4books.jpg" style="height:600px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The term—or rather, the hashtag—was <a href="https://www.publishersweekly.com/pw/by-topic/childrens/childrens-authors/article/84336-q-a-with-corinne-duyvis.html" style="color:#0563c1; text-decoration:underline">coined</a> in 2015 by author Corinne Duyvis as a quick way for her to recommend books that were written by authors who shared the same diverse identity as their protagonists. In other words, if you were looking for recommendations for a book about and written by, say, an Asian woman, #ownvoices was a quick way to tag that book in a tweet. So, in a way, it’s maybe easy to misunderstand Own Voices as a limiting dictate that if you are not a bisexual Black man from the South, then you absolutely cannot write a character in your book who is a bisexual Black man from the South. Or (worse), if you’re not a woman, then you cannot write a woman protagonist. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">That is shortsighted, to say the least, and a sure way to let cis white men continue to write about cis white men in a never-ending repackaging of some Updike theme or a Bukowski female. Instead, Own Voices is a way to <a href="https://cherwell.org/2021/05/11/the-ownvoices-movement-whose-voices-are-being-heard/" style="color:#0563c1; text-decoration:underline">consciously</a> produce and consume stories about underrepresented characters written by openly underrepresented authors. After all, anyone can still write about anything and anyone they want; and they do, oftentimes to great success and other times less so (<em>The He</em>lp and <em>American Dirt</em> are some examples, respectively). But Own Voices helps readers navigate a market saturated by white authors writing about white people and to more easily find a story in the cannon of diversity. The term Own Voices has since become a catchall phrase of sorts and an integral tool for the publishing industry, being used from manuscript queries and submissions to marketing. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But while the term Own Voices may be fairly new, its theme and application have been around from a while. For myself, for instance, I remember having a college prep course in high school that focused on fiction written by authors of color (I’m a Latin immigrant who grew up in Central Pennsylvania, for some context), and this was pretty much the only source I had on these works up to that point at a time when the internet was still dropping calls on the house phone and libraries did not have aisles dedicated to diverse YA or LGBT+ books. And still the concept of Own Voices goes way back. <em>Kitchen Table: Women of Color Press</em> was <a href="https://aldianews.com/articles/culture/literature/how-kitchen-table-press-became-voice-feminist-and-lesbian-writers-color" style="color:#0563c1; text-decoration:underline">founded</a> in 1980 with the express goal of having a publisher run by and for women of color, with Audre Lorde being one of its most prolific and best-known contributors. Jacqueline Woodson was already <a href="https://www.hbook.com/?detailStory=who-can-tell-my-story" style="color:#0563c1; text-decoration:underline">talking</a> about this back in 1998, and about her constant struggle of having to explain her frustration at seeing so few authors of color writing characters of color or, worse in her mind, so many white authors writing characters of color leaving little room for non-white authors to participate. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">That, I believe, is the crux of Own Voices and what may be the fault line in the conversation of non-diverse authors writing diverse characters. Let’s take <em>Simon vs. the Homo Sapiens Agenda</em>, for example. The book is fine, I guess (it contains a trope often found in queer literature that I personally dislike, so I may be biased). And the movie was really <a href="https://www.highsnobiety.com/p/love-simon-movie-important/" style="color:#0563c1; text-decoration:underline">wonderful</a> for several amazing <a href="https://www.newsrecord.org/arts_and_entertainment/love-simon-is-revolutionary-worth-every-penny/article_6b41406a-2d0a-11e8-a93e-676b782ee172.html" style="color:#0563c1; text-decoration:underline">reasons</a>. But that the first gay teen romance movie produced by a major film studio was based on a book written by Becky Albertalli, a cis white woman, may have rubbed some the <a href="https://www.buzzfeednews.com/article/jsherman/love-simon-and-queer-eye" style="color:#0563c1; text-decoration:underline">wrong</a> <a href="https://www.thepostathens.com/article/2021/01/lgbt-films-casting-straight-actors" style="color:#0563c1; text-decoration:underline">way</a>. Especially after indie movies like <em>Moonlight</em>, written and based on a play by a gay Black man, had just been out there winning award after award. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">And when there are so many wonderful contemporaries to Albertalli that have written gems of YA queer fiction, like Adam Silvera. Or scores of veteran YA gay authors like David Levithan, Malinda Lo, and Shaun David Hutchinson with prolific careers writing queer fiction. It’s worth noting here that five years after her book publication and two years after the movie, Albertalli came out as bisexual. She apparently had recently come to that realization herself, and of course there is no timeline as to when someone should come out, or at all. And it’s wonderful that Albertalli has come to a place where she can live her truth, although some believe she may have been <a href="https://www.pinknews.co.uk/2020/09/01/love-simon-author-coming-out-bisexual-becky-albertalli-leah-offbeat-straight-criticism/" style="color:#0563c1; text-decoration:underline">forced</a> to come out exactly because of the criticism she received for writing queer stories. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2books.jpg" style="height:448px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But this is why it’s crucial to understand the emergence and existence of a movement like Own Voices: It is here so that readers who want to can consciously patronize authors who openly identify with their characters they write, who can write their character’s struggles truthfully and, perhaps most important of all, who are able to more sensibly connect the reader with their character’s experience by means of their own. By this measure, does <em>Simon</em> count as an Own Voices book now?</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Which takes us back to how non-diverse authors should be writing diversity or if they should be writing them at all. The two schools of thought on this seem to be predictably in direct <a href="https://curiosityneverkilledthewriter.com/yes-you-should-be-afraid-to-write-diverse-characters-4a6c482a7379" style="color:#0563c1; text-decoration:underline">opposition</a> with each other, as only a nuanced topic like this can be in the age of Twitter. If you are an author of any race or identity, then you must write as many possible racial and gender identities within your book without an iota of margin for error for anything that may be misconstrued within the experience of living that identity, and if you don’t, then you’re a bigot. Of if you’re a not a diverse author, then you have absolutely no reason to be writing any sort of gender or racial diversity to exploit and benefit from the appropriation of those experiences that you have no possible way of coming within an iota of understanding, and if you do, then you’re a bigot. Alas there is, of course, some truth to both of these extremes. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">To the surprise of no one, the publishing industry remains <a href="https://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/82284-new-lee-and-low-survey-shows-no-progress-on-diversity-in-publishing.html" style="color:#0563c1; text-decoration:underline">astonishingly</a> white at all levels. Not only are there huge disparities in published books written by underrepresented authors, but the rooms where decisions are made also remain starkly non-diverse. So it’s understandable that calls to write stories as diverse as possible are loud and unyielding. This is especially true when it comes to works of fiction that take place in very real, very diverse locations, or in imagined fantastical settings. In both instances, a homogenous group of characters who all look the same can definitely feel like a <em>choice</em> the author made. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Take V. E. Schwab’s bestselling <em>The Invisible Life of Addie LaRue</em>. Touted as a genre-defying tour de force, the book is a blend of romance, adventure, and magical realism that centers around Addie LaRue—an immortal of sorts—as she travels the world across continents and through centuries, addled by the curse that no one remembers her; she is forever forgotten by time and humanity. This plot is significant here because, in a story that supposedly takes place across the globe and through history, Addie never actually goes anywhere outside of Western Europe or America. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This was readers’ <a href="https://gossamerpages.com/2021/03/04/my-thoughts-on-addie-larue/" style="color:#0563c1; text-decoration:underline">biggest</a> <a href="http://culture.affinitymagazine.us/why-i-didnt-like-the-invisible-life-of-addie-larue-by-v-e-schwab/" style="color:#0563c1; text-decoration:underline">criticism</a> <a href="https://readatmidnight.com/2020/10/22/audiobook-review-the-invisible-life-of-addie-larue/comment-page-1/" style="color:#0563c1; text-decoration:underline">of</a> <a href="https://literaryleisha.wordpress.com/2021/02/05/book-review-the-invisible-life-of-addie-larue-by-v-e-schwab/" style="color:#0563c1; text-decoration:underline">the</a> <a href="https://lifeofcloud.net/2020/11/28/the-invisible-life-of-addie-larue-by-v-e-schwab-review/" style="color:#0563c1; text-decoration:underline">book</a>, that in a work of fiction that promises adventure through the history of the modern world over almost 450 pages, Addie has a conversation with exactly one Black person. (It may bear to note here that, as is the case with most if not all of Schwab’s books, all characters are queer to some degree; even if not explicitly noted, the reader is simply to assume so). That we are taken through a journey of Western art history—apparently inspired by the immortal Addie LaRue, bien sûr—and even get to meet Beethoven in person, and that there is only one person of color that Addie speaks to definitely feels like a <em>choice</em>. And perhaps it was. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5books.jpg" style="height:400px; width:276px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Enter Own Voices. Some critics <a href="https://www.refinery29.com/en-us/2019/04/228847/own-voices-movement-ya-literature-impact" style="color:#0563c1; text-decoration:underline">argue</a> that there are clear <a href="https://diversebooks.org/why-we-need-diverse-books-is-no-longer-using-the-term-ownvoices/#:~:text=%23OwnVoices%20was%20created%20as%20a,identity%20of%20their%20main%20characters." style="color:#0563c1; text-decoration:underline">downsides</a> to a movement like Own Voices. For example, authors must also now sell their persona along with their work in order to get published; and while this isn’t novel per sé, it’s not just their charisma or cynical genius writers must now sell, but possibly their gender identity or sexuality or family history as well. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It may also, whether intentionally or not, give an out to authors and creators to include non-white characters. It’s possible that’s what was happening with Addie LaRue. In trying to stay true to #ownvoices, and perhaps even motivated by the fear of backlash [that was almost certainly inevitable] when writing a person of color, Schwab—who is white—took a rather extreme route of excluding any non-white characters from the story. But extreme or not, this strategy is nothing new. In fact, it’s quite common. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Acclaimed novelist Jonathan Franzen has pretty much <a href="http://www.slate.com/articles/arts/interrogation/2016/07/a_conversation_with_novelist_jonathan_franzen.html" style="color:#0563c1; text-decoration:underline">said</a> this is the case for him. And let us not forget when Lena Dunham <a href="https://www.dazeddigital.com/artsandculture/article/33266/1/lena-dunham-discusses-the-lack-of-diversity-on-girls" style="color:#0563c1; text-decoration:underline">implied</a> that the reason there were no major characters of color in a TV show that took place in New York City, factually one of the most diverse places on earth, is because she just wouldn’t know how to write them correctly, and so instead she eventually gave herself a Black <a href="https://www.theatlantic.com/entertainment/archive/2013/01/im-a-white-girl-why-girls-wont-ever-overcome-its-racial-problem/267345/" style="color:#0563c1; text-decoration:underline">boyfriend</a>. Ditto <em>Sex and City</em>. And <em>Friends</em>. And the majority of fantasy books because <em>genre</em> and <em>dark ages</em> aesthetics, I guess, never mind that there may be fire-breathing dragons roaming the streets: Beloved fantasy author Ursula K. Le Guin has <a href="https://slate.com/culture/2004/12/ursula-k-le-guin-on-the-tv-earthsea.html" style="color:#0563c1; text-decoration:underline">lambasted</a> pretty much every industry that has come across her<em> </em><em>Earthse</em>a series for whitewashing the main characters, even though the author has nothing but insisted that they are not white. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">On the other hand and considering that white authors and white stories are still more prevalent in the industry, it’s sobering when readers demand stories about diverse characters written by diverse authors, and not just another story with the token diverse minor character.  </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Take Naomi Novik’s latest fantasy novel <em>A Deadly Education</em>. Here, Novik writes about a school of magic that is as diverse as the most colorful Queens neighborhood. Her protagonist is a half-white half-Indian girl who was raised by her hippie white mother in England, and so she does not know much about and is not very connected to her Indian culture. There are elaborate plots happening all over the book, but suffice it to say that one plot detail is that the students in this school of magic don’t shower very often because it is dangerous to do so. This, as well as the protagonist lacking some of her Indian culture, caught some <a href="https://www.themarysue.com/racism-vs-representation-the-missteps-of-naomi-noviks-a-deadly-education/" style="color:#0563c1; text-decoration:underline">backlash</a> (there is also another passage in the book about dreadlocked hair that Novik was criticized for and for which she, rightly so, has apologized). </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1writer_drew_coffin-flickr.jpg" style="height:401px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Critics argued that Novik—who is white—is perpetuating stereotypes about Indians being unhygienic because no one in the school showers often, on top of the fact that she made her protagonist half-Indian but denied her an Indian identity; while others <a href="https://bookriot.com/racism-in-naomi-noviks-a-deadly-education/" style="color:#0563c1; text-decoration:underline">contend</a> that it’s amazing to see a fantasy book that it’s so diverse, and the fact that the protagonist may appear unhygienic should speak more to the fact that she was raised by a white hippie mother than to her being half-Indian anyway. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Enter Own Voices, again. Personal experiences when it comes to our identities are so complex that it makes sense if we want to read a story about that experience from someone who understands. That’s not to say that these things are impossibly out of reach for anyone who has not experienced them, but a reader may want a more tangible connection between them and what’s on the page or, at the very least, trust that what we’re reading is not just trying to deceive us with faux realism. A reader, for example, may not want to pick up a book about a trans character that focuses on their transition if it wasn’t written by a trans author. The lack of depth of knowledge of such personal experience there may ring hollow, well researched as it may be. And because of these deeply personal connections that readers, especially diverse readers, may have to the experiences that come with simply existing as they are, they may feel slighted when white authors decide to write diverse characters - and not to their liking. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But of course, everyone’s experience is different and no one culture is a monolith, just as not one person from a subculture can speak for the whole of that group. And so I’m sorry to say that I don’t believe there’s a right or wrong answer here. Writing is already hard, and having to navigate the complexities of identity in a world that is more vocal than ever about representation undoubtedly adds to that difficulty. Is it an easy way out to never write a character who doesn’t share you background or identity because you’d be sure to get it wrong regardless of how much you research and how well-intentioned you are? Yeah, probably. Is it unfair to receive backlash for attempting to do well by a diverse world who can tear apart every single bit of misrepresented identity no matter how minor? Who’s to say. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Because a writer can follow the old adage to just write characters as people and all will be swell. But whom H. P. Lovecraft <a href="https://www.theatlantic.com/entertainment/archive/2015/08/hp-lovecraft-125/401471/" style="color:#0563c1; text-decoration:underline">considered</a> people and whom Octavia Butler considered people differed, and therein lies the problem. To simply write a female character as a person who just so happens to be female without any of the experiences that come from being female denies the identity of womanhood in a world that both demonizes and craves for it. (Plus, the thought of Lovecraft writing a Black hero is <a href="https://www.vox.com/culture/21363945/hp-lovecraft-racism-examples-explained-what-is-lovecraftian-weird-fiction" style="color:#0563c1; text-decoration:underline">laughable</a>, old adage at play or not). </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6books.jpg" style="height:507px; width:338px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It may help to not think of it in terms of who is “allowed” to write what. Sure, there may be some stories that are just not for some people to tell. But if we stay in the extremes of “if you don’t write diversity, then you’re a bigot” and “if you are white, don’t write diversity or you’re a bigot,” then we risk falling into the <a href="https://www.newyorker.com/books/under-review/in-ya-where-is-the-line-between-criticism-and-cancel-culture" style="color:#0563c1; text-decoration:underline">gatekeeping</a> and limitations of the likes of YA Twitter, which is a whole other conversation on its own; with seemingly unbendable rules that no one knows how to actually navigate or who is making the rules in the first place or even why at all (see the <a href="https://slate.com/culture/2019/03/ya-book-scandal-kosoko-jackson-a-place-for-wolves-explained.html" style="color:#0563c1; text-decoration:underline">mesmerizing</a> saga of Kosovo Jackson’s <em>A Place for Wolves</em> and his self-canceling). </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I like to think that most writers write in good faith, and hope that continues to be the case when writing fiction. Because the truth is that no one diverse experience is universal and no one identity is monolithic. Mistakes will almost certainly be made, and taking criticism (the good, the bad, and the totally unnecessary), is always part of the job anyway. But it’s important for a writer to stand by their work, or otherwise admit their mistakes, in good faith if they have the wherewithal to show their actions, processes, and evidence to try to prove that they, at the very least, sincerely tried their best and stand by it (see the <a href="https://slate.com/culture/2019/01/blood-heir-ya-book-twitter-controversy.html" style="color:#0563c1; text-decoration:underline">captivating</a> saga of Amélie Wen Zhao’s <em>Blood Heir</em> and her self-canceling and subsequent self-un-canceling). </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Laurie Forest’s <em>The Black Witch</em> was eventually published to generally favorable reviews and readers seemed to like it just fine. In fact, some of the most critical reviews focused on how the book’s message of anti-racism was oftentimes too on the nose instead of weaved into the story in a more nuanced way. As it seems that Forest wrote the book in good faith and its message was a good one actually. Perhaps what we as readers can do is just take everyone else’s opinions in strides. Take reviews with a grain of salt, and then decide on our own whether a book merits a place in our bookshelves, in our community book exchange program, or in the recycling bin. To read and consume consciously, patronizing the authors who gave us the stories that stirred our emotions, and then to tell everyone else about them until the industry finally gets the message.   </span></span></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/7books_piqsels.jpg" style="height:400px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Angelo Franco is</em> Highbrow Magazine’s <em>chief features writer.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Image Sources:                  </strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Philip Edmondson (</em><a href="https://www.flickr.com/photos/53253461@N00/2551160009" style="color:#0563c1; text-decoration:underline"><em>Flickr</em></a><em>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Painting, “The Reading,” by Vittorio Reggianini</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Drew Coffman (</em><a href="https://www.flickr.com/photos/39898825@N02/4815205632" style="color:#0563c1; text-decoration:underline"><em>Flickr</em></a><em>, Creative Commons)</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--</em><a href="https://www.piqsels.com/en/public-domain-photo-oyqzn" style="color:#0563c1; text-decoration:underline"><em>Piqsels</em></a><em> (Creative Commons)</em></span></span></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/ownvoices" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">ownvoices</a></div><div class="field-item odd" rel="dc:subject"><a href="/own-voices" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">own voices</a></div><div class="field-item even" rel="dc:subject"><a href="/diversity-literature" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">diversity in literature</a></div><div class="field-item odd" rel="dc:subject"><a href="/diverse-authors" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">diverse authors</a></div><div class="field-item even" rel="dc:subject"><a href="/writing-about-race" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">writing about race</a></div><div class="field-item odd" rel="dc:subject"><a href="/fiction" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">fiction</a></div><div class="field-item even" rel="dc:subject"><a href="/minority-authors" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">minority authors</a></div><div class="field-item odd" rel="dc:subject"><a href="/criticism" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">criticism</a></div><div class="field-item even" rel="dc:subject"><a href="/laurie-forest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">laurie forest</a></div><div class="field-item odd" rel="dc:subject"><a href="/black-witch" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the black witch</a></div><div class="field-item even" rel="dc:subject"><a href="/naomi-novik" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">naomi novik</a></div><div class="field-item odd" rel="dc:subject"><a href="/becky-albertalli" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">becky albertalli</a></div><div class="field-item even" rel="dc:subject"><a href="/books-about-minorities" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">books about minorities</a></div><div class="field-item odd" rel="dc:subject"><a href="/american-dirt" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">american dirt</a></div><div class="field-item even" rel="dc:subject"><a href="/cultural-appropriation" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">cultural appropriation</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Angelo Franco</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Tue, 07 Sep 2021 15:00:03 +0000 tara 10615 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/12534-should-non-diverse-authors-write-diverse-stories#comments Mired in Controversy, ‘American Dirt’ Is a Gripping Story of a Family’s Perilous Journey https://www.highbrowmagazine.com/10766-mired-controversy-american-dirt-gripping-story-family-s-perilous-journey <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/books-fiction" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Books &amp; Fiction</a></div></div></div><span class="submitted-by">Submitted by tara on Wed, 07/29/2020 - 18:56</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1americandirtbook.jpg?itok=XNken4AK"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1americandirtbook.jpg?itok=XNken4AK" width="316" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><strong><em>American Dirt</em></strong></p> <p><strong>By Jeanine Cummins</strong></p> <p><strong>Flatiron Books </strong></p> <p><strong>400 pages</strong></p> <p> </p> <p>Jeanine Cummins’s novel, <em>American Dirt, </em>appeared early in 2020, drawing initial excitement and laudatory reviews. Soon, the book came under attack, with accusations and recriminations revolving around the issue of cultural appropriation. Critics questioned Cummins’s legitimacy and ability to write a novel about a Mexican mother and child on the run from a vicious drug cartel. Protests followed and a host of publicity events and television appearances were canceled.</p> <p> </p> <p>The negative response to her novel created a pre-pandemic uproar that seemed to take everyone by surprise. It was a simpler time.</p> <p> </p> <p>Issues of cultural appropriation aside, how does <em>American Dirt</em> fare as a novel? The short answer is: impressively well. From the first sentence (“One of the very first bullets comes in through the open window above the toilet where Luca is standing.”), the story moves forward with propulsive speed. Lydia Quixano Pérez and her 8-year-old son are the only survivors of a mass killing at a <em>quinceañera</em> in Acapulco that takes the lives of, among others, her mother and her beloved husband, Sebastián. He had written articles critical of an emerging cartel, Los Jardineros<em>, </em>and retribution is swift and brutal.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2americandirtbook.jpg" style="height:353px; width:235px" /></p> <p> </p> <p>It’s quickly clear that police arriving at the gruesome crime scene aren’t necessarily trustworthy:</p> <p> </p> <p>“In fact, of the more than two dozen law enforcement and medical personnel moving around Abuela’s home and patio this very moment, marking the location of shell casings, examining footprints, analyzing blood splatter, taking pictures, checking for pulses, making the sign of the cross over the corpses of Lydia’s family, seven receive regular money from the local cartel … The others do nothing, because that’s precisely what the cartel pays them to do, to populate uniforms and perform the appearance of governance.”</p> <p> </p> <p>Within hours, Lydia and her son Luca are on the run. Their best hope for surviving a further attack from Javier Crespo Fuentes, head of the cartel, lies in a harrowing journey to <em>el Norte </em>(specifically, Denver, Colorado, where relatives live)<em>. </em>Getting there proves to be exceptionally difficult and, at almost every turn, life-threatening.</p> <p> </p> <p>Long before the horrendous executions, Lydia rather improbably meets Javier (<em>el jefe</em>) in the bookstore she owns in Acapulco. The two hit it off and develop something of a fond relationship (at first, she’s unaware of who he is). Now she understands that Javier “was a vicious mass murderer who mistook himself for a gentleman.”</p> <p> </p> <p>This relationship is one of the few implausible elements in a riveting story.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1bordercrossing_johnhood-wikimedia.jpg" style="height:428px; width:600px" /></p> <p> </p> <p>During their odyssey to the U.S., mother and child repeatedly take their lives in their hands by illegally boarding La Bestia, a freight train favored by migrants attempting to flee north. They risk everything by jumping from a platform onto a moving train:</p> <p> </p> <p>“Luca jumps. And every molecule in Lydia’s body jumps with him. She sees him, the tight tuck of him, how small he is, how absurdly brave he is, his muscles and bones, his skin and hair, his thoughts and words and ideas, the very bigness of his soul, she sees all of him in the moment when his body leaves the safety of the overpass and flies, just momentarily, upward because of the effort of his exertion, until gravity catches him and he descends toward the top of La Bestia. Lydia watches him drop, her eyes so big with fear they’ve almost left her body.”</p> <p> </p> <p>The prose in <em>American Dirt</em> is clear and straightforward, keeping us grounded throughout Lydia and Luca’s perilous journey. Only occasionally do small literary flourishes fall short (“Lydia funnels gratitude into the slow blink of her lashes”). This isn’t a story that requires full-blown flights of lyricism, but instead matches language to plot in a way that feels organically whole. We are right there with Lydia and Luca as they attempt, against all odds, to escape into a new and better life.</p> <p> </p> <p><strong>Author Bio:</strong></p> <p> </p> <p><strong><em>Lee Polevoi, </em></strong><strong>Highbrow Magazine’s <em>chief book critic, is the author of a novel, </em>The Moon in Deep Winter.</strong></p> <p> </p> <p><strong>For Highbrow Magazine</strong></p> <p> </p> <p><strong>Image Sources:</strong></p> <p><em>--Flatiron Books (Macmillan)</em></p> <p><em>--J. Kennedy (Flatiron Books)</em></p> <p><em>--John Hood (</em><a href="https://commons.wikimedia.org/wiki/File:W54_Special_(CA-San_Ysidro)_-vector.svg" style="color:#0563c1; text-decoration:underline"><em>Wikimedia.org</em></a><em>, Creative Commons)</em></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/jeanine-cummins" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jeanine cummins</a></div><div class="field-item odd" rel="dc:subject"><a href="/american-dirt" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">american dirt</a></div><div class="field-item even" rel="dc:subject"><a href="/new-books" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new books</a></div><div class="field-item odd" rel="dc:subject"><a href="/latinos" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">latinos</a></div><div class="field-item even" rel="dc:subject"><a href="/drug-cartels" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">drug cartels</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-fiction" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new fiction</a></div><div class="field-item even" rel="dc:subject"><a href="/literary-controversy" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">literary controversy</a></div><div class="field-item odd" rel="dc:subject"><a href="/cultural-appropriation" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">cultural appropriation</a></div><div class="field-item even" rel="dc:subject"><a href="/books-about-mexico" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">books about mexico</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Lee Polevoi</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Wed, 29 Jul 2020 22:56:16 +0000 tara 9722 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10766-mired-controversy-american-dirt-gripping-story-family-s-perilous-journey#comments Cultural Appropriation: Is Imitation the Sincerest Form of Flattery? https://www.highbrowmagazine.com/4921-appropriation-cultures-imitation-sincerest-form-flattery <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/news-features" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">News &amp; Features</a></div></div></div><span class="submitted-by">Submitted by tara on Tue, 03/31/2015 - 12:17</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1appropriation_0.jpg?itok=gvyJYJKN"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1appropriation_0.jpg?itok=gvyJYJKN" width="480" height="270" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>Recently, the Givenchy’s Fall 2015 show garnered critical accolades, as it could be expected from such a major and influential fashion house.  The collection also came under heavy fire for its seemingly careless disregard of the subculture it claimed to have pulled inspiration from.  In the <a href="http://www.vogue.com/fashion-week/12048353/givenchy-fall-2015-rtw/">words</a> of the brand’s creative director Riccardo Tisci, the collection was dubbed “Chola Victorian,” borrowing from two distinctively different subjects to create a contrasted look that has become a signature of sorts for the brand.  The runway showcased models with heavy facial piercings, intricate braids, and gelled down baby hairs.  While the brand explained the inspiration behind this look to be the girl that is the “boss of the gang,” some were quick to point out that what this accomplished was yet another instance of purloining from a marginalized group, crossing the very fine line between appreciating and appropriating a culture. </p> <p> </p> <p>The etymology of the word “chola” is <a href="#http://www.etymonline.com/index.php?term=Cholo">unclear</a>, but it is likely a modernized form of an Aztec word meaning “dog” or “mutt,” and it was largely used as a derogatory term for Mexican-Americans, particularly lower-class immigrants, until the word was retaken and embraced by that culture as a positive label for themselves and their ethnicity.  Women who identify with this subculture will oftentimes wear bold makeup with dark lip liners and gelled down baby hairs.  This is the reason the Givenchy show raised a few eyebrows, as some felt that the <a href="http://www.refinery29.com/2015/03/83536/givenchy-fall-2015-runway-chola-inspiration">inspiration</a> behind the collection, however good the intention, would be completely lost when gelled down baby hairs can be chic on a white woman, but still be considered ghetto on a Latina or black woman. It is the copying of the aesthetics of another culture that is seemed as problematic when it is being used, in this instance, for financial gain, with a questionable case of celebration or exploitation.  </p> <p> </p> <p>Cultural appropriation is a dicey subject, not least because there are no given parameters of what can be considered appropriation. This while some hold that it is impossible to “steal” forms of a culture in itself, and that the <a href="http://www.thedailybeast.com/articles/2014/07/15/you-can-t-steal-a-culture-in-defense-of-cultural-appropriation.html">imitation</a> of it is a human phenomenon that should, in fact, be celebrated.  The term has also become a point of origin for other, wider discussions, including those of race relations and even sexuality.   It is difficult to give the concept a succinct definition, but it is generally <a href="http://www.amazon.com/Who-Owns-Culture-Appropriation-Authenticity/dp/0813536065?tag=jezebelamzn-20&amp;ascsubtag=5ef8cab96d29c5068da312cba46f936881d61582&amp;rawdata=%5Br%7Chttp%3A%2F%2Fjezebel.com%2F5959698%2Fa-much-needed-primer-on-cultural-appropriation%5Bt%7Clink%5Bp%7C30768539%5Ba%7C0813536065%5Bau%7C5758687722374275921">regarded</a> as “taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else's culture without permission,” as author Susan Scafidi puts it.</p> <p> </p> <p>The popular singer Iggy Azalea has been under constant scrutiny because of her music style since she began to gain notoriety in the industry last summer.  There seems to be a general <a href="http://www.huffingtonpost.com/olivia-cole/im-a-bad-feminist-but-not-because-i-dont-like-iggy-azalea_b_6669116.html">consensus</a> that Ms. Azalea possesses an undeniable talent for rapping, and her vocals lend themselves to the style characteristic of southern hip-hop.  The issue that is taken up is Ms. Azalea’s cultural background.  Born in Australia as Amethyst Amelia Kelly, she traveled to the United States at age 16 to pursue a career in hip-hop.  In her lyrics, Ms. Azalea raps about the southern experience and the struggle of being a female.  As a result, critics argue that the main reason for Ms. Azalea’s success is due in large part to the novelty of her race, creating a hard juxtaposition between her ethnicity and the southern black culture. </p> <p> </p> <p>Ms. Azalea has often handled these types of remarks with the same sort of backlash, <a href="http://www.vanityfair.com/hollywood/2015/01/iggy-azalea-fancy-fame">arguing</a> that the reason she is looked down upon is because of the sexism that permeates the hip-hop industry, which is dominated by African-American males.  Additionally, her supporters have <a href="http://thegrio.com/2014/08/08/t-i-defends-his-protege-iggy-azalea-racial-stereotypes-in-rap-is-wack/">weighed</a> in that belittling Ms. Azalea simply creates more racial stereotypes, more specifically for blacks and their take on music. </p> <p> </p> <p><br /> <img alt="" src="/sites/default/files/2appropriation_0.jpg" style="height:454px; width:625px" /></p> <p> </p> <p>But by that same token, Ms. Azalea’s appeal can be seen as downright minstrelsy exactly because of that crossover.  There’s reasoning that says it is inappropriate to elevate her status as a true hip-hop artist when black females cannot get the same kind of attention and rewards within the same industry.  Ms. Azalea’s lyrics about the southern black experience may come across are insincere and <a href="http://www.salon.com/2014/07/15/iggy_azaleas_post_racial_mess_americas_oldest_race_tale_remixed/">fabricated</a> because she had the privilege of her race to circumvent the hardships that come not only with being black, but a black female. When she raps, Ms. Azalea does so with a distinctively marked accent characteristic of black culture, while her speaking voice is exempt of these intonations.  While that trait may be seen as downright appropriation, it does beg the question of whether it is necessary.  In other words, if a white female wishes to rap in the southern hip-hop style, what else is she to do?   Should she, if given the opportunity?</p> <p> </p> <p>Also last summer, the <em>Daily Mississippian</em> <a href="http://thedmonline.com/dear-white-gays/">published</a> a piece by Sierra Mannie that would then be republished in <em>Time</em> Magazine to a storm of criticism.  In her article, Ms. Mannie calls for gay white males to stop acting with certain respects and mannerisms that are common traits of black women arguing, in a nutshell, that black womanhood is not to be appropriated.  Her piece was met with mixed criticism, expectedly so.  Interestingly, it seemed that the gay community in general seemed to <a href="http://www.slate.com/blogs/outward/2014/07/11/are_gay_white_men_really_stealing_black_female_culture.html">agree</a> with Ms. Mannie’s call for white gays to refrain from appropriating blackness as a culture; it was the issue of womanhood that was at stake here.  Critics <a href="http://www.slate.com/blogs/outward/2014/07/11/are_gay_white_men_really_stealing_black_female_culture.html">responded</a> harshly to Ms. Mannie’s statement of homosexuality as a lifestyle that can be easily hidden—as opposed to the color of the skin—as a choice to be made in order to navigate a Western landscape that culls ideas and differences, both in culture and gender.</p> <p> </p> <p>But all the instances mentioned above give way to a wide range of discussions about what exactly is being stolen, if that is what is happening at all.  In the case of the Givenchy show, it’s an example of physical aesthetics being repurposed.  Perhaps the use of the term “Chola” may not have been in anyone’s best interest, but the visual representation of their physical appeal may have brought those traits to the vanguard into being accepted as fashionable and, perhaps more importantly, common and normal. </p> <p> </p> <p>The issue may remain in regards of a subculture being marginalized because, in part, of their appearance while others of more privilege rejoice in the license given (or taken) to do so.  But it may have also opened a window into the intricacies and hardships of a widely misunderstood culture.  Further, it highlights an irrevocable problem with the issue of appropriation, and that is whether a culture that is in power, in this instance, Western culture, can also be stolen or simply assimilated for survival.  Thus, can or should a woman that identifies herself as “Chola” reject that label to become a more westernized, socially “accepted” model in behavior and appearance?</p> <p> </p> <p><br /> <img alt="" src="/sites/default/files/3appropriation_0.jpg" style="height:631px; width:625px" /></p> <p> </p> <p>Similarly, the discussion about Ms. Azalea’s refusal to acknowledge the borrowing of her accent and lyrics from a long established black presence in music is shadowed by her gender.  Would her act be considered appropriation if it were being performed by a Latino musician, for instance?  Eminem and Macklemore, both extremely popular in the own rights, have claimed success while the topic of their race is generally subdued when compared to the criticism faced by Ms. Azalea; and it is for this exact reason that she can cite sexism in her defense.  Granted, it may be her use of Ebonics dialect and songs of the southern experience that calls for reproach, but it may indeed be her intonations that make her music much more “genuine,” even if the topics in her songs may or may not be drawn from personal experience.  After all, is every artist to be expected to sing within the limitations of their experience for the sake of authenticity, especially with a crowded industry of songwriters and producers to pitch in?  One of the singles of Ms. Azalea’s album, “Black Widow,” for example, was written by Ms. Azalea, Katy Perry, Sarah Hudson, and Benny Blanco, none of whom claim an African-American background.</p> <p> </p> <p>For Ms. Mannie’s part, it must be noted that her article was directed specifically to white gay males.  Indeed, the question of race as a genetic trait that cannot be changed nor hidden can thus be established as far as the color of the skin goes, but not behavior – it may, as a matter of fact, be reprehensible for whites males to act a certain way in imitation of a black female, regardless of their sexual preferences.  But this brings to light a full spectrum of sexuality and femininity, putting in sharp contrast the reasoning behind what exactly is the trait being robbed.  Would a black or Latino gay man fall under this same category of cultural theft?  If not, then it can be said that the seized attribute is womanhood or, perhaps, femininity as a feature novel and specific to women.  This, of course, comes with distinctive repercussions within the dialogue about sexuality: who possesses femininity? Can womanhood be owned?  Given the wide gamut of people who may identify as feminine, from transgenders to gay men and lesbians and even heterosexual males who perceive themselves as less than masculine, this may prove impossible to determine.  </p> <p> </p> <p>Cultural appropriation remains an eluding topic.  While it may be argued that Western culture demands assimilation, theft of a cultural trait is difficult to pinpoint at best.  It may take the form of hosting a Mexican-theme party or donning a green jacket and fake beard during a St. Patrick’s Day celebration.  In the end, the phenomenon may be working toward a rewarding human experience long in the making for the acceptance of our differences: to be able to replicate traits and features in a post-racial, post-gender political landscape that invites imitation for the sake of celebration rather than for accommodation and adaptation.   </p> <p> </p> <p><br /> <img alt="" src="/sites/default/files/4appropriation.jpg" style="height:498px; width:625px" /></p> <p> </p> <p><strong>Author Bio:</strong></p> <p><strong><em>Angelo Franco is the chief features writer</em> at Highbrow Magazine.</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/cultural-appropriation" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">cultural appropriation</a></div><div class="field-item odd" rel="dc:subject"><a href="/appropriation" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">appropriation</a></div><div class="field-item even" rel="dc:subject"><a href="/imitation" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">imitation</a></div><div class="field-item odd" rel="dc:subject"><a href="/art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art</a></div><div class="field-item even" rel="dc:subject"><a href="/chola-victorian" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">chola victorian</a></div><div class="field-item odd" rel="dc:subject"><a href="/iggy-azalea" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">iggy azalea</a></div><div class="field-item even" rel="dc:subject"><a href="/black-culture" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">black culture</a></div><div class="field-item odd" rel="dc:subject"><a href="/gay-culture" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">gay culture</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Angelo Franco</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Tue, 31 Mar 2015 16:17:11 +0000 tara 5863 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/4921-appropriation-cultures-imitation-sincerest-form-flattery#comments