Showing posts with label whitewashing. Show all posts
Showing posts with label whitewashing. Show all posts

Thursday, November 20, 2014

Lack of Diversity in Children's Books



Last blog, I commented on the lack of diversity for Young Adult covers. Along with book covers, there is a lacking of diversity within. Not only are novels continually putting whites onto covers, they are also continually only putting whites as characters. However, for this blog, I am focusing on children books because as children, absorbing everything they see, hear, read, touch etc can have a lasting effect unconsciously. Children books even as of today are lacking diversity. Many young minorities have to go without understanding why they are not “good” enough to be in a novel when mythical creatures such as dragons, and goblins are. 

This exclusion from novels may seem insignificant to some, but never or only absorbing a glimpse of who they are can cause many problems later in the future. As Myers states “A gap in the much-written-about sense of self-love that comes from recognizing oneself in a text, from the understanding that your life and lives of the people like you are worthy of being told, thought about, discussed and even celebrated” (3).  Without having that reassurance of self-worth minority-children will constantly feel lesser, ashamed of who they are, and will struggle to find their identity.

Percentages of Diversity in Children's Books
From the picture below, one can see that only 7.5% of children's books involves coloured children. Showing that the diversity is lacking for all children of colour, not one specific group.

However, those who are given that privilege of being written and read about will also have a confused future. When they “face the realities of our world, our global economies, our integrations and overlapping, they all do so without a proper map…They are threatened by the difference and try to wish for a more familiar form” (Myers 5). Children of colour, however, are force to understand the boundaries of which the world has created, and therefore “are certain to imagine themselves well within the borders they are offered, to colour themselves inside the lines” (Myers 5). Even though the coloured children’s future will not be as confusing as white children’s, they still will be lost because they never were written for this world, so how do they write themselves??

Pointing fingers at who to blame for this lack of diversity will only complicate matters, and delay the actions that needs to take place. Authors need to work together to demand diversity, and too constantly keep writing stories which indulges in diversity. And readers need to read those books to their children and for themselves. The few books that are published with much diversity needs to heard about. Such things are hard to accomplish, which is understandable, but isn’t impossible.





Myers, Christopher. “The Apartheid of Children’s Literature.” The New York Times. March 15, 2014. Website. Assessed Nov 18, 2014. http://www.nytimes.com/2014/03/16/opinion/sunday/the-apartheid-of-childrens-literature.html?_r=0

Boog Jason. "Artist Illustrates Dramatic Lack of Diversity in Kid's Books." GalleyCat. July 25, 2013. Website. Assessed Nov 18, 2014. http://www.mediabistro.com/galleycat/illustrated-guide-to-the-diversity-problem-in-kids-books_b74771

Friday, October 17, 2014

Jesus Wasn't White: biblical epics and whitewashing



Egyptian Mayonaise: (L to R) Christian Bale, John Tuturro, Sigourney Weaver, and Joel Edgerton in Exodus: Gods and Kings

   With “Noah” and “Son of God” released earlier this year and “Exodus: Gods and Kings” scheduled to debut in December, 2014 has been a revitalizing year for the stagnant genre of “Biblical Blockbuster”. Although heavily dramatized these films harken back to a period of cinematic Golden Age epics that are few and far between in today’s market. Similar to this genre throwback, however, they are tangible reminders that since the Golden Age Hollywood has continued the ugly practices of whitewashing and people of color (POC) erasure.

   First let’s examine the historical regions these films are supposed to be set in. While we can’t say for sure where exactly Noah’s Ark would have set sail, we know the 40 day journey ended at Mount Ararat, a mountain in modern day Turkey, so we can safely assume he began somewhere within that general region. Since it is a biographical film about Jesus Christ, we know that Son of God is set in Jerusalem. Finally Exodus we know to be set in the Nile Delta region of Egypt. All three of these films are set in regions populated by historically provable populations of POC. Despite this fact the lead roles in all three movies are filled by white actors and the only POC, absent totally in Noah, are background servants, criminals, villains, and even a demon.

   Some of these films have tried to justify their whitewashing in response to criticism. Ari Handel, co-writer of Noah, responded by saying “From the beginning, we were concerned about casting, the issue of race. What we realized is that this story is functioning at the level of myth, and as a mythical story, the race of the individuals doesn’t matter. They’re supposed to be stand-ins for all people”. This quote is telling of one of the key concepts at play here, White Invisibility. As we’ve discussed in class when a racial group is in an advantageous position they do not have to reflect on the impact their race has on their life on a regular basis. As a result they come to think of themselves as race-less, the default, and as illustrated in the above quote, a universal stand-in. Building further on this misassumption characters are only given a non-white identity when it is used as implicative shorthand, as is seen with Exodus’s association between blackness and inferiority, or Son of God’s connection of blackness and villainy. 

Israeli Wonderbread: Diogo Morgado as Jesus Christ in Son of God

   While the institutionalized discrimination POC actors face as a result of these beliefs is a serious issue, even more damaging is the internalized racism it promotes in its audiences. The underlying themes, that positive religious figures are inherently white and that POC have no place in a religion they may well practice, is a very demoralizing one. As Anthea Butler, an associate professor of religious studies at the University of Pennsylvania, puts it “It’s a world where only white people get saved…This doesn’t look like the world that God created”. Hard data also makes the assertion that the primary potential audience of a religious film would be POC. According to a 2007 Pew Center survey 79% of African American respondents said religion is very important in their lives, and with a breakdown based on faith roughly 85.5% identified as some form of Christian. This lies well above the 56% of the US adult population when examined across racial lines. If the current trend of religious movies continues then hopefully, with a lot of critical analysis, awareness in potential audience members, and a healthy dose of film boycotting, the film industry will start to change their tune on POC representation.

Sources cited:
Scheller, Christine. "Stewardship of Creation: An Interview with "Noah" Screenwriter, Ari Handel." The High Calling. The High Calling, 11 Apr. 2014. Web. 17 Oct. 2014.
"A Religious Portrait of African-Americans." Pew Research Centers Religion Public Life Project RSS. Pew Research Centers, 30 Jan. 2009. Web. 17 Oct. 2014.
Lee, Marissa. "Modern Hollywood and the Ancient East." Racebending.com. 31 Mar. 2014. Web. 17 Oct. 2014.