Race and ethnicity shape how we perform and perceive identity. They're not fixed traits, but fluid social constructs that change over time. Performance can reinforce or challenge stereotypes and power structures related to race and ethnicity.
Artists use various strategies to subvert racial stereotypes in their work. This can be a powerful way to assert cultural identity and resist assimilation. However, there's always a risk of commodification or accidentally reinforcing the very stereotypes they aim to challenge.
Race and Ethnicity in Performance
Social Construction and Representation
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Race and ethnicity are social constructs performed and represented differently across cultures and historical periods
Shaped by social, political, and economic factors
Racial and ethnic identities often essentialized and depicted as fixed, innate characteristics in dominant cultural narratives and representations
Critical race theorists argue race and ethnicity are fluid, socially constructed categories constantly negotiated and redefined through performance
In many Western societies, whiteness constructed as the unmarked, invisible norm against which other racial and ethnic identities are defined and represented
Can lead to exoticization, , or erasure of non-white identities in performance contexts
Examples: Orientalism in ballet (Nutcracker), whitewashing in Hollywood casting (Ghost in the Shell)
Performance as Reinforcement or Challenge
Performances of race and ethnicity can serve to reinforce or challenge dominant power structures and ideologies
in 19th century America involved white performers donning to mock and dehumanize African Americans
saw Black artists using performance to assert their humanity and cultural pride (Langston Hughes, Zora Neale Hurston)
often use performance to maintain connections to their cultural heritage and negotiate identities in new contexts
Can serve as a form of cultural resistance and adaptation
Examples: in South Asian diaspora, in Chinatowns
Performance and Stereotypes
Perpetuation and Subversion
Racial and ethnic stereotypes often perpetuated through repetitive, essentialized representations in media and popular culture
Shape public perceptions and limit opportunities for marginalized groups
Examples: "" trope in film (The Green Mile), "" stereotype of Asian women
Performance can challenge and subvert stereotypes by presenting more nuanced, complex representations of racial and ethnic identities
Reclaiming and redefining stereotypical tropes or creating entirely new narratives and images
, disrupt essentialist notions of race and ethnicity in performance
Examples: Hamilton's diverse casting, The Wiz all-Black reinterpretation of Wizard of Oz
Strategies of Subversion
Irony, satire, and parody are common techniques used by performers to critique and subvert racial and ethnic stereotypes
Exaggerating or inverting stereotypical tropes exposes their absurdity and harmful effects
Examples: 's Bamboozled, 's stand-up comedy
Subversion of stereotypes in performance is not always straightforward, can risk reinscribing the stereotypes it seeks to challenge
Performers must navigate this tension carefully to avoid perpetuating harmful representations
Example: Dave Chappelle's use of racial stereotypes in comedy has been both praised and criticized
Performance as Identity Assertion
Resisting Assimilation
Performance can serve as a powerful tool for marginalized communities to assert cultural identities and resist assimilation into dominant culture
Showcasing traditional art forms, languages, and customs
Example: celebrations in Latinx communities
Many artists use performance to explore complexities and contradictions of racial and ethnic identity, drawing on personal experiences and histories
Festivals, parades, and other community events serve as important sites for celebration of racial and ethnic identities through performance
Foster a sense of pride, belonging, and solidarity among participants
Examples: ,
Assertion of racial and ethnic identities in performance can also serve as a form of political resistance
Challenging dominant power structures and demanding greater and representation
Example: protests incorporating dance, music, and spoken word
Risks of Commodification
Commodification and appropriation of racial and ethnic identities in performance can risk reducing them to essentialist stereotypes or exotic spectacles for consumption by dominant groups
Examples: 's appropriation of Native American headdresses, 's use of hip-hop aesthetics
Performers and communities must grapple with tensions between cultural preservation, adaptation, and appropriation in an increasingly globalized world
Race, Ethnicity, and Power in Performance
Intersectionality and Access
Race and ethnicity intersect with other power structures (class, gender, sexuality, ability) to shape access, representation, and reception in performance contexts
Intersectional approach necessary to fully understand these dynamics
Example: as first Black principal ballerina in American Ballet Theatre challenged both racial and body type norms in ballet
Historically, white supremacy has shaped performance practices in many Western contexts
Privileging white artists and audiences while marginalizing or exploiting performers of color
Practices such as blackface, , and in theater and film
Example: in 19th century America
Colonialism and Cultural Appropriation
Colonial legacies continue to shape global performance practices, often exoticizing and appropriating cultural traditions of formerly colonized peoples
Postcolonial artists and scholars have sought to challenge these legacies and assert cultural autonomy
Example: Māori haka appropriated by non-indigenous sports teams and performers
Appropriation of racial and ethnic performance traditions by dominant groups can reinforce power imbalances and erase cultural specificity
Issues of cultural ownership, authenticity, and exploitation central to debates around appropriation in performance
Example: Controversies around white artists using Black music and dance forms (, )
Contemporary Barriers and Resistance
In contemporary contexts, performers of color often face barriers to access and recognition in mainstream performance industries
Typecast into stereotypical roles or have work relegated to niche markets
Example: Lack of diversity in Oscar nominations leading to campaign
Intersection of race, ethnicity, and power in performance is constantly being negotiated and contested by artists, audiences, and institutions
Marginalized performers continue to use performance as a site of resistance, self-definition, and cultural affirmation in the face of ongoing power imbalances
Example: Indigenous artists using performance to challenge colonial narratives and assert sovereignty (, )