Monday, August 20, 2018

                                                               
                                                                   The Movement

It was intriguing to read an article highlighting the catharsis experienced by the Asian-American journalist who watched the box-office hit "Crazy Rich Asians."  A lot of her sentiment could easily be cross pollinated to the wildly enthusiastic reactions of African Americans to the global box-office sensation Black Panther.

The existential challenge of constantly being seen as other, foreign, or invisible in a dominant culture was not lost on me as she exquisitely articulated her angst and celebration of seeing an all Asian cast highlight the complexity of the diaspora found in Asians who have acculturated in many different parts of the world.  She spoke of how refreshing it was to see people that looked like her not portrayed as cheap facsimiles that were either caricatured martial arts experts or tragic survivors of despotic driven pogroms.

Similar to W.E.B.Dubois' allusion to a divided soul, she anguished over the challenge to cultivate an identity that is virtuous to one's heritage while not falling into a crevasse in between.  She introduced  a pejorative term-banana- that could be the equivalent of the derisive "oreo"  I remember hearing hurled at black folks who were accused of assimilating or acting white.  Banana meant that you were "yellow" on the outside but white on the inside.  The thing that struck me about this article is that my friends whose families hailed from Vietnam, Hong Kong, China, or Southeast Asia were never this transparent in their assessment of the duality of cultures many experience in Eurocentric countries.

The hegemony of one culture is engendered by default of population dominance and tribalism. The ubiquity of all things European does not beset one who is not consciously made aware of its preeminence until social eruptions like integration or immigration that could irretrievably alter the demographics of the nation become a concern.  The axiom of the United States being a "melting pot" always struck me as politically and culturally naive.  At best we are a heterogeneous mix, more like a salad where each individual ingredient maintains its own identity within the amalgamation.

 Cinema has long been the creative portal to illustrate the human tapestry that shows the state of the union. Hollywood's portrayal as liberal and egalitarian has not translated in the number of projects like Crazy Rich Asians or Black Panther green lighted by executives. Movie making by its very nature is collaborative and "inclusive."  The challenge has been that the lens by which projects are deemed profitable and having global appeal has been suffocatingly limited to an archetype that finds very little intrinsic value in hues, stories, and narratives that are outside the safe spectrum of their myopic sensibilities.

The story of America's rich heritage found within its incredible citizens is gaining bandwidth.  This is not growing as subtext or sidebars.  There is an increased awareness that the pattern recognition of what it means to be American is decoupling from a tired, familiar trope.  That is actually a good thing.

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