We’ve posted in the past about the ways in which ads often depicted non-White women as wild and exotic (and thus exciting), even conflating them with animals through poses or animal-print clothing. Unstraightened African American hair is also used as an exotic marker, presented as less civilized. Recently readers sent in two separate examples of these tropes.

Michelle H. noticed that Lane Bryant advertised “exotic inspirations” as part of a “tribal trend” “inspired by nature” that allows you to use your “natural instincts”. The model used to personify this exoticism is an African American woman with unstraightened hair:

Similarly, Sonia A., Jen J., and an anonymous reader noticed that data analysis firm ATLAS.ti used an image of an African American woman with several pencils stuck in her natural curls along with text encouraging you to “tame your data” but also “go wild”:

The company removed the banner from its Facebook page after complaints, but it’s still on the company website in an image and accompanying brochure on the product info page and several other places on the site.

We’ve posted in the past about stereotypes about Africa. For instance, Binyavanga Wainaina’s video describes common tropes used when non-Africans write about Africa, while Chimamanda Adichie discusses the problem with the limited narratives we hear about African people and nations.

In another great example of challenging such stereotypes, Dolores sent us a video in which four young men highlight common portrayals of Africans — and specifically, African men — in movies. It’s really great:

Via Colorlines.

Originally posted at In Transit and Racialicious.

I’m still trying to work my way through my discomfort and analyze exactly where my discomfort of this Sociological Images post is coming from, so if this critique seems a bit scattered, it’s because my thoughts about it, at the moment, are that way.

First: I agree with where the post is coming from, in that the disenfranchised rarely ever have a voice of their own in mainstream Western culture, are always portrayed as the Other, which is defined as everything that said mainstream Western culture isn’t (at best as something that props it up and provides an aesthetically pleasing contrast, at worst as something that must be exterminated). And this leads to remarkably similar cycles of dehumanization and disenfranchisement. As so many minority thinkers/activists have noted, manufactured binaries between the privileged West and everyone else, even seemingly positive ones, ultimately end up reinforcing destructive hierarchies.

Where I disagree with the poster is the framing, which I feel makes the post, in some ways, as reductive as what it’s critiquing. Because there are different contexts in which the above cycle/process of exotification occurs, and those contexts matter and shouldn’t be handwaved, even (and I would say especially) if you’re taking the pov of the white outsider and attempting to deconstruct it. Social justice discourse loses its meaning when it becomes divorced from one of power relations.

In this specific example, while making its comparison of India as a magical negro, the post fails to both note and appreciate the following bits of context:

That both the main white actress and the main desi actor in the film are British, with Dev Patel adopting an Indian accent and playing the part of a “native”. That all the featured Indian characters are coded as middle/upper class (the dress, able to speak fluent English, etc) and light skinned. That in many ways this is how India is actively marketed by its tourism sector (and also its government. Did a project once which involved collecting promo material from the Indian consul — I think in Chicago? — and it was quite hilariously illuminating), because they’ve judged that this type of pandering will bring in the tourist dollars.

And this exotification of India in the West has been happening since before the time of Columbus, and reducing said things to a “phenomenon in which a white character in a tv show or movie finds enlightenment…” seems rather glib. (Just because it appears in tvtropes does not mean TV created it!) And that’s not even getting into how most isms seem to inevitably become just like the racism that blacks (had) face(d) in the US.

I also thought it was telling how none of the links elaborating on the “magical negro” trope went to one of the many black writers who’ve done the major work of deconstructing and dissecting it, much less linking to desi writers talking about colonialism and othering.

So what my disagreement boils down to, I think, is this: that this is a discussion about the Othering/exotification of India in mainstream Western culture that succeeds in further marginalizing/disenfranchising desis and other minorities. It doesn’t consider that we might be among the audience for this post (much less making room in the conversation for us, much less acknowledging all the times we’ve already discussed this), and in the way it takes something that rose out of certain contexts, misidentifies said contexts while applying it to different ones with no mention of the consequences of the differences, makes it, again, similar to what it’s aiming to critique.

And it brings home the point that, for all its social justice aims, this is a blog for a specific group of white people, by a specific group of white people, with all the marginalizations that entails.

Another note: it is interesting to read the comments, to see all the places East/West binaries crop up. For example, this comment (which thankfully was critiqued):

So, this is probably why you’ll never find a movie about a Westerner in Latvia trying to find himself- “finding oneself” usually requires immersing oneself in a setting completely different from the everyday humdrum norm.

I do find India humdrum normy, actually. And infrastructure specifically designed to ape the west is increasingly common in cities, and you can always find people in the touristy parts who speak English and cater to Western tastes in a thousand and one ways. (Actually, you won’t need to find them, if you are white they will find you and you will not be able to escape them!) Latvia, I am assuming not so much?

I feel as if the manufactured differences that so many Westerners create for India, while completely missing the deeper and more significant ones, are part of the same binary that Fanon was talking about when he said: “The settler is all that is good and of value. The native is the negation of the settler’s value”. And a lot of the appeal of India, the reason for it not being “everyday humdrum normy”, is that it still gives middle class white Westerners who go there chances to personally experience the colonial British sahib lifestyle.


Colorblue blogs at In Transit.

The phrase “Magical Negro” refers to the phenomenon in which a white character in a tv show or movie finds enlightenment through the wisdom of a Black character.  It is widely considered an offensive trope in which Black people — imbued with special spiritual, religious, or primitive powers of insight, often ostensibly due to some disadvantage like poverty — serve only to support a white person’s transformation.  The white person, and their ultimate redemption, remains the central story.

I couldn’t help but think of this when I watched the trailer for The Best Exotic Marigold Hotel, sent in by Katrin.  In this trailer, the Magical Negro isn’t a Black person; it’s not even a person.  It’s the entire country of India.

See if you see what I saw:

For examples of the Magical Negro, see our post on The Secret Life of Bees, the Magical Negro at Ikea, and the Magical Aboriginal Child in an Australian tourism ad.

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.

We’ve posted before about the use of non-White bodies, or non-Western cultures, as props in fashion photo shoots. These shoots generally show a White model in Westernized clothing juxtaposed with animals, landscapes, architecture, and undifferentiated groups of non-White residents, all of which mark the White model as modern and the locale as exotic and primitive. The residents of the nations where these shoots occur, then, are presented as one more tourist attraction, a backdrop for the White star of the fashion display.

Sonita M. sent in another example of this common fashion trope, posted at Oh No They Didn’t! A recent issue of Vogue Australia, themed “Fashion gone wild,” includes a feature on Isabel Lucas in “Africa,” though it appears the photographs were specifically taken in Botswana. A few images:

Similarly, Pearl S.D. and Liana R. pointed out that the November 2011 Anthropologie catalog uses Peru as a backdrop, with local residents and the landscape serving as background. In this image, the Peruvians are literally marginalized, partially cut out of the photo of the two models they frame, one of whom holds a Cuzco Clutch, which sells for a mere $228:

For other examples, see exoticizing India, conflating Indian architecture, animals, and people, Black bodies as fashion props (and another example), undifferentiated groups of Asians as props, and luxury and poverty in Vogue India.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Dolores R. sent us a link to a video posted at Racialicious about stereotypes of Native Americans in video games. Beth Aileen Lameman, the director and narrator, discusses a number of frequent tropes used when depicting Native Americans in games, such as the half-breed hero, the wise old Indian sage, and, of course, the hottie Indian princess, as well as the tendency to conflate many different tribes and cultures. It’s a great summary of common representations of Native Americans in pop culture more broadly:

Native Representations in Video Games from Elizabeth Lameman on Vimeo.

Cross-posted at Scientopia.

Sadie M. sent in an example of the reproduction of the idea that “Africa” is an arid, desolate place where nature still dominates civilization.  The snapshot Sadie sent in was of Nairobi.  Nairobi is the 12th largest city on the continent of Africa with a population of over 3 million in the city and its surrounding suburbs.  It is the capital of Kenya and an economic, political, and financial hub in the region.

This is Nairobi on Google maps:

This is what comes up if you Google image Nairobi:

Nairobi is also not a desert plain.  The name, in Maasai, translates into “the place of cool waters” and it is popularly known as “Green City in the Sun” (wikipedia).

Despite all of this, Sadie’s snapshot shows that an in flight magazine depicted Nairobi as a savanna full of elephants and bereft of people.  The other two destinations featured — New York and Sydney — are pictured as they are.

So there we have it: Another piece of advertising erasing the bustling, successful economies of Africa, and instead reproducing the idea that the entire continent is an uncivilized desert full of exotic animals.

See also: How Not to Write about Africa and The Single Story of “Africa.”

Lisa Wade is a professor at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. Find her on TwitterFacebook, and Instagram.

Ulysses H. sent in another example of a fashion shoot that presents a White model surrounded by exoticized non-Whites, who are presented as primitive and animalistic. Polish fashion magazine Pani featured a series of photos with Black men dressed up in what is described as “tribal” clothing, much of which includes animals prints and even parts of dead animals (aside from all the feathers), all intrigued by and trying to touch the model.

We have a number of previous posts on this type of photo shoot: exoticizing India, again, undifferentiated Asians as fashion props, and Africans as props.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.