Peer Review:
I really appreciated Maya’s peer review of my paper. She helped me cut and clarify things that were unclear and vague. Specifically my mention of 9/11 in the 3rd paragraph. Maya mentioned that it was an important point but without outside evidence, the point was unsupported and therefore negatively impacted my paper. As a result, I took it out of the piece. She also mentioned that I should expand on what I mentioned about Said, which helped my paper engage more deeply with the texts and create a deeper analysis.
Draft:
In recent years, discussions surrounding cultural representation in media have gained prominence, raising important questions about how stories from diverse backgrounds, particularly those of Middle Easterners, can be made accessible to English-speaking audiences without perpetuating orientalism and racism. The portrayal of Middle Eastern cultures in mainstream media has been fraught with stereotypes and exoticized imagery, contributing to a skewed understanding of these rich and diverse societies. However, if those who are creating these portrayals are careful during the process, accurate representations can be created that do good for the communities that they represent, instead of perpetrating racist and orientalist stereotypes.
Orientalism, as articulated by Edward Said, refers to the Western tendency to depict the East (particularly the Middle East) as a mysterious and exotic “Other.” This perspective often reduces diverse cultures to a set of simplistic and stereotypical characteristics, perpetuating a distorted image. The story of Aladdin, rooted in The Thief of Baghdad and Arabian Nights, has been a subject of adaptation in Western media, with the risk of falling into the trap of orientalism. For example, the 1992 Disney animated film “Aladdin” has faced criticism for its portrayal of Agrabah as a homogenized and fantastical amalgamation of various Middle Eastern cultures, devoid of historical or cultural specificity. The combination of these different cultures into one overarching concept of the middle east is harmful in its act of perpetuating the stereotype of middle eastern cultures all being the same, rather than individual aspects. This in turn, dehumanizes the people of the middle east, making it easy to clump them together as “good” or “bad” rather than seeing them for who they are as individuals, same as seeing the culture of the middle east as one, not separate cultures that all have their own individual aspects. To avoid succumbing to orientalism, storytellers must prioritize authentic representation. This involves a nuanced understanding of the cultural, historical, and social aspects of Middle Eastern societies. By collaborating with experts, incorporating diverse perspectives, and engaging in extensive research, creators can ensure that their portrayal of Middle Eastern stories is grounded in authenticity. Aladdin, when presented with cultural sensitivity, has the potential to serve as a bridge between cultures, fostering mutual understanding rather than reinforcing stereotypes.
Beyond orientalism, another challenge is navigating the potential for racist undertones in the representation of Middle Eastern characters. Stereotypes, biases, and discriminatory portrayals can perpetuate harmful narratives, contributing to the marginalization of Middle Eastern communities. The character of Jafar in various adaptations of Aladdin has been critiqued for embodying negative stereotypes of the scheming, power-hungry villain, reinforcing harmful tropes about Middle Eastern individuals. To counteract racism, storytellers must actively challenge and subvert stereotypes, presenting characters with depth, complexity, and agency. Had Jafar’s character not been depicted the way that it had, it would’ve been harder for English-speaking audiences to associate middle eastern people with the power-hungry personna, devoid of care for the autonomy of others, that was portrayed after 9/11. Jafar represented everything that people feared, and since he was the only physically accurate representation of middle eastern people in the movie, and society, it was easy for the mass majority of audiences to accept middle eastern people as the basis for his personality and motives. Creating accessible narratives for English-speaking audiences requires a commitment to cultural sensitivity and inclusivity. This involves avoiding tokenism, ensuring diverse representation, and incorporating authentic voices from the communities being portrayed. By providing platforms for Middle Eastern writers, directors, and actors, the storytelling landscape can be enriched with a multiplicity of perspectives, fostering a more nuanced understanding of Middle Eastern cultures.
In conclusion, the task of making Middle Eastern stories accessible to English-speaking audiences without succumbing to orientalism and racism is challenging but imperative. The case of Aladdin serves as a poignant example, illustrating the potential pitfalls of cultural misrepresentation. However, with a commitment to authenticity, cultural sensitivity, and inclusivity, storytellers can transcend stereotypes and contribute to a more nuanced and accurate portrayal of Middle Eastern cultures. By navigating these challenges, creators can bridge cultural gaps and promote a global appreciation for the richness and diversity of Middle Eastern narratives.
