Two Oppositional Approaches to Contemporary Prejudice

The issue of discrimination based on appearance is one that takes on a wide variance of forms in contemporary society. Individuals categorized outside of the cultural “norm” fall victim to prejudice, singled out for distinctions based on race or sex. Additionally, many immigrants assimilating into a new culture are forced to experience the position of a cultural outsider, particularly in the United States, a country renowned for its cultural diversity. Despite America’s reputation as a cultural melting pot, racial differences are still the subject of much adversity. The prevalence of racism in everyday society affects innumerable lives, and it is a subject that has been explored by two influential women, Trinh T. Minh-Ha and Adrian Piper, within the scope of their work. Both Minh-Ha and Piper take a stance against the manifestations of prejudice in contemporary culture and seek to enlighten members of said culture by addressing issues of perceived differences in new and innovative ways.

In her documentary film, Framer Framed, Trinh T. Minh-Ha takes a distinctly subtle approach in her exploration of tension as a result of prejudice, seeking to enlighten the viewer by exploring the role of the cultural outsider without explicitly stating so. Her narration is presented in a unique fashion, which stands out for the stark contrast shown between scenes and statements, as well as her bold cohesion of theoretical ideas and poetry, two forms of expression not typically brought together (Minh-Ha 154). Her filmmaking style in Framer Framed can make for a disorienting experience from the viewer’s perspective; indeed, the music, utterances, and silences in between can be characterized as simply confusing. However, the unmatched narration present in the film is intentional, accurately portraying unfamiliar surroundings interpreted with limited understanding. The film is almost a direct reflection of the experience of any stranger in a foreign land, and as such seeks to explore the experience by reversing the role of the outsider.

Within her film, Minh-Ha refrains from passing generalized opinions about the attitudes, prejudices, and affiliations of others, as she does not want to create the presumption that she or the viewer understands them. As such, she asserts that every individual is essentially unique and people are individualized by a variance in “experiences, culture, and thoughts” (Minh-Ha 96). She disqualifies herself and the viewer from the position of passing judgment on others in recognition of the inability to be neutral and objective in the role of an outsider. Her own particular role as an outsider no doubt plays a part in her depiction of cultural unfamiliarities; she was once an immigrant herself and as such felt unqualified to speak on the issue of racism in her new abode. She further emphasizes what should be the outsider’s neutral standpoint with the ironic line, “Scarcely twenty years were enough to make two billion people define themselves as underdeveloped” (Minh-Ha 105). With this statement, Minh-Ha is making the point that it is easy to make generalizations about that which you are unfamiliar with and that the perspectives of those “inside” and “outside” of a particular culture are bound to be conceived within two vastly different frameworks of understanding.

During an interview regarding her documentary, Trinh T. Minh-Ha discusses contemporary feminism and the formation of personal identity both as a result and in defiance of cultural frameworks. When asked about her assessment of the current state of language and identity from a feminist perspective, she explained that with increasing access to education for women of all races, “there will be more and more rewriting work to be done on our side” (Min-Ha 153). From this statement, it can be concluded that Minh-Ha considers the feminist perspective to be greatly unrepresented and also misrepresented in literature and academia. Additionally, her stance that the feminist movement, like many other socio-political movements, is “heterogeneous in its origins,” means that history will continue to be rewritten as time goes on (Minh-Ha 153). This ties into her assertion that “identity remains necessary as a political [and] personal strategy of survival and resistance” (Minh-Ha 157), a direct response to the omnipresence of history as written from a dominant perspective. The formation of identity by immigrants often remains separate from the culture to which they have emigrated, both a result of and in response to cultural stereotypes placed upon various racial groups.

In the interview, Minh-Ha asserts that her filmmaking endeavors are guided by the desire to create purely objective thought, breaking down boundaries that are so often drawn when cultures are mixed. It is apparent in her film that Minh-Ha has avoided directly influencing the strategic direction and theme of the work. She instead draws attention to her true focus, an innate interest “in exploring how we project ourselves through our own stories and analyses […] breaching the question of plural identity” (Minh-Ha 158). By opting to allow her presentations to take individual forms and reflect the natural condition of the environment in which they are set, she shows her appreciation for the unique differences inherent in various cultures. One might surmise that Minh-Ha’s approach is liberal enough to fully accommodate all the differences that arise from the individualization of people according to their various experiences, cultures and beliefs. Within her work, she embodies the “simultaneous engagement and disengagement” (Minh-Ha 156) that arises from both recognizing and differentiating oneself from individuals in foreign cultures. As a foreigner myself, I can say that a language barrier is the most prevalent element of uniqueness that causes differentiation and subsequent racial prejudice. It is obviously the most noticeable; however, the emphasis on my limited ability to communicate through language takes away the focus from other more important factors associated with my identity, such as my rich native culture, which I could relate to people around me. Minh-Ha’s approach of a fairly neutral portrayal of her subjects in their natural state reflects the attitude and perspective that should be adopted when attempting to address any topic or circumstance that deals with cultural or racial differences. It accords diversity the respect that it deserves, and seems to be an effective way to eliminate racial prejudice.

In an interview with Adrian Piper, an installation artist, philosopher, and professor known for her anti-racism agenda, she re-articulates her controversial standpoint, pointing out important cultural misconceptions when it comes to racial differences. She refers to racist tendencies as a pernicious symptom of the incapability to realize self-worth except by seeking distinctions among others on the basis of physical attributes rather than their individuality (Piper 93). This strict focus on the visual is something that many have subscribed to, and her work points this out with almost disturbing clarity. She is aware of the controversy that her works generate and eagerly takes advantage of the attention that accorded to her by elaborating on her ideals and the philosophical beliefs that inspire them. In this manner, she fully utilizes the opportunity to communicate her beliefs to a wider audience. She asserts that one must “be able to explain why racism is wrong,” using methods of “rationality, logic, and conceptual analysis” (Piper 75). This point drives the issue home, for if a problem is to be truly solved, one must first create as much awareness as possible, and then graduate to the next and more difficult level of convincing the public as to why the problem takes precedence and must be addressed at all costs.

Within the interview, Piper asserts overall that individuality, as well as universality, can be found within members of all cultures. She urges her audience to “overcome the illusion that each of us is defined not just by our individual uniqueness but by our racial uniqueness” (Piper 77), and that among human beings, “…there are really more similarities than differences” (Piper 91-92). Although Piper believes that people should not be classified or divided on the basis of their nationality in order to stem racism, one might argue that pride of nationality is an important aspect of an individual’s identity. People within separate cultures are different from each other in many ways, and while these differences might set us apart, they also make us who we are. It is not necessary to completely understand one another, but only to find true apperception for differences among individuals, without passing judgment. National divisions are necessary in order to accord the appropriate respect and appreciation for culture, history, and traditions that occasion such divisions. Society does not necessarily have to blur national differences in order to address the problem of racism, but only acknowledge the essential similarities that unite cultures across these differences, and find truth in this statement: “Universality and singularity are opposite sides of the same coin” (Piper 94). It is possible to fully address this problem by appreciating cultural uniqueness sufficiently, while still acknowledging fundamental similarities among all human beings. Only by finding appreciation for both the similarities and the differences found amongst the vastness of mankind can society truly bring about an end to racism.

In addition to making a strong statement on racism in society, Adrian Piper relates the topic to issues of sexism that have long been a negative influence on our culture. Drawing a direct connection between the two, she explains that both are based on strictly visual aspects of an individual. According to Piper, discrimination based on sex and race occurs when individuals do not match the “typical” image or stereotype for a particular group (94). She goes on to say that every person must “understand how these deeply buried archetypes function in our character and personalities, how they engender a sense of security when people look and act as they are ‘supposed’ to and fear and anger when they don’t” (Piper 94). Indeed, in most cases this negative response to that which is unfamiliar forms the basis for racial and gender discrimination. While simple knowledge of this process may not help to eliminate racism, it is a step towards a deeper understanding and an ultimately positive destination, one where individuals might come together for progress to be made.

Overall, both Trinh T. Min-Ha and Adrian Piper seek to illuminate the similarities as well as the differences that exist within all individuals regardless of race or gender. Within their work, both women convey the notion that in order to truly eliminate racism and gender inequality, we will need to accept the differences of individuals without passing judgment. Refraining from judgment may be a challenge, as judging others to some extent is reflexive of human nature, a natural response to the bustling diversity that surrounds us. As an immigrant to the United States, I myself experience racial prejudice on an almost daily basis. Despite the time I have already spent in this new country, I have yet to fully adapt to the culture and lifestyle of my new community, a process that is made more difficult by prejudice. Even though I acknowledge that the process is gradual, I feel that I still have a long way to go and consequently cannot help but empathize with fresh and even future immigrants. While only an immigrant can understand how hard it is to adapt, to live and work in a foreign country far away from home, I hope that someday the experience might not be so difficult for those in my position. Many people, especially those who fall within the category of the racially privileged, have limited understanding of the issue of racism, or even underestimate its relevance, in the process undermining efforts to address it. In this regard, I believe those with a voice such as Min-Ha or Piper must take utmost advantage of their ability to positively influence society. Their perspectives may not yet be universal, but so long as others are inspired by their position against prejudice, such perspectives are likely to touch base with multitudes.

Works Cited

Minh-Ha, Trinh T. Framer Framed: Film Scripts and Interviews. New York: Psychology Press, 1992. 95-105, pp. 151-158.

Piper, Adrian. “Interview by Maurice Berger.” Art, Activism, and Oppositionality: Essays from AfterImage. By Grant H. Kester. Washington DC: Oct 1990.