mauifeat

Pop CultureSeptember 20, 2016

Hear us out: That ‘brown face’ Maui costume is maybe okay

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Disney have once again come under fire for cultural appropriation, this time for the release of their Maui costume for kids. Madeleine Chapman explains why it might not be so bad.

Mulan is my favourite movie. Not my favourite Disney movie or even my favourite children’s movie. Mulan is my favourite movie, period. I’ve seen it so many times I can now mouth along to every line of dialogue.

A few years ago I wanted to know more about the the story so I looked her up. In the process of learning the original Chinese legend of Fa Mulan, I also learned that the movie was a massive flop in China and many, if not most, Chinese hated it. They hated it because Mulan barely looked Chinese, Mushu was American (Eddie Murphy) and didn’t behave at all how a Chinese dragon would behave. And they hated it because Disney changed the source material to make Mulan more individualistic, which goes against Chinese cultural values.

Essentially, Mulan is an American story in a Chinese context with Chinese props. It sounded bad. Where did that leave me as a diehard fan of the movie? Was I complicit in this cultural appropriation by not protesting it?

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Disney announced last year that its next project would be Moana, a heroic tale of a young woman voyaging to a fabled island with demigod, Maui. Moana is the first Polynesian Disney princess. When the news broke, the immediate reaction in New Zealand and the Pacific was for the most part a collective sigh of finally. How incredible for young Pacific Island and Māori children to be able to see brown-skinned heroes on the big screen.

But it wasn’t long before the honeymoon ended and Disney hit its first of many cultural hurdles, all to do with the Maui character.

First there was the casting. Dwayne Johnson, highest earning actor in 2015 and role model for millions of men and women around the world. His films, no matter how critically panned, do extremely well. He’s box office gold. But he also pronounces Samoan and Māori words with a thick American accent, in a way that some might say is incorrect. The reception to his casting was mixed.

Some didn’t like the casting. Why didn’t they cast a local non-Hollywood actor to voice the role? It would add authenticity to the language and feel less Americanised, not to mention provide opportunities for under-utilised Oceanic actors.

Others loved the casting. Dwayne Johnson is a mega star and, while this is a Disney film, it’s about a largely unknown story and people. If anyone is going to make this movie a box office success and bring our story to a larger audience, it’ll be Dwayne Johnson.

But the casting of Maui was nothing compared to the push back that occurred when the first images of Moana and Maui emerged. Maui was big, real big. And people weren’t happy.

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Others considered it an accurate depiction and celebration of big, strong, Polynesian men. A character that looked like many people’s fathers and uncles. Both sides of the argument had valid points and never really came to an agreement.

And now Disney have just released the Maui kids costume, a full body padded skin suit complete with tattoos and wig, that has received widespread criticism from indigenous and white folk alike.

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When I first came across this picture, my knee-jerk reaction was to recoil. It looked weird to me and I couldn’t put a finger on it. It seemed Disney had really failed. But the longer I’ve thought about it, the more I think they haven’t.

Whether they realised it in development or not, Disney backed themselves into a brown-skinned costume corner by choosing to put Maui on the big screen. He’s the first Disney hero whose skin is an integral and necessary (can you imagine him in a Hawaiian shirt?) part of his look. Tarzan shows a lot of skin but as far as a costume goes, wear a brown bag as underwear and you’re good to go. Every other Disney hero or prince has a full costume complete with top, bottom, and shoes.

Maui wears a grass skirt/green lavalava, a shark tooth necklace, and his tattoos. Of the three, it’s the tattoos that are the most defining of his character.

So you have this amazing demigod character with beautiful tattoos that young boys will be impersonating and wanting to replicate. How do you go about making a costume?

Disney went for the full body skin suit to highlight the tattoos, and got slammed for it. Made in the same way that superhero costumes are made, the Maui suit displays all the tattoos of Maui as well as the grass skirt and wig.

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Some on Twitter referred to the costume as being ‘brown face’ and thought it creepy that Disney was encouraging kids to ‘put on brown skin’. The only reason Disney haven’t made a white skin suit is because all their white characters wear a lot of clothes. He-Man, on the other hand, doesn’t, and this is his costume.

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A concern was raised that the suit looks cute on the model kid because his skin nearly matches the suit’s colour. But what about when a little white kid puts the suit on, is that not offensive? I discussed this with my cousins last night (who are also Samoan) and one of them responded, “To see a little white kid running around in that and wanting to be brown? That would be awesome.”

After years and years of seeing Samoan Spiderman and Brown Batman at little kids’ birthday parties, how incredible it would be to see white kids looking up to and wanting to be like the Polynesian hero in the movies.

The concerns are warranted, I know that. There’s a certain discomfort in seeing a costume that looks like someone you might know. But consider the costume alternatives.

No brown skin, ergo no tattoos.

By taking away the ‘brown face’ skin part of the costume and the tattoos with it, what you’re left with is a lavalava and a necklace, aka my uncle every day of the year.

Less brown skin

It’s a choice between brown face and white washing for Disney here. Or He-Man with tattoos. Let’s face it, if they released a light-skinned Maui, the world might implode.

Temporary tattoo stickers

Could actually work but then you have small white children sporting traditional Polynesian tattoos. Is that better? I don’t know.

No costume at all

Disney creates the first Polynesian hero and doesn’t enable kids to dress up as him? Disney’s dead.

There is really no way for Disney to win here when dealing with such sensitive issues as people’s culture and traditions. Disney makes movies that kids love and if this is how a Moana costume is received, perhaps the real issue is that Disney should never have made the movie in the first place.

When it comes to cultural appropriation, it’s all down to intent. I know Samoans love to see Europeans embrace the culture, learn the dances and wear traditional clothing, but in the right context. A group of drunk white girls wearing hitched up lavalavas and lolly leis as a Sevens costume is not the right context.

If they end up releasing the same Maui costume in adult sizes, that’s when things get tricky. Another cousin of mine who wears a pe’a (the traditional tatau that cover from the waist to the knees, as seen on Maui) agreed that the costume was okay, if only for children. “Costumes for teenagers or adults would be a bit awkward because of the values it holds,” he said. “The transformation into adulthood and the responsibilities that come with wearing a pe’a should be respected.”

At the end of the day, the Maui costume is made for kids and kids will wear it for one reason; because they love the character and want to be like him.

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Despite its downright bad history with cultural appropriation, Disney is giving a huge voice to the stories of the Pacific. Yes, it will most likely divide viewers here in New Zealand. Yes, it will be Americanised more than we’d be comfortable with. And yes, it will open the floodgates to many questionable adult Halloween costumes. But it’s also allowing brown kids all over the world to see themselves on the big screen as strong, powerful, smart adventurers. It’s allowing kids to see that their culture is worth celebrating so much that Disney, master of all kids entertainment, are making a movie about it. It’s a good thing with many faults, but still a good thing.

As I was starting to question my love for Mulan, I realised that despite knowing it wasn’t close to perfect, it didn’t take away from the fact that seeing a young woman be clever and tough in a Disney movie meant a lot to me as a child.

I read an insightful piece by Huffington Post contributor, Faye Wang, on why so many Chinese reacted badly to Mulan and she finished with this:

“I think deep down Chinese feel upset because we didn’t do it. Mulan is our legend, and we didn’t do anything about it that’s nearly as cool and beautiful… A lot of people asked, after watching Mulan, why can’t we do stuff like this?”

Perhaps after Moana comes out and the debates simmer down, New Zealanders might start thinking the same thing.

Keep going!
transparent

Pop CultureSeptember 20, 2016

‘It’s a comedy like a Lars Von Trier film is a comedy’ – 5 reasons you need to watch Transparent

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With Jeffrey Tambor taking home his 4000th Emmy award yesterday and the new season arriving exclusively to Lightbox on Saturday, Sam Brooks tells you exactly why you need to catch up with Transparent

When Transparent was announced as a pilot for Amazon TV, a pilot where Arrested Development patriarch Jeremy Tambor would be playing a transgender woman transitioning late in life, my first thought was: “Amazon! That’s the site I ordered a PS2 from about 10 years ago that never showed up! They don’t make TV!”

My second thought was that this was going to either going to be a terrible three-camera sitcom with horrible transmisogynist jokes, or every episode was going to be a Very Special Episode. I couldn’t have been more wrongHere are five reasons why you should be watching Transparent:

1) It’s the best representation of the trans experience we have so far

I should qualify this first by saying that I’m a gay cis person of colour, so my assessment of this being the best representation of the trans experience we have so far is limited by that experience.

The criticisms from the trans community of this show are valid, coming from a history of misrepresentation or no representation, and also from a place of deeply felt pain. I can’t speak to those experiences or those criticisms; it’s not my place to. But when Jeffrey Tambor says that he wishes that he’s the last cisgendered white male to play a transwoman, it feels to me like a step in the right direction.

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Transparent is the story of a person transitioning late in life. Maura Pfeifferman (Jeremy Tambor) has spent 60 years of her life living as Mort, and has fathered three kids, Sarah (Amy Landecker), Josh (Jay Duplass) and Ali (Gaby Hoffman).

The most impressive, and upfront, thing that Transparent does is that it treats Maura like a human being. When people in the trans community call Maura out on her privileged behavior, it’s bracing and real. Transparent is frank about the fact that Maura carries the experience of living as a privileged straight white man for most of her life, and how that informs the world she lives in now.

The fact that Transparent can communicate that without making it seem like a lecture is tremendous. These are heady topics, ones that you can discuss endlessly without coming to any real conclusion. To see a television show treating them with that kind of weight is a real special, beautiful thing.

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Nowhere is this more evident than the penultimate episode of the second season. Maura and the other female Pfeffermans go to an all-women’s festival and, after some meandering, Maura finds out that she – a transwoman – isn’t welcome.

When she has a confrontation with some women at the festival, neither side is demonised. We feel Maura’s pain and struggle at being marginalised in a place that she thought included her, but we also understand why these women wouldn’t want her there. We mightn’t necessarily agree with them, but one of the beautiful things about Transparent is that it makes room for differing viewpoints.

Transparent isn’t starting conversations. These conversations have been held by trans communities for decades. What Transparent is doing is making these conversations visible and accessible to the mainstream. I don’t understand the trans experience fully, and I never will be, but by watching Transparent I feel like I’ve been educated on that experience and some of the struggles that go along with it.

2) … and it’s about so much more than that

If Transparent was just about Maura’s experience, it would be a great show. But what turns it from an great show into an essential one is the way that it incorporates the rest of the Pfefferman clan.

All three of Maura’s children are scarily easy to hate for characters on a television show that we’re meant to like. Sarah cheats on her husband in the first episode, Ali is blissfully unaware of the privilege that allows her to take her time figure out what she wants to do with her life, and Josh is a music producer.

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Transparent doesn’t ask us to like any of these characters, but it asks us to empathise with them. We see these character flail – and they do some masterful tragicomic flailing – and we see them fuck-up, sometimes devastatingly.

In the second season, Transparent takes these characters right to the edge of likeability, but never pushes them over the cliff into being cartoonish. When Josh feebly tries to step up to being a father, when Sarah is experimenting with her sexuality, and Ali is struggling with her sexuality in a very different way, we’re allowed to engage with them as actual humans. They’re just people who are fucking up and slowly, but surely, trying to fuck up less.

Just as much as Maura is transitioning from male to female, the Pfefferman clan is equally in transition. They’re trying to figure out who they are and where they fit into the world.

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3) It does interesting things with the form

 There are shows that are great within the rules of established television. You’ve got Friends, which mastered and homogenised the three-camera sitcom like it hadn’t been before. You’ve got Game of Thrones, which took all the tropes of making a fantasy show and combined it with the mastery of making an HBO drama to seemingly endless amounts of success.

There are game-changers like The Office, without which we wouldn’t have The Thick Of It, Veep or Parks and Recreation. It’s not inventing a form of television, but it’s pushing the limits of what we think television can do and can be. Then you’ve got something like Girls, which is gently – but confidently – pushing those limits. Transparent is in this same boat.

The second season takes momentary, almost dreamlike, flashbacks to a pre-World War II Germany. A woman is trying to flee Germany with children, one of whom is a boy transitioning into a girl, or attempting to do so. It doesn’t appear related to the present day story of the Pfefferman’s at all. These flashbacks aren’t prefaced in any way, and don’t appear in places where we might expect flashbacks. They pop up and then disappear.

It isn’t until the last few episodes of the season that you really understand what Transparent is trying to do. I’m delicately talking around spoilers, but to see a television series – remember that this shares a medium with The Bachelor engage with the idea of hereditary trauma is astounding.

4) It lives up to the hype and the awards

I hate hype. I avoid trailers like the plague and if more than 10 people share a link on Facebook I won’t click on it. If everybody I run into is telling me to watch a TV show, I will probably avoid it.

Hype aversion is why I have watched half an episode of Breaking Bad, it’s why I stopped watching Game of Thrones about two seasons in and why I would rather run through a burning window pane than watch House of Cards. It is also why I avoided Transparent for a good few months after it came out.

When a show wins the awards that Transparent has won, raking in two Emmys just yesterday, you start to want to back away a bit. It can’t be that good, and is it even a comedy?

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Transparent is an awards juggernaut that is oddly placed in the dark forest of awards season. It falls into the same trench between comedy and drama that Orange is the New Black, Girls and Nurse Jackie found themselves in.

(The fact that these are not comedies but dramas about women, that nonetheless people have decided can’t compete with the serious dramas of House of Cards and Game of Thrones is another issue.)

Is Transparent a comedy? It’s a comedy like a Lars Von Trier film is a comedy. You laugh because it’s hitting somewhere true and deep, not because Jim Parsons is saying “Bazinga!”.

5) It’s something you should be watching

“You should definitely watch [show!]” is a very easy way to get me to never watch [show]. It’s probably the rebellious teenager living deep inside me.

But I’ll tell you you should be watching Transparent because it makes you a better person. It helps you to understand an experience that you might not have even considered before, an experience that deserves to be understood and shared. It’s not the be-all-to-end-all, but if you’ve never met or spoken to a transperson before, there are worse places to start.

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Even more crucially, Transparent invites us to see ourselves in Maura and the whole Pfefferman clan. Maura isn’t just a transwoman, she’s a person who has had a long history with struggles and difficulties that we can all empathise with. We can see our struggles reflected in her, and her family. We’re all people in transition.

Transparent treats all its characters like real people, regardless of sexuality, gender, class, race and privilege. It’s one of the first shows I’ve seen do that, and that’s what makes it special.

That’s why you should be watching


Get caught up with Pfefferman clan in Transparent, before the third season arrives exclusively to Lightbox on Saturday 24th

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