Discourse on Colonization - Aimé Césaire
"First we must study how colonization works to decivilize the
colonizer, to brutalize him in the true sense of the word, to degrade him, to awaken him to buried instincts, to covetousness, violence, race hatred, and moral relativism; and we must show that each time a head is cut off or an eye put out in Vietnam and in France they accept the fact, each time a little girl is raped and in France they accept the fact, each time a Madagascan is tortured and in France they accept the fact, civilization acquires another dead weight, a universal regression takes place, a gangrene sets in, a center of infection begins to spread; and that at the end of all these treaties that have been violated, all these lies that have been propagated, all these punitive expeditions that have been tolerated, all these prisoners who have been tied up and "interrogated," all these patriots who have been tortured, at the end of all the racial pride that has been encouraged, all the boastfulness that has been displayed, a poison has been distilled into the veins of Europe and, slowly but surely, the continent proceeds toward savagery.
And then one fine day the bourgeoisie is awakened by a terrific
boomerang effect: the gestapos are busy, the prisons fill up, the torturers standing around the racks invent, refine, discuss.
People are surprised, they become indignant. They say: "How
strange! But never mind-it's Nazism, it will pass!" And they wait,
and they hope; and they hide the truth from themselves, that it is
barbarism, the supreme barbarism, the crowning barbarism that
sums up all the daily barbarisms; that it is Nazism, yes, but that
before they were its victims, they were its accomplices; that they
tolerated that Nazism before it was inflicted on them, that they
absolved it, shut their eyes to it, legitimized it, because, until then,
it had been applied only to non-European peoples; that they have
cultivated that Nazism, that they are responsible for it, and that
before engulfing the whole edifice of Western, Christian civilization in its reddened waters, it oozes, seeps, and trickles from every crack."
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Why I Deliberately Avoided the "Colonizer" Argument in my Zutara Thesis - and Why I'll Continue to Avoid it Forever
This is a question that occasionally comes up under my Zutara video essay, because somehow in 2 hours worth of content I still didn't manage to address everything (lol.) But this argument specifically is one I made a point of avoiding entirely, and there are some slightly complicated reasons behind that. I figure I'll write them all out here.
From a surface-level perspective, Zuko's whole arc, his raison d'etre, is to be a de-colonizer. Zuko's redemption arc is kinda all about being a de-colonizer, and his redemption arc is probably like the most talked about plot point of ATLA, so from a basic media literacy standpoint, the whole argument is unsound in the first place, and on that basis alone I find it childish to even entertain as an argument worth engaging with, to be honest.
(At least one person in my comments pointed out that if any ship's "political implications" are problematic in some way, it really ought to be Maiko, as Mai herself is never shown or suggested to be a strong candidate for being a de-colonizing co-ruler alongside Zuko. If anything her attitudes towards lording over servants/underlings would make her… a less than suitable choice for this role, but I digress.)
But the reason I avoided rebutting this particular argument in my video goes deeper than that. From what I've observed of fandom discourse, I find that the colonizer argument is usually an attempt to smear the ship as "problematic" - i.e., this ship is an immoral dynamic, which would make it problematic to depict as canon (and by extension, if you ship it regardless, you're probably problematic yourself.)
And here is where I end up taking a stand that differentiates me from the more authoritarian sectors of fandom.
I'm not here to be the fandom morality police. When it comes to lit crit, I'm really just here to talk about good vs. bad writing. (And when I say "good", I mean structurally sound, thematically cohesive, etc; works that are well-written - I don't mean works that are morally virtuous. More on this in a minute.) So the whole colonizer angle isn't something I'm interested in discussing, for the same reason that I actually avoided discussing Katara "mothering" Aang or the "problematic" aspects of the Kataang ship (such as how he kissed her twice without her consent). My whole entire sections on "Kataang bad" or "Maiko bad" in my 2 hour video was specifically, "how are they written in a way that did a disservice to the story", and "how making them false leads would have created valuable meaning". I deliberately avoided making an argument that consisted purely of, "here's how Kataang/Maiko toxic and Zutara wholesome, hence Zutara superiority, the end".
Why am I not willing to be the fandom morality police? Two reasons:
I don't really have a refined take on these subjects anyway.
Unless a piece of literature or art happens to touch on a particular issue that resonates with me personally, the moral value of art is something that doesn't usually spark my interest, so I rarely have much to say on it to begin with. On the whole "colonizer ship" subject specifically, other people who have more passion and knowledge than me on the topic can (and have) put their arguments into words far better than I ever could. I'm more than happy to defer to their take(s), because honestly, they can do these subjects justice in a way I can't. Passing the mic over to someone else is the most responsible thing I can do here, lol.
But more importantly:
I reject the conflation of literary merit with moral virtue.
It is my opinion that a good story well-told is not always, and does not have to be, a story free from moral vices/questionable themes. In my opinion, there are good problematic stories and bad "pure" stories and literally everything in between. To go one step further, I believe that there are ways that a romance can come off "icky", and then there are ways that it might actually be bad for the story, and meming/shitposting aside, the fact that these two things don't always neatly align is not only a truth I recognise about art but also one of those truths that makes art incredibly interesting to me! So on the one hand, I don't think it is either fair or accurate to conflate literary "goodness" with moral "goodness".
On a more serious note, I not only find this type of conflation unfair/inaccurate, I also find it potentially dangerous - and this is why I am really critical of this mindset beyond just disagreeing with it factually. What I see is that people who espouse this rhetoric tend to encourage (or even personally engage in) wilful blindness one way or the other, because ultimately, viewing art through these lens ends up boxing all art into either "morally permissible" or "morally impermissible" categories, and shames anyone enjoying art in the "morally impermissible" box. Unfortunately, I see a lot of people responding to this by A) making excuses for art that they guiltily love despite its problematic elements and/or B) denying the value of any art that they are unable to defend as free from moral wickedness.
Now, I'm not saying that media shouldn't be critiqued on its moral virtue. I actually think morally critiquing art has its place, and assuming it's being done in good faith, it absolutely should be done, and probably even more often than it is now.
Because here's the truth: Sometimes, a story can be really good. Sometimes, you can have a genuinely amazing story with well developed characters and powerful themes that resonate deeply with anyone who reads it. Sometimes, a story can be all of these things - and still be problematic.*
(Or, sometimes a story can be all of those things, and still be written by a problematic author.)
That's why I say, when people conflate moral art with good art, they become blind to the possibility that the art they like being potentially immoral (or vice versa). If only "bad art" is immoral, how can the art that tells the story hitting all the right beats and with perfect rhythm and emotional depth, be ever problematic?
(And how can the art I love, be ever problematic?)
This is why I reject the idea that literary merit = moral virtue (or vice versa) - because I do care about holding art accountable. Even the art that is "good art". Actually, especially the art that is "good art". Especially the art that is well loved and respected and appreciated. The failure to distinguish literary critique from moral critique bothers me on a personal level because I think that conflating the two results in the detriment of both - the latter being the most concerning to me, actually.
So while I respect the inherent value of moral criticism, I'm really not a fan of any argument that presents moral criticism as equivalent to literary criticism, and I will call that out when I see it. And from what I've observed, a lot of the "but Zutara is a colonizer ship" tries to do exactly that, which is why I find it a dishonest and frankly harmful media analysis framework to begin with.
But even when it is done in good faith, moral criticism of art is also just something I personally am neither interested nor good at talking about, and I prefer to talk about the things that I am interested and good at talking about.
(And some people are genuinely good at tackling the moral side of things! I mean, I for one really enjoyed Lindsay Ellis's take on Rent contextualising it within the broader political landscape at the time to show how it's not the progressive queer story it might otherwise appear to be. Moral critique has value, and has its place, and there are definitely circumstances where it can lead to societal progress. Just because I'm not personally interested in addressing it doesn't mean nobody else can do it let alone that nobody else should do it, but also, just because it can and should be done, doesn't mean that it's the only "one true way" to approach lit crit by anyone ever. You know, sometimes... two things… can be true… at once?)
Anyway, if anyone reading this far has recognised that this is basically a variant of the proship vs. antiship debate, you're right, it is. And on that note, I'm just going to leave some links here. I've said about as much as I'm willing/able to say on this subject, but in case anyone is interested in delving deeper into the philosophy behind my convictions, including why I believe leftist authoritarian rhetoric is harmful, and why the whole "but it would be problematic in real life" is an anti-ship argument that doesn't always hold up to scrutiny, I highly recommend these posts/threads:
In general this blog is pretty solid; I agree with almost all of their takes - though they focus more specifically on fanfic/fanart than mainstream media, and I think quite a lot of their arguments are at least somewhat appropriate to extrapolate to mainstream media as well.
I also strongly recommend Bob Altemeyer's book "The Authoritarians" which the author, a verified giga chad, actually made free to download as a pdf, here. His work focuses primarily on right-wing authoritarians, but a lot of his research and conclusions are, you guessed it, applicable to left-wing authoritarians also.
And if you're an anti yourself, welp, you won't find support from me here. This is not an anti-ship safe space, sorrynotsorry 👆
In conclusion, honestly any "but Zutara is problematic" argument is one I'm likely to consider unsound to begin with, let alone the "Zutara is a colonizer ship" argument - but even if it wasn't, it's not something I'm interested in discussing, even if I recognise there are contexts where these discussions have value. I resent the idea that just because I have refined opinions on one aspect of a discussion means I must have (and be willing to preach) refined opinions on all aspects of said discussion. (I don't mean to sound reproachful here - actually the vast majority of the comments I get on my video/tumblr are really sweet and respectful, but I do get a handful of silly comments here and there and I'm at the point where I do feel like this is something worth saying.) Anyway, I'm quite happy to defer to other analysts who have the passion and knowledge to give complicated topics the justice they deserve. All I request is that care is taken not to conflate literary criticism with moral criticism to the detriment of both - and I think it's important to acknowledge when that is indeed happening. And respectfully, don't expect me to give my own take on the matter when other people are already willing and able to put their thoughts into words so much better than me. Peace ✌
*P.S. This works for real life too, by the way. There are people out there who are genuinely not only charming and likeable, but also generous, charitable and warm to the vast majority of the people they know. They may also be amazing at their work, and if they have a job that involves saving lives like firefighting or surgery or w.e, they may even be the reason dozens of people are still alive today. They may honestly do a lot of things you'd have to concede are "good" deeds.
They may be all of these things, and still be someone's abuser. 🙃
Two things can be true at once. It's important never to forget that.
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I saw you say you mind the mishmash of cultures in the show. That’s fine and all (well actually not fine but whatever), but the show is still orientalist at its core
And two white men mishmashing different stuff from various Asian and indigenous cultures isnt cute nor endearing, and it’s weird for you to think it is. it just shows they don’t actually respect those cultures and see it as a playground of some sorts. Something they can dip in and out of, as if they are fucking crayons and not actual cultures. Especially cultures that are undermined. Like….the fuck is wrong with you?
Oh you don’t know what Orientalism is lmao. Edward Said wrote Orientalism to demonstrate how the West had created a vision of the Middle East (through art) that is mysterious & depraved & Other, which in turn justified imperialist politics in the Middle East. Even if you applied this to East/Southeast/South Asia and the Indigenous Americas, ATLA doesn’t qualify, because 1) precisely due to its deliberate eclecticism, it is explicitly a fantasy setting that never claims to represent the cultures that influenced it, and 2) the narrative does not Other its inspirations in this fantasy setting, because the people and cultures depicted in ATLA are framed as aspirational to a young watcher. Orientalism is not wrong just because white people learned about Sultans and decided to paint them: the framing and the political environment make all the difference. An Orientalist text does not encourage the audience to identify with the Other, yet hordes and hordes of kids grew up identifying with Katara and Aang and Zuko, who are shown as the protagonists in their world.
Ironically, I would be harsher on ATLA if it wasn’t a pastiche (and I mean pastiche, not parody) of existing cultures. I would have a much higher standard for a cartoon depicting Imperial Japan, but bringing inspiration from e.g. Thailand into the Fire Nation allows for a greater degree of playfulness and subsumes it into an explicitly fantasy setting. That doesn’t mean ATLA is always successful at it — in fact it annoys me quite a bit that the Earth Kingdom is very much China — or that the adult audience is capable of differentiating between fantasy and history. It also doesn’t mean there isn’t disrespect in the actual depictions: Guru Pathik is a pretty lazy stereotype. Were Bryan and Mike 100% respectful of the cultures they took inspo from? Probably not, but their intent is not interesting to me.
I do take issue with the way ATLA portrays resistance (ie Jet and Hama), or how the subsequent comics talk about colonial progress (North and South, The Promise), or whatever milquetoast political allegories that were in the Legend of Korra, so you'd never hear me claim that ATLA is politically sound. But do I take issue with the fundamental conceit of ATLA, as a fantasy world inspired by Asian & Indigenous cultures? No, I don’t. I actually come from one of the cultures that heavily influenced ATLA, and I didn’t like the show when I was younger because I used to think it was culturally appropriative. Of course you’re free to feel that way, but then I don’t get why you would read ATLA posts, and read my tags on a post that wasn’t even mine, if you fundamentally object to this piece of media.
Then again, even when I was the most self-righteous freshman knees-deep in PoCo theory, I wouldn’t have asked someone “what the fuck is wrong with you” for enjoying this cartoon, so maybe I just can’t relate to you, anon 🙃
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