Subverting Colonialism in Peru

Posted on by Dr Zuleyka Zevallos

Peru’s Señor de Choquekillca Festival is held in Ollantaytambo, near Cuzco (the ancient Incan city of Machu Picchu). The festival commemorates a local saint and it also represents the Inca’s mocking of the conquistadors who invaded and almost obliterated the Indigenous Quechua culture.

Writing for the Huffpost, Andrew Burmon muses that the festival comes across as a “strange” multicultural event that doesn’t match Western ideas of multiculturalism. The festival simultaneously represents an embrace of certain elements of Catholicism which are blended with Indigenous spirituality, as well as a rejection of Spanish colonialism.

In Western nations, multiculturalism takes on many contested forms, but it is usually about tolerance of cultural and religious difference as a means of social integration of minority groups. This festival in Ollantaytambo subverts this notion by recreating the history of colonialism as an act of cultural and religious rebellion. The town honours its tradition by staging people drinking outside a church as well as by having a cross procession.

The people dress up in beautifully ornate costumes as well as grotesque masks in a celebration, condemnation and reconciliation of the past.

Senor de Choquekillca is a strange sort of festival. A religious celebration in honor of a small town boy made saint that has morphed into an occasion for trans-generational venting, Choquekillca provides the citizens of the small town of Ollantaytambo with an occasion to dress up in white face and mock the conquistadors who destroyed the Inca civilization flourishing in this part of the Peruvian Andes…

That is what is great about the party: Like history itself, it doesn’t really make sense.

Peru’s Christian faith is a spoil of war, but no less genuine for being coerced. Likewise, the Incan culture is mourned despite being obviously extant. Unlike westerners, who more often than not see multiculturalism as the amalgamation of different peoples, the people of the Sacred Valley – inundated though they are by Machu Picchu-bound travelers – are multicultural on the inside, contradictions be damned.

It is hard not to love a people not only capable of holding contradictory ideas in their heads, but willing to celebrate them in concert. 

Photos via: Huffington Post.

Noble Savages and Magical Pixie Conquests: Colonial Fantasies in Film

Posted on by Dr Zuleyka Zevallos
Via Wiki: Detail from Benjamin West’s The Death of General Wolfe (1771). This painting is an example of an idealised vision of the “noble savage” in North American art.

By Zuleyka Zevallos

I wanted to do a follow up on my post from a couple of months a go, on Hollywood racism. I analysed George Lucas’ claim that big Hollywood studios were reticent to back his film Red Tails because there were no white leading actors in the script. I used the idea of the Magical Negro Trope to explain how mainstream Hollywood films stereotype African-Americans as either thugs or benevolent, self-sacrificing figures who exist only to teach the white character a life-affirming lesson. I showed that this trope extends to other minorities who are people of colour, through the Noble Savage Trope. Today I want to focus on the sexualisation of Noble Savage trope. The Noble Savage is a term describing the over-simplified stereotype of Indigenous people on film. I will focus on gender and sexuality issues in big-budget Hollywood films depicting Indigenous and minority cultures during early colonial and “frontier” times.

Today I will draw a comparison between Avatar and other Hollywood films that depict Indigenous and minority women as savage conquests. Women in general are rarely cast in complex roles in big-budget Hollywood releases. They are usually romantic or sexual diversions to help portray the male lead in a sympathetic light. Minority women are even more simplified, especially in stories involving Indigenous cultures. Indigenous and women of colour exist largely as Magical Pixie Conquests:  they are painted as feisty, though ultimately submissive, pawns that help white male characters to dominate the “native tribe”. The fictionalised version of the “Pocahontas” story epitomises how Hollywood both fetishes Indigenous cultures and perpetuates patronising postcolonial fantasies.

Noble savages and magical pixie conquests

Continue reading Noble Savages and Magical Pixie Conquests: Colonial Fantasies in Film

Hollywood Racism: The Magical Negro Trope

Posted on by Dr Zuleyka Zevallos

By Zuleyka Zevallos

Adam Serwer reports in Mother Jones that George Lucas’ latest film, Red Tails had trouble getting made, partly because the “studios weren’t willing to finance a film without a white protagonist as an anchor”.  Lucas’ claim can be put into wider historical context by examining the entrenched racist practices of big Hollywood studios. In particular, the idea of the “magical negro trope” puts things into perspective. This term refers to the way valiant Black characters in movies exist only as a narrative device to teach the white protagonist how to be a better person. This post explores variations of the “magical negro” and the gendered dimensions of these characters.

Hollywood Racism: The Magical Negro Trope
Hollywood Racism: The Magical Negro Trope

Continue reading Hollywood Racism: The Magical Negro Trope