Sweet Shop Boys, Said, Bald
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By showcasing these familiar yet clichéd images, the Swet Shop Boys offer an ironic critique of the Western fascination with exoticism. The video's use of over-the-top cultural references not only entertains but also serves as a commentary on the reductive way in which Western audiences often engage with non-Western cultures. For instance, it features the appearance of Aishwarya Rai, a prominent figure in Bollywood cinema, includes clips of qawwali singers as well as the ceremonial guard at the India/Pakistan border. By taking into account the historical and political context, this video clearly exemplifies the concept of "Orientalism", by showing pre-made ideas constructed by the West about the Orient. By presenting these symbols in a visually striking manner, the video is a clear representation on how cultural elements are often reduced to stereotypes and consumed as exotic novelty. This, combined with the meaningless "Arabic" subtitles that mimic the script without conveying real meaning, exposes a broader Western indifference to the complexities of Eastern cultures. This careless appropriation underscores the gap between genuine cultural appreciation and the consumption of cultural elements as a simple spectacle.
When Said says that Europe benefited from the Orient as a "surrogate and even underground self," he is arguing that Europe constructed a simplified, mostly pejorative image of the Orient to serve as a substitute identity, helping define itself and manage its internal contradictions. Indeed, the West used the East to shift the focus on the strangeness of this region rather than focusing on the western aspects that were at the end of the day, similar to those in these foreign countries. Indeed, by portraying the East as irrational, or mystical, the westerners actually projected qualities that were downplayed in Europe’s self-image but that nonetheless existed in European culture. By projecting these traits onto the Orient, Europe could distance itself from the "irrational" parts of its own culture, creating a clearer self-image. Moreover, by portraying the East as "other," the West could define itself as superior and rational. This process of "othering" helped legitimize colonialism and imperial rule. Europe’s portrayal of the East as backward or irrational was a justification for intervention and domination. The Orient became the contrasting image through which Europe developed its identity. Overall Said discusses how Europe projected onto the Orient both what it rejected in itself and what it feared or desired, using this external image to reinforce its own sense of superiority and coherence.
For both peddlers and African Americans passing as Indian, the stereotypes of exoticism and mysticism functioned as a tool within the racial law of Jim Crow. By adopting the stereotypes around the Hindoos, they accessed a social loophole that allowed them to temporarily live the life of an individual exempted from the Jim Crow law. Indeed, the identity of the "Oriental" was seen as more ambiguous, often fetishized for its supposed wisdom and mystery, which allowed individuals to enter the spheres of commerce that would otherwise have been closed off to them. Beyond its protective role, this adoption of "Oriental" identities also exploited Western fantasies about the East. Peddlers, through their self-orientalization, promoted consumer desire, playing with the white Americans' fascination with the mystique of the Orient. By doing so, they leveraged stereotypes to achieve a certain degree of financial success. At the same time, these stereotypes of harmlessness and subordination reinforced broader colonial narratives. Indeed, while these performances allowed for individual survival and economic gain, they also reproduced the very power dynamics that upheld racial hierarchies in the United States. In sum, the "Oriental" tropes served as a survival strategy but also as a mechanism for reinforcing the racialized structures of dominance, highlighting the complex interplay between resistance and complicity in a deeply segregated society.
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I think you're right about the Swet Shop Boys critiquing Western exoticism, but I’d argue the video does more than just highlight the clichés. It feels like they’re reclaiming these images too, turning the exaggerated stereotypes on their head as a way of mocking them. By doing this, they’re not only exposing how the West consumes Eastern culture, but also using humor to take ownership of how their identity is portrayed. The use of meaningless "Arabic" subtitles, for example, isn’t just a critique of Western indifference, but also a playful way to show how ridiculous the simplification of cultures can be. It’s as if they’re saying, “If you’re going to reduce us to a stereotype, we’ll make it as absurd as possible.”