In 2019, Musée d’Orsay held an exhibition on Black Models, and the National Museum of the History of Immigration held a year-long exhibition on the musical contribution of migration to Paris and London. Why do we need a specific show to give black models an identity and an exhibition to demonstrate the contribution of post-colonial migrants to popular music?
In my Identities article, 'The whiteness of cultural boundaries in France', I explore the underpinnings of France’s relationship to the culture of the Other, through the scope of whiteness. I contend that whiteness can be defined as a kind of capital embedded in the routine structures of economic and political life and is therefore a relevant concept to analyse French cultural policy.
Canada and the United States are touted as multicultural societies, both formally through multiculturalism policies and informally through cultural narratives and metaphors such as the 'melting pot.' Still, these policies, narratives and metaphors can actually mask persistent inequalities that immigrant populations must navigate through, even for populations that already appear well-equipped to adapt to the host culture.
This is the case for Filipina/os. In my Identities article, 'The centrality of neoliberalism in Filipina/o perceptions of multiculturalism in Canada and the United States', Filipina/o university students in Toronto and Los Angeles discuss their views regarding ethnic identity maintenance and inclusion in their respective environments. The results were a bit counter-intuitive.
Many Western expatriates are routinely exposed to being labelled laowai (老外 in Mandarin, literally ‘old foreigner’) in mainland China. According to a 2007 report in People’s Daily, Chinese users of the slang term laowai feel it shows their respect and intimacy for Westerners (‘Is 'Laowai' a Negative...' 2007). This Chinese interpretation was empirically verified by a 2015 research article (Mao 2015).
But some people on the receiving end feel that laowai is a stereotype-laden form of ‘othering’, defined as discourses that create a boundary between insiders and outsiders. Why are these interpretations so different? Why do Westerners feel resentful when they are addressed as laowai?
In order to address these questions, we focused on American expatriates living in mainland China, often regarded as prototypical ‘Westerners’ there. We conducted in-depth interviews with 35 American expatriates who ranged in age from 19 to 36 years, varied in sojourn length from six months to ten years, were in different occupations and of diverse racial categories (White/Chinese/Latino/African Americans). By inviting these Americans to reflect upon their intercultural experiences in mainland China, we explored their interpretation of the term laowai.
When you see images of French daily life or French people in magazines, films, or other media, what do you see?
Usually, it’s white people, with perhaps a few visibly non-white people depicted. But this is odd for multiple reasons.
One, France has a long history of immigration, primarily from its overseas territories and former colonies. Due to years of colonialism, colonial slavery, and subsequent migration, ethnic minorities, or 'visible minorities' in French academic parlance, have long been part of French society.
Secondly, France does not acknowledge or measure race as a separate identity category. So while France is a multicultural society, it does not, as a facet of law, distinguish between these different cultures. One is either French or not. This is France’s Republican model.