Analyze representation in media.
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It's Friday!
And Ebony is discussing Hamilton today, which many of you have asked about after our newsletters on Independence Day and cancel culture. Ideally, this sparks a regular practice of analyzing representation in all media, and advocating for more inclusive, diverse storytelling.
Each Saturday I dedicate the newsletter to answering questions and sharing insights from our community. It's a good time to reflect and deepen your understanding of topics this week. If you haven't already, email us your thoughts. I don't offer 1:1 consulting and can't get back to everyone, but I do my best!
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Nicole
TAKE ACTION
1. The next time you watch a movie with a historical context (fictional or otherwise), consider...
Who's voice may be missing in this narrative?
Who shaped this story? What are the backgrounds of the writer, director, etc?
What part(s) of history may I be missing?
2. Explore other conversations about #RepresentationMatters on Twitter.
GET EDUCATED
"Why are people mad about Hamilton?"
Hamilton has become a cultural phenomenon. Written by Lin-Manuel Miranda and inspired by a recently published biography, this musical tells the story of Alexander Hamilton through hip-hop, R&B, soul, and show tunes. Since its debut in 2015, it “has grossed $500 million, won 11 Tony Awards and a Pulitzer Prize, and was staged for three US tours, a production in London’s West End, and one in Chicago” (IndieWire). With this level of success, it’s no surprise Disney spent approximately $75 million for a recording of the musical featuring the original Broadway cast.
Disney released Hamilton on Disney+, their streaming service, on 4th of July weekend as a celebratory statement during fraught times. This reignited, and accelerated, conversations around representation. On one hand, people praise the casting team for hiring a diverse crew, and praise the musical for celebrating Black culture through its music. And on the other, critics question the lack of representation within the story. Both sides have valid points of view that need to be addressed.
With a lack of diversity still being present in both the film and theater industry, Hamilton made a name for itself by centering its production around non-white actors and performers who regularly face disadvantages in their field. This level of representation inspired other theater companies to make a bigger effort to ensure all cultures and ethnicities are portrayed accurately so there can be proper representation throughout their production (DC Metro, Theater Arts).
“Hamilton is the first of its kind to present a bounty of multicultural artistry – white actors included – because it doesn’t present actors of color just to put them on a stage," writes Don Michael Mendoza (DC Metro, Theater Arts). “It places them in a meaningful story about the founding of our country that is also a comment on the diversity of what America is comprised of, which is many cultures as one".
Hamilton challenged the status quo and made people rethink the roles people of color should play. Having diverse actors portray white historical figures in a compelling way is a refreshing change to the whitewashing we normally see in the entertainment industry (The Guardian). The same year Hamilton was released, only 13.9% of all available roles on Broadway were cast without regard to race or ability, and shows that hired predominantly people of color were rare (Playbill).
Yet Hamilton doesn’t accurately represent the narrative of marginalized communities within the storyline. Consider the characters: there is no representation of Black or Indigenous people in the story despite their active contributions to the development of our nation. The identities of enslaved people were completely erased, evident in the line “no one else was in the room where it happened” from the song “The Room Where it Happens” (Youtube). Hamilton also neglects to mention the African Americans soldiers who fought in the Revolutionary War for both British and American armies (American Battlefield Trust).
Along with the erasure of Black and Indigenous people, this musical marginalized its female characters. There were only three female leads, each defined by their romantic connection to Alexander Hamilton. They are Eliza who was Hamilton’s wife, Angelica who was Eliza’s sister and Hamilton’s close friend and true love, and Maria Reynolds, Hamilton’s mistress. These women were drastically featured less compared to their male counterparts, and there’s a “clear difference in freedom of expression and representation for the women in Hamilton, who sing in only 14 of the 46 songs” (The Conversation).
Hamilton himself is introduced as a “scrappy and hungry” immigrant, passionate about freedom for all. But that wasn’t exactly true. Historian Annette Gordon-Reed notes that Hamilton qualified as a U.S. citizen and bought and sold slaves for his family. He never promoted an anti-slavery agenda in his leadership (Harvard). (Hamilton himself may have owned slaves, too – details in the NYTimes).
The play also glorifies the other Founding Fathers and glosses over their involvement in slavery. For example, James Madison, George Washington, and Thomas Jefferson were all known slave owners, and all supported the genocide of Native Americans (Counterpunch). Although Jefferson declared “all men are created equal” in the Declaration of Independence, the Founding Fathers didn’t extend that idea to every person on the nation’s lands (History).
Screenshot via Oprah Magazine
Our perception of representation is evolving.
It’s important we rethink what representation should look like on stages, television, and movies. First, we still need to make progress with on-screen representation. Even though 40% of the population is non-white, only 19.8% of lead actors in films were non-white in 2017 (PBS).
But, we also need to share the stories and histories of all ethnicities, sexual identities, genders, disabilities, and religions of those people (Los Angeles Times). And that will take more representation off-screeen; we need more people from marginalized groups to create, write, direct, and produce content that accurately reflects their lives.
This can be seen in the FX show “Pose” which is about the Black and Latino LGBTQ+ ballroom culture scene in NYC during the 1980s (FX). This show has “the largest transgender cast of any commercial, scripted TV show” and features both cast and members who directly identify with the characters and stories of the show (The Guardian). This show is changing the rules on how the entertainment industry should tell the stories of non-white people.
If Hamilton took this same approach, its audience could have seen how Black and Indigenous people played a vital role in the country’s creation. The addition of a character or two could have enhanced the storyline without completely erasing elements of our history. For example, there could have been a mention of one Washington’s most trusted servants, William Lee, who acted as Washington’s valet and assistant when he was in the Continental Army (American Battlefield Trust).
In order to honor our history, we need to acknowledge all aspects of it, including the painful parts. Without those aspects, we'll never truly understand the confusion or pain some people of color might feel when they watch musicals such as Hamilton and don’t see any mention of their ancestors. Hopefully, the popularity of this revolutionary musical and its astronomical success will encourage all of us to be more inquisitive of our nation’s history, and commit to representing all of its diverse and essential stories.
KEY TAKEAWAYS
Hamilton is a trailblazer for diversifying a story of white historical figures.
The erasure of Black and Indigenous people with Hamilton neglects to shine a light on a part of American history people often try to forget which is slavery.
Representation should extend further than just diversity on-screen but behind the scenes, too.
We must be committed to telling all parts of our history whenever we can.
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