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In the heights and colorism: what is lost when Afro-Latinos fade away

 


SHARE Of course, it’s OK to still love the movie. This is not a binary discussion. I’ve heard a lot of people say that they love the movie despite its flaws. There were many ways to watch the movie was rewarding seeing my beloved Dominican flag not only portrayed but exalted on the screen was a joy as was the portrayal of common immigrant struggles such as the longing for your country of origin, making great sacrifices to make it in New York or struggling to find a community at the university. Not to mention the food and much of the music (although I was always salty, the bachata, quintessential from the Dominican Republic, was no more prominent). But none of this is enough. You can’t celebrate pasteles en hoja without celebrating black Dominicans. We cannot celebrate salsa without recognizing that its percussions are inherited from African drums. It is undoubtedly important to present these cultural elements, but it cannot be separated or replaced by the representation of black Latinos themselves.

GARCIA I enjoyed seeing Highbridge Pool in this beautiful musical number. I enjoyed the central role of the fire escape, the bodega, the food and the music. I identified with many of them. As a very Black featuring Latina, I’m almost used to not seeing myself in Latino media, even when it’s our culture that’s exalted. I’m not speaking for all black Latinos, but the realization of your non-existence in such a cultural blockbuster just hurts. The gas lighting that accompanies the validation of our music and our culture but the erasure of our bodies is almost normal. To screen from the Selena biopic from the 1990s, we’re just too black for Latinos and too Latinos for anyone else.

PHILLIPS An important lesson is that if it’s a movie or a play or whatever, the job starts with the casting but doesn’t end there. It is also a question of history and context. Creating art on brown and black people isn’t always as easy as we’d like to think or, to be more exact, creating good, nuanced art on browns and blacks isn’t always as easy as we’d like to think.

HERRERA At its core, the act of criticism is a labor of love. We criticize cultural objects because we have hope in them, and we want them to be better. I often think of a 2019 interview in The Nation with poet and writer Hanif Abdurraqib. He talks about the idea that criticism is something that stems from anger, bitterness or jealousy. For me, this anger is at the service of something else: it makes it possible to imagine a more just political future. As he says, criticism, for me, has to be an act of love, otherwise it’s a waste of time. And so I have to find a way to honor the artists I care about while realizing that my job is not necessarily to bow to them. It also helps me to interpret art outside of it is good and it’s bad.

SCOTT This is such an important point about criticism, which is too often misinterpreted as hate or annulment. In The Late Show With Stephen Colbert the other night, Rita Moreno attempted to defend Miranda, a man who literally brought the Latin American and Puerto Rican to America by actually wishing his critics to shut up or wait a while longer. appropriate. She has since apologized and a recent documentary details the bigotry she has faced throughout her career. In any case, protecting works of art from criticism is not in their favor. It’s as simplistic as dismissing them for their flaws.

HERRERA I think an important aspect of this debate is that it has once again exposed the limits of a representational conversation. For so long, representation has been presented as a solution to racism; moments like this really expose the farce of this idea. The argument is often that representation, especially in spaces where marginalized communities have been historically excluded, will save us from discrimination. But there are limits to what representation can do.

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