By Jinan Shbat
I grew up in an upper-middle-class suburb in Ohio, where I never felt different than the kids in my neighborhood. Sure, my siblings and I had odd-sounding names, and we spoke a second language. But to our neighbors and classmates, we were white, like them. However, that perception changed when I was 11-years-old, when a Disney cartoon movie named “Aladdin,” was released based off of a character created by a French orientalist at the height of Orientalism. At first, my siblings and I were excited because we thought Disney had made a movie that represented us. However, shortly after the movie came out, the questions began.
Are you from Agrabah?
Do you have a magic carpet? Are you going to be married off to someone your parents choose? Do you have outfits like Jasmine?” My head was swarming with all these questions, and I admit, I was intimidated. A little scared, too. I didn’t know how to answer them, and so I just shook my head and walked away.
My parents thought they were doing us a favor by buying the movie and have us watch it anytime other kids came over to play. This just created a larger divide between us, and soon my siblings and I were the “other.” It made me hyper-aware of my brown skin, my visiting foreign grandparents, and my weird-sounding name that no one could ever pronounce correctly. As I grew up, the movie and its racist, Orientalist tropes followed and haunted me. Anytime anyone found out I was Arab, they would ask, “oh, like Aladdin?” I didn’t know how to answer that. Was Aladdin Arab? South Asian, Persian? These were all different ethnicities, yet the movie seemed to be an amalgamation of them all, set in a fiction land I could not identify.
Why is Disney’s Aladdin Harmful?
It may not seem like a big deal to be misidentified in this way, but it is. And these stereotypes that have been present in Hollywood for decades are a huge disservice to our communities- all our communities- because when you misidentify a person’s culture, you are saying that all people of color are interchangeable— which is dehumanizing.
With the new release of the live action version, “Aladdin” is reinforcing the trauma and obstacles we have had to fight for the last 30+ years. The addition of a diversity consulting firm made Disney look good; it showed good faith on their part to receive feedback on the script to try and improve it.
However, issues remain with the original story itself, and no amount of consulting will change that.
Although the Aladdin remake was marked by controversy over Disney “brown-facing” its white cast, and despite original Aladdin’s racist history, last weekend Disney’s live-action version soared to $207.1 million globally. Money experts tell us that the remake success comes from the “power of nostalgia”- that is, the film’s ability to connect with feel-good memories.
The original production is the second highest grossing film project in Disney history. Last weekend, millions flocked to the remake in record numbers, despite critics’ negative and mixed reviews.
The accompanying Aladdin Jr. play is also a major concern, sales of which will skyrocket because of the film. Disney only recently removed the word ‘barbaric’ in its description of Arabs in the opening song. Many more problems abound, but Disney promises through its licensing company, Music Theatre International, to keep the concepts explored in the original production intact.
A Whole New World Needs Less Anti-Muslim Bigotry
From my perspective, as an organizer that fights a huge Islamophobia network in my daily work, it would be a disservice to my work and our community to sit by and allow racist, Islamophobic, orientalist tropes to make their way into our theaters, homes, and schools. What exactly is not a big deal in this movie? The depiction of Arabs and South Asians as one demographic, the storyline of forced marriage, power struggles, a black man playing a genie literally bound by chains to a lamp?
Hollywood’s history of Islamophobia needs to be rectified. There is a plethora of writers, actors and creative minds with alternative positive portrayals of Muslims, Arabs and South Asians. Our consumer appetite must shift to embrace authentic stories and images about people like me.
Aladdin is beyond repair; in its original form, it is problematic. No number of meetings with executives will fix the problems that are still prevalent. It should be retired, indefinitely, and put on the shelf with all the other racist caricatures from Hollywood history.
It’s our duty to speak out- and if you don’t believe we should, then you can choose to stay silent. I cannot.
Jinan Shbat is an organizer in Washington DC.