BIPOC Research Paper

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BIPOC Research Paper

Introduction

Background Information: Hamilton’s American musical portrays a post-racial perception of America’s society. The musical achieved this by intentionally using non-white characters in parts where the production group should have used white casts. By using this strategy, the musical has received numerous reviews from its viewers to be the best musical ever made, further indicating the public’s acceptance of intentionally avoiding the use of white casts and a shift to a post-racial society.

Relevant History: Hamilton was produced by Broadway Production Company that has historically supported white supremacy with its premium pricing, indicating the company’s acceptance of a post-racial society.

Relevant History: the production of the musical aligns with the then-president Barrack Obama’s re-election, further dwelling on the country’s acceptance of a post-racial society

Hypothesis or thesis: This paper shall counter the argument that Hamilton depicts a post-racial society by analyzing reviews, literature, and music from the performance, hoping to shed light on why Americans continue to pursue the post-racial narrative, the impact of minority representation in art on larger political discourses, and the importance of inspiring future “Hamiltons” in contemporary American culture through Hamilton: An American Musical and contemporary research.

Main Idea: Continued racial discrimination within post-racial societies.

Supporting Topic: Continued racial discrimination in cinemas despite claims of the existence of post-racial societies.

Even though Broadway has been called “The Great White Way” without reference to race, scholars have given it a second connotation owing to its high cost (Umehira 3). In the United States, white people have the most direct and indirect access to that level of wealth.

This historical trend has persisted until the current day. Caucasians bought 77 per cent of all tickets sold in 2015–2016 (Umehira 4). B.

Supporting Topic: Struggling Acceptance of non-white performers in cinemas

Lin-Manuel Miranda used non-white performers in white parts on purpose, so non-white actors portray white people in Hamilton. African-American performers Daveed Diggs, Christopher Jackson, and Leslie Odom Jr. played Thomas Jefferson, George Washington, and Aaron Burr, the Marquis de Lafayette. Miranda played Alexander Hamilton, while Ramos played John Laurens and Phillip Hamilton. Both Miranda and Ramos are of Puerto Rican heritage. Hamilton’s earlier productions, including those on Broadway, have employed a non-white casting technique

There is still outrage following the casting call for “non-white performers,” Hamilton producers declared they would continue to cast the production with the same ethnic diversity that had been employed up to that point

Supporting Topic: Importance of Inspiring Future “Hamiltons” in Contemporary American Culture

Diggs and many others depend on rap, or “the voice of [his] generation and people of colour,” as the show’s dominant musical style (Mead, 23). Diggs, an African-American, understands the importance of these images in the lives of ethnic minorities. It is vital for people of colour to claim and identify with a tale that they were previously excluded from since this produces a more inclusive narrative for everyone.

However, as per the arguments, the past is crucial and may influence how people of colour perceive historical tales like Hamilton’s.

Supporting Topic: Americans continue to pursue the post-racial narrative.

It is vital for people of colour to claim and identify with a tale that they were previously excluded from since this produces a more inclusive narrative for everyone. Therefore, as per the arguments, the past is crucial and may influence how people of colour perceive historical tales like Hamilton’s.

Supporting Topic: Questioning post-racial trends in cinemas

While Hamilton’s efforts to hire non-white individuals are commendable, the program as a whole has flaws. In my perspective, Hamilton’s portrayal of American History was typical of whitewashed History. Hamilton’s characters are entirely white, despite the reality that the bulk of the cast members is black. Research portrays Hamilton’s advantages as a white man deepen this difference.

Miranda claims that Hamilton can “write his way out of his circumstance in the documentary Hamilton’s America.” His song “Hurricane” has him sending a letter about the storm that destroyed his Caribbean house and convincing community members to donate money to let him study in the North American colonies. Throughout the Revolutionary War, George Washington wrote love letters to Eliza as well as the Federalist Writings, legislation, and other papers explaining his financial and banking goals for America.

Supporting Topic: White community is still more socially privileged than black communities

The capacity to “write his way out” was, in my opinion, a combination of privilege and chance. Research contends that Hamilton benefited from both the late-eighteenth-century and contemporary white privilege regimes. Racial, social, and other political and cultural barriers may prohibit Hamilton from achieving professional success in a broad range of fields, including politics.

People of colour encounter challenges in their personal, professional, and political lives. The persistence of these obstructions undermines the post-racial concept that barriers to people of colour have been removed.

Supporting Topic: Masquerading of racism within post-racial societies.

But white privilege isn’t the only distinction between white and black life. Hamilton avoids many awful difficulties. The drama portrays Hamilton as an enthusiastic abolitionist, which is false. In “Cabinet War #1,” a rap battle between Hamilton and Jefferson, Hamilton proposes allowing the federal government to buy state debts. “Hello neighbour, here’s a civics lesson from a slaver,” the slaver says (Miranda, 44). This is how John Laurens explains his new position in the American Revolution: We publish anti-slavery articles, and every day is a test of our friendship and fortitude. (Miranda, 44). In these songs, Hamilton is portrayed as a staunch anti-slavery activist, which he was not (Scherr, 34).

Slavery was a political and personal concern for Hamilton, which revealed slaves were purchased and exchanged (Scherr, 26). Hamilton’s desire to climb the social ladder overshadowed his fervour for abolition, according to Michelle DuRoss, a lecturer at the University of Albany (“Somewhere in Between”). According to her, he was able to fit into the wealthy slaveholding milieu he desired by marrying into the aristocratic Schuyler family.

Supporting Topic: People of colour denied political coverage in America’s political History

In “The Chamber Where It Happens,” Burr conveys his wrath and desire to be in the “great old room” with Madison, Hamilton, and Jefferson. “Only the two Virginians and the foreigner were in the room,” Burr adds. To be fair, Slaves did serve and prepare the meal in “The Room Where It Happened,” which Jefferson hosted.

Slave-talking characters are removed from the musical’s historical tale. Slavery was abolished by Hamilton, confirming the Anglo-centric History taught in public schools. The absence of colour characters in Hamilton perpetuates the myth that people of colour have no stories to tell, no part in American History, and no place in today’s society (Scherr).

Supporting Topic: Racial discrimination against immigrants

In a harsh political climate, Hamilton’s immigrant status is frequently cited, empowering immigrants. Hamilton went to America to study. Being Born in Saint Kitts, in the West Indies. For Miranda, “Hamilton’s America” means “working twice as hard to go half as far”. “Immigrants / We get the job done,” says Hamilton and the Marquis de Lafayette in the musical’s most iconic moment.

According to Emory University sociology professor Frank Lechner, Hamilton shows that even immigrants may achieve the American Dream, counteracting current anti-immigration and anti-Latino propaganda.

Supporting Topic: Unequal distribution of people enjoying the American dream

Miranda’s depiction of Hamilton’s immigration experience is uplifting for Latinos. Until Hamilton, she had never pictured herself in a Broadway musical or identified with American History in the way that many minorities do. In her Hamilton review, Ariana Quiónez remarked, “With a Latino actor portraying an immigrant on Broadway.”

However, such encouraging replies feed the post-racial narrative. In reality, the portrayal of white people vs black people is unequal.

Supporting Topic: Conflicting political interests on race in post-racial societies

The musical’s depiction of people of colour went beyond Broadway. The appearance of Vice President Mike Pence at the musical was remarkable (Mele and Healy, 24). Brandon Victor Dixon, who portrayed Aaron Burr that night, sent Pence a note from the cast expressing concern about Trump’s leadership (Mele and Healy, 26).

On social media, many Trump fans, including Trump himself, criticized the ensemble for making a statement after Trump’s triumph. The performers stressed their issues as persons of race, which drew much criticism (Mele and Healy, 27). Characters like Hamilton’s would not exist in a post-racial society; much alone face racist public criticism.

Supporting Topic: Racism is used as a financial tool in the post-racism society

Broadway is no longer indicative of the “diverse America” of 2015 and 2016. In the next two years, Titanic and Charlie and the Chocolate Factory will have all-white casts on Broadway. Miranda referred to the 2015–2016 Broadway season’s diversity as an “accident of time” (Seymour, 50).

Despite apparent success in the entertainment industry for minorities in 2016, there was no visible movement in minority representation and appreciation in the media in 2016. More than 95% of Tony Award nominees are Caucasian, which is somewhat less than the total number of Oscar nominations (Seymour). Only a few new musicals, television shows, and films have a significant minority cast (Hallemann, 45). Racial barriers have not vanished, but they are developing and being analyzed more rigorously than in the past.

Supporting Topic: Discrimination in visual minority art.

There is a continued comparison of minority art with other visual parts perpetuating the notion that they are dissimilar art pieces. Like minorities in art, Hamilton stood out in the media when contrasted to other works of visual art.

The media industry as a whole is used to “othering” movies, theatre, art, and other visual works that include a substantial proportion of minorities. Art that is deemed “diverse” or “pioneering for minorities,” such as Lin-Manuel Miranda’s Hamilton, is sometimes lauded exclusively for that distinction.

Supporting Topic: Supporting topic: Distinction of Art as Minority art

Minority art is a term that is often used. According to writer Erica Hunt, although most people do not identify art with the artist’s race when the artist is white, this is not the case when the artist is non-white. Miranda, a Puerto Rican, wrote Hamilton to reflect the cultural diversity he encountered growing up as a Latino. Miranda, his non-white co-stars, and the show as a whole were labelled “diverse.” Hamilton’s “otherness” adds to the “diversity” of the show.

While neither harsh nor pejorative, this term indicates why Hamilton is not representative of a post-racial America. Such a phrase does not exist in a post-racial society. Today’s “diversity” is seen as usual rather than deviant. A post-racial society would, in theory, dismiss the word “diversity” is redundant.

Supporting Topic: Continued pursuit of post-racial narrative

With its exceptional racial representation and controversial re-telling of American History, Hamilton emphasizes the necessity of diversity on Broadway and in American culture (Quiñónez, 68). As the musical shows, it is vital to include individuals of color in historical tales. The musical’s paradoxes and obstacles, as well as the public’s view, cast doubt on the idea that Hamilton represents post-racial accomplishment. Irrespective of its critical and economic success, the argument that Hamilton depicts the US resolving racial tensions is definitely wrong. 

A post-racial America does not mean that all injustices and structural barriers are gone for people of colour. The necessity for additional “Hamilton’s” and the need of sharing people of color’s tales alongside the Founding Fathers’ stories is highlighted in Hamilton (Walsh). Hamilton is a notable historical landmark along the way, but the goal is yet unknown.

Works Cited

Hallemann, Caroline. “How the Cast of ‘Hamilton’ Made Giving Back Their Mission.” Town & Country, 8 June 2016, www.townandcountrymag.com/leisure/arts-and-culture/news/a6439/hamilton-cast-gives-back/.

Herrera, Patricia. “Hamilton: An American Musical by Lin Manuel-Miranda.” Theatre Journal, vol. 73, no. 1, 2021, pp. 83–85, https://doi.org/10.1353/tj.2021.0014.

Mele, Christopher, and Patrick Healy. “‘Hamilton’ Had Some Unscripted Lines for Pence. Trump Wasn’t Happy.” The New York Times, 19 Nov. 2016, www.nytimes.com/2016/11/19/us/mike-pence-hamilton.html?_r=0.

PBS. “Hamilton’s America ~ about the Documentary | Great Performances | PBS.” Great Performances, 7 June 2016, www.pbs.org/wnet/gperf/hamiltons-America-documentary/5048/.

Quiñónez, Ariana. “The Cultural Significance of ‘Hamilton’s Diverse Cast.” Hypable, 10 Oct. 2015, www.hypable.com/hamilton-diverse-cast/.

Scherr, Arthur. “Alexander Hamilton and Slavery: A Closer Look at the Founder.” The Historian, vol. 83, no. 2, Apr. 2021, pp. 130–70, https://doi.org/10.1080/00182370.2021.1933693.

Seymour, Lee. “The Tonys Are Just as White as the Oscars – Here Are the #TonysSoWhite Statistics.” Forbes, 4 Apr. 2016, www.forbes.com/sites/leeseymour/2016/04/04/the-tonys-are-just-as-white-as-the-oscars-here-are-the-tonyssowhite-statistics/#77032c1f50a4.

Walsh, Shannon. “Hamilton: An American Musical Dir. By Thomas Kail.” Theatre Journal, vol. 68, no. 3, 2016, pp. 457–59, https://doi.org/10.1353/tj.2016.0081.