Cultural Gatekeeping: Protecting Freedmen Identity Amidst Entertainment Industry Tensions

OPINION:

An article from Black Americana discusses Issa Rae, the accomplished producer, director, and actress of bi-ethnic heritage (Louisiana Creole and Senegalese), highlighting ongoing online discourse about class and Rae's perceived detachment from the "traditional" impoverished Freedmen experience due to her upper-income upbringing. It's crucial to note that 46% of American Freedmen are middle-income, and 21% are upper-income, reflecting a rich and diverse community deeply rooted in a dynamic American culture that dates back farther than the 12th century.

Research by Freedmen Nation suggests there isn't an overwhelming online focus on class envy or elitism concerning Issa Rae. Instead, there's a robust demand for melanated immigrants, particularly from Africa and the Caribbean, to self-identify with their unique ethnic groups and to build within the entertainment industry based on their culture and lived experience. Black Americana's article briefly touches on cultural appropriation, stating:

"Perhaps Issa Rae should make more ethnic distinctions with her characters. Many Black Americans noted on TikTok that her hit show Insecure seemed to be more fitting to a Black immigrant/first-generation experience versus Black Americans who have generational equity in navigating race in America or that it appealed to those who did not come to experience "blackness" until later in life. That just is not the case for most Black American viewers, though it is not to say Black Americans can’t appreciate her work despite the differences."

For Freedmen, the lived experience is fraught with historical trauma and ongoing racial challenges as they strive to maintain economic and cultural influence in the U.S. The portrayal of Freedmen by melanated immigrants often overlooks the centuries-long struggle against oppression, which is embedded in the Freedmen experience both chromosomally and vibrationally. While some may see cultural vigilance as divisive or xenophobic, Freedmen's understanding of American history is rooted in shared, lived experiences. Newcomers may struggle to fully grasp or convey the horror and beauty of the Freedmen experience in any meaningful way. Issa Rae, for instance, may not resonate culturally with most Freedmen.

The discourse about immigrant celebrities, accused of cloaking themselves in American "blackness" to gain an economic advantage and leverage Freedmen's social capital, often centers on the dilution and potential erasure of Freedmen culture. Issa Rae is sometimes cited as an example of this phenomenon. There's a perception that those outside the culture may lack the soul or spirit intrinsic to Freedmen, making it challenging to portray them authentically in any context. The titles of Rae's popular shows, "Awkward Black Girl" and "Insecure," suggest a disconnect from traditional Black American culture, as Rae herself has admitted feeling somewhat detached and noted that whites have commented on her disconnection to mainstream “blackness”.

Black Americana's implication that Freedmen envy immigrants perpetuates a stereotype historically advanced by many melanated immigrants, suggesting they fare better economically than American Freedmen in the U.S., despite evidence to the contrary. Studies illustrate the economic challenges many melanated immigrants face in achieving stability and success in America. The growing delineation movement within Freedmen communities demands respect for their culture and an end to other groups claiming Freedmen identity and culture while simultaneously speaking for and against them. Grassroots thought leaders question why melanated immigrants do not assert their claims of superiority or financial success globally and why American Freedmen have become their benchmark for comparison, emulation, and competition.

Some grassroots Freedmen condemn immigrant cultural appropriation as self-hatred, criticizing the willingness to abandon one's cultural history to adopt another identity for relevance and prosperity. Many within the Freedmen community point to similar delineation movements among Middle Eastern North Africans (MENA), Asian American Pacific Islanders (AAPI), and white actors protesting the replacement by Canadian counterparts in the entertainment industry as precedents for cultural gatekeeping. Beyond gatekeeping, the ethic of hard work is crucial. Freedmen have tirelessly built and prospered, only to have their lands seized, towns destroyed, art and artistry appropriated, and jobs taken to benefit new arrivals.

This is the core issue with entertainers like Issa Rae. Freedmen fought for inclusion and dignified representation in the entertainment industry. Now, they see Hollywood executives hiring Africans and Caribbeans to portray, cast, direct, and manage them. No other ethnic group endures others impersonating them. This isn't envy; it's disbelief and anger over unearned rewards given to newcomers.

Black Americana's insinuation of Freedmen jealousy toward an acknowledged outsider like Issa Rae is both offensive and hazardous, contributing to a retreat into Freedmen centrism. Many feel betrayed by Pan African thought leaders and melanated immigrants. The article on Issa Rae appears to be a proxy for those unsettled by Americans of chattel slavery descent delineating and self-identifying. Historically, Freedmen have shown courage against racial and ethnic adversity. They remain undeterred by the confusion stemming from the rapid influx of melanated immigrants claiming to be "Black Americans."

The Freedmen's ongoing human rights struggle aims to prevent the erasure of their historical battles, achievements, and identity. Only those within the culture can reliably protect and maintain it. This raises the question: Can one truly safeguard something without understanding the effort invested in creating its value?