Hamilton and the White Gaze

After shelling out way too much on a ticket about a year ago, I finally went to see Lin-Manuel Miranda’s Hamilton last week. It was amazing, of course. And yet.

I have such conflicted feelings about the experience of sitting in an audience that looked like this:

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Tweet of emojis about what it felt like being the only POC in my section at Hamilton.

Here I was at a f-cking brilliant Broadway show that borrowed heavily from black musical traditions, written by a genius of a latinx man, with a cast full of people of color, and all of it, all of it, taking place under the laser focus of the ever-present white gaze.

Especially given the period-ness of the piece and the references to black enslavement, it made me think about how white slave owners, like Washington or Jefferson, used to make their enslaved folks perform songs and dance from their native traditions for the amusement of white folks on the plantation. Even today the white gaze voraciously lays claim to the cultural heritage of us “others”: white people designate their “spirit animals” as they sit back and listen to jazz, rock, or pop and contemplate checking out the latest film featuring ancient traditions from this or that culture that has been white-washed beyond recognition. Yet, for many, never once do they stop and reflect on the cultural appropriation taking place to make their chosen entertainment possible.

“It must be nice, it must be niiice…” to be able to use your gaze to claim ownership to the creations of others. To mark that territory as your own just as surely as your ancestors planted flags in inhabited lands and killed the native “scourge” in the names of their kings and queens.

All of this felt so real to me sitting there with all those white folks, watching this amazing show that showcased so much of what people of color bring to culture, and sensing that so much of that simply bounced off their privileged white bubbles. To my dismay, my seat-mates sat stone-faced while I rejoiced openly at all the sampling and references to music my people have created, most of which I recognized right away. (Except, good grief, I don’t know where I was when Biggie released the “Ten Crack Commandments” cuz I didn’t catch that one and my sis had to set me straight. Forgive me, y’all.) I cried “Amen!” when Jefferson got called out on his ownership of slaves and watched as the folks sitting next to me shifted uncomfortably in their seats. I hooted and whistled, much to the annoyance of those around me, when someone successfully spat a particular witty and fast-paced set of lyrics. I groaned out loud when a character said or did something stupid, thereby catching side-eye from those to my left and my right.

To them, I was disrupting their enjoyment of this show on the “Great White Way” (oh, so much loaded into that phrase)—this show that was their show, created for their amusement. Just made me shake my damn head.

I wish I had millions of dollars—with the gentrified ticket prices to this show, it would take that much at least—to buy up the Rodgers Theater and hand out tickets in my Harlem neighborhood (“Hey, neighbors! Did you know Hamilton lived right up the street? You can still visit his house. Also, this show is great!); “In the Heights” that Miranda has always called home; in Clinton Hill and Bed-Stuy where Biggie grew up (well, what’s left of his neighborhood given the rampant gentrification of Brooklyn); in the Bronx where hip hop was born; throughout all the communities of color in this city that witnessed the actual events on which Hamilton is based. “Folks, come on in! Feel free to whoop and holler and dance! Make some noise! Enjoy! Relish in seeing folks who look like you on stage. Live the experience. See what it’s like to finally recognize yourself in the story of a Founding Father. Delight in this brilliant show. ‘History has its eye on you’…but maybe, just maybe, this can be a moment for you to enjoy outside the white gaze.”

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