On February 24, 2019, Yalitza Aparicio will be selected at the Academy Awards together with four other nominees for the Best Actress. As Oaxaca of Mixtec and Triqui, Aparicio will be the only indigenous woman to be nominated for a Best Lead Actress Academy Award at Keisha Castle-Hughes. Since her starring role in Alfonso Cuaróns Roma, she has appeared in the glossy pages of Vanity Fair and W Magazine and on the cover of Vogue México . Her journey was not perfect, but amidst the torrent of offensive comments that have capped her success, Aparicio has remained graceful and focused on the encouraging potential of her visibility.
Evaluations of representations often come in tactics of counting (how many women and color are included) or binaries with positive or negative representation (is the character sufficiently handsome or does he break enough stereotypes?) For some of Aparicio's personal accomplishments and advancement For global recognition, the barriers have already been broken. For others, their performance does not adequately question clichés, because they are just a "loyal servant" or not a full person. Film critics have praised the quality of Aparicio's performance, but how should we approach the burgeoning success and visibility of the newcomer?
On Sunday, many of us will be happy to see Aparicio on screen, just as we nominated for their enjoyment Unlike a young Aparicio, indigenous children may feel more excited when they see the actress on a global stage instead of disappointing with the worlds they see on the screen. As part of the celebration of Aparicio's great breakthrough and consequent awards, we can also take this opportunity to criticize a system that limits the scope for indigenous groups and other colored people in all phases of filmmaking, and the state of emergency as a veil for its rotten foundation uses
Since Romas Oscar-Buzz began his journey. The discomfort of those who consider Aparicio as interloper or in other reductive (and offensive) terms was almost as important to reporting as the youth Oaxacan actress's rise. Not all were supportive, and the recognition that surrounds Aparicio has aroused his share of malice. When Aparicio graced the pages of Vanity Fair in November 201
Then, in February, it was credibly documented that a group chat of Mexican actresses had plans to join the Mexican Academy of Arts and Film Studies (AMACC) to exclude Aparicio from the Ariel Awards, the equivalent of the country's Oscars , According to documentary María José Cuevas the conspiratorial chat was fueled by arguments that Aparicio was not a "real" actress. The incident was soon followed by refusals by those accused of having participated in the embassies and AMACC's clarification that they had neither received an application to exclude Aparicio from the competition nor would it have made such an application for Ariel's selection procedure ,
A month after the announcement of the Oscar nominations, a viral video showed that telenovela actor Sergio Goyri deprecated Aparicio in a discussion over whether she deserved a nod from the academy. Goyri, apparently unaware that he was being picked up, indulged in insults from locals and reduced Aparicio's performance to nothing but service. In his apology the next day, Goyri claims he did not mean what he said, but that it was a heated argument.
A careless social media stream or a cabal of actresses organizing against Aparicio may not be intended as public attacks, but they reveal something more insidious: the machinations that thrive behind closed doors.
Aparicio was steadfast and expressed her pride in being an "Oaxaca aborigine". She knows that she's against a wave of stereotypes and twisted possibilities, but Aparicio has rejected public expectations for longer than in recent months. Before she became an aspiring movie star, Aparicio had to fight to be considered more than her gender, her skin tone, her business class, and more than just a servant. Why are so many determined to keep Aparicio in their place?
will really rule the reign of yalitza aparicio over the award szn pic.twitter.com/EaAiQGNMjX
– ROONEY (@zenonthesequal) miss 22, 2019
As the repentant Goyri When confronted with the press, he claimed that despite his racist remarks, he was not racist. "A proud Mexican can not be racist," Goyri said. This kind of post-racial thinking is an integral part of the national identity of the mestizo that I described in an earlier article. Patronizing and folkloric depictions of the "Indian", symbolizing the Mexican national identity, became backward and inseparable from the views of the indigenous peoples. This allows mestizos to participate in the indigenous heritage while still keeping racist and narrow views of those who consider them to be too indigenous.
Mestizaje was really about making indigenous groups metaphorical and not white and "modernizing". In the twentieth century, the policy of "indigenismo" sought to assimilate and acculturate indigenous peoples who were considered incompatible and who hindered a modern nation. For Mexico, indigeneity was limited to certain areas of work and identity: often female, rural and outsider. This speaks for the bigoted perceptions of Aparicio as no real actress or undeserved admiration of being a servant.
Because of this history, indigenous women in urban settings and other public spaces have often perceived this as a threat or out of place, and now cover covers for fashion magazines and the red carpet, especially if they do not conform to the Western and Eurocentric notions of To match beauty. It is no wonder that Aparicio's presence causes discomfort for those who understand ideas, who is allowed in which rooms and in which capacities.
Obviously, Yalitza Aparicio is both pretty and famous enough to get well-read fashion magazines on one of the Mexican covers, @holamexico but she's still too brown for her taste, making her a mega Photo shoot. pic.twitter.com/YrLLkKVrSy
– (@Andalalucha) February 21, 2019
While we celebrate with and for Aparicio, we should also set out how they agree with Alfonso's examination Cuarón, a white Mexican director. Her current fame means that she is sought after for magazine covers, but not as she actually looks, as photo shops show, where she appears with much lighter skin. The praise and recognition Aparicio has received, while well-deserved, does not represent a change in the system that makes her nomination a miracle: the roles and who writes them, the casting policy, the demographic aspects of the gazers, the handles and producers and how everything is financed. It is a victory according to the rules of another.
Nevertheless I will look for Yalitza Aparicio at the Oscars. I will turn against those like Sergio Goyri, who want to exclude Aparicio and people like her, and Internet commentators who can not bear to see an indigenous woman in the rooms she finds unreachable. And I will argue for a criticism of Hollywood and media racism that does not end in award ceremonies.