 |
| The Golliwog in a minstrel show |
It's back. Scandal stalks the Golliwog. Its perpetual return is always greeted with a customary defence and the pattern repeats itself every few years. Today it was Sean Plunket's turn on the stump:
If you can't stomach it, the short version is this: a series of justifications are offered including "it is a doll", where’s the "injustice" in a doll and "we" live in a "massively" tolerant and colourblind society.
He might be right on the last point, though. But only if "we" means people of the same race and gender as Plunket. It's not right if "we" means people like Plunket and people on the margins too, the same people that the Golliwog is a caricature of.
The Golliwog’s return isn't about people of colour reappropriating a caricature. It's about white adults reclaiming the racism of their childhood. Yet the primary problem isn’t that some New Zealanders are nostalgic for the racism of yonder, but that a new generation will be brought up on the myth that the Golliwog is a cultural artifact and a childhood tradition. Generations of children have been socialised into race-relations off of the back of the Golliwog. But the reality is that the Golliwog is a form of historical and contemporary trauma.
People who want to revive the Golliwog probably don’t want to perpetuate racism. But the two can’t be divorced. The Golliwog is to playtime what blackface is to performance. They’re caricatures that are interwoven with the violent oppression of people of colour. The Golliwog was used to reinforce stereotypes about black appearance and character. The wild eyes and hair spoke to black appearance, but the real message was that blacks were wanton. The big lips represented black appearance too, but the outlandish redness reinforced the stereotype that blacks were hyper-sexualised.
The Golliwog is the politics of oppression manifest. Indoctrinating young people with caricatures of people of colour made justifications for and acts of oppression easier. That's partly why it's a false comparison to compare the Golliwog against GI Joe or caricatures of white peoples (like Plunket did). The context above puts a lie to that comparison. But the fact that some people don't get that means the Golliwog isn’t dead and buried yet.
Post script: for context, there's been comment recently on the prominence of Golliwogs in Canterbury. But what sparked the Plunket interview was the sale of Golliwogs in an Invercargill shop. Golliwogs are still sold in other parts of New Zealand too. I know of a children's store in Hamilton that was selling Golliwogs this year (and probably still does).
