Examining the complex history of Cultural appropriation in theatrical magic performance
By William Pack | Magician, Historian, and Educator, https://libraryprogramming.com/
Magic has enchanted audiences for centuries with its ability to create a fantastical world. However, beneath the surface of these mystifying performances lies a history woven with threads of cultural appropriation. Like many art forms, theatrical magic has a complex relationship with cultural appropriation.
During the 19th century, the Western world became fascinated with all things exotic and foreign. This fascination gave rise to Orientalism, a movement characterized by the fantastical portrayal of Eastern cultures, particularly from North Africa, the Middle East, and Asia, reflecting a colonialist worldview. Magicians incorporated elements of Eastern mysticism and culture into their acts to create a sense of mystery and otherness, capitalizing on the audience's curiosity about distant lands and traditions.
Magicians would present acts that portrayed the mysticism of the Orient, drawing inspiration from the cultures of India, China, and Japan. These performances, however, often relied on distorted and exaggerated stereotypes, perpetuating harmful narratives that reinforced Western superiority. The use of cultural elements was not a celebration of diversity but rather a tool to enhance the magician's own reputation.
For instance, renowned American magician Howard Thurston, for a time, adopted an exotic persona for his act. Wearing a turban and robe, he performed illusions inspired by Eastern mysticism, further reinforcing stereotypes and cultural appropriation. At various times, the globe-trotting magician Charles Carter added Asian, Egyptian, and Hindu motifs and costuming to his show.
Clockwise from top: 1. A night in the Orient the pioneer mentalist Newmann the Great and his marvelous show of wonders., 1929, Library of Congress., 2. East Indian Rope Trick , circa 1927. Chicago Magic Lounge collection., 3. Marajah peer of mystic seers : he sees, knows, tells all., 1923., Library of Congress
Portrait of Kellar and Ching Ling Foo., circa 1920, Chicago Magic Lounge collectionAt the turn of the 19th to the 20th century, Chinese magician Ching Ling Foo became a sensation in America, the first modern East Asian magician to such fame. Oriental magic became the rage. So successful was the magician that he soon spawned a host of non-Chinese imitators.
Chung Ling Soo, A Gift from the Gods, circa 1915. Chicago Magic Lounge CollectionChung Ling Soo is perhaps the most famous Chinese imposter and the most complicated. His real name was William Robinson. Robinson was a respected magician and inventor of magic. He worked behind the scenes for both Harry Kellar and Alexander Herrmann. He repeatedly tried to develop his own show and repeatedly found little notice. His inability to speak well onstage was the problem. While working for Herrmann, he imitated the great magician perfectly onstage. When he tried to be himself on stage, he was a dud. After seeing Ching Ling Foo's show, Robinson hatched an idea.
As Chung Ling Soo, he took on the persona of Ching Ling Foo. He wore heavy Asian makeup, essentially the "yellowface" version of "blackface." He never spoke on stage, using an assistant to give explanatory remarks. He performed brilliantly. Most of the magic was not Chinese except for the few Ching Ling Foo tricks he copied. He produced the most beautiful advertising posters in magic. He was one of the most famous magicians in Europe, a superstar.
Here's where it gets complicated. At the time, the Chinese community recognized that he was not one of their own. But many accepted him because he was one of the only positive Chinese images in the media. Most of the fake Chinese performers were not so respectful. They used ugly stereotypes and burlesques of their magic and culture.
Vaudeville became a popular form of entertainment in the United States. Vaudeville shows featured a variety of acts, including comedy, music, and magic. Performers appropriated many cultures often to ridicule: Jewish, Irish, German, and Asian ethnic stereotypes were common, as was blackface.
This does not absolve Robinson. The blurred lines between admiration and exploitation reflect the issue's complexities and highlight the need for critical examination.
The blurred lines between
admiration
and exploitation
reflect the issue's complexities and highlight the need
for critical examination.
Vintage magic prop, Chinese Flame Clock via MagicShow.tipsAs the mid-20th century rolled in, societal changes prompted a reevaluation of cultural appropriation within magic. Civil rights movements, post-colonial perspectives, and increased global awareness led to a growing recognition of the harm caused by misrepresentation and stereotyping. Magicians began to shift away from blatant cultural appropriation, though not without some reluctance.
Well into the 20th century, many magic manufacturers routinely decorated their props with Asian, Egyptian, and other "exotic" images. Often, the "Chinese writing" on these props would be nothing but gibberish.
As the art of magic has evolved into the 21st century, so have the discussions around cultural appropriation. There has been a growing recognition of the magical community's need for authentic representation and respect for diverse cultures.
Magicians like Derek DelGaudio, Hiawatha, Juliana Chen, and others have championed this shift by incorporating their own cultural backgrounds into their performances. They strive to honor their heritage and share personal stories without exploiting or misrepresenting their respective cultures.
The history of cultural appropriation in theatrical magic is a testament to the evolving nature of artistic expression and societal awareness. It reminds us that context matters—what may have been acceptable in the past is not necessarily appropriate today.
The journey toward respectful representation begins with understanding the depicted cultures' histories, traditions, and contexts. Engaging with individuals from the cultures being represented can provide valuable insights and guidance. Collaboration ensures that performances are accurate, respectful, and free from harmful stereotypes.
This history also reminds us that art is never detached from the broader societal context. As the art form has evolved, so too have the conversations surrounding respect, representation, and ethical responsibility. While the past is filled with examples of missteps and misjudgments, it also offers lessons that guide us toward a more inclusive and culturally sensitive future.
By fostering collaboration, promoting education, and prioritizing intentionality and accountability, magicians can create performances that transcend entertainment to become bridges of understanding. This is an ongoing journey where magic intertwines with cultural appreciation, enriching both the art form and our collective human experience.
