In recent years, more and more attention has been drawn to the study of whiteness, that is, to the way in which whiteness – the state of being of white complexion, and, therefore, of the “white” race – is perceived, both by whites and non-whites, as a race-category, and, ultimately, as a fact; and how this perception came about, how it was constructed – and to what end. Authors like Richard Dyer, among others, have begun deconstructing what has become the commonly accepted perception of white image1, and white self-image, and have found out that whiteness, as a race-category, has, over centuries, been constructed, by white authors and white authorities the world over, into something that has assumed an almost normative function – representing a racial “norm”, used to compare, distinguish and ultimately separate those who deviate from the norm, and thereby installing a device of control and, at its heart, a white, Eurocentric view of the world. Alongside their discoveries, scholars like Eric Lott have begun turning their interest to a different question: if, as Dyer had stated, the construction of whiteness was a means of establishing power, then what reason was there for white people to impersonate nonwhites, a phenomenon that had come to broader attention in the early 19th century with the emergence of minstrelsy and so-called “blackface”-performances? In this paper, I will give a short overview on the theories of Eric Lott and David R. Roediger regarding this point and, set before the background of these theories, present a reading of Rudyard Kipling's novel “Kim“ in which I will try to determine in how far the protagonist - a young orphan living on the streets of Lahore, India - is constructed as a white person, to what extend he may be said to be using “blackface“, in what manner he profits from these two facts, and, ultimately, what might be derived from this regarding the construction of white – non-white identities and relations in the novel.
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1 In “White”, 1997
Table of Contents
1. Introduction
2. The Construction of Whiteness & The Impersonation of the Other a Theoretical Overview
3. Rudyard Kipling's “Kim“ - a Case Study
3.1 The Novel
3.2 “Little Friend of All the World” or “Sahib” – Constructing and Escaping Race in “Kim”
4. A Few Concluding Words
Objectives and Thematic Focus
This paper explores the construction of whiteness and the phenomenon of racial impersonation within colonial literature. By utilizing the theories of Eric Lott and David R. Roediger regarding blackface, the research examines Rudyard Kipling's "Kim" to determine how the protagonist's ability to "escape" his white identity functions as a tool for colonial power and privilege.
- Analysis of Richard Dyer's theories on whiteness as a racial norm.
- Examination of the psycho-sociological motivations behind racial cross-dressing.
- Investigation of Kim as a character who adopts and sheds ethnic identities.
- Comparison between colonial "camouflage" and the tradition of minstrelsy.
- Critique of the "Sahib" figure as a representation of colonial idealization.
Excerpt from the Book
3.2 “Little Friend of All the World” or “Sahib” - Constructing and Escaping Race in “Kim”
In the novel, we basically encounter the protagonist in two “phases”: in the first, we meet him in his natural element, the streets of Lahore; it begins right with the expositional opening, includes his taking to the road with the lama and the first part of their journey together, and can be said to end after the encounter with the British regiment. After this encounter, with the beginning of his education at the “white” schools, follows the transition into the second phase, which is completed with Kim´s completion of his education. Now, it would be tempting to simply state that in the first phase, Kim is portrayed as a racially at least ambiguous, rather fully “non-white” character, whilst in the second, more emphasis is put on the fact that he is actually white. However, this would be an oversimplification of matters. Although Kim might be considered non-white at first glance by the portrayal of his appearance and behaviour – he speaks the local vernacular far better than he speaks English, begs in the streets, curses, even smokes, all things that grossly contradict the image of a 19th century, colonial British youth – it is made very clear that he is of British, hence white, heritage right in the expositional sequence. The importance of this revelation is underlined by the allegorical scene on the cannon: “He sat (...) astride the gun Zam-Zammah (...) There was some justification for Kim, as the English held the Punjab, and Kim was English”
Chapter Summaries
1. Introduction: Outlines the scholarly interest in the study of whiteness and sets the stage for analyzing Kipling's novel through the lens of racial impersonation.
2. The Construction of Whiteness & The Impersonation of the Other a Theoretical Overview: Examines the theoretical frameworks of Richard Dyer, Eric Lott, and David Roediger regarding power dynamics and the appeal of minstrelsy.
3. Rudyard Kipling's “Kim“ - a Case Study: Applies the theoretical findings to the narrative structure of "Kim," focusing on the protagonist's dual identity and his function within the colonial framework.
4. A Few Concluding Words: Synthesizes the argument that the protagonist's ability to escape whiteness is a reversible privilege that reinforces rather than threatens colonial status quo.
Keywords
Whiteness, Rudyard Kipling, Kim, Blackface, Colonialism, Race-category, Minstrelsy, Eric Lott, David Roediger, Richard Dyer, Imperialism, Racial impersonation, Sahib, Cultural studies, Colonial literature.
Frequently Asked Questions
What is the central focus of this research paper?
The paper explores how whiteness is constructed as a racial norm and investigates the phenomenon of white individuals impersonating non-whites, using Rudyard Kipling's novel "Kim" as a primary case study.
Which theoretical frameworks are applied to the text?
The author employs the theories of Richard Dyer regarding the construction of whiteness, alongside the works of Eric Lott and David R. Roediger concerning the historical and psychological significance of blackface performances.
What is the primary research goal regarding the character of Kim?
The goal is to determine the extent to which the protagonist is constructed as a white person and to analyze how his "masquerading" as a native provides him with strategic advantages in colonial India.
How is the concept of "camouflage" utilized in the novel?
Kim utilizes his ability to blend into local ethnic and social surroundings to act as an observer and spy, which the author equates to a form of mimicry similar to the blackface tradition.
What is the conclusion regarding the protagonist's racial identity?
The paper concludes that Kim's identity is flexible and reversible; his ability to transition between native roles and his British heritage reinforces his position as a colonial master.
Which keywords best describe this study?
The study is characterized by terms such as Whiteness, Colonialism, Racial impersonation, Kim, Minstrelsy, and Power dynamics.
How does the author define the "first phase" of the novel?
The first phase is described as Kim's life on the streets of Lahore, where he appears racially ambiguous and is immersed in his natural element before his formal education in British schools.
Why is the "Zam-Zammah" cannon scene significant?
This scene is significant because it establishes a clear connection between Kim’s British heritage, his presence on the cannon, and the underlying theme of colonial power.
- Quote paper
- Heiko Kumsteller (Author), 2004, Sahibs with Black Faces? - Installing and Escaping Whiteness in Rudyard Kipling's “Kim“, Munich, GRIN Verlag, https://www.grin.com/document/71993
