Kubo and the White Creators
White Entitlement in the Arts.
I struggled a lot with this topic. As I write this blog I acknowledge that I may be traveling out of my lane a bit and I hope I do not further marginalize anyone from a marginalized community (please tell me if I do).
(Note CW: race, oppression, police brutality, appropriation, rape, violence, trauma).Â
Before I saw the film, I knew three things about Kubo and the Two Strings:
 Laika made ParaNorman (my favs)
Charlize Theron, Matthew McConaughey were in it directed by a white guy (Thanks to sponsored ads for keeping me informed #Instagram)
I watched it and it was wonderful.
Man, was it beautiful! The art was stunning. Like all good films, the story had me scared, sad, and laughing all within minutes and it continued to do so throughout the rest of the film. Did I mention it was beautiful?Â
At its core, the film follows a boy, trying to reunite with his parents while simultaneously  collecting pieces of armor to defeat an evil force (the force happens to be another relative of his).-That is the best description I can give without spoilers.
Then I sat through the credits as rage and disappointment stirred within me.
All of the main characters are played by (largely recognizable) white actors. There are some secondary characters with names you donât even learn who are played by actors with Asian heritage but they have only a few lines. But the film uses several elements that are undeniably inspired by Japanese culture.
Turns out while weâre all yelling at Ghost in Shell for its fuckery, animation gets an unearned pass. Despite years ago acknowledging the damage racial typecasting in animation can cause.
Guys, Rooney Mara took the role of a POC again. Like did she learn nothing??? (The answer is yes. She has learned nothing).
But it is not just the casting. After all, this article is title the white creator and it is white privilege and artists as a whole that I plan to talk about here. None of the key creatives were Japanese. The director, the writers, lead designs all white. So of course, they made those casting choices.
âBut it was so beautiful and such a good story!â
If you saw this movie, and if you found it as beautiful as I did, ask yourself what made it beautiful? Can you think of something that didnât involve elements of Japanese culture? No? Cool then stop applauding these filmmakers cause theyâre lazy artists who stole from marginalized communities.
There is nothing about the story of a boy reuniting with his parents or facing evil, that has to be Japanese. Iâm not saying the lead character canât be Japanese. Iâm saying the settings, the origami, the characteristics that are intrinsically Japanese donât need to be in the film. Or Laika did not have the ability to tell this beautiful story without Japanese elements than both casting and key creatives should have been more diverse, Before you go apologizing for them, let me remind you that a lot of nameless secondary characters were voiced by people with Asian descent so Laika knew what they were doing.
Hereâs how I think the key creative conversation went: The white guys at Laika, inspired by Japanese culture wanted to make a movie. So they hired people but of course (as is the case with all creative hirings) they needed people who were on the same page...creatively as them. You all know how that goes
Itâs time that we as artists (writers, designers, painters, singers, actors, etc) looked at our privilege especially those of us being paid to do so. Doesnât matter how talented you are, you did not get there on your own.
For every cis white boy who is laughing, playing or getting into trouble there are marginalized kids being punished for existing. While âboys will be boysâ, girls are having the word pretty stuffed down their throats. They have to color in between the lines more. While white kids are told they can be whatever they want to be black kids are being shot by cops. Their parents warning them not to be carefree because this is the reality we live in. While white kids are praised for their âindivualityâ kids of colour are being mocked for bringing a different kind of lunch to school. So letâs start there. Weâre you encouraged to do art at all growing up?
^Enjoy this beautiful picture of #BlackBoyJoy (itâs actually stock image but still)^
As a light skinned mixed kid in a predominantly white community, I had the privilege of going to an elementary school with music and art teachers. I also was placed into camps and programs so that by grade 8 when I auditioned for art school, I was already at an advantaged. The fact that I speak without an accent, and have an anglo sounding name allowed me a foot in the door (an animation door at that) that others were not invited to. Â
Kubo and the Two Strings as a film is not okay because we live in a world where Japanese people are punished for their heritage while Laika is praised for its use of Japanese culture.
You see the problem with Kubo, is the same problem with The Birth of a Nation, and Anything. Their existence as films on the market put the opinions and desires of those with power over the people theyâve harmed (whether directly or inadvertently).
And before you tell me to let the art speak for itself...
Tell me why, you rarely hear âlet the art speak for itselfâ from people belonging to whatever marginalized community is being stepped over in the name of said art?
We live in a world where art does not stand alone.
