Western Bias in Our Assumptions about Humanity

What Is Anthropology? ANTH 2301 Western Bias in Our Assumptions about Humanity A ubiquitous force that appears in many parts of American society, Euro-American ethnocentrism quietly shapes and influences narratives, attitudes, and perceptions. The idea that one's own ethnic group or culture is inherently better is known as ethnocentrism, and it is expressed in a variety of cultural contexts such as news media, advertising, museums, amusement parks, and motion pictures. The fundamental ideas of primitivism and orientalism have not changed over the past century, despite the stylistic approaches and overt manifestations of this prejudice changing. These ideas present themselves as two different but connected forms of cultural bias. The representation of non-Western cultures and peoples in film demonstrates Euro-American ethnocentrism. As the centre of the American film industry, Hollywood has a long history of promoting stories that uphold stereotypes and a hierarchical worldview. Film typically portrays non-Western countries as primitive, barbaric, or less civilised, a characteristic known as primitivism. For instance, films such as "Tarzan" and "King Kong" commonly present African and other indigenous peoples as primitive and uncomplicated, drawing a contrast with the sophisticated Western heroes. These representations support the imperialist worldview and the exploitation and hegemony over these "lesser" civilizations. Similarly, the word "orientalism," created by Edward Said, describes how Eastern countries are portrayed by the West as exotic, enigmatic, and essentially distinct from Western society. Several films that romanticise and mystify the East and portray it as a seductive but deadly other clearly exhibit this prejudice. Films such as "Aladdin" and "The Mummy" are prime examples of this trend, portraying Eastern settings and characters with a mixture of dread and intrigue that serves to reinforce Western superiority and the want to dominate or conquer the foreign. These stories not only give false impressions of the cultures in issue, but they also affect the audience's views, affecting how they relate to and perceive individuals from these areas. Through orientalism and primitivism, advertising—another potent cultural force—also contributes to the continuation of Euro-American ethnocentrism. In order to sell goods, advertisements frequently employ stereotypes and exotic images, playing on the attraction of the "other" and upholding established cultural hierarchies. For example, advertisements for beauty products usually use images of far-off places and customs, giving the impression that these goods have mysterious, age-old secrets to beauty that are only known by far-off civilizations. In addition to commercialising these cultures, exoticization presents Western customers as better, wiser people who can recognise and use these "secrets" for their own gain. Museums are not exempt from ethnocentric prejudices since they are establishments devoted to the conservation and display of cultural heritage. Historically, colonial exploitation has been used by many Western museums to get artefacts, which are then displayed in ways that support and perpetuate a Eurocentric worldview. The primitiveness or exoticism of non-Western cultures is frequently emphasised in exhibits, which frame them as research subjects rather than as equal participants in the global cultural environment. This method not only downplays the artefacts' cultural importance but also upholds the idea that the West is better and in control. Decolonizing museums and presenting more fair, balanced depictions of many cultures are continuous efforts, but overcoming the legacy of ethnocentrism is still a major obstacle. As places of imagination and fun, amusement parks also support the persistence of EuroAmerican ethnocentrism. Attractions at theme parks such as Epcot Centre and Disneyland frequently present sanitised, idealised portrayals of non-Western cultures. Stereotypes and simplistic storylines are often employed in these depictions in order to satisfy the expectations and assumptions of Western viewers. For instance, the Disneyland "It's a Small World" attraction simplifies complicated nations into cartoons and catchy songs while presenting a happy, peaceful picture of worldwide cultures. Even while these kinds of events could appear innocent or even joyous, they still serve to perpetuate stereotypes of Western culture supremacy by endorsing patronising and oversimplified perspectives of non-Western peoples. As the main source of information and narrative framing, the news media is extremely important in influencing the attitudes and views of the general population. The reporting and representation of non-Western nations and cultures exhibits a strong Euro-American ethnocentrism. Conflicts, crises, and unfavourable incidents in non-Western countries are frequently the subject of news coverage, which presents an image of instability and regression. Less emphasis is placed on positive tales or nuanced viewpoints, which results in a distorted and frequently prejudiced perception of these fields. Furthermore, terminology like "developing" or "third world" imply establish Western civilizations as the benchmark against which others are judged, and reporting language can reflect ethnocentric prejudices. The continuing character of Euro-American ethnocentrism is highlighted by the presence of primitivism and orientalism in these diverse cultural contexts. Subtle types of prejudice continue to influence cultural creation and consumption, even when overt displays of racism and cultural superiority may have decreased over time. A worldview that places the West at the centre of global culture and history is reinforced by both orientalism, with its exoticization and mystification of the East, and primitivism, with its representation of nonWestern civilizations as essentially less developed. A multidimensional strategy that includes critical engagement with cultural goods, improved representation of diverse perspectives, and a dedication to decolonizing cultural institutions is needed to address and challenge these prejudices. Within the film business, for example, supporting the work of diverse filmmakers may contribute to the presentation of more complex and realistic tales. Brands may work to steer clear of stereotypes in their advertising and instead honour cultural diversity in meaningful and considerate ways. Museums might endeavour to give more truthful and courteous depictions of their past by working with source communities and returning artefacts. In order to promote a more critical and knowledgeable understanding of cultural representation, educational programmes are also essential. Programmes for media literacy can provide people the skills they need to identify and confront ethnocentric biases in the media they consume. More varied viewpoints can be incorporated into academic programmes, emphasising the accomplishments and backgrounds of non-Western civilizations. Destroying Euro-American ethnocentrism ultimately comes down to appreciating the diversity and depth of world civilizations. It necessitates a change in perspective from considering non-Western nations as merely fascinating or fascinating subjects to interacting with them as fellow humans. We may create a more inclusive and equitable global cultural environment by recognising and resolving the biases prevalent in cultural production and representation.