Years from now, historians may well regard this era as a transitional period in the evolution of race relations, much like the mid-20th century. As we wind down to the end of the administration of the first non-White male president, the subject of color is as contentious and nebulous as it has ever been in the two and a half centuries of this country’s existence.
A telltale sign of this ethnic discourse and the degree to which it has encroached into the national psyche is the recent (aborted) Starbucks coffee emporium’s attempt to initiate a discussion about race among its customers. The initiative petered out, in spite of or because of mounting criticism.
With this eternal subject droning on with no end in sight, perhaps it is time to step back and get a separate, if not totally impartial view. Taking advantage of Los Angeles’ simultaneous dual status as a global gateway and media hub, one can, in the span of a few blocks in the right neighborhood, come across people from virtually every corner of the globe. In due course, Our Weekly found three expatriates from separate points on the globe who have congregated here in the pursuit of a theatrical career.
Fresh perspectives
Agenda determined, a Starbucks was located in Hollywood where we engaged, not a barista, but a force of nature named Sia Foryh, whose tiny frame is offset by her outsized personality and passion for life. Originally from Sierra Leone, her life migration has taken her through England, Canada, and New York before reaching Los Angeles in the latest stage of her quest towards becoming an actress. Along the way, she has become a multilingual collector of myriad life experiences, and an acute student of human behavior.
About a month ago, she had her own experience with American law enforcement at a local Sheriff’s substation, she said. Her attempts to remedy a “fix-it” ticket led to a five-hour dramatic comedy and battle of wits as she almost got her car impounded, an episode she insists (and verified by a couple of Caucasian onlookers) was racially motivated.
Not All of her stateside experiences have been off-putting, although she seems to favor Canada (English people are the most racist of all, she claims). Canadians are more apt to embrace differences, while Americans—Black and White—are hell bent on “pigeon holing” everything and everyone.
Going on, she disparages African Americans for their failure to value education, and abrasiveness in their interactions with everyone.
Roommates and classmates since they attended film school, Foryoh and Melanie Pantin are a study in complements and contrast. Prone to impulsiveness, Foryoh admits to utilizing her emotions to fuel her acting technique.
Pantin’s more reflective, analytical approach is in keeping with her Caribbean upbringing on Trinidad. Lest one think Trinidad is a Utopian paradise, she is quick to point out the constant “turf wars,” between Muslims and Rastafarians whose factions struggle for island dominance.
Living bi-costal as a drama student in Los Angeles and New York, she counts her blessings in having sidestepped the uglier components of the two cities.
“I have no personal experience dealing with racism in America,” she admits.
Not above a practical joke, she recounts the time she egged on a confrontation between two fellow actresses, a White South African and a Black American by utilizing the “N word.”
Being overly sensitive can be a stepping stone towards adopting the mantle of “professional victim,” a role which in turn perpetuates this vicious cycle.
Pantin believes in the alternative path of moving “…beyond being a victim and using your experiences and your ancestors’ history as a source of strength and motivation.”
This, of course, is easier said then done.
For the most part, however, she admits the topic of race is easily discussed among her Black friends while her White friends shy away or completely avoid the subject.
“I understand it (racial discord), but I just want to help people move past it,” she says.
Foryoh and Pantin traverse a world of cosmopolitan variety in which friends from diverse backgrounds and origins mingle freely—an idyllic existence regularly punctuated by the realities of commercial and societal convention. Foryoh regards stereotyping as a hurdle to be overcome to effectively communicate with others, while for Pantin it may inhibit her growth as an artist, financially, and professionally, because the casting opportunities available to her, she says, are likely relegated to “best friend” (if she’s lucky), or subservient parts.
Excuses versus empowerment
Ione Butler has a significantly different point of view. A casual Google search of her name turns up an entry on IMDb, along with her website showcasing her porcelain features, making it hard to believe she once had self-esteem issues. Born of a Bahamian father and an English mother, she grew up in the predominantly Indian, West London district of Southall, haunted by the perception that everyone was staring at her. Expanding her horizons in late adolescence empowered her and paved the way for the development of the supremely confident artist she is today, aided by her crisp, proper speaking voice, a feature that draws out positive response across the racial spectrum.
“Sometimes they are surprised by my English accent—because of that I feel sometimes people think more highly of me.”
“Americans are very impressed with a British accent,” she notes.
This attribute reaches across ethnic boundaries, easing her acceptance among Whites and people of color.
“I’ve never felt any racial prejudice in the United States but then again I haven’t spent a lot of time in Middle America. I feel being English confuses bigots and somehow makes me more acceptable.”
She contrasts this with the experiences of her father, currently finding it difficult to find employment living in Virginia, where opportunities are often beneath his education and skill level.
She sympathizes with those in this predicament, but refuses to allow such circumstances to shape her response. In this, she may be enabled by an outlook uncorrupted by the entrenched racism that is a staple of life in the United States.
“I think some Black Americans do use the excuse of racial prejudice to justify their shortfalls but I feel it is often justified. If you are raised your whole life being told you are a certain type of person and subjected to negative stereotypes from others, it has an effect,” Butler says.
“It takes a lot of awareness to understand that, yes, I may be at a disadvantage because of my color, but I can still over come that and be hugely successful.”
Seeking to spread this positive outlook, Butler has joined with her expatriate colleagues from the British Academy of Film and Television Arts (BAFTA) to mentor youngsters in the film and video program at Washington Preparatory High School locally.
Initially inhibited by the reputation of South Los Angeles, her fears were quickly nullified.
“When I started, I admit I expected some to be rowdy or trouble makers—because of the area they are from, but none of the kids I’ve worked with have ever been like that.”
“They are all incredibly polite, respectful and well mannered,” she continues, “I believe it’s because when BAFTA mentors come to the school to work on the film program, we treat the kids with nothing but respect and we are there to inspire and motivate them.”
These three dissimilar women from three distinct backgrounds took three separate paths to arrive on American soil. In analyzing their stories however, we find surprising similarities and at the same time significant differences. Interestingly enough, all three count Korean Americans as friends among their circle of colleagues within the local acting community, and all report positive experiences, in sharp contrast to the well documented tensions between Blacks and Koreans since the 1992 riots/uprising.
Much of the conversation circulating around race seems to vacillate between two, opposite extremes.
“Americans (Black and White) as a whole don’t realize how good they have it,” declares Foryoh.
“That said, they’ve always covered up (the issue of) race and not attacked head on. Now they’re dealing with the after effects.”
