EXOTICISM

Exoticism has to do with the interests that people develop and the glorification of cultures,
societies and objects that are perceived to be alien or strange from one’s own culture. This
concept usually entails depicting these ‘other’ cultures as being somewhat odd and unnatural,
discrepant from the standard norm of what is known and understood, while sometimes
focusing on the exotic and exciting aspect of such cultures. It can be seen in art, literature,
fashion, and media where the cultures of the other are borrowed and reimagined or
reinterpreted to fit the framework of a colonizing or domineering culture.
Exoticism is a cultural concept that reflects the Western people’s desire toward radical
otherness. This narrative adopts what could be described as cultural relativism that aligns
itself with the norms and values of the western culture and thus establishes the ‘East’ as the
model of the ‘other’.
Exoticism disintegrates culture to certain features, which are mere imposed fragments per se,
not a true reflection of a culture; there hence, exoticism is degrading. This leads to
stereotyping and generalizing, where artifacts, as stereotypically non-neutrally that can be
positive or negative, are more inclined to be negative. For example, the process of exoticizing
particular cultures might Just paint aspects such as the clothing, practices, or geographical
settings of the represented cultures, but do not include such aspects as the political systems or
real-life experiences of the specific cultures. It was thus only producing an essentialist and
Orientalist framework, in which the object of exotic desire is presented as powerless and
passive. Furthermore, exoticism poses a tendency of how particular culture and its assets is
represented as a mere object of interest or admiration with no sensitivity to their genuine
social value, which is rather dangerous in how it distorts and overlooks an actual culture’s
models.
Specifically, within the field of Postcolonial theory over the last one quarter-century there has
not been a substantial theoretical advancement concerning Exoticism and the Exotic. Hence,
the concept of Exoticism still lacks the required depth and scope, which otherwise could have
enriched the Postcolonial critique significantly. Thus, they have not addressed the richness as
well as the contours of the actual Exotic and the way it operates in colonial and postcolonial
terms. Exacerbating this problem is the consideration of the fact that Postcolonial theorists
and critics rely extensively on relativist paradigms while dealing with Exoticism. Framing
Exoticism through a relativist perspective, its models have been advanced by such influential
scholars as Edward Said in his “Orientalism” (1978) and “Culture and Imperialism” (1993)
and Homi Bhabha in “The Location of Culture” (1994). These models stress on the cultural
construction of perceptions and representations of the Exotic that circulate in culture, and can
restate the European-based hegemonic points of view unintentionally. As a result, the critique
of Exoticism depends on these relativist perspectives and is therefore arrested within
Eurocentric categories that are sought to be posited by the Postcolonial theory.

Historical Roots of Exoticism in Colonial Practices

Exoticism has traced its initial development right from the period of colonialism that started
about the 15th century although it more manifested it self in the 19th century. European
colonialism resulted in European powers acquiring control over huge tracts of Asia, Africa
and the Americas; in the course of doing so they were not only trading in and consuming
exotic goods and materials but they also encountered texts and images of people. These
representations were often post colonial; this entails the construction of another non-
European culture as exotic, primitive, and in most cases a different culture from that of the
Europeans. Therefore, through this, the colonial idea was carried forward further on the basis
of asserting that the colonized people were not in any way capable of ruling themselves and
needed the white men to do so.
Colonial exhibitions and world fairs of the 19th and early 20th centuries played a significant
role in propagating exoticism. These ceremonies depicted objectification of characters and
shows of colonies in ways that made it evident how different they were from the colonial
cultures. It is such representations that allowed for the construction of the ‘primitive’ exotic
‘Otherness’ which merely sets the stereotype until the present age.

Examples of Exoticism in Art, Literature, and Popular Culture

 Art
In the 19th century, the orientalist painting done by the west painter such as Delacroix and
Gérôme depicted the middle east scenes and appears with nudity and luxuries. These
artworks provided a somewhat sensual and playful vision of Orientalism focusing on harems,
bazaars, and landscapes of which many were appealing for the western audience and served
to perpetuate the stereotype that Orientals had sexual allure and were significantly different
from the West.

 Literature
Literary representations based on the fragmentation of the Other, in texts such as Rudyard
Kipling’s “The Jungle Book” and Joseph Conrad’s “Heart of Darkness”, demonstrate the
acceptance by colonial mentality with the portrayal of the ‘other’ as either bestial or
inscrutable and threatening as is consistent with Orientalism, thus subverting the
humanitarian claim of the white race over the inferior savage.
 Popular Culture
Tropes have in the recent past been implemented in various sections of the society such as
movies, fashion, and the travel industry. Indiana Jones movies, and the Mummy movies are
made in Europe and America paints other geographies as full ill hidden secret and treasure
full danger to wait whites. These creative workers, most especially, designers from the
fashion industry, learn originality from different cultures, imitating their clothing and
beautiful designs without honouring them but rather repurposing symbols to improve beauty.
Culturally in the context of tourism, destinations are marketed as paradisiacal opportunities to
access the other side of the normality and actual, real authentic way of life, which is in fact
the touristic conceptualization and representation of culture.
In all these examples, exoticism simplifies and distorts cultures, perpetuating stereotypes and
reinforcing power imbalances between the dominant and the exoticized cultures. Recognizing
and challenging these portrayals is essential in fostering a more nuanced and respectful
understanding of cultural diversity.

Intersection of Otherness, Invisibility, and Exoticism

These concepts interrelate and reinforce each other in several ways:
o Mutual Dependence
When a certain group is considered as others, it can be simply bypassed or turned into a
fetishist object. Invisibility banishes the other from the mainstream dialogue because their
true life or point of view is never discerned but through exoticism they are shown, though
deformed and subhuman.
o Feedback Loop
Certain groups are made exotic because they are not considered real people that have lived
through real experiences when they are invisible. On the other hand, the visibility of a group
can be lost in daily life due to the extent to which they are only recognized through
stereotypical means.
o Marginalization
There is a reinforcement of the marginalization of the 'other' through invisibility alongside
exoticism. It offers the other no recognition or platform thus promoting their invisibility
while making it much more enticing for one to look at them in a way that makes them seem
interesting but distant.

Case Studies or Examples Illustrating the Intersection

 Postcolonial Novels
Things Fall Apart: This novel by Chinua Achebe focuses on the culture crash between the
western, colonial lifestyle being enforced by the English and traditional native African living.
Through the eyes of the colonizers, we see Igbo society as exotic and primitive, emphasizing
the otherness and invisibility of the people within the colonial discourse.
Wide Sargasso Sea: This precursor to "Jane Eyre" provides a platform for the overlooked
and exoticized figure of Bertha Mason, portraying her as a multi-dimensional person rather
than the insane woman in the attic. It explores the concepts of being unseen and being
different through the perspectives of colonialism and race.
 Academic Perspectives
Graham Huggan's research in "The Postcolonial Exotic" investigates the commodification of
postcolonial literature in the global market, where it is often simplified and exoticized for
Western consumers (Cambridge University Press & Assessment).

Isabel Santaolalla's "New Exoticisms" discusses current trends of exoticism in cultural

portrayal, highlighting how they perpetuate notions of otherness despite claiming to support
multiculturalism (Brill).
These instances demonstrate the ongoing interaction among difference, obscurity, and
fascination in cultural works, where marginalized identities are both emphasized and
concealed, made simple and also intricate, to cater to diverse audiences and objectives.

Postcolonial Resistance to Otherness, Invisibility, and Exoticism

The resistance against portraying former colonies and their people as "other," invisible, and
exotic is a crucial response to colonial powers' marginalization. This resistance seeks to
challenge and break down narratives that depict colonized people as fundamentally different
and inferior, perpetuating stereotypes and justifying colonial control. This resistance takes
various forms such as literature, art, academic discourse, and activism, aiming to reclaim
histories, identities, and voices from colonial distortions. By emphasizing the richness and
agency of their cultures, it counters reductionist views and seeks a more equitable
representation of formerly colonized peoples. This resistance also involves critically
examining how colonial legacies continue to influence contemporary structures and
advocating for a more inclusive representation. Ultimately, postcolonial resistance aims to
dismantle harmful stereotypes and foster understanding and appreciation of the complexity
and humanity of those who were once subjugated, thus challenging the enduring impacts of
colonialism and promoting a more just global narrative.

Aspects Otherness Invisibility Exoticism

Definition Portrayal of colonized Romanticized

as fundamentally Marginalization and portrayal of
different and inferior erasure of colonized colonized cultures as
peoples' histories and strange and
cultures fascinating
Dehumanization, Ignoring indigenous
Examples stereotypes, cultural knowledge and Fetishization of
inferiority contributions cultural practices,
objects, and people

Effects Reinforces power Perpetuates ignorance Perpetuates

dynamics of and erasure of stereotypes and
colonialism indigenous cultures. reinforces colonial
attitudes
 Response Resistance through Reclaiming and Challenging
asserting cultural highlighting suppressed superficial portrayals
identity and humanity histories and voices and promoting
nuanced
understanding

Literary "Heart of Darkness" "The God of Small "Wide Sargasso Sea"

Examples by Joseph Conrad Things" by Arundhati by Jean Rhys
Roy

CONCLUSION
Understanding and addressing the concepts of otherness, invisibility, and exoticism is
essential in grappling with the legacies of colonialism in a postcolonial world. Postcolonial
Studies offer valuable insights into the dynamics of power, representation, and resistance in
societies marked by colonial histories. Moving forward, continued engagement with these
concepts is necessary for envisioning more just and equitable futures.