Longish but fascinating read about Chiraag Bhakta's ordeal setting up an exhibit (titled #WhitePeopleDoingYoga) at the Asian Art Museum in SF.
Back in 2013, the Asian Art Museum in San Francisco invited me to contribute to a show about yoga co-organized by the Smithsonian's Arthur M. Sackler Gallery. The exhibition, Yoga: The Art of Transformation, was the first major show ever mounted about the 2,500-year history of yoga. It featured over a hundred paintings, photographs, and sculptures. Curators, seeking a contemporary perspective, invited me to contribute to an educational exhibit for the show after having met me at a previous event.
I knew the title #WhitePeopleDoingYoga would be provocative, but I chose it for a reason: For this installation, yoga was a case study in how culture gets colonized, a pattern that holds across industries, from fashion to food to music. The installation was meant to show how overwhelming and suffocating appropriation becomes under a capitalist structure. Every piece in the installation was either selling something or was itself once for sale.
But once my proposal made the rounds among curators, educators, and PR folks, cracks started to show in the museum's support for the installation. The show's lead curators and education staffers I'd met—all but one of whom were white—didn't feel completely comfortable with the title. They wanted something innocuous like #PeopleDoingYoga, without the word "white," because the term "white people" could be "offensive" to museumgoers, donors, and staff. During our initial meetings at the museum, they told me to "turn down the volume" of my critique.
The opening parties featured Indian classical music performed by white people, acro-yoga performed by white people, a chanting group mostly compromising white people, and a white couple from Marin teaching yoga for an hour. There was a sprinkle of Brown acts, but the headliner—wait for it—was a white rapper named MC Yogi, who spit about yoga and Indian culture over a beat dropped by DJ Drez, a white DJ with dreads. (Reminder: the largest institution of Asian art in the United States.)