“It’s easy for young privileged girls to want to have the look, but when they are done dressing up in their ‘chola costume,’ they don’t have to go back home to the hood and deal with discrimination, violence, and poverty… We can’t just brush the Aquanet off our hair, take our hoops off, and go back to normal suburban life like they can because this is our reality. We live this every day.” (x)
People who dresses like chola are Latinos that ended up labeled as criminals, victims of police brutality, etc. There’s a stigma of being a chola. Why disrespect the life of millions of people to have a look from a life you do not have?
It doesn’t apply just to chola btw. Any culture that suffers oppression.
Here is a good explanation:
“We need to treat people with the dignity that they deserve, the way we want to be treated. If it’s something that [you] have the privilege to wear safely, where others would be persecuted if they wore it, do not wear it.” (x)
“You can be whoever you want for a day, but with what ramifications?” says Dr. Akbari. “Who suffers at the hand of your public display of dress-up?” Can you imagine being Mexican, hearing Donald Trump call all Mexicans rapists, and then seeing guys partying in sombreros on Halloween? Or being a Muslim and unable to get on a plane without being pulled out of the security line, and seeing someone dressed up as a terrorist? And then, you can’t even say anything without being dismissed as overly sensitive.
This painting by the Mughal court artists La’l and Kesav Khord depicts the Mughal emperor Akbar (r.1556–1605) hunting for black buck using his trained cheetahs. It is an illustration to the Akbarnama (Book of Akbar), commissioned by Akbar as the official chronicle of his reign.
The Akbarnama was written in Persian by Akbar’s court historian and biographer, Abu’l Fazl, between 1590 and 1596, and the V&A’s partial copy of the manuscript is thought to have been illustrated between about 1592 and 1595. This is thought to be the earliest illustrated version of the text, and drew upon the expertise of some of the best royal artists of the time. Many of these are listed by Abu’l Fazl in the third volume of the text, the A’in-i Akbari, and some of these names appear in the V&A illustrations, written in red ink beneath the pictures, showing that this was a royal copy made for Akbar himself. After his death, the manuscript remained in the library of his son Jahangir, from whom it was inherited by Shah Jahan.