The Tattoo Final Response

In its final chapters, “The Tattoo,” takes us once again into a Hawaii often unknown to tourists, nonresidents, or even those who do not take a closer look. As Ken and his wife return to the Windward side, their lives are changed due to the difference in economic means, as well as the different culture. The change in their lives based on their location shows the way in which locations all hold their own cultures and norms, even if they are in close proximity. Here, the difference is between rural and metropolitan Hawaii- while the city brings the dangers of the corrupt, illegal behavior displayed by Mama San, Ken’s hometown brings with it’s unique issues of poverty, alcoholism, and domestic violence. Again, relative deprivation shows it’s dark face as the couple must struggle in a culture far removed from gold chains and luxurious apartments.

While “The Tattoo” portrays racism in Hawaii in a striking manner, I chose to research the subject further, moving beyond the fictional into reality. Though I have personally experienced racism in Hawaii (mostly through being turned down for jobs where the employees sneered at me for being white on my way out, or the elderly lady in my building that makes comments about the “f***ing haoles” every time my husband or I enter the elevator with her), I was fascinated by the fact that even groups within the island have hostility towards one another. The feud between Ken’s father and Claudia is obviously based on stereotypes and prejudiced perceptions. The previous reading from the semester, titled “Talking Story with Hawaii’s Youth: Confronting Violent and Sexualized Perceptions of Ethnicity and Gender,” provides examples of how Samoans, Filipinos, and Japanese residents of Hawaii view each other, and develop stereotyped views of other ethnicities.

While reading this book, I began to think more about how racism is perpetuated in Hawaii, and how it comes to exist. It is easy to see where racism towards “haoles” stems from- tourism is one of Hawaii’s largest industries, and many tourists are Caucasian. While tourism does bring in a lot of revenue to the state, I think that the concept of relative deprivation is often at play- while most locals do not tend to be wealthy, they often have to cater to wealthy tourists that stay in nice hotels and relax on the beach drinking Mai Tais. It is easy to see this disparity in wealth. In addition, tourist destinations such as Waikiki are heavily discriminatory. Even the homeless are banned from staying in Waikiki in order to preserve the tourist destination’s image. Instead, the homeless are forced to live on the streets of downtown Honolulu or the west side of the island, on a beach essentially known as tent city.

But how are racial tensions perpetuated amongst locals? Based on The Tattoo, as well as the reading “Talking Story with Hawaii’s Youth,” it seems that these tensions occur in a similar manner to many big cities housing many diverse races- stereotypes. Stereotypes such as Samoans being violent, or Filipinos owning illegal businesses, are perpetuated by other’s perceptions, and often become self-fulfilling prophecy as other ethnic groups reject those they are unfamiliar with, thus causing individuals to follow the paths that others perceive them to do. For example, Claudia rebels against her mother’s lifestyle, yet does not find acceptance in Ken’s family. It is easy to see how an individual in that situation may return to their family and carry on and perpetuate the stereotype because discrimination keeps them from finding a new place in the world.

Overall, “The Tattoo” provides a glimpse into the cultures and subcultures within Hawaii, depicting with brutal honesty the many social problems and structures that exist behind the beautiful beaches and idyllic sunsets portrayed in travel guides. In addition, it provides insight into prison culture as well, which is a society in and of itself, containing hierarchies, norms, and structures that regulate behavior and social interaction within the establishment.

"Lost," - Stranded in Sociology

In order to best connect media to our lives, it is important to study examples that truly manage to captivate, and scintillate an audience. After all, successful media thrives best when it can tap into an essential truth of the human condition, and portray it in a manner that relates to its audience.

            One particularly successful show of the last decade was  “Lost,” a show that portrays a group of plane crash survivors stranded on an island. Although the show delves into science fiction, time travel, and cinematic drama, it manages to scintillate its audience by creating characters that are believable. The development of each main character’s back-story and motivations not only allows the audience a glimpse of the psychology behind the character’s actions, but also reveals sociological patterns to the discerning eye.

            Although the characters are alone on an island, far outside of established law or society, they begin to form their own society very quickly. Leaders emerge, and a civilization is formed. In a way, the first episodes of the series depict culture shock- the group is thrown into a new environment, far different from their previous experience, and the reactions are varied- some resist the new environment, attempting to use rules from their previous life and society to interact. Some embrace the new order, trying to regroup and adapt to the situation.

            Very quickly, a hierarchy begins to emerge- naturally the television show focuses on the main characters- the figures that maintain the power. The extras, most of which are unnamed and only appear during group scenes, represent the subordinate group. In addition, social norms begin to appear, as the stranded group adopts generally accepted and shared rules for behavior- for example, meeting at a certain time to share what little food they have obtained, or gathering to discuss the next action. In a way, this is an accurate portrayal of society, and reminiscent of conflict theory. While those in power have maximum airtime (or control and power), those who lack the resources or leadership are extras, or minor players in the game of life. Several times in the series, the less powerful characters challenge authority- the equivalent of the proletariat in Marxism standing up to those who rule. Unfortunately, this generally fails them, representing a striking depiction of the helplessness of minorities.

            Throughout the show, the idea of relative deprivation consistently emerges. Even removed from structured society, the characters build their own society, and resources are not evenly distributed. For example, one character (Sawyer), hoards resources and refuses to share them unless he obtains something in return. This leads to frustration among the others. While Parrillo’s text indicates that frustration within society is often not acted upon because “the true source of frustration is often too nebulous or too powerful to act against,” the characters in this show are able to retaliate due to the small number of inhabitants in their makeshift society. In a way, this show depicts society in its most basic terms, by reducing the number of participants and using individuals to represent entire groups.

            Since the show uses a small group of characters, sociological patterns are even easier to identify. Scapegoating appears often, as those unhappy with the situation tend to find someone to blame for the problems, whether or not the person actually caused the dilemma. Also, many other sociological concepts are explored through flashbacks and flash-forwards regarding the character’s lives. Racial profiling is shown when Sayeed is singled out because he is a Middle Eastern male. Stereotypes are applied by the show to portray the Korean couple according to expected traits and characteristics in order to fit the audience’s expectations. Power-differential theory is depicted on a very basic level, when new additions to the group are treated in a manner similar to those of a migrant group joining an indigenous group- while they may be allowed participation, the migrant group relatively is allowed far less input and sway in decision making.

            Overall, I feel that “Lost” is an exceptional example of the theories and concepts inherent to sociological studies. While most media tends to encompass representations of true human behaviors and attitudes, “Lost,” provides the added interest of showing a society essentially beginning from scratch- leaving the audience wondering whether the sociological structures we face in our every day lives are unchangeable because of society, or whether these ideas are so engrained in our subconscious that they would develop organically, even if we had the option to start over on a deserted island.