Melting pothttps://en.wikipedia.org/wiki/Melting_potThe melting pot is a metaphor for a heterogeneous society becoming more homogeneous, the different elements "melting together" into a harmonious whole with a common culture or vice versa, for a homogeneous society becoming more heterogeneous through the influx of foreign elements with different cultural background with a potential creation of disharmony with the previous culture. Historically, it is often used to describe the assimilation of immigrants to the United States.[1] The melting-together metaphor was in use by the 1780s.[2][3] The exact term "melting pot" came into general usage in the United States after it was used as a metaphor describing a fusion of nationalities, cultures and ethnicities in the 1908 play of the same name.
The desirability of assimilation and the melting pot model has been reconsidered by proponents of multiculturalism,[4][5] who have suggested alternative metaphors to describe the current American society, such as a mosaic, salad bowl, or kaleidoscope, in which different cultures mix, but remain distinct in some aspects.[6][7][8] Others argue that cultural assimilation is important to the maintenance of national unity, and should be promoted.
Origins of the termIn the 18th and 19th centuries, the metaphor of a "crucible" or "smelting pot" was used to describe the fusion of different nationalities, ethnicities and cultures. It was used together with concepts of the United States as an ideal republic and a "city upon a hill" or new promised land.[citation needed] It was a metaphor for the idealized process of immigration and colonization by which different nationalities, cultures and "races" (a term that could encompass nationality, ethnicity and race proper) were to blend into a new, virtuous community, and it was connected to utopian visions of the emergence of an American "new man". While "melting" was in common use the exact term "melting pot" came into general usage in 1908, after the premiere of the play The Melting Pot by Israel Zangwill.
The first use in American literature of the concept of immigrants "melting" into the receiving culture are found in the writings of J. Hector St. John de Crevecoeur. In his Letters from an American Farmer (1782) Crevecoeur writes, in response to his own question, "What then is the American, this new man?" that the American is one who "leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced, the government he obeys, and the new rank he holds. He becomes an American by being received in the broad lap of our great Alma Mater. Here individuals of all nations are melted into a new race of men, whose labors and posterity will one day cause great changes in the world."
…whence came all these people? They are a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes... What, then, is the American, this new man? He is either an European or the descendant of an European; hence that strange mixture of blood, which you will find in no other country. I could point out to you a family whose grandfather was an Englishman, whose wife was Dutch, whose son married a French woman, and whose present four sons have now four wives of different nations. He is an American, who, leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced, the new government he obeys, and the new rank he holds. . . . The Americans were once scattered all over Europe; here they are incorporated into one of the finest systems of population which has ever appeared.
— J. Hector St. John de Crevecoeur, Letters from an American Farmer
In 1845, Ralph Waldo Emerson, alluding to the development of European civilization out of the medieval Dark Ages, wrote in his private journal of America as the Utopian product of a culturally and racially mixed "smelting pot", but only in 1912 were his remarks first published. In his writing, Emerson explicitly welcomed the racial intermixing of whites and non-whites, a highly controversial view during his lifetime.
A magazine article in 1876 used the metaphor explicitly:
The fusing process goes on as in a blast-furnace; one generation, a single year even-- transforms the English, the German, the Irish emigrant into an American. Uniform institutions, ideas, language, the influence of the majority, bring us soon to a similar complexion; the individuality of the immigrant, almost even his traits of race and religion, fuse down in the democratic alembic like chips of brass thrown into the melting pot.[9]
In 1893, historian Frederick Jackson Turner also used the metaphor of immigrants melting into one American culture. In his essay The Significance of the Frontier in American History, he referred to the "composite nationality" of the American people, arguing that the frontier had functioned as a "crucible" where "the immigrants were Americanized, liberated and fused into a mixed race, English in neither nationality nor characteristics".
In his 1905 travel narrative The American Scene, Henry James discusses cultural intermixing in New York City as a "fusion, as of elements in solution in a vast hot pot".[10]
The exact term "melting pot" came into general usage in the United States after it was used as a metaphor describing a fusion of nationalities, cultures and ethnicities in the 1908 play of the same name, first performed in Washington, D.C., where the immigrant protagonist declared:
Understand that America is God's Crucible, the great Melting-Pot where all the races of Europe are melting and re-forming! Here you stand, good folk, think I, when I see them at Ellis Island, here you stand in your fifty groups, your fifty languages, and histories, and your fifty blood hatreds and rivalries. But you won't be long like that, brothers, for these are the fires of God you've come to – these are fires of God. A fig for your feuds and vendettas! Germans and Frenchmen, Irishmen and Englishmen, Jews and Russians—into the Crucible with you all! God is making the American.[11]
Israel ZangwillIn The Melting Pot (1908), Israel Zangwill combined a romantic denouement with an utopian celebration of complete cultural intermixing. The play was an adaptation of William Shakespeare's Romeo and Juliet, set in New York City. The play's immigrant protagonist David Quixano, a Russian Jew, falls in love with Vera, a fellow Russian immigrant who is Christian. Vera is an idealistic settlement house worker and David is a composer struggling to create an "American symphony" to celebrate his adopted homeland. Together they manage to overcome the old world animosities that threaten to separate them. But then David discovers that Vera is the daughter of the Tsarist officer who directed the pogrom that forced him to flee Russia. Horrified, he breaks up with her, betraying his belief in the possibility of transcending religious and ethnic animosities. However, unlike Shakespeare's tragedy, there is a happy ending. At the end of the play the lovers are reconciled.
Reunited with Vera and watching the setting sun gilding the Statue of Liberty, David Quixano has a prophetic vision: "It is the Fires of God round His Crucible. There she lies, the great Melting-Pot—Listen! Can't you hear the roaring and the bubbling? There gapes her mouth, the harbor where a thousand mammoth feeders come from the ends of the world to pour in their human freight". David foresees how the American melting pot will make the nation's immigrants transcend their old animosities and differences and will fuse them into one people: "Here shall they all unite to build the Republic of Man and the Kingdom of God. Ah, Vera, what is the glory of Rome and Jerusalem where all nations and races come to worship and look back, compared with the glory of America, where all races and nations come to labour and look forward!"
Zangwill thus combined the metaphor of the "crucible" or "melting pot" with a celebration of the United States as an ideal republic and a new promised land. The prophetic words of his Jewish protagonist against the backdrop of the Statue of Liberty allude to Emma Lazarus's famous poem The New Colossus (1883), which celebrated the statue as a symbol of American democracy and its identity as an immigrant nation.[12]
Zangwill concludes his play by wishing, "Peace, peace, to all ye unborn millions, fated to fill this giant continent--the God of our children give you Peace." Expressing his hope that through this forging process the "unborn millions" who would become America's future citizens would become a unified nation at peace with itself despite its ethnic and religious diversity.
United StatesIn terms of immigrants to the United States, the "melting pot" process has been equated with Americanization, that is, cultural assimilation and acculturation. The "melting pot" metaphor implies both a melting of cultures and intermarriage of ethnicities, yet cultural assimilation or acculturation can also occur without intermarriage. Thus African-Americans are fully culturally integrated into American culture and institutions. Yet more than a century after the abolition of slavery, intermarriage between African-Americans and other ethnicities is much less common than between different white ethnicities, or between white and Asian ethnicities. Intermarriage between whites and non-whites, and especially African-Americans, has long been a taboo in the United States, and was illegal in many US states (see anti-miscegenation laws) until 1967.[13]
Whiteness and the melting pot in the United StatesThe melting pot theory of ethnic relations, which sees American identity as centered upon the acculturation or assimilation and the intermarriage of white immigrant groups, has been analyzed by the emerging academic field of whiteness studies. This discipline examines the "social construction of whiteness" and highlights the changing ways in which whiteness has been normative to American national identity from the 17th to the 20th century.
In the late 19th and early 20th centuries, European immigration to the United States became increasingly diverse and increased substantially in numbers. Beginning in the 1890s, large numbers of Southern and Eastern European immigrant groups such as the Italians, Jews, and Poles arrived. Many returned to Europe but those who remained merged into the cultural melting pot, adopting American lifestyles.[14] By contrast, Chinese arrivals met intense hostility and new laws in the 1880s tried to exclude them, but many arrived illegally. Hostility forced them into "Chinatowns" or ethnic enclaves in the larger cities, where they lived a culture apart and seldom assimilated. The acquisition of Hawaii in 1898, with full citizenship for the residents of all races, greatly increased the Asian American population.
In the early 20th century, the meaning of the recently popularized concept of the melting pot was subject to ongoing debate which centered on the issue of immigration. The debate surrounding the concept of the melting pot centered on how immigration impacted American society and on how immigrants should be approached. The melting pot was equated with either the acculturation or the total assimilation of European immigrants, and the debate centered on the differences between these two ways of approaching immigration: "Was the idea to melt down the immigrants and then pour the resulting, formless liquid into the preexisting cultural and social molds modeled on Anglo-Protestants like Henry Ford and Woodrow Wilson, or was the idea instead that everyone, Mayflower descendants and Sicilians, Ashkenazi and Slovaks, would act chemically upon each other so that all would be changed, and a new compound would emerge?"[13]
Nativists wanted to severely restrict access to the melting pot. They felt that far too many "undesirables," or in their view, culturally inferior immigrants from Southern and Eastern Europe had already arrived. The compromises that were reached in a series of immigration laws in the 1920s established the principle that the number of new arrivals should be small, and, apart from family reunification, the inflow of new immigrants should match the ethnic profile of the nation as it existed at that time.[15] National quotas were established that discouraged immigration from Poland, Italy and Russia, and encouraged immigration from Britain, Ireland and Germany.
Native AmericansIntermarriage between Euro-American men and Native American women has been common since colonial days. In the 21st century some 7.5 million Americans claim Native American ancestry.[16] In the 1920s the nation welcomed celebrities of Native American background, especially Will Rogers and Jim Thorpe, and elected as vice president in 1928 Senator Charles Curtis, who had been brought up on a reservation and identified with his Indian heritage.
MiscegenationThe mixing of whites and blacks, resulting in multiracial children, for which the term "miscegenation" was coined in 1863, was a taboo, and most whites opposed marriages between whites and blacks. In many states, marriage between whites and non-whites was even prohibited by state law through anti-miscegenation laws. As a result, two kinds of "mixture talk" developed:
As the new word--miscegenation--became associated with black-white mixing, a preoccupation of the years after the Civil War, the residual European immigrant aspect of the question of [ethnoracial mixture] came to be more than ever a thing apart, discussed all the more easily without any reference to the African-American aspect of the question. This separation of mixture talk into two discourses facilitated, and was in turn reinforced by, the process Matthew Frye Jacobson has detailed whereby European immigrant groups became less ambiguously white and more definitely "not black".[13]
By the early 21st century, many white Americans celebrated the impact of African-American culture, especially in sports and music. Marriages between white Americans and African-Americans were still problematic in both communities. Israel Zangwill saw this coming in the early 20th century: "However scrupulously and justifiably America avoids intermarriage with the negro, the comic spirit cannot fail to note spiritual miscegenation which, while clothing, commercializing, and Christianizing the ex-African, has given 'rag-time' and the sex-dances that go with it, first to white America and then to the whole white world."[17]
Multiracial influences on cultureWhite Americans long regarded some elements of African-American culture quintessentially "American", while at the same time treating African Americans as second-class citizens. White appropriation, stereotyping and mimicking of black culture played an important role in the construction of an urban popular culture in which European immigrants could express themselves as Americans, through such traditions as blackface, minstrel shows and later in jazz and in early Hollywood cinema, notably in The Jazz Singer (1927).[17]
Analyzing the "racial masquerade" that was involved in creation of a white "melting pot" culture through the stereotyping and imitation of black and other non-white cultures in the early 20th century, historian Michael Rogin has commented: "Repudiating 1920s nativism, these films [Rogin discusses The Jazz Singer, Old San Francisco (1927), Whoopee! (1930), King of Jazz (1930) celebrate the melting pot. Unlike other racially stigmatized groups, white immigrants can put on and take off their mask of difference. But the freedom promised immigrants to make themselves over points to the vacancy, the violence, the deception, and the melancholy at the core of American self-fashioning".[17]
Since World War II, the idea of the melting pot has become more racially inclusive in the United States, gradually extending also to acceptance of marriage between whites and non-whites.
Ethnicity in filmsThis trend towards greater acceptance of ethnic and racial minorities was evident in popular culture in the combat films of World War II, starting with Bataan (1943). This film celebrated solidarity and cooperation between Americans of all races and ethnicities through the depiction of a multiracial American unit. At the time blacks and Japanese in the armed forces were still segregated, while Chinese and Indians were in integrated units.
Historian Richard Slotkin sees Bataan and the combat genre that sprang from it as the source of the "melting pot platoon", a cinematic and cultural convention symbolizing in the 1940s "an American community that did not yet exist", and thus presenting an implicit protest against racial segregation. However, Slotkin points out that ethnic and racial harmony within this platoon is predicated upon racist hatred for the Japanese enemy: "the emotion which enables the platoon to transcend racial prejudice is itself a virulent expression of racial hatred...The final heat which blends the ingredients of the melting pot is rage against an enemy which is fully dehumanized as a race of 'dirty monkeys.'" He sees this racist rage as an expression of "the unresolved tension between racialism and civic egalitarianism in American life".[18]
HawaiiIn Hawaii, as Rohrer (2008) argues, there are two dominant discourses of racial politics, both focused on "haole" (white people or whiteness in Hawaii) in the islands. The first is the discourse of racial harmony representing Hawaii as an idyllic racial paradise with no conflict or inequality. There is also a competing discourse of discrimination against nonlocals, which contends that "haoles" and nonlocal people of color are disrespected and treated unfairly in Hawaii. As negative referents for each other, these discourses work to reinforce one another and are historically linked. Rohrer proposes that the question of racial politics be reframed toward consideration of the processes of racialization themselves—toward a new way of thinking about racial politics in Hawaii that breaks free of the not racist/racist dyad.[19]
OlympicsThroughout the history of the modern Olympic Games, the theme of the United States as a melting pot has been employed to explain American athletic success, becoming an important aspect of national self-image. The diversity of American athletes in the Olympic Games in the early 20th century was an important avenue for the country to redefine a national culture amid a massive influx of immigrants, as well as American Indians (represented by Jim Thorpe in 1912) and blacks (represented by Jesse Owens in 1936). In the 1968 Summer Olympics in Mexico City, two black American athletes with gold and bronze medals saluted the U.S. national anthem with a "Black Power" salute that symbolized rejection of assimilation.[20]
The international aspect of the games allowed the United States to define its pluralistic self-image against the monolithic traditions of other nations. American athletes served as cultural ambassadors of American exceptionalism, promoting the melting pot ideology and the image of America as a progressive nation based on middle-class culture. Journalists and other American analysts of the Olympics framed their comments with patriotic nationalism, stressing that the success of U.S. athletes, especially in the high-profile track-and-field events, stemmed not from simple athletic prowess but from the superiority of the civilization that spawned them.
Following the September 11, 2001 terrorist attacks, the 2002 Winter Games in Salt Lake City strongly revived the melting pot image, returning to a bedrock form of American nationalism and patriotism. The reemergence of Olympic melting pot discourse was driven especially by the unprecedented success of African Americans, Mexican Americans, Asian Americans, and Native Americans in events traditionally associated with Europeans and white North Americans such as speed skating and the bobsled.[21] The 2002 Winter Olympics was also a showcase of American religious freedom and cultural tolerance of the history of Utah's large majority population of Mormons, as well representation of Muslim Americans and other religious groups in the U.S. Olympic team.[22][23]
Melting pot and cultural pluralismThe concept of multiculturalism was preceded by the concept of cultural pluralism, which was first developed in the 1910s and 1920s, and became widely popular during the 1940s. The concept of cultural pluralism first emerged in the 1910s and 1920s among intellectual circles out of the debates in the United States over how to approach issues of immigration and national identity.
The First World War heightened tensions between Anglo-American and German-Americans. The war and the Russian Revolution, which caused a "Red Scare" in the US, which also fanned feelings of xenophobia. During and immediately after the First World War, the concept of the melting pot was equated by Nativists with complete cultural assimilation towards an Anglo-American norm ("Anglo-conformity") on the part of immigrants, and immigrants who opposed such assimilation were accused of disloyalty to the United States.
The newly popularized concept of the melting pot was frequently equated with "Americanization", meaning cultural assimilation, by many "old stock" Americans. In Henry Ford's Ford English School (established in 1914), the graduation ceremony for immigrant employees involved symbolically stepping off an immigrant ship and passing through the melting pot, entering at one end in costumes designating their nationality and emerging at the other end in identical suits and waving American flags.[24][25]
Opposition to the absorption of million of immigrants from Southern and Eastern Europe was especially strong among such popular writers Madison Grant and Lothrop Stoddard, who believed in the "racial" superiority of Americans of Northern European descent as member of the "Nordic race", and therefore demanded immigration restrictions to stop a "degeneration" of America's white racial "stock". They believed that complete cultural assimilation of the immigrants from Southern and Eastern Europe was not a solution to the problem of immigration because intermarriage with these immigrants would endanger the racial purity of Anglo-America. The controversy over immigration faded away after immigration restrictions were put in place with the enactment of the Johnson-Reed Act in 1924.
In response to the pressure exerted on immigrants to culturally assimilate and also as a reaction against the denigration of the culture of non-Anglo white immigrants by Nativists, intellectuals on the left such as Horace Kallen, in Democracy Versus the Melting-Pot (1915), and Randolph Bourne, in Trans-National America (1916), laid the foundations for the concept of cultural pluralism. This term was coined by Kallen.[26] Randolph Bourne, who objected to Kallen's emphasis on the inherent value of ethnic and cultural difference, envisioned a "trans-national" and cosmopolitan America. The concept of cultural pluralism was popularized in the 1940s by John Dewey.
In the United States, where the term melting pot is still commonly used, the ideas of cultural pluralism and multiculturalism have, in some circles, taken precedence over the idea of assimilation.[27][28][29] Alternate models where immigrants retain their native cultures such as the "salad bowl"[30] or the "symphony"[27] are more often used by sociologists to describe how cultures and ethnicities mix in the United States. Nonetheless, the term assimilation is still used to describe the ways in which immigrants and their descendants adapt, such as by increasingly using the national language of the host society as their first language.
Since the 1960s, much research in Sociology and History has disregarded the melting pot theory for describing interethnic relations in the United States and other counties.[27][28][29] The theory of multiculturalism offers alternative analogies for ethnic interaction including salad bowl theory, or, as it is known in Canada, the cultural mosaic. In the 1990s, political correctness in the United States emphasized that each ethnic and national group has the right to maintain and preserve its cultural distinction and integrity, and that one does not need to assimilate or abandon one's heritage in order to blend in or merge into the majority Anglo-American society.[citation needed]
Nevertheless, some prominent scholars, such as Samuel P. Huntington in Who Are We? The Challenges to America's National Identity, have expressed the view that the most accurate explanation for modern-day United States culture and inter-ethnic relations can be found somewhere in a fusion of some of the concepts and ideas contained in the melting pot, assimilation, and Anglo-conformity models. Under this theory, it is asserted that the United States has one of the most homogeneous cultures of any nation in the world. This line of thought holds that this American national culture derived most of its traits and characteristics from early colonial settlers from Britain, Ireland, and Germany. When more recent immigrants from Southern and Eastern Europe brought their various cultures to America at the beginning of the 20th century, they changed the American cultural landscape just very slightly, and, for the most part, assimilated into America's pre-existing culture which had its origins in Northwestern Europe.
The decision of whether to support a melting-pot or multicultural approach has developed into an issue of much debate within some countries. For example, the French and British governments and populace are currently debating whether Islamic cultural practices and dress conflict with their attempts to form culturally unified countries.[31]
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