Kissing Frogs: Exploring racial formations in The Princess and the Frog

When The Princess and the Frog was announced, many African Americans rejoiced in the fact they were soon to see a black princess on screen. However, this seemingly progressive film is far from perfect in terms of representation.

One of the most obviously troubling aspects of this text is the fact that Tiana spends the majority of the film as a frog. Not only is the portrayal of our only black princess as a slimy amphibian degrading, it also decreases the presence of black skin on screen. Black skin is a strong social signifier for the culture, experiences and struggles of non-white people, and Disney deliberately diminish this power. Her skin colour becomes entirely irrelevant- dangerously slipping the film into assimilationist discourses discussed by Herman Grey- narratives that completely erase racial identities.

Grey’s idea of the pluralistic discourse however seems more appropriate overall, as cultural differences are present in the rest of this text, but in a very limited manner. A great example of this is the culinary culture in Princess and the Frog. Gumbo and beignets- both southern foods traditionally prepared and enjoyed by African Americans, feature heavily in the film, celebrating a unique part of black culture. While it’s great Tiana’s black heritage is being presented as advantageous, this becomes problematic when her rich white friend Charlotte La Bouff employs her to cook beignets at the masquerade ball. Although obviously flattering, and an achievement which allows Tiana to make the deposit on her restaurant, this business proposition from Charlotte dangerously reinforces roles of black subordination as she serves her white masters- attending the ball as a worker rather than a guest. This intergenerational employment of Tiana’s family by the rich La Bouff family, as seamstress and then chef, suggests the film mirrors the white patriarchy of our own society, and that black success can only be channeled to serve white interests.

   

Tiana at the ball

The decision to portray Prince Naveen as not explicitly ‘black’ but ambiguously mixed-race, is one that has left many commentators dissatisfied with the film, believing Disney abandoned the opportunity to present black men as desirable love interests and viable Princes. Lester argues that because of this, the audience is left with only negative representations of black men as sorcerers, invalids or the elderly. However, the inclusion of Tiana’s loving father, and his healthy relationship with her mother, refutes this, showing healthy black couple are possible.

Furthermore, I would argue that the ambiguous ethnicity of the Prince is actually a tactful, balanced and respectful approach to racial relationships. Consider the implications if Tiana was to marry a white prince- would this not further reinforce the idea that all coloured men were unsuitable for the role of the hero? Even more problematic is the possibility of Tiana romancing an explicitly black prince, as it could reinforce fears of miscegenation- a prejudice Disney certainly does not want to endorse.

Prince Naveen of Somewhere Vaguely European

One of the very few times Disney addresses with issues of racism is in Tiana’s dealings with the bankers. Tiana’s failure to secure the lease is obviously not due to personal shortcomings, as we have seen her work extremely hard for this, yet the bankers suggest it would be unsuitable for someone of her ‘background’. Articulating the challenges nonwhites face is valuable, however the film treads a fine line between reflecting power relations, and reinforcing them.

This grounding of the film in reality can be viewed positively or negatively. The ending in particular, can either limit or liberate the aspirations of young black viewers.  On one hand, Tiana is fulfilling her lifelong dream of owning a restaurant, which makes her a positive example of black excellence, however it also reinforces the idea that Tiana is only ‘technically’ a princess, and does not truly enjoy the life or luxuries the title affords her white compatriots. Instead, Tiana gained the title Princess through marriage, and is still doomed to a life of work, suggesting she is just a princess in formalities- nothing more.  Perhaps the film attempting to empower by presenting a more realistic role model- but why do black girls have to be realistic while white girls are free to dream in fantasy?

Sources:

Lester, Neal A. "Disney's The Princess and the Frog: The pride, the pressure, and the politics of being a first." The Journal of American Culture 33.4 (2010): 294-308.

Gray, Herman. “The Politics of Network Television.” Media and cultural studies: Keyworks. Eds. Durham, Meenakshi Gigi, and Douglas M. Kellner. John Wiley & Sons, 2009.