Modes of Acculturation in Arab American Drama: A Study of Four Plays by Yussef El Guindi

Abstract

Arab American literature and drama have been considered from different critical perspectives. The main issues discussed in various studies are the negative portrayals of Arabs and Muslims in popular American culture, racial profiling and surveillance, identity formation and the struggle of Arab Americans to forge their hyphenated identity and be recognized as American citizens on a par with other minorities such as Latinos, African Americans and other ethnic groups. However, though the topic of acculturation of Arabs in the United States is adequately documented and analyzed in several studies, there is a paucity of scholarly research that examined acculturation in Arab American literature in general and Arab American drama. For example, Gaby Semaan looked at the modes of acculturation of Arabs in the United States (2015, 174-191). Building on John W. Berry’s acculturation model, Semaan finds that Berry’s four strategies of acculturation, namely assimilation, integration, marginalization, and separation are adequately applicable to Arab American individuals and groups. Based on Semaan’s study, and with reference to Berry’s model of acculturation and other related literature, this paper will analyze the modes of acculturation in Yussef El Guindi’s drama. This Egyptian American playwright has devoted almost all his plays to deal with aspects of Arab immigrants such as identity formation and countering negative stereotypes of Arabs and Muslims in American media and popular culture. However, the treatment of acculturation in El Guindi’s drama is yet to be considered. For the purpose of this study, this paper will examine modes of acculturation in four plays, namely, Ten Acrobats in an Amazing Leap of Faith, Our Enemies: Lively Scenes of Love and Combat, Pilgrims Musa and Sheri in the New World and Threesome. 

Key Words: acculturation, assimilation, Arab American, drama & performance, immigrants