In today's American culture, the pressure to fit into social norms is more prevalent than ever. By setting very clear standards for “fitting in,” the dominant culture makes the idea of ​​approval seem easily achievable. However, what is unknown to minorities is the rigidity of the standards and how often they are mocked when they try to conform. This ridicule is often perpetuated through the use of racial caricatures: descriptive visual devices that exaggerate certain aspects of individual races in order to create humor. In Ralph Ellison's novel Invisible Man, cultural standards are often reinforced through the use of the "Little Black Sambo Doll" – a racial caricature that transforms a black man's body into an ape, to fit the "animal-like" stereotype of a black man, solely to entertain the viewer (SparkNotes). Although he does not recognize him, throughout the novel the Narrator is seen by the white community as the Sambo doll. This view further dehumanizes him and allows white culture to maintain its power over him. Likewise, “Chief Wahoo” of the Cleveland Indians is just one of these many caricatures, seen by many as: “A dehumanizing red cartoon 'Indian' wearing a wide, toothy grin. A Sambo-like cartoon caricature or a piece of Nazi anti-Jewish propaganda” (Krimmel). The comparison between Chief Wahoo and “Sambo” directly connects the novel to today's society. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay According to Douglas Cardinal, a member of the Canadian Blackfeet Tribe, “Chief Wahoo actively contributes to the derision of the American Indians” (Taylor). This “mockery” dehumanizes American Indians, thus further isolating them from high society. The growing alienation that minority groups face, along with the complete disregard of their problems, leads them to disassociate themselves from their roots in order to conform to American culture and adapt to society. This allegiance allows the dominant culture to feel entitled and paternalistic towards minorities, which continually gives them a sense of approval to completely ignore the concerns of ethnic communities. The novel begins when the Narrator is invited by the city's studious white citizens to give a speech at the Battle Royale. Unbeknownst to him, the narrator must participate in the fight before giving his speech. By forcing the eight black men to fight each other, the white men abuse them just for fun. The ease with which the dominant culture can “shake Sambo the dancing doll, shake it, you can't break it” (431), highlights the gap in the South's social ladder. Knowing that they "can't break it," whites easily "Shake Sambo" forcing black men to fight for their entertainment. By viewing the black community through the lens of their white culturally formulated stereotypes and treating them as nothing more than Sambo dolls, authoritative Southerners further separate the minority from American society. The mistreatment of the Battle Royale disrespects and dehumanizes the Storyteller and his race. , thus further complicating the social climb up the hierarchy in American society. Likewise in today's society, the most popular representation of Native Americans is the Cleveland Indians' mascot, Chief Wahoo. The lack of knowledge of American Indian culture, in addition to the graphic caricature that inaccurately portrays them, allows Americans to easily ignore the fact that “The use of racist mascots dehumanizes Native Americans and,therefore, it makes it easy for society to ignore their concerns.” ...It allows people to treat us as invisible” (Waldstein). This statement by Philip Yenyo, executive director of the American Indian Movement of Ohio, demonstrates how categorizing all American Indians in the 'Wahoo' caricature allows the dominant culture to hijack the ethnic group and their concerns. This easy and unconscious characterization leads Americans to ignore people's concerns, forcing Natives to identify less with their culture in exchange for being listened to and understood. In the novel, the narrator attempts to distinguish himself from his culture during his speech by withholding his true feelings towards society and expressing only what white people want to hear. "'Social equality' "What you just said!" "Social responsibility, sir." "You weren't smart, were you, boy?" Are you sure equality was a mistake? You'd better talk slower like that we can understand. We intend to do the right thing by you, but you must know your place at all times'” (31). so that White will “do the right thing by him,” and perhaps even help him be recognized by others in high society is that popular culture in America draws minorities outside of their crops and traditions – lots of them of which have been passed down for generations - in exchange for acceptance into society. you're white, you're right'” (217) constantly distances him from his culture and his family in an effort to avoid social isolation, often refuting connections made to his Southern or black identities. For example, the narrator denies himself a very pleasant breakfast: "'Pork chops, grits, an egg, hot biscuits, and coffee!'" as an attempt to move away from his isolating African-American identity and toward integration. Instead of embracing his culture through the enjoyment of a delicious meal, the Narrator orders “'orange juice, toast, and coffee,'” then quickly states, “I was proud that I resisted the pork chop and grits. It was an act of discipline, a sign of the change that was taking place in me” (178). So deeply influenced by white dominant society, the Narrator believes that his refusal of savory satisfactions is “an act of discipline.” “Disciplining himself” to reject his desires to gain white tolerance makes the narrator believe that “a change of sign was coming upon [him].” By dissociating himself from his culture, the Narrator is increasingly “whitewashing” himself so that he can feel “a sign of change coming upon [him]” that would help him climb the social ladder. The constant avoidance and subhuman treatment the Narrator is exposed to influences him to fit the accepted characteristics of society. Today's Native Americans are similarly discounted by the same influential system, except instead of Sambo, Americans organize the minority into the racial caricature Chief Wahoo. Lindsay Gibbs, a sports journalist whose focus is racism and protests, believes that "Chief Wahoo promotes disrespect towards Native Americans" (Gibbs). Native Americans are seen only as a caricature that “promotes [American] disrespect” towards the culture, allowing the majority to easily mock them. This dehumanization and dismissal of Native Americans and their concerns leads many to leave their culture in search of tolerance. Philip Weeks, retired professor of American Indian studies in the United States, in particularin Ohio, states: “The myriad of problems [Native Americans] face in urban America leads many to protest. Yet most others disagreed and chose instead to identify less strongly as Indian. Often marrying non-Indians, they sought avenues through which to find a home and acceptance in mainstream America” (Weeks). Suffering from neglect of their people and their issues, many Native Americans choose to “identify less strongly as Indian” to discover “ways through which to find a home and acceptance in mainstream America.” According to an online U.S. history textbook, some Native Americans seeking recognition substituted: "The core of individual identity – one's name – to 'AMERICANize' children" (40.d Life on the Reservations). Also altering “the core of individual identity,” Native Americans “choose to identify less strongly as Indians” so as to “Americanize” themselves and further their integration into “mainstream America.” Present in the novel and in today's society, racial caricatures disrespect and dehumanize minority cultures, preventing them from achieving social equality; thus seizing the minority and forcing it to emerge from its own delicacy in an attempt to achieve social amalgam. The strong and growing allegiance of ethnic communities to the American hierarchy further affirms the majority of people of their “superiority.” This guarantee of power gives the majority a sense of entitlement, allowing them to treat the minority and its concerns in a paternalistic manner. Although the Narrator does not initially realize it, the Brotherhood's true purpose is not to promote the rights of the black community, but to deceive them into believing that they are doing so. The Brotherhood was created to channel revolutionary energy from the frustrations of blacks unable to make their way into mainstream white society. By hiring black spokesmen like the Narrator and Clifton into the group, the Brotherhood is misleading the black community and giving them false hope that they will help them. In reality, and as articulated by Brother Jack, these so-called leaders, “'They were hired to talk' '[And to] say nothing unless it was approved by the committee. Otherwise I suggest you continue saying the last thing [you] were told.'” (470). Reminding the Narrator that he was "hired only to talk" and being a spokesperson for the Brotherhood reassures Jack and the rest of the white committee members of their supremacy. This asserted dominance allows them to authoritatively advise the narrator to “say nothing unless approved by the committee” and to “keep saying the last thing you were told.” The Brotherhood feels entitled to the Narrator, due to his repeated unyielding devotion to the organization. This entitles them to treat him in a paternalistic manner which repeatedly results in his obedience. The reassurance of their complete control authorizes the Brotherhood to ignore the Narrator's growing unease about the politically failing Harlem district. Noticing Harlem's many political shortcomings, which are causing extreme inhibitions in black progress, the narrator asks Brother Hambro for ways to revive hope and restore activism. Brother Hambro, a white leader, knows that he is superior to the Narrator and his concerns, which allows him to easily veto the Narrator's proposal. Hambro reveals to the narrator, “[the Negroes] must be brought forward more slowly. They cannot be allowed to upset the rhythm of the master plan'” (504). In this context, Hambro is employing his paternalistic power to demonstrate that the.