And why should racial and ethnic "points of view" outweigh those forged by class or culture?
Design expert and author Charlotte Fiell has recently suggested that our rediscovered love for an exotic look that used to be sneered at as "ethnic" points up the interesting similarities between the 1970s and our current scene, both eras marked by economic crises and the rise of new waves of feminism.
Case studies of ethnic groups point to a complex, reciprocal relationship among DNA, culture, and environment.
Critics of WNYE's current ethnic programming point to the lack of programs in Chinese, Hindi, Korean and Japanese, so it does not reach those portions of immigrant New York (WNYE television has a Chinese and Japanese show).
If this is the case, does the common prosperity of all of the ethnic groups point towards greater convergence, but also undermine the diversity within the unified multi-ethnic structure?
If the goal is better representation of ethnic minorities, pointing to the effect of class and leaving it there is not going to help.
In an answer to a question from Sunny Hundal, Wills rejected the notion that religious hatred laws infantilise ethnic minorities, pointing out that the state had a duty to protect the vulnerable and minorities.
Fei Xiaotong introduced with great insight the notion of "harmony in diversity" in ethnic relations, pointing out that between the civilisations of nationalities it is necessary to "accept the beauty of your own civilisation, and accept the beauties of other civilisations; share all the beauties and create a harmonious world" (Xiaotong 2005).
Other regional and ethnic reference points abound in Panther, from the otjize that coats the hair of one elder in the style of Himba women of Namibia, to the Basotho blankets in which members of the film's Border Tribe wrap themselves, to the lip disc worn by another elder, borrowed from Ethiopian groups like the Mursi.
