When is it morally permissible for performers to portray characters from marginalized groups of which they are not a member? Although this question is philosophically underexplored, it has been commanding increasing attention in the public sphere, especially with respect to straight performers portraying queer characters. While the demand for increasing self-representation from marginalized communities is laudable, we argue that demanding performers to disclose their social identity is, in general, morally counterproductive. We make our case by focusing on recent instances where (...) fans demanded that a performer disclose their sexual orientation, putting vulnerable performers in a harmful trilemma. In short, it will force many to either out themselves against their will, subject themselves to intense public backlash by taking the role without outing themselves, or forgo taking a role they want and at which they would excel. Instead, we propose that performers have a general (epistemic) obligation to learn about what their characters’ corresponding real-world experiences would plausibly be like, representing what they learned in their performances. We will argue that meeting this obligation typically entails learning about the values, broadly construed, of the community in question. If we are right, there is not even a general obligation that performers only take roles that correspond to their own social identity. Just as importantly, there is a strong moral reason not to demand that performers disclose aspects of their social identity in order to take on a role. (shrink)

Recently, there have been cases in which out-group representation in art has faced severe criticism. Out-group representation occurs when an artist in her work engages with people, characters, or subject matters that do not fall within her own identity group. This is exemplified by the case of finding a translator for Amanda Gorman’s The Hill We Climb in the Netherlands, where the original choice was criticized because, unlike Gorman, the translator was not Black, and by the case of Dana Schutz’s (...) painting of Emmett Till in his casket at the Whitney Museum in New York, which was criticized for being painted by a White person who could not understand the suffering Emmett Till and his mother had gone through. A number of objections to out-group representation are identified in the debate, namely, an objection from authenticity, an objection from equality of opportunity, and the suggestion that out-group representation is disrespectful and/or harmful. It is argued that none of these objections establishes that it is morally problematic to engage in out-group representation in art per se, although, importantly, there are a number of moral concerns that those who thus engage should be sensitive to. (shrink)