The permutation solves best - you can criticize the discursive construction of the Orient and also vote affirmative case.

This overt play on internal resistance to Orientalism by those who have been designated the demonized Other is central to the aesthetic rationale of the performance of ReOrientalism.The use of varied media – performance text, visual art, traditional and fusion music – marks an act of generic boundary crossing and cultural sabotage that works to directly deconstruct polarized and polarizing media presentations of the East. ReOrientalism thus draws attention to the instability of its discursive status in a way that provokes its audience to ask pertinent questions about the production and consumption of the “Oriental”, unsettling easy distinctions, so that it is no longer clear who exactly is the agent of Re-Orientalism and who is being interpellated and for what ends. Self-consciously presented as a critique of Orientalist discourse, it nevertheless plays to the gallery in its appeal to the Western consumption of the Orient marking a process of cultural transaction that implicates both the performers and audience.The act of interpellating the Oriental subject is unsettling:the locus of Oriental identity carried into an endlessly deferred and open process of subject constitution marked by the “ReOrientalism” of ongoing performance. The “Oriental” is split and held in suspension between the constructed authenticity of the “Orient” and the authorizations of the audience and the emergent, diasporized self. It is a process that invokes the reality of discursive power while working to disengage itself from the binary registers of Said’s Orientalism. The self-consciously performative and diasporic basis of this act of cultural deconstruction and reclamation works to unsettle the pedagogic drives and hierarchic, binary prescriptions that mark distinctions between the “Orient” and “Occident”.The diasporic subject is presented as both agent and victim of Orientalism and their appropriation of Orientalism works to foreground the internal inconsistencies and instabilities of Orientalist interpellation when situated in a culturally conflictual borderland. The Western audience issimultaneously displaced from its position as a passive consumer of an Orientalist cultural product, its members interpellated as active agents who are compelled to negotiate and navigate the instabilities of this fluid cultural terrain.