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Commentary: Cultural Appropriation Is, In Fact, Indefensible

K. Tempest Bradford

Elvis Presley, in the studio in 1956 — Presley's success was undoubtedly driven by the material he appropriated from black musicians. Bettmann Archive/Getty Images hide caption

Elvis Presley, in the studio in 1956 — Presley's success was undoubtedly driven by the material he appropriated from black musicians.

Last week, the New York Times published an op-ed titled "In Defense of Cultural Appropriation" in which writer Kenan Malik attempted to extol the virtues of artistic appropriation and chastise those who would stand in the way of necessary "cultural engagement." (No link, because you have Google and I'd rather not give that piece more traffic than it deserves.) What would have happened, he argues, had Elvis Presley not been able to swipe the sounds of black musicians?

Malik is not the first person to defend cultural appropriation. He joins a long list that, most recently, has included prominent members of the Canadian literary community and author Lionel Shriver.

But the truth is that cultural appropriation is indefensible. Those who defend it either don't understand what it is, misrepresent it to muddy the conversation, or ignore its complexity — discarding any nuances and making it easy to dismiss both appropriation and those who object to it.

At the start of the most recent debate , Canadian author Hal Niedzviecki called on the readers of Write magazine to "Write what you don't know ... Relentlessly explore the lives of people who aren't like you. ... Win the Appropriation Prize." Amid the outcry over this editorial, there were those who wondered why this statement would be objectionable. Shouldn't authors "write the Other?" Shouldn't there be more representative fiction?

Yes, of course. The issue here is that Niedzviecki conflated cultural appropriation and the practice of writing characters with very different identities from yourself — and they're not the same thing. Writing inclusive fiction might involve appropriation if it's done badly, but that's not a given.

Cultural appropriation can feel hard to get a handle on, because boiling it down to a two-sentence dictionary definition does no one any favors. Writer Maisha Z. Johnson offers an excellent starting point by describing it not only as the act of an individual, but an individual working within a " power dynamic in which members of a dominant culture take elements from a culture of people who have been systematically oppressed by that dominant group ."

That's why appropriation and exchange are two different things, Johnson says — there's no power imbalance involved in an exchange. And when artists appropriate, they can profit from what they take, while the oppressed group gets nothing.

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Dear white artists making music videos in india: step away from the 'holi' powder, author lionel shriver on cultural appropriation and the 'sensitivity police'.

I teach classes and seminars alongside author and editor Nisi Shawl on Writing the Other , and the foundation of our work is that authors should create characters from many different races, cultures, class backgrounds, physical abilities, and genders, even if — especially if — these don't match their own. We are not alone in this. You won't find many people advising authors to only create characters similar to themselves. You will find many who say: Don't write characters from minority or marginalized identities if you are not going to put in the hard work to do it well and avoid cultural appropriation and other harmful outcomes. These are different messages. But writers often see or hear the latter and imagine that it means the former. And editorials like Niedzviecki's don't help the matter.

Complicating things even further, those who tend to see appropriation as exchange are often the ones who profit from it.

Even Malik's example involving rock and roll isn't as simple as Elvis "stealing" from black artists. Before he even came along, systematic oppression and segregation in America meant black musicians didn't have access to the same opportunities for mainstream exposure, income, or success as white ones. Elvis and other rock and roll musicians were undoubtedly influenced by black innovators, but over time the genre came to be regarded as a cultural product created, perfected by, and only accessible to whites .

This is the "messy interaction" Malik breezes over in dismissing the idea of appropriation as theft: A repeating pattern that's recognizable across many different cultural spheres, from fashion and the arts to literature and food.

And this pattern is why cultures and people who've suffered the most from appropriation sometimes insist on their traditions being treated like intellectual property — it can seem like the only way to protect themselves and to force members of dominant or oppressive cultures to consider the impact of their actions.

This has lead to accusations of gatekeeping by Malik and others: Who has the right to decide what is appropriation and what isn't ? What does true cultural exchange look like? There's no one easy answer to either question.

But there are some helpful guidelines: The Australian Council for the Arts developed a set of protocols for working with Indigenous artists that lays out how to approach Aboriginal culture as a respectful guest, who to contact for guidance and permission, and how to proceed with your art if that permission is not granted. Some of these protocols are specific to Australia, but the key to all of them is finding ways for creativity to flourish while also reducing harm.

All of this lies at the root of why cultural appropriation is indefensible. It is, without question, harmful. It is not inherent to writing representational and inclusive fiction, it is not a process of equal and mutually beneficial exchange, and it is not a way for one culture to honor another. Cultural appropriation does damage, and it should be something writers and other artists work hard to avoid, not compete with each other to achieve.

For those who are willing to do that hard work, there are resources out there. When I lecture about this, I ask writers to consider whether they are acting as Invaders, Tourists, or Guests, according to the excellent framework Nisi Shawl lays out in her essay on appropriation . And then I point them towards all the articles and blog posts I've collected over time on the subject of cultural appropriation , to give them as full a background in understanding, identifying, and avoiding it as I possibly can.

Because I believe that, instead of giving people excuses for why appropriation can't be avoided (it can), or allowing them to think it's no big deal (it is), it's more important to help them become better artists whose creations contribute to cultural understanding and growth that benefits us all.

K. Tempest Bradford is a speculative fiction author, media critic, teacher, and podcaster. She teaches and lectures about writing inclusive fiction online and in person via WritingTheOther.com .

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Cultural appropriation refers to the adoption, borrowing, or imitation of elements, practices, symbols, or artifacts from a marginalized culture by individuals or groups belonging to a dominant culture, often without proper understanding, respect, or acknowledgment of the cultural context or significance. It involves the selective appropriation of certain aspects of a culture, typically for personal gain, fashion trends, or entertainment, while disregarding the historical, social, or religious meaning behind those elements.

Cultural appropriation, as a concept, traces its origins to the early 20th century, primarily in the field of anthropology and cultural studies. It emerged as a way to address the power dynamics and inequalities that exist between different cultures. The history of cultural appropriation can be seen within the context of colonialism and imperialism, where dominant cultures often appropriated elements from marginalized or colonized cultures for their own benefit. This included the appropriation of cultural symbols, artifacts, clothing, music, and other cultural practices. The discourse around cultural appropriation gained significant attention and evolved throughout the 20th and 21st centuries. It has become a subject of debate and critique, raising questions about cultural sensitivity, respect, and the commodification of cultural elements. Proponents argue that cultural exchange is beneficial and can foster understanding, while critics assert that appropriation can perpetuate stereotypes, exploit cultures, and erase the significance of cultural practices.

In the US, cultural appropriation is often observed in the realm of fashion, music, art, and even Halloween costumes, where elements from different cultures are sometimes used without proper understanding or respect. This can range from the adoption of cultural hairstyles, attire, or religious symbols to the appropriation of cultural rituals and practices. The public opinion on cultural appropriation in the US is diverse. Some individuals view it as a form of appreciation and cultural exchange, while others perceive it as a form of disrespect, erasure, and even exploitation of marginalized communities. Activists and social media platforms play a crucial role in raising awareness about cultural appropriation, promoting dialogue, and encouraging individuals to be mindful of the cultural origins and significance of what they adopt or represent. As society becomes more aware of the complexities surrounding cultural appropriation, there is a growing emphasis on fostering cultural understanding, respecting cultural boundaries, and engaging in responsible cultural exchange. The conversation on cultural appropriation in the US continues to evolve, highlighting the importance of education, empathy, and sensitivity to different cultures and their histories.

Fashion and Style: This includes the adoption of cultural attire, accessories, or hairstyles without understanding their cultural significance. Examples include wearing Native American headdresses or African tribal prints without knowledge or respect for their cultural context. Language and Slang: Appropriating language or slang terms from different cultures without understanding their origins can be seen as a form of cultural appropriation. This often happens when words or phrases are taken out of their original cultural context and used without proper understanding or respect. Music and Dance: Borrowing elements of music and dance from different cultures without giving credit or respecting the cultural roots is another form of cultural appropriation. This can involve taking traditional music styles, instruments, or dance moves and using them without acknowledging their cultural significance. Art and Symbols: Appropriation of cultural symbols, religious icons, or traditional artwork without understanding their cultural meanings can be seen as disrespectful. It involves using these symbols for aesthetic purposes or commercial gain without recognizing their cultural heritage. Rituals and Traditions: Adopting or modifying cultural rituals and traditions without proper understanding or respect for their significance is another aspect of cultural appropriation. This can involve appropriating religious practices, ceremonies, or spiritual symbols without understanding their sacredness.

Iggy Azalea: The Australian rapper faced criticism for appropriating African American Vernacular English (AAVE) in her music and performances. Her adoption of African American culture and style drew accusations of cultural appropriation. Katy Perry: The pop singer has been accused of cultural appropriation for incorporating elements of various cultures, such as Japanese, Indian, and African, in her music videos and stage performances. Kylie Jenner: The reality TV star and entrepreneur faced backlash for appropriating Black culture through her hairstyles, such as wearing cornrows, which some viewed as a misappropriation of a traditionally African hairstyle. Marc Jacobs: The fashion designer faced criticism for featuring white models wearing dreadlocks on the runway, which was seen as cultural appropriation of a hairstyle deeply rooted in African and African American culture. Miley Cyrus: The singer and actress faced controversy for appropriating elements of Black culture, including twerking and adopting a hip-hop-inspired persona during her Bangerz era.

Power Dynamics: This theory emphasizes the power imbalances between dominant and marginalized cultures. It argues that cultural appropriation occurs when elements of a marginalized culture are adopted and commodified by the dominant culture without proper understanding or respect, perpetuating inequalities and erasing the cultural context. Appreciation vs. Appropriation: This theory distinguishes between cultural appreciation and cultural appropriation. It suggests that appreciation involves respectfully learning about and engaging with different cultures, while appropriation involves taking elements out of context, often for personal gain, without understanding or respecting their cultural significance. Commodification: This theory focuses on the commercial aspect of cultural appropriation. It highlights how cultural elements, such as fashion, music, or art, are often commodified and stripped of their original cultural meaning, resulting in the exploitation of marginalized cultures for profit. Cultural Exchange: This theory acknowledges that cultural borrowing and exchange have existed throughout history. It suggests that cultural exchange becomes problematic when it lacks mutual respect, consent, and acknowledgment of power dynamics, leading to the erasure or exploitation of the culture being borrowed from.

Borrowing Elements: Cultural appropriation involves the adoption or borrowing of cultural elements, including symbols, traditions, clothing, music, language, or rituals, from another culture. Power Imbalance: Cultural appropriation often occurs within a power dynamic where a dominant culture adopts elements from a marginalized culture. The dominant culture may hold more social, economic, or political power, resulting in the exploitation or erasure of the culture being appropriated. Lack of Understanding: Cultural appropriation often reflects a lack of understanding, knowledge, or respect for the cultural significance, history, and context of the borrowed elements. It can lead to misrepresentation, distortion, or trivialization of the original culture. Commercialization and Commodification: Cultural appropriation frequently involves the commodification and commercial exploitation of cultural elements, turning them into trendy fashion, consumer products, or entertainment without proper acknowledgment or compensation to the source culture. Harmful Stereotypes: Cultural appropriation can perpetuate harmful stereotypes, reinforce prejudices, or contribute to the marginalization and discrimination of the culture being appropriated. Absence of Consent and Recognition: Cultural appropriation occurs when elements are taken without the consent or involvement of the originating culture, often without giving credit or recognizing the contributions of the culture being appropriated.

Marginalization and Exploitation: Cultural appropriation can contribute to the marginalization and exploitation of marginalized communities. When elements of their culture are taken out of context or commodified without proper understanding or respect, it can perpetuate power imbalances and reinforce inequalities. Cultural Misrepresentation: Cultural appropriation can lead to misrepresentation and distortion of cultures. It can perpetuate stereotypes, misconceptions, and simplifications, reducing rich and diverse cultural practices to shallow and inaccurate portrayals. Erosion of Cultural Identity: When cultural elements are taken and divorced from their original context and meaning, it can erode the cultural identity and significance attached to them. This can lead to the loss of cultural heritage and the devaluation of traditions, rituals, and symbols. Appropriation vs. Appreciation: The influence of cultural appropriation highlights the need for a shift from appropriation to appreciation. It encourages a more respectful approach to cultural exchange that involves learning, understanding, and honoring the source culture's perspectives, histories, and contributions. Social Awareness and Activism: Cultural appropriation has fueled social awareness and activism. It has sparked discussions and movements that aim to challenge and address the harmful effects of appropriation, promote cultural sensitivity, and advocate for the rights of marginalized communities.

The topic of cultural appropriation is important to write an essay about due to its far-reaching implications and significance in today's diverse and interconnected world. Cultural appropriation raises critical questions about power dynamics, identity, representation, and social justice. By exploring this topic, one can delve into the complexities of cultural exchange, appreciation, and exploitation. Writing an essay on cultural appropriation allows for an examination of the historical context, current manifestations, and the impact it has on marginalized communities. It provides an opportunity to critically analyze the ethical, social, and cultural implications of borrowing elements from different cultures. The essay can delve into the importance of recognizing and respecting the origins, meanings, and value systems associated with cultural practices and artifacts. Moreover, addressing cultural appropriation fosters a deeper understanding of privilege, cultural sensitivity, and the need for cross-cultural dialogue. It encourages individuals to reflect on their own role in perpetuating or challenging appropriation, and prompts discussions on the responsibility of individuals and institutions in promoting cultural understanding and equity.

1. Alcoff, L. M. (2019). The problem of speaking for others. In The feminist standpoint theory reader: Intellectual and political controversies (pp. 210-222). Routledge. 2. Anderson, K. (2009). Cultural appropriation and the arts. Wiley-Blackwell. 3. Choo, H. Y., & Ferree, M. M. (2010). Practicing intersectionality in sociological research: A critical analysis of inclusions, interactions, and institutions in the study of inequalities. Sociological Theory, 28(2), 129-149. 4. Delgado, R., & Stefancic, J. (2017). Critical race theory: An introduction. New York University Press. 5. Hooks, B. (1992). Black looks: Race and representation. South End Press. 6. Lentin, A. (2008). Racism and anti-racism in Europe. Pluto Press. 7. Matthes, E. H. (2017). Cultural appropriation and the arts. Oxford Research Encyclopedia of Communication. 8. McLeod, J. (2017). The ethics of cultural appropriation. Wiley-Blackwell. 9. Richardson, J. E. (2019). (Mis)appropriation, hybridity, and resistance: Revisiting the cultural politics of rap music. In Popular culture and the civic imagination: Music, dissent, and social change (pp. 67-89). Routledge. 10. Young, R. (2008). Colonial desire: Hybridity in theory, culture, and race. Routledge.

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In Defense of Cultural Appropriation

By Kenan Malik

• June 14, 2017

LONDON — It is just as well that I’m a writer, not an editor. Were I editing a newspaper or magazine, I might soon be out of a job. For this is an essay in defense of cultural appropriation.

In Canada last month, three editors lost their jobs after making such a defense.

The controversy began when Hal Niedzviecki, editor of Write, the magazine of the Canadian Writers’ Union, penned an editorial defending the right of white authors to create characters from minority or indigenous backgrounds. Within days, a social media backlash forced him to resign. The Writers’ Union issued an apology for an article that its Equity Task Force claimed “re-entrenches the deeply racist assumptions” held about art.

Another editor, Jonathan Kay, of The Walrus magazine, was also compelled to step down after tweeting his support for Mr. Niedzviecki. Meanwhile, the broadcaster CBC moved Steve Ladurantaye, managing editor of its flagship news program The National, to a different post, similarly for an “unacceptable tweet” about the controversy.

It’s not just editors who have to tread carefully. Last year, the novelist Lionel Shriver generated a worldwide storm after defending cultural appropriation in an address to the Brisbane Writers Festival. Earlier this year, controversy erupted when New York’s Whitney Museum picked for its Biennial Exhibition Dana Schutz’s painting of the mutilated corpse of Emmett Till, a 14-year-old African-American murdered by two white men in Mississippi in 1955. Many objected to a white painter like Ms. Schutz depicting such a traumatic moment in black history. The British artist Hannah Black organized a petition to have the work destroyed.

Other works of art have been destroyed. The sculptor Sam Durant’s piece “Scaffold,” honoring 38 Native Americans executed in 1862 in Minneapolis, was recently being assembled in the Minneapolis Sculpture Garden. But after protests from indigenous activists that Mr. Durant was appropriating their history, the artist dismantled his own work, and made its wood available to be burned in a Dakota Sioux ceremony.

What is cultural appropriation, and why is it so controversial? Susan Scafidi, a law professor at Fordham University, defines it as “taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else’s culture without permission.” This can include the “unauthorized use of another culture’s dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc.”

Appropriation suggests theft, and a process analogous to the seizure of land or artifacts. In the case of culture, however, what is called appropriation is not theft but messy interaction. Writers and artists necessarily engage with the experiences of others. Nobody owns a culture, but everyone inhabits one, and in inhabiting a culture, one finds the tools for reaching out to other cultures.

Critics of cultural appropriation insist that they are opposed not to cultural engagement, but to racism. They want to protect marginalized cultures and ensure that such cultures speak for themselves, not simply be seen through the eyes of more privileged groups.

Certainly, cultural engagement does not take place on a level playing field. Racism and inequality shape the ways in which people imagine others. Yet it is difficult to see how creating gated cultures helps promote social justice.

There are few figures more important to the development of rock ’n’ roll than Chuck Berry (who died in March). In the 1950s, white radio stations refused to play his songs, categorizing them as “race music.” Then came Elvis Presley. A white boy playing the same tunes was cool. Elvis was feted, Mr. Berry and other black pioneers largely ignored. Racism defined who became the cultural icon.

But imagine that Elvis had been prevented from appropriating so-called black music. Would that have challenged racism, or eradicated Jim Crow laws? Clearly not. It took a social struggle — the civil rights movement — to bring about change. That struggle was built not on cultural separation, but on the demand for equal rights and universal values.

Campaigns against cultural appropriation reveal the changing meaning of what it is to challenge racism. Once, it was a demand for equal treatment for all. Now it calls for cultures to be walled off and boundaries to be policed.

But who does the policing? Every society has its gatekeepers, whose role is to protect certain institutions, maintain the privileges of particular groups and cordon off some beliefs from challenge. Such gatekeepers protect not the marginalized but the powerful. Racism itself is a form of gatekeeping, a means of denying racialized groups equal rights, access and opportunities.

In minority communities, the gatekeepers are usually self-appointed guardians whose power rests on their ability to define what is acceptable and what is beyond the bounds. They appropriate for themselves the authority to license certain forms of cultural engagement, and in doing so, entrench their power.

The most potent form of gatekeeping is religion. When certain beliefs are deemed sacred, they are put beyond questioning. To challenge such beliefs is to commit blasphemy.

The accusation of cultural appropriation is a secular version of the charge of blasphemy. It’s the insistence that certain beliefs and images are so important to particular cultures that they may not appropriated by others. This is most clearly seen in the debate about Ms. Schutz’s painting “Open Casket.”

In 1955, Emmett Till’s mother urged the publication of photographs of her son’s mutilated body as it lay in its coffin. Till’s murder, and the photographs, played a major role in shaping the civil rights movement and have acquired an almost sacred quality. It was from those photos that Ms. Schutz began her painting.

To suggest that she, as a white painter, should not depict images of black suffering is as troubling as the demand by some Muslims that Salman Rushdie’s novel “The Satanic Verses” should be censored because of supposed blasphemies in its depiction of Islam. In fact, it’s more troubling because, as the critic Adam Shatz has observed, the campaign against Ms. Schutz’s work contains an “implicit disavowal that acts of radical sympathy, and imaginative identification, are possible across racial lines.”

Seventy years ago, racist radio stations refused to play “race music” for a white audience. Today, antiracist activists insist that white painters should not portray black subjects. To appropriate a phrase from a culture not my own: Plus ça change, plus c’est la même chose.

Kenan Malik ( @kenanmalik ) is the author, most recently, of “The Quest for a Moral Compass: A Global History of Ethics” and a contributing opinion writer.

Follow The New York Times Opinion section on Facebook and Twitter (@NYTopinion) , and sign up for the Opinion Today newsletter .

September 22, 2017

The Debate About Cultural Appropriation

Mehgan Gallagher

A simple definition of cultural appropriation is the idea of someone adopting something from a culture that is not their own.  At first glance, it appears that this is a harmless act.  Well, think again.  A deeper understanding of what cultural appropriation is digs up issues of whether it is offensive and even racist.  The idea of cultural appropriation generally involves a power dynamic and an unfair balance of power in which the appropriated culture has a history of being systematically oppressed by the dominating appropriating culture. A prime example of this power dynamic is the Washington Redskins NFL team, which has been accused of cultural appropriation, particularly their mascot of an American Indian wearing a headdress.  American Indians have a long history of being mistreated and pushed off their land by white settlers in the United States, thus the use of the name, along with the mascot, serves as a harsh reminder  of the years of oppression and mistreatment suffered by American Indians.

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Essay Samples on Cultural Appropriation

Cultural appropriation refers to the adoption, borrowing, or imitation of elements from another culture by members of a different cultural group. It is an intricate and often contentious issue that raises questions about power dynamics, identity, respect, and the commodification of cultural practices. By examining cultural appropriation, we can gain a deeper appreciation for the nuances involved and foster productive discussions around its implications.

How to Write a Cultural Appropriation Essay

In your cultural appropriation essay, you can explore various aspects to develop a comprehensive understanding of the topic. Begin by providing a clear definition of cultural appropriation and its various forms, such as the appropriation of clothing, music, language, symbols, or rituals. Discuss its historical context and the power dynamics at play, emphasizing the impact on marginalized communities.

To strengthen your argument, consider including real-life examples of cultural appropriation, analyze their implications, and research cultural appropriation essay examples. Highlight instances where cultural appropriation has led to cultural commodification, erasure, or perpetuation of harmful stereotypes. Explore the effects on both the appropriating and appropriated cultures, emphasizing the importance of cultural exchange versus cultural exploitation.

Furthermore, consider cultural appropriation essay topics and address the complexities surrounding cultural appreciation, cultural exchange, and the boundaries between the two. Discuss ways in which cultural appreciation can be practiced respectfully, promoting mutual understanding and celebration without crossing into appropriation. Explore the importance of education and awareness in mitigating cultural appropriation and fostering cultural sensitivity.

In addition, analyze the role of media, fashion, and the entertainment industry in perpetuating cultural appropriation. Discuss the responsibility of individuals, corporations, and institutions in addressing and preventing cultural appropriation, highlighting the significance of informed and respectful engagement with different cultures in cultural appropriation essays.

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Cultural Appropriation Is Merely Illusion

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Hindu Culture Commodification In Rishikesh And Yoga Tourism

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Best topics on Cultural Appropriation

1. Cultural Analysis Of Jamaican Culture And Its Impact On Nursing

2. Cultural Appropriation In Fashion Industry

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5. Hindu Culture Commodification In Rishikesh And Yoga Tourism

6. The Misappropriate Image of American Indian in Modern Pop Culture

7. The Importance of Cultural Appropriation in Fashion

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Advanced Essay #2: Cultural Appropriation

Introduction: I wanted to write about a topic that I am very passionate about. Everyone who is somewhat close to me knows how much on a daily basis I talk about cultural appropriation and my views and belief on it. I felt like this was the perfect opportunity to do so. In this essay, I explore the cons of cultural appropriation, as well as explain the parallels of cultural appropriation vs. appreciation. I also included a scene of memory that is a bit personal, but I'm proud in doing so because it is important that people come to know battles that you've struggled with because they may have struggled with those problems too and in return find closure in what you've wrote. As a writer, I plan to grow a bit more by exploring different topics like these and not being afraid to share my opinions on controversial topics such as this.

Suffocated by the soft, downy pillows and encapsulated by the fleecy fabric of my comforter, I lay on my bed engulfed into the images etched onto the screen of my phone. It is a long afternoon awaited; I just got back home from school and my entire body AND brain aches from the daily school-tasks of, writing, studying and thinking, purely exhausting. What better way to relax than to scroll endlessly, drifting off into a hazy cloud of social media? Away I go! “Hmmm, I think I’ll go on Instagram first.”  I think to myself. The hazy cold-blue light of the cellular device projects onto my face when suddenly my eyes widen with confusion. Images of people with distorted lips appear all on my news feed. Their bruised abnormal mouths match their painful expressions. Below these images I see in big, bold, blue text:

                                              #KYLIEJENNERLIPCHALLENGE

“Ugh! Kylie Jenner!” I say aloud. I’ve already expressed my disdain for this girl because of her “Kylie Jenner Lips” but c’mon! Now people all over social media are creating entire hashtags in honor of something she didn’t even have a whole year ago! I feel a surge of anger flow through my veins; the prickly heat of rage and disappointment seeps throughout my blood. Why does social media praise this girl as if she the almighty creator of big lips? Black girls are born into this world with big full lips but instead of admiration, we receive mockery.

But why? Because culture that people of color identify themselves with are only seen as significant and appropriate when associated with white people. This can be described as “cultural appropriation”. Society values the cultural objects, identities and items of an oppressed people when it is in the possession of a white person.

As a young black girl, I rarely ever saw any depiction of my features in the media. Even now, it is still hard to see any representation of black women. Because of that, I grew up very insecure and never saw the real beauty in me and people similar to me.

I stand in front of the spotless mirror in the corner of my bedroom. I examine every crevice and curve of my face. I trace the slope of my wide nose, wishing it was slimmer, touch thickness of my cupid’s bows, hoping it would become thinner and inspect the complexion of my skin, wondering why I couldn’t be lighter. It’s ugly, all of it. My eyes pour water out my tear ducts and in them, I bask in the rainfall of self-hate.

That was years ago, when I was uncomfortable with my looks, but now I’ve accepted who I was born as and love myself. But I am not the only black female who has experienced this self conflict. We, as blacks girls were, and still are, teased for our “gargantuan” features. From our broad noses, to our thick lips, to our curvy hips and voluptuous behinds. Cloaks of shame are thrown onto our bodies and our identities. But for our white female counterparts, (and sometimes on other women of color), when sporting our “anomalies” it is “exotic”and “acceptable” on them. They adopt what we identify with and make it into their own.

Cultural appropriation: the adopting of one’s culture as a trend, while simultaneously, ignoring the cultural significance of the object that is being appropriated, and being praised for it. Cultural appropriation is an extremely disrespectful act. Not only are you taking a culture’s object to identify yourself, but the people of that culture that you are appropriating, are completely disregarded. In other words, as described by Twitter user @slytherinpunk , cultural appropriation is like “...working on a project and getting an F and then someone copies u and gets an A & credit. That’s the big problem with cultural appropriation; the appropriator is praised for the adoption of one’s culture while the creators of that culture are criticized for representing their culture. However, there are some cases where the appropriator is unaware of the cultural significance of the item, in which the appropriation of the object/culture is in use of ignorance.

Some may argue that instead of “appropriation” of one’s culture, it is “appreciation” of that culture. The person who is committing the act may not be intentionally appropriating one’s culture to adopt as its own, but to show its common interest in that culture. However, it is still not suitable to do so. For example, a white man decides to grow dreadlocks, with preconceived information about the value of growing this popular black hair-style and the symbolism it represents. He wears them, without undergoing the several obstacles that a black man with locks will deal with. He is not called a thug, he is not looked at as if he sells drugs, he will not be told that he looks like he smells like “weed and patchouli”, but he may very well might fit all of those described. But it is the black man with dreadlocks who will suffer those stereotypes because of his race. The white man will not suffer because of his privilege. So out of respect, even if the perpetrator is showing his appreciation of a culture, it is best that he doesn’t. Because the one who the culture belongs to will be treated unfairly compared to the one who is appropriating it.

Cultural appropriation is a product of white privilege  and oppression. When people of color came to this country (excluding Native Americans) they were shunned for expressing their culture. Whites were able to express their culture freely.  People of color were forced to accept white culture as a means of being accepted. For example, many blacks were forced to tame their wild afros which held such liberal significance throughout the civil rights movement and instead get relaxers, just so they could get hired for a white man’s job/company. Many other people of color were teased for their vernacular and slang and told to speak “normal” or “proper”. So when a white person appropriates those things, it’s a slap in the face because not to long ago, they made sure that we felt ashamed by the way we walk, talk, dress, look and dance. When people of color explore other people of color’s culture, that is diversity. We as people of color, know how it feels for someone to make fun of our culture, so when we see other people of color exploring and rocking our culture, we see it as appreciation because at least we understand. When a white person does it, it’s somewhat mockery. For instance, Rachel Dolezal, the white woman who passed off as a black woman; complete disrespect to black women everywhere. To walk around pretending to be black is mockery because as a white woman, she’ll never know the ups and downs, trials and tribulations it is to be black AND female.  Because at the end of the day, Rachel can straighten her hair and lose the tan and go back to getting all the white privilege she can get her hands on. But it doesn’t work the other way around. people of color can never be accepted by whites, no matter how good their income is, what degree they have nor how well they speak, because we’ll always be seen as a minority.

It is important that people learn their boundaries with one’s culture.  Channeling a culture as your own is impertinent. Hopefully, there comes a time where people can learn to embrace their own identities, rather than taking someone else's.

Jabbar, Kareem Abdul. "Cornrows and Cultural Appropriation." Time . Time, 26 Aug. 2015. Web. 25 Nov. 2015. < http://time.com/4011171/cornrows-and-cultural-appropriation-the-truth-about-racial-identity-theft/ >.

Johnson, Maisha Z. "What’s Wrong with Cultural Appropriation? These 9 Answers Reveal Its Harm." Everyday Feminism . Everyday Feminism, 14 June 2015. Web. 23 Nov. 2015. <http://everydayfeminism.com/2015/06/cultural-appropriation-wrong/>.

"Watch Amandla Stenberg's Primer on Cultural Appropriation." Dazed . N.p., 16 Apr. 2015. Web. 23 Nov. 2015. < http://www.dazeddigital.com/artsandculture/article/24431/1/watch-amandla-stenbergs-primer-on-cultural-appropriation >.

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Essay on Cultural Appropriation

Introduction.

This part entails that culture is a distinct feature that distinguishes a community, individual, or group of individuals from others. Cultural traits or elements have been conveyed from one group to another due to people’s interaction and socialization. However, four critical ways of transmission can be identified: cultural appropriation, cultural assimilation, acculturation, and, lastly, the cultural interchange(The Editors of Encyclopaedia Britannica). The other three ways, unlike cultural appropriation, entail mutual permission and understanding, and as a result, they are widely accepted. The use of ideas, artifacts, expressions, and intellectual property rights without authorization has been termed cultural appropriation(Balint et al., 2020).

Nguyen and Strohl’s Perspective on Cultural Appropriation

What is an ‘expressive’ charge of appointment? From the start, the distinguishing feature of ‘expressive’ allotment claims appears to be that they stand without the need for explanation,’ are ‘not commonly open to coordinate contestation,’ and are not ‘accessible for contention’ (Nguyen and Strohl, 2019, p. 984). Nguyen and Strohl contrast ‘freely grounded’ allotment claims with those that admit to supporting the (putative) approach of realities free of actual cases and that can be conjured to give comprehensively consequentialist reasoning to not participating in the kind of style appointment in question.

Indeed, even articulations given immediate gathering concerns are ‘freely moored,’ as Nguyen and Strohl put it (2019, p. 984): they are established in realities about bunch closeness that are autonomous of our perspectives about them. Subsequently, a gathering might be misguided about where the limits of its gathering closeness lay. Consequently, it is wrong to accept that a confirmed break of such correspondence has happened because of a style allocation act.

Why may Black women wear straight and light weaves, but non-Black women cannot wear cornrows or braids? What appears to be a complicated subject of cultural allocation and beauty is simpler than you might think. The Tignon Laws of the eighteenth century are arguably the earliest known examples of legal oppression of Black hair, but it did not end there (Strohl et al., 2019). You’d be surprised to learn that legal victimization of ordinary hair continues today, with the most recent examples standing out as truly newsworthy in 2021.

Cultural appropriation in Natural Hair

The presentation of splendor through haircuts has always been associated with people of color. Black women use their haircuts to address the shift of Black culture over time, from the “afro” to hair wraps and twists. As a result of this evolution, an increasing number of Black women embrace the natural beauty of their hair. Whatever the case may be, it isn’t without its share of banter. Excellence, particularly hair, has long been a source of contention in Black culture, dating back to the Civil Rights Movement and beyond (Williams 2019).

The Kardashians are an example of cultural appropriation. They exploit black culture (and other cultures) as accessories to look nice in front of the camera and the public. Big lips, a tiny waist, a fat butt, dreadlocks, hairstyles, and clothes are all factors(Ibarra 2017). In our generation, we also regard it as a fad or “new style.” When we see a black lady with dreadlocks, we immediately think “filthy,” “disrespectful,” “ugly,” and “crazy.” Kyle Kardashian, on the other hand, has dreadlocks and is described as “pretty,” “goals,” “sexy,” “queen,” and “clean” by the public(“The Cultural Appropriation of Natural Hair” 2016).

.Kylie Jenner was credited with spearheading a ‘tense’ new hair pattern, while Zendaya, a black actress, was chastised for doing likewise. Interestingly Zendaya’s normal hair was seen as a defect. In any case, Kylie Jenner, who has no connections to the people of color, was credited with taking something that wasn’t hers.

Natural hair is attractive not because another culture has sanctioned it. It’s stunning because black ladies who choose to wear their hair naturally are stunning. We have a responsibility to call out cultural appropriation when we witness it. This is about more than just hair; it’s also about history. We should praise black women’s efforts to break away from the time-consuming techniques involved in making their hair look more like the images of beauty forcefully conveyed in the media. Now that black women are beginning to reflect the ideas of powerful black heroines from the past, I believe it is a time to rejoice.

Matthes’s Perspective on Cultural Appropriation

Contra to Erich Hatala Matthes, I do not believe that appropriations regarding group closeness can provide regularizing avocations to style allocation. Matthes (2019, pp. 1007, 1009) argues that group closeness can make such justifications unconvincing. Thus, he prefers a record of expressive appointment guarantees with a different standardizing force source (2019, p. 1007); as indicated by Matthes, “what bases expressive apportionment claims” is “verifiable and continuous abuse persevered by certain networks, autonomous of contemplations of closeness” (2019, p. 1009). ‘The way they come from abused groups is the regularizing ground for expressive apportionment claims,’ he proceeds.

The way that it ‘seems to infer that any culture can have an honor of intimacy, as indicated by Matthes, grounds such contemplations (2019, p. 1009). On the off chance that this entailment holds, when we acknowledge that there are conditions where a groups intimacy gives ace tanto regularizing motivations to keep its allotment claims, we have no other option except to perceive that the Ku Klux Klan’s gathering closeness accomplishes the same thing (2019, p. 1009)

We agree with Nguyen and Strohl that we should not consider group members obligated to litigate justification concerns when making appropriation claims. This is self-evident or impolite to ask for one. The practice of cultural appropriation is damaging and dangerous. It is not a path to cross-cultural understanding. This isn’t to suggest that we shouldn’t be cautious about adopting activities from other cultures or altering prejudices and learning about disadvantaged people.

Ibarra, Rosa. 2017. “Beyoncé and Coldplay Found Guilty for Using Cultural Appropriation in Their Music Video.” Medium. March 28, 2017. https://medium.com/applied-intersectionality/beyonc%C3%A9-and-coldplay-found-guilty-for-using-cultural-appropriation-in-their-music-video-89da9a8c7ac8.

Lenard, P. T., & Balint, P. (2020). What is (the wrong of) cultural appropriation?. Ethnicities, 20(2), 331-352.

Nguyen, C. T., & Strohl, M. (2019). Cultural appropriation and the intimacy of groups. Philosophical Studies, 176(4), 981-1002.

“The Cultural Appropriation of Natural Hair.” 2016. HuffPost. September 7, 2016. https://www.huffpost.com/entry/the-cultural-appropriation-of-natural-hair_b_57cf2cb3e4b0273330ab127e.

The Editors of Encyclopaedia Britannica. n.d. “What Is Cultural Appropriation? | Britannica.” Www.britannica.com. https://www.britannica.com/story/what-is-cultural-appropriation#:~:text=Cultural%20appropriation%20takes%20place%20when.

Williams, Ashleigh. 2019. “The Connection between Hair and Identity in Black Culture.” C+R Research. 2019. https://www.crresearch.com/blog/connection-between-hair-and-identity-black-culture.

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Cultural Appropriation, Essay Example

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Neverland is an island of “coral reefs and daring glancing make in the offing, and savages and barren dens, and elves that are tailors, and passages in which a waterway streams, and rulers with six senior brothers…and one almost no old woman with a snared nose,” as indicated by J.M. Barrie, Peter Pan’s creator. This was the troupe of characters that filled British recess when the new century rolled over, and in the play, “Mr. Barrie depicts not the privateer or Indian of adult dream however the innovations appeared through immature eyes,” as one New York Times pundit put it in 1905.

Both Peter Pan and Pocahontas mutilate Native American culture and stray so distant from reality that they dishonor Native Americans and their unmistakable networks in the United States. Even though their errors are boundlessly extraordinary, the two components may have convinced a huge number of Americans who grew up watching the films that these portrayals of the native culture are precise (Jerod 275). Kids’ mental self-portraits are helpless against the outside direction and evaluation, and Hollywood advertising things have a particularly solid effect. Offspring of all ethnic gatherings are especially helpless against cliché and possibly biased symbolism in youngsters’ movies.

Peter Pan epitomizes the racial estimations that plagued the papers in the 20th century. Local Americans live in Neverland with mermaids, fairies, and other fantastical characters in this film, featuring the white man’s excusal of their very being. The Blackfoot Indians are portrayed as red-cleaned with sharp, calculated noses and dark impressions by Disney, who depicts them as exaggerated wonders. Two of the white characters likewise react to the Indians with slanderous comments (Jerod 275). When perusing his guide of Neverland and endeavoring to concoct a technique to find Peter Pan’s concealing spot, Captain Hook expresses, “These Redskins know this island better than I know my boat.” Captain Hook, a boat skipper who addresses a European ‘voyager,’ expects to deceive local people to beat his white enemy. The boss and the more seasoned individuals are unusual, hefty, and some have missing teeth, taking biases to the phase of racial portrayal. The pioneer is wearing a crown and is disconnected to such an extent that he doesn’t address an individual. Local people talk in broken English and utilize gesture-based communication as a type of correspondence. They’re frequently seen drumming, singing, living in Tee Pees, asking “how” to invite one another, and using the “Indian message,” among other cliché propensities.

Pocahontas addresses an adjustment of the media’s portrayal of American Indians from racial and unfair generalizations and toward romanticized bends. Pocahontas, in contrast to Peter Pan, doesn’t include unmitigated fanaticism, yet it romanticizes the connection between the Powhatan clan and the early English pilgrims. Pocahontas’ age, her relationship with John Smith, her devotion to her clan against the Englishmen, and the details of her union with John Rolfe are generally fervently discussed as verifiable proof (Jerod 275).

Students of history accept, however, that Disney’s portrayal of Pocahontas is deceiving. Ivar additionally addresses the situation of “grandma soul willow tree,” recommending that her lines in the film were affected by the romanticized perspective on early white and Indian associations that most Americans have. Pocahontas’ grandma Willow encourages her to follow the “running Englishman” as opposed to the man her dad has chosen for her, whom Tiwari thinks about an “infringement of native agreement and experience, just as the debilitating of native social practice.”

The presence of a European-preferring soul willow tree is even more disparaging since almost no is perceived in regards to the Powhatan clan’s strict customs. Both Peter Pan and Pocahontas contain profoundly annoying and deprecatory figures of speech, exhibiting an absence of compassion in American culture toward American Indian culture (Jerod 275). The kids’ film business isn’t insusceptible to the common presence of bias and xenophobia toward Native Americans in the United States, from the utilization of straightforward speculations and real errors and the use of unfavorable ethnic slurs.

This portrayal was not hostile at that point. In any case, while the majority of Barrie’s underlying work is still as charming today as it was 110 years prior, Tiger Lily and her clan have been a hindrance for present-day creations. There’s horrible pardon for a gathering of Native Americans to exist on Neverland—”not to be mixed up with the milder hearted Delaware’s or the Hurons,” as Barrie put it—where they’re hard to avoid from the story. It’s practically impossible, however, to address them in a way that isn’t annoying.

Barrie’s relationship with a group of individuals, the Llewelyn Davies twins, and the games they used to play impacted the production of Peter Pan. The author and producer Andrew Birkin claim in his memoir J.M. Barrie and the Lost Boys that their universe was “a universe of privateers, Indians, and ‘destroyed islands,'” a sort of Victorian experience story blend. As indicated by Alton, James Fenimore Cooper’s undertakings may have enlivened Barrie, and he frequently appreciated “penny dreadful,” or horrendous experience books. As indicated by Birkin, one book specifically, The Coral Island, shaped the system for Barrie’s experiences with the Llewelyn Davies individuals (Yoo Hyun 405).  The tale has “locals”: wrecked on an island, the white heroes happen upon two networks of locals, one of which is after the other. The saints act the hero when they see the followers taking steps to execute a lady and her kids; they become a close acquaintance with the clan they’ve protected, especially the boss’ delightful girl. It’s like how Peter and Tiger Lily became accomplices after he shields her from the privateers of Captain Hook.

“Peter Pan is unusual in such manner,” Alton says, “since it’s protected.” When the patent lapsed in 1987, Barrie allowed it to the Great Ormond Street Hospital for Children in London, and when it terminated in 1987, the British Parliament passed a unique augmentation that offered the clinic in ceaselessness the rights to benefits from stage plays, public broadcasts, digital books, and different changes. Notwithstanding how the gathering was portrayed in Peter Pan, Barrie’s fiction has not been investigated as intently as the depictions of native individuals in youngsters’ books distributed 10 years after the fact—for instance, Mary Poppins or A Little House on the Prairie—which has been exposed to more extreme mainstream and academic examination (Yoo Hyun 405). Peter Pan, then again, has gotten off to some degree softly. While the play’s substance now and again wreck exhibitions—one Long Island school dropped a planned yield in 1994—there is no significant academic examination zeroing in on the clan produced by Barrie. The underlying content, in the meantime, has stayed unaltered.

The clinic had exacting oversight about how and how Peter Pan was utilized for quite a while. “Nobody would have been ready to contact it,” Alton says. Anybody adjusting the story or introducing it in the United Kingdom, including universities, would likewise apply for an endorsement from the emergency clinic (Evans 558).  The more seasoned transformations, then again, didn’t successfully modernize Barrie’s portrayal of native individuals. The 1953 Disney film, regardless, underlined bigoted generalizations; one of the film’s tunes is “The thing that Made the Red Man Red.” In an email, he expressed, “The situation of the Indians in the play is to be both extraordinary and somewhat savage.” “Be that as it may, the use of the word (alongside the generalized language) is probably going to outrage a North American crowd. ‘Amazons’ appeared to be a sharp method to obliterate two birds with one stone: as mythic heroes, they satisfied the ‘outlandish and savage’ measures, yet they likewise allowed me to project a gathering of ladies.”

A comparative choice was taken in 2015’s Pan, a film that envisions Peter’s first years in Neverland as a vagrant snatched by privateers and constrained to work in a mine. Tiger Lily is played by Rooney Mara, and her clan is wearing a stunningly brilliant grouping of pinks, purples, tans, and dazzling blues that figures out how to look phenomenal enough that nobody can confuse them with an American Indian clan. Inquest for anything like validness, NBC’s 2014 variation of 1954 melodic goes the other way (Evans 558). Tiger Lily will be played by obscure entertainer Alanna Saunders, whose fatherly precursors have distant connections to the Cherokee country, and the melody “Ugg-a-Wagg” has been reconsidered to incorporate genuine Native American articulations. Maybe these changes would keep the present chiefs from appearing to be purveyors of coarse bigoted biases in an additional hundred years; perhaps

We reconsider Tiger Lily as the head of a gathering of prevailing youngsters, corresponding to the Lost Boys, in our variation of “Peter Pan.” Tiger Lily’s name won’t be changed, despite the way that it has never been related to true Native American culture. One of the focal subjects of “Peter Pan” is that youngsters can impact genuine improvement without the inclusion of grown-ups. The idea is all the more unequivocally communicated in our rendition, which collaborates a local area of young ladies with the Lost Boys to battle Captain Hook and his privateers. Exemplary messages, as we as a whole know, can be hard to work with. It is our obligation to look at and the story we air and convey forward the main directives for our watchers in a way that regards and accepts all families. At the point when we make theater, we are endeavoring to envision how the climate could be and function. A play will put a local area of outsiders together, paying little mind to their age, class, nationality, or sex, to partake in something supernatural, an option that could be greater than any one person. The theater has this sort of solidarity. That is the worth of a decent account.

Evans, Brett. “Distinction, centrality and cultural appropriation in pre-Alexandrian court poetry: The case of Lycia.” The Classical Quarterly  70.2 (2020): 558-576.

Howard, Karen. “Equity in music education: Cultural appropriation versus cultural appreciation—understanding the difference.”  Music Educators Journal  106.3 (2020): 68-70.

Hunter, Kiri. “Cultural safety or cultural appropriation?.”  Kai Tiaki: Nursing New Zealand  26.1 (2020): 24-25.

Manderstedt, Lena, Annbritt Palo, and Lydia Kokkola. “Rethinking Cultural Appropriation in YA Literature Through Sámi and Arctic Pedagogies.”  Children’s Literature in Education  (2020): 1-18.

Ra’Del Hollyfield, Jerod. “Defining Neverland: PJ Hogan, JM Barrie and Peter Pan in Post-Mabo Australia.”  American–Australian Cinema . Palgrave Macmillan, Cham, 2018. 275-294.

Yoo, Hyun-Joo. “Imperialism and the Politics of Childhood Innocence in Peter Pan and Wendy.”  The Lion and the Unicorn  43.3 (2019): 387-405.

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Paisaen Perspectives: Deciphering the Intricacies of Cultural Currency

This essay about “Paisaen Perspectives: Deciphering the Intricacies of Cultural Currency” explores the nuanced exchanges shaping societies worldwide. From the vibrant tapestry of cultural practices to the complexities of power dynamics and appropriation, it into how cultural currency bridges diverse worlds. Through empathy and collaboration, it advocates for a more inclusive approach to valuing and preserving cultural identity, envisioning a world where mutual respect fosters empathy and equity for all.

How it works

In a world where the winds of globalization carry the scent of distant spices and the rhythms of unfamiliar tongues, a different kind of currency flows beneath the surface—a currency of culture, rich and diverse, shaping societies in profound and intricate ways. Welcome to a journey through “Paisaen Perspectives: Deciphering the Intricacies of Cultural Currency,” where we embark on an exploration of the subtle yet powerful exchanges that define our shared human experience.

Picture yourself wandering through the labyrinthine alleys of an ancient city, where each cobblestone tells a story and every corner whispers secrets of times long past.

Here, amidst the vibrant tapestry of humanity, cultural currency thrives in myriad forms—expressions of art, music, cuisine, and tradition that bind communities together across generations. From the hypnotic rhythms of West African drumming to the graceful movements of classical ballet, each cultural practice carries with it a legacy of resilience, creativity, and belonging.

But cultural currency is not confined to the realms of performance and artistic expression alone. It permeates every aspect of human interaction, from the language we speak to the gestures we use to communicate. Consider the concept of “mañana” in Latin American cultures, where time flows at a leisurely pace, and relationships take precedence over schedules. Here, punctuality yields to the rhythm of life, and commitments are honored not by the clock but by the bonds of trust and mutual respect—a form of cultural currency that transcends the boundaries of time and space.

Moreover, cultural currency serves as a bridge between disparate worlds, facilitating dialogue and understanding across cultures and civilizations. In an age of unprecedented connectivity, the exchange of ideas and traditions occurs at lightning speed, facilitated by advances in technology and communication. Through platforms like social media and streaming services, voices once marginalized or silenced find resonance on a global stage, challenging dominant narratives and enriching the tapestry of human experience.

Yet, amid the celebration of diversity, tensions simmer beneath the surface, as questions of power, privilege, and appropriation come to the fore. The dynamics of cultural exchange are often fraught with complexities, as dominant cultures wield influence over marginalized ones, leading to instances of cultural commodification and erasure. From the fetishization of Indigenous spirituality to the commercialization of hip-hop culture, these instances underscore the need for ethical engagement and respectful dialogue in cultural exchange.

Furthermore, the valuation of cultural currency is inherently subjective, shaped by historical legacies, geopolitical dynamics, and economic imperatives. What may be revered as cultural heritage in one context may be dismissed as primitive or exotic in another, reflecting power imbalances and systemic inequalities. This disparity is particularly evident in the realm of cultural preservation, where certain traditions receive institutional support and recognition, while others languish on the margins of society, at risk of being lost to the sands of time.

In navigating the intricate landscape of cultural currency, it is essential to adopt a nuanced and inclusive approach — one that honors the agency and autonomy of communities in defining and safeguarding their cultural identity. This requires a commitment to active listening, empathy, and humility in the face of difference, as well as a willingness to confront the uncomfortable truths that lie at the heart of cultural exchange. By fostering an environment of mutual respect and collaboration, societies can harness the transformative power of cultural currency to build bridges, foster empathy, and create a more just and equitable world for all.

In conclusion, “Paisaen Perspectives: Deciphering the Intricacies of Cultural Currency” invites us to reimagine our understanding of wealth and value in the global marketplace of ideas. Cultural currency, with its kaleidoscope of traditions, beliefs, and practices, constitutes the true measure of a society’s richness and resilience. As we embark on this journey of exploration and discovery, let us embrace the diversity of human experience with open hearts and open minds, for in the exchange of cultural capital lies the promise of a more vibrant, inclusive, and interconnected world.

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Pulse of Pride

Is Cultural Appropriation an Inspiration or Insult?

Posted: May 28, 2024 | Last updated: May 28, 2024

Cultural appropriation is a hot topic in today’s diverse society. But is it an act of respect or a blatant form of cultural theft?

1. What Is Cultural Appropriation?

Cultural appropriation occurs when elements of one culture are used by another culture, often without permission. It raises questions about respect, power dynamics, and cultural identity.

2. Fashion Faux Pas

Many fashion trends have been accused of cultural appropriation. When designers borrow traditional attire from other cultures without understanding the context, it can feel disrespectful.

3. Music and Melodies

Music is another area where cultural appropriation is often debated. Artists sometimes adopt musical styles or instruments from other cultures, sparking discussions about originality and respect.

4. Food Fusion or Confusion?

Food can be a delicious melting pot of cultures. However, when traditional dishes are altered or commercialized without acknowledgment, it can offend those who hold these foods dear.

5. Hair Styles and Headlines

Certain hairstyles carry significant cultural meaning. When people from outside that culture adopt these styles without understanding their significance, it can lead to accusations of appropriation.

6. Art and Artifacts

Art can be a beautiful expression of cultural heritage. But when sacred symbols or traditional art forms are used commercially, it can be seen as exploitative.

7. What’s the Harm?

Cultural appropriation can perpetuate stereotypes and diminish the significance of cultural practices. It’s important to recognize and respect the origins of cultural elements we enjoy.

8. Intent vs. Impact

While intentions might be innocent, the impact of cultural appropriation can be harmful. It’s crucial to listen to those affected and learn from their perspectives.

9. Celebrating Diversity Respectfully

Appreciating and celebrating other cultures is wonderful. The key is to do so with respect, understanding, and acknowledgment of the culture’s significance.

10. To Borrow or Not to Borrow?

Before adopting elements from another culture, consider if it’s appropriate. Ask yourself if you’re honoring the culture or simply using it for aesthetic purposes.

11. Walking the Fine Line

Navigating cultural appropriation is complex but necessary. Strive to appreciate, not appropriate, and always respect the cultural heritage of others.

12. Media and Misrepresentation

Media often plays a role in cultural appropriation. Films, TV shows, and advertisements sometimes use cultural symbols or stereotypes, which can misrepresent and harm the original culture.

13. Language and Lingo

Using words or phrases from another culture can be tricky. Without understanding their true meaning or significance, it can come off as disrespectful or mocking.

14. Festivals and Feasts

Participating in cultural festivals can be a fun way to experience diversity. However, it’s important to approach these events with respect and a genuine interest in learning about the culture.

15. Spiritual Practices

Adopting spiritual practices from other cultures, such as yoga or meditation, requires a respectful understanding of their origins and meanings. Misusing these practices can be offensive.

16. Historical Context Matters

Understanding the historical context behind cultural elements is crucial. What may seem like a harmless trend could have deep-rooted significance and history that shouldn’t be overlooked.

17. Supporting Authentic Sources

Support and purchase cultural items from authentic sources. This helps preserve the culture and ensures that the creators benefit from their work.

18. Educational Opportunities

Take the opportunity to educate yourself and others about cultural appropriation. Learning and discussing these issues can lead to more respectful and inclusive interactions.

19. The Power of Apology

If you realize you’ve appropriated a culture, apologize and make amends. A sincere apology and a commitment to learning can go a long way in repairing any harm done.

Stealing Thunder or Sharing Wonder?

In the end, it’s about balance. Strive to share and celebrate cultural diversity while always respecting its roots and significance.

The post Is Cultural Appropriation an Inspiration or Insult? first appeared on Pulse of Pride .

Featured Image Credit: Shutterstock / APChanel.

For transparency, this content was partly developed with AI assistance and carefully curated by an experienced editor to be informative and ensure accuracy.

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