Stephen
Kershnar
Cultural Appropriation: Appropriate Away
Dunkirk-Fredonia Observer
September
23, 2019
Cultural
appropriation occurs when an individual from one culture uses another culture’s
ideas. Often the ideas relate to artifacts, clothes, food, and symbols. Many academics
and activists think that appropriation is theft. They claim that it disrespects
minorities and smacks of colonialism.
The
anti-appropriators decry the Florida State Seminoles’ and Washington Redskins’ use
of Native American images. They get very upset over Halloween costumes
involving Mexican sombreros, ponchos, and bandoliers and even more upset at Native
American war bonnets and war paint. At Yale, debate over Halloween costumes
caused massive turmoil. Some cultural critics take personal offense when white
women wear Japanese-style kimonos and Chinese-style form-fitting dresses.
Two
years ago in progressive Portland, two non-Hispanic white women were pressured
into shutting down their burrito food cart because it was alleged that they
culturally appropriated the type of food and stole the recipe from the Mexican
people. It is unclear why Portlanders, including Hispanic ones, would be better
off with inauthentic burritos. White people who allegedly pretend to be black
or Native American (NAACP chapter president Rachel Dolezal, Black Lives Matter
leader Shaun King, and presidential candidate Elizabeth Warren) are criticized
for appropriating a racial identity.
In
art, many of history’s most important painters (Paul Gaugin, Henri Matisse, Pablo
Picasso, and Henri Rousseau created primitivist art, which tries to recreate
primitive experience. Other artists (for example, Amedeo Modigliani) drew
inspiration for his sculpture from African art. Many art historians insist that
such art is wrong or bad. In Canada in 2017, indigenous activists pressured an
art gallery into shutting down a white woman’s show because her art was
inspired by indigenous art.
Cultural
appropriation is neither wrong nor bad. First, there is no one who is victimized
when a person from one culture uses ideas, symbols, clothes, etc. from another
culture. No individual owns a widespread cultural element, such as the
archetype for a Central or West African mask, gaucho pants, Native American
headdress, or sombrero. Specifically, no one has intellectual property rights
to them (copyright, patent, or trademark rights). Nor does anyone have a moral
right that is analogous to such legal rights. Just as no individual owns the
archetype, nor does any group own it. There is no one, for example, who could sell,
whether morally or legally, the rights to make and use gaucho pants. Nor could any
person or group grant permission to others to make such pants or destroy all such
pants. If an act does not wrong anyone, it’s not wrong.
Second,
critics of appropriation inconsistently focus on context. No one would object
to black teens in a Harlem drama club performing Fiddler on the Roof, Macbeth,
or West Side Story. Some art is too
good or enjoyable to be limited to just one people. Yet, if such cultural
crossover is acceptable, then it’s unclear why white people may not play Asian
characters. Consider, for example, David Carradine in the 1970’s show Kung Fu and Scarlett Johansson in the
remake of an anime classic: Ghost in the
Shell. If the concern is for ridicule or insult, then most of the above
appropriation is fine. The Redskins and Seminoles adopt their symbol because
they think their team namesake is dignified and full of fighting spirit. Gaugin,
Modigliani, and Picasso thought that the African masks and Tahitian colors and
people were aesthetically impressive. The white women selling burritos likely thought
authentic burritos are outstanding.
Third,
the alleged wrongness of cultural appropriation is a one-way street. No one
thinks African people wrong Western people when they use Western ideas (for
example, rights protecting assembly, free speech, and the press), political
structures (for example, separation of powers, parliaments, and congresses),
medical discoveries (for example, polio vaccines), or religions and religious
symbols (for example, Catholicism and Catholic iconography). If appropriation
is wrong because it involves theft of ideas, it would be wrong in these cases.
Theft does not become permissible merely because the victim is wealthy. If
appropriation of political and medical ideas is good, the same is likely true
for aesthetic ideas. In general, the free market with unlimited entry of people
and products almost always benefits consumers.
Also,
no one objects to Notre Dame and the Boston Celtics appropriating Irish symbols
or the Minnesota Vikings appropriating a Nordic symbol. Just as Notre Dame’s
fans see the Leprechaun mascot as a positive celebration of Irish fighting
spirit, Redskins fans similarly view their mascot. The Redskins’ fans view is
bolstered by the fact that three predominantly Native American high schools
name their sports teams “Redskins.”
Fourth,
the boundaries of appropriation are unclear. Imagine a bunch of orthodox Jewish
teens from Brooklyn who want to dress up in dreadlocks and play Reggae music.
Are they appropriating? Intuitively, it seems so. Yet Bob Marley’s father was a
white Reggae musician and, arguably, Jewish. There is an amusing picture of
Marley wearing a chi while smoking a doobie. Here things get strange. On the
one hand, history intuitively seems to make no difference here. No one cares
about Marley’s lineage. On the other hand, it is odd that a group may not claim
ownership over an art form when its most famous artist is from their group. The
teens may wear Woody Allen costumes. The history-based permission gets murky
though. May a Haitian teen dress up as Bob Marley? Perhaps it’s okay so long as
he has 12.5% aggregate Jamaican and Jewish genes or heritage.
Similarly,
imagine a group of Catholic white teens from Iowa having watched Bruce Lee’s Fist of Fury, decide to wear his
character’s Chinese outfit and show off his famous moves. Is this objectionable
appropriation? Lee is probably one-quarter white and attended Catholic schools.
To make things more confusing there is a good chance that kung fu originated in
India, not China. In any case, Bruce Lee’s preferred style was his own Jeet
Kune Do, not kung fu, and he developed it when living in the U.S. It is hard to
believe that any of these facts determine whether the teens may wear such an
outfit.
In
general, it is mysterious as to why people may not display their enjoyment of
art or other accomplishment by someone from another group. Many Asian, Hispanic,
and white guys from the New York City area took pride in Lawrence Taylor’s
relentless play for the Giants, especially those who played linebacker. No one
blinked an eye when they wore his jersey.
Cultural
appropriation is neither wrong nor bad. No one owns cultural symbols and the
unfettered free market in them makes the world a much better place. Rather than
spending time denouncing cultural appropriation, cultural critics’ and
academics’ would be better served by wearing a chi and smoking a doobie.