Misplaced Pages

Cultural appropriation: Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editContent deleted Content addedVisualWikitext
Revision as of 03:39, 3 September 2024 editGreenC bot (talk | contribs)Bots2,547,810 edits Reformat 1 archive link. Wayback Medic 2.5 per WP:URLREQ#www.cbc.ca/redirects← Previous edit Latest revision as of 00:06, 25 December 2024 edit undoCitation bot (talk | contribs)Bots5,405,936 edits Altered template type. Add: pages, issue, volume, journal, date, title, authors 1-3. Removed parameters. | Use this bot. Report bugs. | Suggested by AManWithNoPlan | #UCB_toolbar 
(42 intermediate revisions by 28 users not shown)
Line 5: Line 5:
{{Use British English|date=February 2023}} {{Use British English|date=February 2023}}


'''Cultural appropriation'''<ref name="Fourmile268-9" /><ref name="RoyalRipOff">{{cite web|url=http://www.theage.com.au/articles/2003/08/20/1061261182182.html |title=A right royal rip-off |work=The Age |location=Australia |date=20 August 2003 |access-date=17 September 2016 |url-status=live |archive-url=https://web.archive.org/web/20140818171622/http://www.theage.com.au/articles/2003/08/20/1061261182182.html |archive-date=18 August 2014 }}</ref> is the adoption of an element or elements of one ] or ] by members of another culture or identity in a manner perceived as inappropriate or unacknowledged.<ref>{{cite web|title=cultural appropriation|url=https://www.lexico.com/definition/cultural_appropriation|archive-url=https://web.archive.org/web/20200523103611/https://www.lexico.com/definition/cultural_appropriation|url-status=dead|archive-date=May 23, 2020|publisher=], ]|access-date=14 September 2021}}</ref><ref name=":4">{{cite journal|title=Indigenous Appropriation and Protection Provided by Intellectual Property Law|first=KaDeidra|last=Baker|journal=North Carolina Central University Science & Intellectual Property Law Review|publisher=]|date=16 August 2018|volume=11|issue=1|url=https://archives.law.nccu.edu/siplr/vol11/iss1/4|page=111|access-date=11 October 2021|archive-date=12 August 2020|archive-url=https://web.archive.org/web/20200812125745/https://archives.law.nccu.edu/siplr/vol11/iss1/4/|url-status=live}}</ref><ref name=":5">{{cite report |publisher=] |first=Matthias |last=Bauer |year=2018 |title=Online platforms, economic integration and Europe's rent-seeking society: Why online platforms deliver on what EU governments fail to achieve PDF Logo |url=http://hdl.handle.net/10419/202508 |access-date=11 October 2021 |page=1 |number=9 |hdl=10419/202508 |archive-date=13 February 2023 |archive-url=https://web.archive.org/web/20230213062708/https://www.econstor.eu/handle/10419/202508 |url-status=live }}</ref> This can be especially controversial when members of a ] appropriate from ].<ref>{{Cite journal |last1=Oshotse |first1=Abraham |last2=Berda |first2=Yael |last3=Goldberg |first3=Amir |date=2024 |title=Cultural Tariffing: Appropriation and the Right to Cross Cultural Boundaries |url=http://journals.sagepub.com/doi/10.1177/00031224231225665 |journal=American Sociological Review |volume=89 |issue=2 |pages=346–390 |language=en |doi=10.1177/00031224231225665 |s2cid=267975405 |issn=0003-1224 |archive-url=http://web.archive.org/web/20240221000000/http://journals.sagepub.com/doi/10.1177/00031224231225665 |archive-date=February 21, 2024}} </ref><ref name="Fourmile268-9">] (1996). "Making things work: Aboriginal and Torres Strait Islander Involvement in Bioregional Planning" in ''Approaches to bioregional planning. Part 2. Background Papers to the conference; 30 October – 1 November 1995, Melbourne''; Department of the Environment, Sport and Territories. Canberra. pp. 268–269: "The intellectual property rights system and the (mis)appropriation of Indigenous knowledge without the prior knowledge and consent of Indigenous peoples evoke feelings of anger, or being cheated"</ref><ref name=Young>{{cite book |last=Young |first=James O. |date=1 February 2010 |title=Cultural Appropriation and the Arts |url=https://books.google.com/books?id=oxyOsvs4Zw0C |publisher=] |page=5 |isbn=978-1-4443-3271-1 |access-date=22 July 2015 |archive-date=13 February 2023 |archive-url=https://web.archive.org/web/20230213062643/https://books.google.com/books?id=oxyOsvs4Zw0C |url-status=live }}</ref><ref name=Young59>{{cite book |last=Young |first=James O. |date=1 February 2010 |title=Cultural Appropriation and the Arts |url=https://books.google.com/books?id=oxyOsvs4Zw0C |publisher=] |page=59 |isbn=978-1-4443-3271-1 |access-date=22 July 2015 |archive-date=13 February 2023 |archive-url=https://web.archive.org/web/20230213062643/https://books.google.com/books?id=oxyOsvs4Zw0C |url-status=live }}</ref> When cultural elements are copied from a minority culture by members of a dominant culture, and these elements are used outside of their original cultural context – sometimes even against the expressly stated wishes of members of the originating culture – the practice is often received negatively.<ref name="Houska">{{cite web |last1=Houska |first1=Tara |title='I Didn't Know' Doesn't Cut It Anymore |url=http://indiancountrytodaymedianetwork.com/2015/04/16/houska-i-didnt-know-doesnt-cut-it-anymore-160051 |website=] |access-date=20 April 2015 |archive-url=https://web.archive.org/web/20150419132337/http://indiancountrytodaymedianetwork.com/2015/04/16/houska-i-didnt-know-doesnt-cut-it-anymore-160051 |archive-date=19 April 2015 |url-status=dead}} On imitation Native headdresses as "the embodiment of cultural appropriation&nbsp;... donning a highly sacred piece of Native culture like a fashion accessory".</ref><ref name="Culture and cultural appropriation">{{cite web |last1=Caceda |first1=Eden |title=Our cultures are not your costumes |url=https://www.smh.com.au/comment/our-cultures-are-not-your-costumes-20141114-11myp4.html |website=] |access-date=20 January 2015 |date=14 November 2014 |archive-date=13 September 2017 |archive-url=https://web.archive.org/web/20170913100231/http://www.smh.com.au/comment/our-cultures-are-not-your-costumes-20141114-11myp4.html |url-status=live }}</ref><ref name=":6">{{cite book |last=Ryde |first=Judy |date=15 January 2009 |isbn=978-1-84310-936-5 |title=Being White in the Helping Professions |publisher=Jessica Kingsley Publishers |url-access=registration |url=https://archive.org/details/beingwhiteinhelp0000ryde}} '''Cultural appropriation'''<ref name="Fourmile268-9" /><ref name="RoyalRipOff">{{cite web|url=http://www.theage.com.au/articles/2003/08/20/1061261182182.html |title=A right royal rip-off |work=The Age |location=Australia |date=20 August 2003 |access-date=17 September 2016 |url-status=live |archive-url=https://web.archive.org/web/20140818171622/http://www.theage.com.au/articles/2003/08/20/1061261182182.html |archive-date=18 August 2014 }}</ref> is the adoption of an element or elements of one ] or ] by members of another culture or identity in a manner perceived as inappropriate or unacknowledged.<ref>{{cite web|title=cultural appropriation|url=https://www.lexico.com/definition/cultural_appropriation|archive-url=https://web.archive.org/web/20200523103611/https://www.lexico.com/definition/cultural_appropriation|url-status=dead|archive-date=May 23, 2020|publisher=], ]|access-date=14 September 2021}}</ref><ref name=":4">{{cite journal|title=Indigenous Appropriation and Protection Provided by Intellectual Property Law|first=KaDeidra|last=Baker|journal=North Carolina Central University Science & Intellectual Property Law Review|publisher=]|date=16 August 2018|volume=11|issue=1|url=https://archives.law.nccu.edu/siplr/vol11/iss1/4|page=111|access-date=11 October 2021|archive-date=12 August 2020|archive-url=https://web.archive.org/web/20200812125745/https://archives.law.nccu.edu/siplr/vol11/iss1/4/|url-status=live}}</ref><ref name=":5">{{cite report |publisher=] |first=Matthias |last=Bauer |year=2018 |title=Online platforms, economic integration and Europe's rent-seeking society: Why online platforms deliver on what EU governments fail to achieve PDF Logo |url=http://hdl.handle.net/10419/202508 |access-date=11 October 2021 |page=1 |number=9 |hdl=10419/202508 |archive-date=13 February 2023 |archive-url=https://web.archive.org/web/20230213062708/https://www.econstor.eu/handle/10419/202508 |url-status=live }}</ref><ref>{{cite journal |last1=Arya |first1=Rina |title=Cultural appropriation: What it is and why it matters? |journal=Sociology Compass |date=2021 |volume=15 |issue=10 |doi=10.1111/soc4.12923 |doi-access=free}}</ref> This can be especially controversial when members of a ] appropriate from ].<ref>{{Cite journal |last1=Oshotse |first1=Abraham |last2=Berda |first2=Yael |last3=Goldberg |first3=Amir |date=2024 |title=Cultural Tariffing: Appropriation and the Right to Cross Cultural Boundaries |url=http://journals.sagepub.com/doi/10.1177/00031224231225665 |journal=American Sociological Review |volume=89 |issue=2 |pages=346–390 |language=en |doi=10.1177/00031224231225665 |s2cid=267975405 |issn=0003-1224 |archive-url=https://web.archive.org/web/20240221000000/http://journals.sagepub.com/doi/10.1177/00031224231225665 |archive-date=21 February 2024 |access-date=5 December 2024 |url-status=live }} </ref><ref name="Fourmile268-9">] (1996). "Making things work: Aboriginal and Torres Strait Islander Involvement in Bioregional Planning" in ''Approaches to bioregional planning. Part 2. Background Papers to the conference; 30 October – 1 November 1995, Melbourne''; Department of the Environment, Sport and Territories. Canberra. pp. 268–269: "The intellectual property rights system and the (mis)appropriation of Indigenous knowledge without the prior knowledge and consent of Indigenous peoples evoke feelings of anger, or being cheated"</ref><ref name=Young>{{cite book |last=Young |first=James O. |date=1 February 2010 |title=Cultural Appropriation and the Arts |url=https://books.google.com/books?id=oxyOsvs4Zw0C |publisher=] |page=5 |isbn=978-1-4443-3271-1 |access-date=22 July 2015 |archive-date=13 February 2023 |archive-url=https://web.archive.org/web/20230213062643/https://books.google.com/books?id=oxyOsvs4Zw0C |url-status=live }}</ref><ref name=Young59>{{cite book |last=Young |first=James O. |date=1 February 2010 |title=Cultural Appropriation and the Arts |url=https://books.google.com/books?id=oxyOsvs4Zw0C |publisher=] |page=59 |isbn=978-1-4443-3271-1 |access-date=22 July 2015 |archive-date=13 February 2023 |archive-url=https://web.archive.org/web/20230213062643/https://books.google.com/books?id=oxyOsvs4Zw0C |url-status=live }}</ref> When cultural elements are copied from a minority culture by members of a dominant culture, and these elements are used outside of their original cultural context – sometimes even against the expressly stated wishes of members of the originating culture – the practice is often received negatively.<ref name="Houska">{{cite web |last1=Houska |first1=Tara |title='I Didn't Know' Doesn't Cut It Anymore |url=http://indiancountrytodaymedianetwork.com/2015/04/16/houska-i-didnt-know-doesnt-cut-it-anymore-160051 |website=] |access-date=20 April 2015 |archive-url=https://web.archive.org/web/20150419132337/http://indiancountrytodaymedianetwork.com/2015/04/16/houska-i-didnt-know-doesnt-cut-it-anymore-160051 |archive-date=19 April 2015 |url-status=dead}} On imitation Native headdresses as "the embodiment of cultural appropriation&nbsp;... donning a highly sacred piece of Native culture like a fashion accessory".</ref><ref name="Culture and cultural appropriation">{{cite web |last1=Caceda |first1=Eden |title=Our cultures are not your costumes |url=https://www.smh.com.au/comment/our-cultures-are-not-your-costumes-20141114-11myp4.html |website=] |access-date=20 January 2015 |date=14 November 2014 |archive-date=13 September 2017 |archive-url=https://web.archive.org/web/20170913100231/http://www.smh.com.au/comment/our-cultures-are-not-your-costumes-20141114-11myp4.html |url-status=live }}</ref><ref name=":6">{{cite book |last=Ryde |first=Judy |date=15 January 2009 |isbn=978-1-84310-936-5 |title=Being White in the Helping Professions |publisher=Jessica Kingsley Publishers |url-access=registration |url=https://archive.org/details/beingwhiteinhelp0000ryde}}
</ref><ref> </ref><ref>
{{cite book |last=Hartigan |first=John |date=24 October 2005 |isbn=978-0-8223-3584-9 |title=Odd Tribes: Toward a Cultural Analysis of White People |publisher=Duke University Press Books}}</ref><ref name=":2">{{Cite web |url=https://www.huffingtonpost.com/udoka-okafor/cultural-appropriation_b_4363916.html |title=Cultural Appropriation: The Act of Stealing and Corrupting |last=Okafor |first=Udoka |date=4 December 2013 |website=Huffington Post |language=en-US |access-date=18 July 2018 |archive-date=7 July 2017 |archive-url=https://web.archive.org/web/20170707144241/http://www.huffingtonpost.com/udoka-okafor/cultural-appropriation_b_4363916.html |url-status=live}} {{cite book |last=Hartigan |first=John |date=24 October 2005 |isbn=978-0-8223-3584-9 |title=Odd Tribes: Toward a Cultural Analysis of White People |publisher=Duke University Press Books}}</ref><ref name=":2">{{Cite web |url=https://www.huffingtonpost.com/udoka-okafor/cultural-appropriation_b_4363916.html |title=Cultural Appropriation: The Act of Stealing and Corrupting |last=Okafor |first=Udoka |date=4 December 2013 |website=Huffington Post |language=en-US |access-date=18 July 2018 |archive-date=7 July 2017 |archive-url=https://web.archive.org/web/20170707144241/http://www.huffingtonpost.com/udoka-okafor/cultural-appropriation_b_4363916.html |url-status=live}}
</ref> Cultural appropriation can include the exploitation of another culture's religious and cultural traditions, dance steps, fashion, symbols, language, and music.<ref>{{Cite journal |last=Rogers |first=Richard A. |date=1 November 2006 |title=From Cultural Exchange to Transculturation: A Review and Reconceptualisation of Cultural Appropriation |journal=Communication Theory |language=en |volume=16 |issue=4 |pages=474–503 |doi=10.1111/j.1468-2885.2006.00277.x |issn=1468-2885}}<br />{{cite news |last=Carman |first=Tim |title=Should white chefs sell burritos? A Portland food cart's revealing controversy |newspaper=The Washington Post |date=26 May 2017 |url=https://www.washingtonpost.com/news/food/wp/2017/05/26/should-white-chefs-sell-burritos-a-portland-restaurants-revealing-controversy/ |access-date=4 June 2017 |archive-date=4 July 2019 |archive-url=https://web.archive.org/web/20190704174522/https://www.washingtonpost.com/news/food/wp/2017/05/26/should-white-chefs-sell-burritos-a-portland-restaurants-revealing-controversy/ |url-status=live }}<br />{{cite conference |title=Cultural appropriation: information technologies as sites of transnational imagination |last1=Lindtner |first1=S. |last2=Anderson |first2=K. |last3=Dourish |first3=P. |s2cid=4464439 |book-title=CSCW '12: Proceedings of the ACM 2012 conference on Computer Supported Cooperative Work |date= 11–15 February 2012 |doi=10.1145/2145204.2145220}}<br />{{Cite web|last1=Borgerson|first1=Janet|last2=Schroeder|first2=Jonathan|date=21 May 2021|title=Midcentury Dance Records and Representations of Identity|url=https://www.isrf.org/2021/05/21/midcentury-dance-records-and-representations-of-identity/|url-status=live|access-date=22 May 2021|website=Independent Social Research Foundation|language=en-GB|archive-url=https://web.archive.org/web/20210522193849/https://www.isrf.org/2021/05/21/midcentury-dance-records-and-representations-of-identity/ |archive-date=2021-05-22 }}<br />{{Cite book|last1=Borgerson|first1=Janet|url=https://www.worldcat.org/oclc/1230460986|title=DESIGNED FOR DANCING : how midcentury records taught america to dance.|last2=Schroeder|first2=Jonathan|publisher=MIT Press|year=2021|isbn=978-0-262-04433-2|location=|oclc=1230460986|access-date=2021-10-19|archive-date=2023-02-13|archive-url=https://web.archive.org/web/20230213062650/https://www.worldcat.org/title/1230460986|url-status=live}}<br />{{cite web|url=https://www.refinery29.com/en-us/2022/08/11074418/spa-water-agua-fresca-appropriation-tiktok|title=I Almost Choked On My Agua Fresca When I Learned About Spa Water|last=Cavazos|first=Elsa|date=2022-08-04|website=refinery29.com|publisher=Refinery 29|access-date=2022-08-05|quote=In July, TikToker Gracie Norton shared multiple videos of her mixing together a fruity anti-inflammatory drink she called spa water with her more than 500,000 followers.The since-deleted videos caused a stir, especially among Latines on the social network, who responded to Norton's cucumber, water, and sugar blend by calling the drink what it actually is — agua fresca — and her alleged discovery of the so-called "wellness drink" as another example of culinary appropriation and/or food gentrification.|archive-date=2022-08-05|archive-url=https://web.archive.org/web/20220805024926/https://www.refinery29.com/en-us/2022/08/11074418/spa-water-agua-fresca-appropriation-tiktok|url-status=live}}<br />{{cite web|url=https://thetakeout.com/tiktok-spa-water-street-corn-and-cultural-appropriation-1849338861|title=How TikTok Is Messing With Latinx Food, and Why It Needs to Stop|last=Pagán|first=Angela L.|date=2022-07-28|website=thetakeout.com|publisher=The Take Out|access-date=2022-08-05|quote=By calling esquites Mexican street corn, TikTok influencers like @janellerohnerare essentially rebranding the recipe as if it's something newly concocted by the internet. We don't call spaghetti 'Italian sauce noodles,' so why rename this traditional piece of Mexican cuisine?|archive-date=2022-08-09|archive-url=https://web.archive.org/web/20220809010236/https://thetakeout.com/tiktok-spa-water-street-corn-and-cultural-appropriation-1849338861|url-status=live}} </ref> Cultural appropriation can include the exploitation of another culture's religious and cultural traditions, customs, dance steps, fashion, symbols, language, history and music.<ref>{{Cite journal |last=Rogers |first=Richard A. |date=1 November 2006 |title=From Cultural Exchange to Transculturation: A Review and Reconceptualisation of Cultural Appropriation |journal=Communication Theory |language=en |volume=16 |issue=4 |pages=474–503 |doi=10.1111/j.1468-2885.2006.00277.x |issn=1468-2885}}<br />{{cite news |last=Carman |first=Tim |title=Should white chefs sell burritos? A Portland food cart's revealing controversy |newspaper=The Washington Post |date=26 May 2017 |url=https://www.washingtonpost.com/news/food/wp/2017/05/26/should-white-chefs-sell-burritos-a-portland-restaurants-revealing-controversy/ |access-date=4 June 2017 |archive-date=4 July 2019 |archive-url=https://web.archive.org/web/20190704174522/https://www.washingtonpost.com/news/food/wp/2017/05/26/should-white-chefs-sell-burritos-a-portland-restaurants-revealing-controversy/ |url-status=live }}<br />{{cite conference |title=Cultural appropriation: information technologies as sites of transnational imagination |last1=Lindtner |first1=S. |last2=Anderson |first2=K. |last3=Dourish |first3=P. |s2cid=4464439 |book-title=CSCW '12: Proceedings of the ACM 2012 conference on Computer Supported Cooperative Work |date= 11–15 February 2012 |doi=10.1145/2145204.2145220}}<br />{{Cite web|last1=Borgerson|first1=Janet|last2=Schroeder|first2=Jonathan|date=21 May 2021|title=Midcentury Dance Records and Representations of Identity|url=https://www.isrf.org/2021/05/21/midcentury-dance-records-and-representations-of-identity/|url-status=live|access-date=22 May 2021|website=Independent Social Research Foundation|language=en-GB|archive-url=https://web.archive.org/web/20210522193849/https://www.isrf.org/2021/05/21/midcentury-dance-records-and-representations-of-identity/ |archive-date=2021-05-22 }}<br />{{Cite book|last1=Borgerson|first1=Janet|url=https://www.worldcat.org/oclc/1230460986|title=DESIGNED FOR DANCING : how midcentury records taught america to dance.|last2=Schroeder|first2=Jonathan|publisher=MIT Press|year=2021|isbn=978-0-262-04433-2|location=|oclc=1230460986|access-date=2021-10-19|archive-date=2023-02-13|archive-url=https://web.archive.org/web/20230213062650/https://www.worldcat.org/title/1230460986|url-status=live}}<br />{{cite web|url=https://www.refinery29.com/en-us/2022/08/11074418/spa-water-agua-fresca-appropriation-tiktok|title=I Almost Choked On My Agua Fresca When I Learned About Spa Water|last=Cavazos|first=Elsa|date=2022-08-04|website=refinery29.com|publisher=Refinery 29|access-date=2022-08-05|quote=In July, TikToker Gracie Norton shared multiple videos of her mixing together a fruity anti-inflammatory drink she called spa water with her more than 500,000 followers.The since-deleted videos caused a stir, especially among Latines on the social network, who responded to Norton's cucumber, water, and sugar blend by calling the drink what it actually is — agua fresca — and her alleged discovery of the so-called "wellness drink" as another example of culinary appropriation and/or food gentrification.|archive-date=2022-08-05|archive-url=https://web.archive.org/web/20220805024926/https://www.refinery29.com/en-us/2022/08/11074418/spa-water-agua-fresca-appropriation-tiktok|url-status=live}}<br />{{cite web|url=https://thetakeout.com/tiktok-spa-water-street-corn-and-cultural-appropriation-1849338861|title=How TikTok Is Messing With Latinx Food, and Why It Needs to Stop|last=Pagán|first=Angela L.|date=2022-07-28|website=thetakeout.com|publisher=The Take Out|access-date=2022-08-05|quote=By calling esquites Mexican street corn, TikTok influencers like @janellerohnerare essentially rebranding the recipe as if it's something newly concocted by the internet. We don't call spaghetti 'Italian sauce noodles,' so why rename this traditional piece of Mexican cuisine?|archive-date=2022-08-09|archive-url=https://web.archive.org/web/20220809010236/https://thetakeout.com/tiktok-spa-water-street-corn-and-cultural-appropriation-1849338861|url-status=live}}
</ref> </ref>


Cultural appropriation is considered harmful by various groups and individuals,<ref name=Scafidi>{{cite book |title=Who Owns Culture?: Appropriation and Authenticity in American Law (Rutgers Series: The Public Life of the Arts) |last=Scafidi |first=Susan |publisher=Rutgers University Press |year=2005}}</ref> including some Indigenous people working for cultural preservation,<ref name="LDNwar1">Mesteth, Wilmer, et al (10 June 1993) "". {{webarchive |url=https://web.archive.org/web/20160209203058/http://www.thepeoplespaths.net/articles/ladecwar.htm |date=9 February 2016 }}. "At the Lakota Summit V, an international gathering of US and Canadian Lakota, Dakota and Nakota Nations, about 500 representatives from 40 different tribes and bands of the Lakota unanimously passed a 'Declaration of War Against Exploiters of Lakota Spirituality'. The following declaration was unanimously passed."</ref><ref name="HopiDances">{{cite news |url=http://www.santafenewmexican.com/news/local_news/hopis-say-boy-scout-performances-make-mockery-of-tradition-religion/article_d548665e-5767-5132-93e9-5d041b935d42.html |title=Hopis say Boy Scout performances make mockery of tradition, religion |first=Anne |last=Constable |date=3 January 2016 |website=Santa Fe New Mexican |access-date=23 February 2021 |archive-date=9 November 2020 |archive-url=https://web.archive.org/web/20201109072709/https://www.santafenewmexican.com/news/local_news/hopis-say-boy-scout-performances-make-mockery-of-tradition-religion/article_d548665e-5767-5132-93e9-5d041b935d42.html |url-status=live }}</ref> those who advocate for ] of the originating cultures,<ref name=AusParliament>{{cite web |title=Indigenous Peoples and Intellectual Property Rights – Indigenous Peoples and Cultural Appropriation |url=https://www.aph.gov.au/about_parliament/parliamentary_departments/parliamentary_library/pubs/rp/rp9697/97rp20#PROPERT |last1=Davis |first1=Michael |publisher=Parliament of Australia – Social Policy Group |date=1997 |access-date=2 September 2019 |website=Parliament of Australia |quote=In a general sense, these rights are considered to be 'owned', and managed communally, or collectively, rather than inhering in particular individuals. |archive-date=24 February 2021 |archive-url=https://web.archive.org/web/20210224150814/https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/rp/RP9697/97rp20#PROPERT |url-status=live }}</ref><ref name=CollectivePanama>" {{Webarchive|url=https://web.archive.org/web/20190418163813/https://www.wipo.int/tk/en/databases/tklaws/articles/article_0107.html |date=2019-04-18 }} at World Intellectual Property Organization. Accessed 18 April 2019.</ref><ref name=CollectiveSantilli>Santilli, Juliana. 2006. " {{Webarchive|url=https://web.archive.org/web/20190418163825/https://openknowledge.worldbank.org/handle/10986/10728?locale-attribute=fr |date=2019-04-18 }}". Indigenous Knowledge (IK) Notes; No. 95. World Bank, Washington, DC. Accessed 18 April 2019.</ref><ref name=Tsosie /> and some of those who have lived or are living under colonial rule.<ref name="Fourmile268-9" /><ref name="UNDRIP">Working Group on Indigenous Populations, accepted by the ], ''''. {{webarchive |url=https://web.archive.org/web/20150626112013/http://daccess-dds-ny.un.org/doc/UNDOC/GEN/N06/512/07/PDF/N0651207.pdf?OpenElement |date=26 June 2015 }}; UN Headquarters; New York City (13 September 2007).</ref><ref name=Rainforest>Rainforest Aboriginal Network (1993) ''Julayinbul: Aboriginal Intellectual and Cultural Property Definitions, Ownership and Strategies for Protection''. Rainforest Aboriginal Network. Cairns. Page 65.</ref><ref name=Tsosie /> According to some critics of the practice,{{who|date=June 2024}} cultural appropriation differs from ], ], or equal cultural exchange in that this appropriation is a form of ].{{cn|date=August 2024}} Cultural appropriation is considered harmful by various groups and individuals,<ref name="Scafidi2">{{cite book |last=Scafidi |first=Susan |title=Who Owns Culture?: Appropriation and Authenticity in American Law (Rutgers Series: The Public Life of the Arts) |publisher=Rutgers University Press |year=2005}}</ref> including some indigenous people working for cultural preservation,<ref name="LDNwar12">Mesteth, Wilmer, et al (10 June 1993) "". {{webarchive|url=https://web.archive.org/web/20160209203058/http://www.thepeoplespaths.net/articles/ladecwar.htm|date=9 February 2016}}. "At the Lakota Summit V, an international gathering of US and Canadian Lakota, Dakota and Nakota Nations, about 500 representatives from 40 different tribes and bands of the Lakota unanimously passed a 'Declaration of War Against Exploiters of Lakota Spirituality'. The following declaration was unanimously passed."</ref><ref name="HopiDances2">{{cite news |last=Constable |first=Anne |date=3 January 2016 |title=Hopis say Boy Scout performances make mockery of tradition, religion |url=http://www.santafenewmexican.com/news/local_news/hopis-say-boy-scout-performances-make-mockery-of-tradition-religion/article_d548665e-5767-5132-93e9-5d041b935d42.html |url-status=live |archive-url=https://web.archive.org/web/20201109072709/https://www.santafenewmexican.com/news/local_news/hopis-say-boy-scout-performances-make-mockery-of-tradition-religion/article_d548665e-5767-5132-93e9-5d041b935d42.html |archive-date=9 November 2020 |access-date=23 February 2021 |website=Santa Fe New Mexican}}</ref> those who advocate for ] of the originating cultures,<ref name="AusParliament2">{{cite web |last1=Davis |first1=Michael |date=1997 |title=Indigenous Peoples and Intellectual Property Rights – Indigenous Peoples and Cultural Appropriation |url=https://www.aph.gov.au/about_parliament/parliamentary_departments/parliamentary_library/pubs/rp/rp9697/97rp20#PROPERT |url-status=live |archive-url=https://web.archive.org/web/20210224150814/https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/rp/RP9697/97rp20#PROPERT |archive-date=24 February 2021 |access-date=2 September 2019 |website=Parliament of Australia |publisher=Parliament of Australia – Social Policy Group |quote=In a general sense, these rights are considered to be 'owned', and managed communally, or collectively, rather than inhering in particular individuals.}}</ref><ref name="CollectivePanama2">" {{Webarchive|url=https://web.archive.org/web/20190418163813/https://www.wipo.int/tk/en/databases/tklaws/articles/article_0107.html|date=2019-04-18}} at World Intellectual Property Organization. Accessed 18 April 2019.</ref><ref name="CollectiveSantilli2">Santilli, Juliana. 2006. " {{Webarchive|url=https://web.archive.org/web/20190418163825/https://openknowledge.worldbank.org/handle/10986/10728?locale-attribute=fr|date=2019-04-18}}". Indigenous Knowledge (IK) Notes; No. 95. World Bank, Washington, DC. Accessed 18 April 2019.</ref> and some of those who have lived or are living under colonial rule.<ref name="Fourmile268-92">] (1996). "Making things work: Aboriginal and Torres Strait Islander Involvement in Bioregional Planning" in ''Approaches to bioregional planning. Part 2. Background Papers to the conference; 30 October – 1 November 1995, Melbourne''; Department of the Environment, Sport and Territories. Canberra. pp. 268–269: "The intellectual property rights system and the (mis)appropriation of indigenous knowledge without the prior knowledge and consent of indigenous peoples evoke feelings of anger, or being cheated"</ref><ref name="UNDRIP2">Working Group on Indigenous Populations, accepted by the ], ''''. {{webarchive|url=https://web.archive.org/web/20150626112013/http://daccess-dds-ny.un.org/doc/UNDOC/GEN/N06/512/07/PDF/N0651207.pdf?OpenElement|date=26 June 2015}}; UN Headquarters; New York City (13 September 2007).</ref><ref name="Rainforest2">Rainforest Aboriginal Network (1993) ''Julayinbul: Aboriginal Intellectual and Cultural Property Definitions, Ownership and Strategies for Protection''. Rainforest Aboriginal Network. Cairns. Page 65.</ref> According to American anthropologist Jason Jackson, cultural appropriation differs from other modes of cultural change such as ], ], or ].<ref>{{Cite journal |last=Jackson |first=Jason Baird |date=April 2021 |title=On Cultural Appropriation |url=https://muse.jhu.edu/article/783863/pdf |journal=Journal of Folklore Research |volume=58 |issue=1 |pages=77–122 |doi=10.2979/jfolkrese.58.1.04 |via=Project Muse}}</ref>


Those who see this appropriation as an exploitative state that cultural elements are lost or distorted when they are removed from their originating cultural contexts and that such displays are disrespectful or even a form of desecration.<ref name="Houska" /> Cultural elements that may have deep meaning in the original culture may be reduced to "]" fashion or toys by those from the dominant culture.<ref name="Houska" /><ref name="Culture and cultural appropriation" /><ref name=KJohnson>Johnson, Kjerstin (25 October 2011) "". {{webarchive |url=https://web.archive.org/web/20150629193134/http://bitchmagazine.org/post/costume-cultural-appropriation |date=June 29, 2015 }}; at '']''. Accessed 4 March 2015. "Dressing up as 'another culture', is racist, and an act of privilege. Not only does it lead to offensive, inaccurate, and stereotypical portrayals of other people's culture&nbsp;... but is also an act of appropriation in which someone who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experience any of the daily discriminations faced by other cultures."</ref> Kjerstin Johnson has written that, when this is done, the imitator, "who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experiencing any of the daily discriminations faced by other cultures".<ref name=KJohnson /> The ] academic, musician, and journalist ] argued that appropriation and the "fetishising" of cultures, in fact, alienate those whose culture is being appropriated.<ref>{{cite book |title=Black Popular Culture |last=Wallace |first=Michele |publisher=Bay Press |year=1992 |isbn=978-1-56584-459-9 |location=Seattle |pages=13–15}}</ref> Opponents of cultural appropriation see it as an exploitative means in which cultural elements are lost or distorted when they are removed from their originating cultural contexts. Such displays are disrespectful and can even be considered a form of desecration.<ref name="Houska2">{{cite web |last1=Houska |first1=Tara |title='I Didn't Know' Doesn't Cut It Anymore |url=http://indiancountrytodaymedianetwork.com/2015/04/16/houska-i-didnt-know-doesnt-cut-it-anymore-160051 |url-status=dead |archive-url=https://web.archive.org/web/20150419132337/http://indiancountrytodaymedianetwork.com/2015/04/16/houska-i-didnt-know-doesnt-cut-it-anymore-160051 |archive-date=19 April 2015 |access-date=20 April 2015 |website=]}} On imitation Native headdresses as "the embodiment of cultural appropriation&nbsp;... donning a highly sacred piece of Native culture like a fashion accessory".</ref> Cultural elements that may have deep meaning in the original culture may be reduced to "]" fashion or toys by those from the dominant culture.<ref name="Houska2" /><ref name="Culture and cultural appropriation2">{{cite web |last1=Caceda |first1=Eden |date=14 November 2014 |title=Our cultures are not your costumes |url=https://www.smh.com.au/comment/our-cultures-are-not-your-costumes-20141114-11myp4.html |url-status=live |archive-url=https://web.archive.org/web/20170913100231/http://www.smh.com.au/comment/our-cultures-are-not-your-costumes-20141114-11myp4.html |archive-date=13 September 2017 |access-date=20 January 2015 |website=]}}</ref><ref name="KJohnson2">Johnson, Kjerstin (25 October 2011) "". {{webarchive|url=https://web.archive.org/web/20150629193134/http://bitchmagazine.org/post/costume-cultural-appropriation|date=June 29, 2015}}; at '']''. Accessed 4 March 2015. "Dressing up as 'another culture', is racist, and an act of privilege. Not only does it lead to offensive, inaccurate, and stereotypical portrayals of other people's culture&nbsp;... but is also an act of appropriation in which someone who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experience any of the daily discriminations faced by other cultures."</ref> Kjerstin Johnson has written that, when this is done, the imitator, "who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experiencing any of the daily discriminations faced by other cultures".<ref name="KJohnson2" /> The ] academic, musician, and journalist ] argued that appropriation and the "fetishizing" of cultures, in fact, alienate those whose culture is being appropriated.<ref>{{cite book |last=Wallace |first=Michele |title=Black Popular Culture |publisher=Bay Press |year=1992 |isbn=978-1-56584-459-9 |location=Seattle |pages=13–15}}</ref>


The concept of cultural appropriation has also been subject to heavy criticism, debate, and nuance.<ref>{{cite news |url=https://www.theatlantic.com/ideas/archive/2018/05/cultural-appropriation/559802/ |title=Every Culture Appropriates |last=Frum |first=David |date=8 May 2018 |work=The Atlantic |access-date=1 December 2018 |language=en-US |archive-date=24 July 2019 |archive-url=https://web.archive.org/web/20190724113551/https://www.theatlantic.com/ideas/archive/2018/05/cultural-appropriation/559802/ |url-status=live}}</ref><ref name="WaPo1">{{cite news |url=https://www.washingtonpost.com/posteverything/wp/2015/08/21/to-the-new-culture-cops-everything-is-appropriation/ |title=To the new culture cops, everything is appropriation |last=Young |first=Cathy |date=21 August 2015 |newspaper=Washington Post |access-date=22 February 2021 |archive-date=28 July 2019 |archive-url=https://web.archive.org/web/20190728090114/https://www.washingtonpost.com/posteverything/wp/2015/08/21/to-the-new-culture-cops-everything-is-appropriation/ |url-status=live}}</ref><ref>{{cite web |url=https://www.theguardian.com/commentisfree/2018/may/04/american-woman-qipao-china-cultural-appropriation-minorities-usa-dress |title=An American woman wearing a Chinese dress is not cultural appropriation |last=Chen |first=Anna |date=4 May 2018 |website=The Guardian |language=en |access-date=1 December 2018 |archive-date=24 July 2019 |archive-url=https://web.archive.org/web/20190724113553/https://www.theguardian.com/commentisfree/2018/may/04/american-woman-qipao-china-cultural-appropriation-minorities-usa-dress |url-status=live }}</ref> Critics note that the concept is often misunderstood or misapplied by the general public and that charges of "cultural appropriation" are sometimes misapplied to situations such as trying food from a different culture or learning about different cultures.<ref name=Friedersdorf>{{Cite magazine |first=Conor |last=Friedersdorf |url=https://www.theatlantic.com/politics/archive/2017/04/cultural-appropriation/521634/ |title=What Does 'Cultural Appropriation' Actually Mean? |magazine=] |date=3 April 2017 |access-date=18 May 2017 |language=en-US |archive-date=4 April 2017 |archive-url=https://web.archive.org/web/20170404072003/https://www.theatlantic.com/politics/archive/2017/04/cultural-appropriation/521634/ |url-status=live }}</ref><ref>{{cite news The concept of cultural appropriation has also been subject to heavy criticism, debate, and nuance.<ref>{{cite news |last=Frum |first=David |date=8 May 2018 |title=Every Culture Appropriates |url=https://www.theatlantic.com/ideas/archive/2018/05/cultural-appropriation/559802/ |url-status=live |archive-url=https://web.archive.org/web/20190724113551/https://www.theatlantic.com/ideas/archive/2018/05/cultural-appropriation/559802/ |archive-date=24 July 2019 |access-date=1 December 2018 |work=The Atlantic |language=en-US}}</ref><ref name="WaPo12">{{cite news |last=Young |first=Cathy |date=21 August 2015 |title=To the new culture cops, everything is appropriation |url=https://www.washingtonpost.com/posteverything/wp/2015/08/21/to-the-new-culture-cops-everything-is-appropriation/ |url-status=live |archive-url=https://web.archive.org/web/20190728090114/https://www.washingtonpost.com/posteverything/wp/2015/08/21/to-the-new-culture-cops-everything-is-appropriation/ |archive-date=28 July 2019 |access-date=22 February 2021 |newspaper=Washington Post}}</ref><ref>{{cite web |last=Chen |first=Anna |date=4 May 2018 |title=An American woman wearing a Chinese dress is not cultural appropriation |url=https://www.theguardian.com/commentisfree/2018/may/04/american-woman-qipao-china-cultural-appropriation-minorities-usa-dress |url-status=live |archive-url=https://web.archive.org/web/20190724113553/https://www.theguardian.com/commentisfree/2018/may/04/american-woman-qipao-china-cultural-appropriation-minorities-usa-dress |archive-date=24 July 2019 |access-date=1 December 2018 |website=The Guardian |language=en}}</ref> Critics note that the concept is often misunderstood or misapplied by the general public and that charges of "cultural appropriation" are sometimes misapplied to situations. For example, some scholars conclude that trying food from a different culture or attempting to learn about a different culture can not be considered an instance of cultural appropriation.<ref name="Friedersdorf2">{{Cite magazine |last=Friedersdorf |first=Conor |date=3 April 2017 |title=What Does 'Cultural Appropriation' Actually Mean? |url=https://www.theatlantic.com/politics/archive/2017/04/cultural-appropriation/521634/ |url-status=live |archive-url=https://web.archive.org/web/20170404072003/https://www.theatlantic.com/politics/archive/2017/04/cultural-appropriation/521634/ |archive-date=4 April 2017 |access-date=18 May 2017 |magazine=] |language=en-US}}</ref><ref>{{cite news |last=Soave |first=Robby |date=5 May 2019 |title=Cultural Appropriation: Don't Let the Woke Scolds Ruin Cinco de Mayo |url=https://reason.com/2019/05/05/cinco-de-mayo-cultural-appropriation/ |url-status=live |archive-url=https://web.archive.org/web/20190516082945/https://reason.com/2019/05/05/cinco-de-mayo-cultural-appropriation/ |archive-date=16 May 2019 |access-date=25 June 2019 |work=Reason: Free Minds and Free Markets}}</ref> Others state that the act of cultural appropriation, usually defined, does not meaningfully constitute social harm or that the term lacks conceptual coherence.<ref name="McWhorter2">{{cite news |last1=McWhorter |first1=John |author1-link=John McWhorter |date=15 July 2014 |title=You Can't 'Steal' A Culture: In Defense of Cultural Appropriation |url=http://www.thedailybeast.com/articles/2014/07/15/you-can-t-steal-a-culture-in-defense-of-cultural-appropriation.html |url-status=live |archive-url=https://web.archive.org/web/20170531130241/http://www.thedailybeast.com/articles/2014/07/15/you-can-t-steal-a-culture-in-defense-of-cultural-appropriation.html |archive-date=31 May 2017 |access-date=20 October 2014 |website=The Daily Beast}}</ref><ref name="Shriver2">{{cite web |date=13 September 2016 |title=Lionel Shriver's full speech: 'I hope the concept of cultural appropriation is a passing fad' |url=https://www.theguardian.com/commentisfree/2016/sep/13/lionel-shrivers-full-speech-i-hope-the-concept-of-cultural-appropriation-is-a-passing-fad |url-status=live |archive-url=https://web.archive.org/web/20161126050319/https://www.theguardian.com/commentisfree/2016/sep/13/lionel-shrivers-full-speech-i-hope-the-concept-of-cultural-appropriation-is-a-passing-fad |archive-date=26 November 2016 |access-date=30 October 2016 |work=The Guardian}}</ref> Additionally, the term can set arbitrary limits on intellectual freedom and artists' self-expression, reinforce group divisions, or promote a feeling of enmity or grievance rather than of liberation.<ref name="Shriver2" /><ref>{{cite news |last=Mali |first=Malhar |date=29 March 2017 |title=I Am a Minority and I Prohibit You |url=https://areomagazine.com/2017/03/29/i-am-a-minority-and-i-prohibit-you/ |url-status=dead |archive-url=https://web.archive.org/web/20190820193944/https://areomagazine.com/2017/03/29/i-am-a-minority-and-i-prohibit-you/ |archive-date=20 August 2019 |access-date=18 July 2018 |work=Areo |language=en-US}}</ref><ref>{{Cite news |last=Patterson |first=Steve |date=20 November 2015 |title=Why Progressives Are Wrong to Argue Against Cultural Appropriation |url=http://observer.com/2015/11/why-progressives-are-wrong-to-argue-against-cultural-appropriation/ |url-status=live |archive-url=https://web.archive.org/web/20190724113600/https://observer.com/2015/11/why-progressives-are-wrong-to-argue-against-cultural-appropriation/ |archive-date=24 July 2019 |access-date=18 July 2018 |work=Observer |language=en-US}}</ref><ref>{{cite news |date=25 May 2017 |title=Canada's war over 'cultural appropriation' |url=https://www.economist.com/the-americas/2017/05/25/canadas-war-over-cultural-appropriation |url-status=live |archive-url=https://web.archive.org/web/20190724113553/https://www.economist.com/the-americas/2017/05/25/canadas-war-over-cultural-appropriation |archive-date=24 July 2019 |access-date=18 July 2018 |newspaper=The Economist |language=en}}</ref><ref name="WaPo12" />
| last = Soave
| first = Robby
| date = 5 May 2019
| title = Cultural Appropriation: Don't Let the Woke Scolds Ruin Cinco de Mayo
| url = https://reason.com/2019/05/05/cinco-de-mayo-cultural-appropriation/
| work = Reason: Free Minds and Free Markets
| access-date = 25 June 2019
| archive-date = 16 May 2019
| archive-url = https://web.archive.org/web/20190516082945/https://reason.com/2019/05/05/cinco-de-mayo-cultural-appropriation/
| url-status = live
}}</ref> Others state that the act of cultural appropriation, usually defined, does not meaningfully constitute social harm or that the term lacks conceptual coherence.<ref name=McWhorter /><ref name="Shriver">{{cite web |date=13 September 2016 |title=Lionel Shriver's full speech: 'I hope the concept of cultural appropriation is a passing fad' |url=https://www.theguardian.com/commentisfree/2016/sep/13/lionel-shrivers-full-speech-i-hope-the-concept-of-cultural-appropriation-is-a-passing-fad |url-status=live |archive-url=https://web.archive.org/web/20161126050319/https://www.theguardian.com/commentisfree/2016/sep/13/lionel-shrivers-full-speech-i-hope-the-concept-of-cultural-appropriation-is-a-passing-fad |archive-date=26 November 2016 |access-date=30 October 2016 |work=The Guardian}}</ref> Additionally, the term can set arbitrary limits on intellectual freedom and artists' self-expression, reinforce group divisions, or promote a feeling of enmity or grievance rather than of liberation.<ref name=Shriver /><ref>{{cite news |url=https://areomagazine.com/2017/03/29/i-am-a-minority-and-i-prohibit-you/ |title=I Am a Minority and I Prohibit You |last=Mali |first=Malhar |date=29 March 2017 |work=Areo |access-date=18 July 2018 |language=en-US |archive-date=20 August 2019 |archive-url=https://web.archive.org/web/20190820193944/https://areomagazine.com/2017/03/29/i-am-a-minority-and-i-prohibit-you/ |url-status=dead}}</ref><ref>{{Cite news |url=http://observer.com/2015/11/why-progressives-are-wrong-to-argue-against-cultural-appropriation/ |title=Why Progressives Are Wrong to Argue Against Cultural Appropriation |last=Patterson |first=Steve |date=20 November 2015 |work=Observer |access-date=18 July 2018 |language=en-US |archive-date=24 July 2019 |archive-url=https://web.archive.org/web/20190724113600/https://observer.com/2015/11/why-progressives-are-wrong-to-argue-against-cultural-appropriation/ |url-status=live }}</ref><ref>{{cite news |url=https://www.economist.com/the-americas/2017/05/25/canadas-war-over-cultural-appropriation |title=Canada's war over 'cultural appropriation' |date=25 May 2017 |newspaper=The Economist |access-date=18 July 2018 |language=en |archive-date=24 July 2019 |archive-url=https://web.archive.org/web/20190724113553/https://www.economist.com/the-americas/2017/05/25/canadas-war-over-cultural-appropriation |url-status=live}}</ref><ref name="WaPo1" />


== Overview == == Overview ==


] man wearing the ], a clothing the Cossacks appropriated from the indigenous peoples of the ] along with other cultural traits<ref>Mamedov, Mikail. " {{Webarchive|url=https://web.archive.org/web/20210603044831/https://www.jstor.org/stable/20620748?seq=1 |date=2021-06-03}}". '']'', vol. 67, no. 2, 2008, pp. 275–295. Accessed 27 April 2020.</ref>]] ] man wearing the ], a clothing the Russian Cossacks appropriated from the indigenous peoples of the ] along with other cultural traits<ref>Mamedov, Mikail. " {{Webarchive|url=https://web.archive.org/web/20210603044831/https://www.jstor.org/stable/20620748?seq=1 |date=2021-06-03}}". '']'', vol. 67, no. 2, 2008, pp. 275–295. Accessed 27 April 2020.</ref>]]
Cultural appropriation can involve the use of ideas, symbols, artifacts, or other aspects of human-made visual or non-visual culture.<ref name="Schneider">Schneider, Arnd (2003) . {{webarchive |url=https://web.archive.org/web/20160303231455/http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=187627 |date=3 March 2016 }}; published in Social Anthropology (2003), 11:2:215–229, Cambridge University Press.</ref> As a concept that is controversial in its applications, the propriety of cultural appropriation has been the subject of much debate. Opponents of cultural appropriation view many instances as wrongful appropriation when the subject culture is a minority culture or is subordinated in social, political, economic, or military status to the dominant culture<ref name=KJohnson /> or when there are other issues involved, such as a history of ] or ] conflict.<ref name="Culture and cultural appropriation" /> ] writes that this is often seen in cultural outsiders' use of an oppressed culture's symbols or other cultural elements, such as music, dance, spiritual ceremonies, modes of dress, speech, and social behaviour, when these elements are trivialised and used for fashion, rather than respected within their original cultural context. Opponents view the issues of colonialism, context, and the difference between appropriation and mutual exchange as central to analysing cultural appropriation. They argue that mutual exchange happens on an "even playing field", whereas appropriation involves pieces of an oppressed culture being taken out of context by a people who have historically oppressed those they are taking from and who lack the cultural context to properly understand, respect, or utilise these elements.<ref name="Culture and cultural appropriation" /><ref name=Scafidi /> Cultural appropriation can involve the use of ideas, symbols, artifacts, or other aspects of human-made visual or non-visual culture.<ref name="Schneider">Schneider, Arnd (2003) . {{webarchive |url=https://web.archive.org/web/20160303231455/http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=187627 |date=3 March 2016 }}; published in Social Anthropology (2003), 11:2:215–229, Cambridge University Press.</ref> As a concept that is controversial in its applications, the propriety of cultural appropriation has been the subject of much debate. Opponents of cultural appropriation view many instances as wrongful appropriation when the subject culture is a minority culture or is subordinated in social, political, economic, or military status to the dominant culture<ref name="KJohnson">Johnson, Kjerstin (25 October 2011) "". {{webarchive|url=https://web.archive.org/web/20150629193134/http://bitchmagazine.org/post/costume-cultural-appropriation|date=June 29, 2015}}; at '']''. Accessed 4 March 2015. "Dressing up as 'another culture', is racist, and an act of privilege. Not only does it lead to offensive, inaccurate, and stereotypical portrayals of other people's culture&nbsp;... but is also an act of appropriation in which someone who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experience any of the daily discriminations faced by other cultures."</ref> or when there are other issues involved, such as a history of ] or ] conflict.<ref name="Culture and cultural appropriation" /> ] writes that this is often seen in cultural outsiders' use of an oppressed culture's symbols or other cultural elements, such as music, dance, spiritual ceremonies, modes of dress, speech, and social behaviour, when these elements are trivialised and used for fashion, rather than respected within their original cultural context. Opponents view the issues of colonialism, context, and the difference between appropriation and mutual exchange as central to analysing cultural appropriation. They argue that mutual exchange happens on an "even playing field", whereas appropriation involves pieces of an oppressed culture being taken out of context by a people who have historically oppressed those they are taking from and who lack the cultural context to properly understand, respect, or utilise these elements.<ref name="Culture and cultural appropriation" /><ref name="Scafidi">{{cite book |last=Scafidi |first=Susan |title=Who Owns Culture?: Appropriation and Authenticity in American Law (Rutgers Series: The Public Life of the Arts) |publisher=Rutgers University Press |year=2005}}</ref>

Another view of cultural appropriation is that calling upon it to criticise is "a deeply conservative project", despite progressive roots, that "first seeks to preserve in formaldehyde the content of an established culture and second tries prevent others from interacting with that culture".<ref name=Bogeyman>{{cite web |url=http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004 |title=Is cultural appropriation the bogeyman it's made out to be? |last=Berg |first=Chris |work=The Drum |date=21 December 2015 |access-date=19 April 2016 |archive-date=19 April 2016 |archive-url=https://web.archive.org/web/20160419122304/http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004 |url-status=live}}</ref>


== Academic discourse == == Academic discourse ==
Line 42: Line 29:


Historically, some of the most hotly debated cases of cultural appropriation have occurred in places where cultural exchange is the highest, such as along the trade routes in southwestern Asia and southeastern Europe. Some scholars of the ] and ] argue that Ottoman and Egyptian architectural traditions have long been falsely claimed and praised as Persian or Arab.<ref>Ousterhout, Robert. {{webarchive |url=https://web.archive.org/web/20060613015818/http://archnet.org/library/documents/one-document.tcl?document_id=8983 |date=13 June 2006 }} Muqarnas Volume XII: An Annual on Islamic Art and Architecture. Leiden: E.J. Brill. 1995. Retrieved 3 January 2010.</ref> Historically, some of the most hotly debated cases of cultural appropriation have occurred in places where cultural exchange is the highest, such as along the trade routes in southwestern Asia and southeastern Europe. Some scholars of the ] and ] argue that Ottoman and Egyptian architectural traditions have long been falsely claimed and praised as Persian or Arab.<ref>Ousterhout, Robert. {{webarchive |url=https://web.archive.org/web/20060613015818/http://archnet.org/library/documents/one-document.tcl?document_id=8983 |date=13 June 2006 }} Muqarnas Volume XII: An Annual on Islamic Art and Architecture. Leiden: E.J. Brill. 1995. Retrieved 3 January 2010.</ref>

In 2017, Mehgan Gallagher spoke about what exactly does the debate concerning cultural appropriation entail within the modern age, specifically within the United States. She used contemporary examples of cultural appropriation to highlight cases of controversy. In particular, the Washington Redskins of the Nation Football League provided an example that led into a broader conversation regarding the representation of Native Americans when it came to sports mascots.<ref>{{Cite web |last=developer |date=2017-09-22 |title=The Debate About Cultural Appropriation |url=https://oneill.law.georgetown.edu/the-debate-about-cultural-appropriation/ |access-date=2024-09-13 |website=O'Neill |language=en-US}}</ref>

In 2021, ], attempted to create a model by which instances of cultural appropriation could be understood systematically. He argues that understanding the modes of cultural change most similar to cultural appropriation is key to discussing the outcomes and implications of instances of appropriation as their meaning are often used interchangeably. Jackson offers his definition of appropriation as the "structural inversion of ]", being that it is an instance in which "a powerful group takes aspects of the culture of a subordinated group, making them its own."<ref>{{Cite journal |last=Jackson |first=Jason Baird |date=April 2021 |title=On Cultural Appropriation |url=https://muse.jhu.edu/article/783863/pdf |journal=Journal of Folklore Research |volume=58 |issue=1 |pages=77–122 |doi=10.2979/jfolkrese.58.1.04 |via=Project Muse}}</ref>

In 2023, Jonas R. Kunst, Katharina Lefringhausen, and Hanna Zagefka set about to determine what were the differences between cultural appropriation and genuine cultural change. They detailed what they determined as the "dilemma of cultural ownership", a concept that challenges the idea that "cultures are discrete entities owned by specific groups" and therefore do not have the ability to be stolen or appropriated, and instead offers the rationale that the "impact of power disparities" is too large to ignore in cases of cultural appropriation. <ref>{{Cite journal |last1=Kunst |first1=Jonas R. |last2=Lefringhausen |first2=Katharina |last3=Zagefka |first3=Hanna |date=August 2023 |title=Delineating the boundaries between genuine cultural change and cultural appropriation in majority group acculturation |doi=10.1016/j.ijintrel.2023.101911 |journal=International Journal of Intercultural Relations |volume=98 |issue=1 |pages=7 }}</ref>

In 2024, Angela Gracia B Cruz, Yuri Seo, and Daiane Scaraboto released the results of a study that went about determining strategies consumers used to "self-authorize" how they consumed media that could be considered to be culturally appropriated. They performed a six-yearlong study on international ] fans concerning how they felt when it came to determining what was cultural appreciation vs appropriation. One comment they chose to highlight from ]or named Sam said "Based on my experience, I've observed both. It depends on the context. As an Asian-American, K-Pop fans in America is more appreciation, as opposed to Koreaboos who just use Korean names for comedy are appropriating."<ref>{{Cite journal |doi=10.1093/jcr/ucad022 |title=Between Cultural Appreciation and Cultural Appropriation: Self-Authorizing the Consumption of Cultural Difference |date=2024 |last1=Cruz |first1=Angela Gracia B. |last2=Seo |first2=Yuri |last3=Scaraboto |first3=Daiane |journal=Journal of Consumer Research |volume=50 |issue=5 |pages=962–984 }}</ref>


== Examples == == Examples ==
Line 49: Line 44:
] while campaigning to support ] in the workplace, 2015]] ] while campaigning to support ] in the workplace, 2015]]


A common example of cultural appropriation is the adoption of the ] of another culture and its use for purposes that are unintended by the original culture or even offensive to that culture's ]. A common example of cultural appropriation is the adoption of the ] of another culture and its use for purposes that are unintended by the original culture or even offensive to that culture's ].


Examples include sports teams using ] tribal names or images as ]; people not from the originating culture wearing jewellry or fashion that incorporates religious symbols such as the ], or wearing items of deep cultural significance and status that must be earned, such as a ], without having earned the right.<ref name="GuardianWar" /> Authentic Native American ]s are sacred ceremonial items earned by people of high status in a traditional tribal society, much like military medals. People from cultures who have this sacred ] usually consider it disrespectful and offensive when someone who has not earned the right to wear one dons an authentic or imitation headdress, whether as part of ] or as a costume or fashion statement.<ref name="GuardianWar">{{cite news|work=]|title=This means war: why the fashion headdress must be stopped|date=July 30, 2014|access-date=Jan 23, 2023|url=https://www.theguardian.com/fashion/2014/jul/30/why-the-fashion-headdress-must-be-stopped|archive-date=February 17, 2021|archive-url=https://web.archive.org/web/20210217081834/https://www.theguardian.com/fashion/2014/jul/30/why-the-fashion-headdress-must-be-stopped|url-status=live}}</ref><ref name="VCU-Wood">{{cite journal|last1= Wood|first1=Marisa|date=May 2017 |title=Cultural Appropriation and the Plains' Indian Headdress|journal=Auctus|publisher=] - VCU Scholars Compass| url=https://scholarscompass.vcu.edu/cgi/viewcontent.cgi?article=1042&context=auctus|language=en|pages=1–11|access-date=23 March 2023}}</ref> For example, the use of ] tribal names or images as ]. Author Kevin Bruyneel discuss the damage inflicted on indigenous communities from the overwhelming presence of these symbols, as they often reinforce colonial dynamics and perpetuate stereotypical, Euro- American perspectives.<ref>{{Cite journal |last=Bruyneel |first=Kevin |date=2016 |title=Race, Colonialism, and the Politics of Indian Sports Names and Mascots: The Washington Football Team Case |url=https://www.jstor.org/stable/10.5749/natiindistudj.3.2.0001 |journal=Native American and Indigenous Studies |volume=3 |issue=2 |pages=1–22 |doi=10.5749/natiindistudj.3.2.0001 |jstor=10.5749/natiindistudj.3.2.0001 }}</ref> Other examples include people not from the originating culture wearing jewelry or fashion that incorporates religious symbols such as the ], or wearing items of deep cultural significance and status that must be earned, such as a ], without having earned the right.<ref name="GuardianWar2">{{cite news |date=July 30, 2014 |title=This means war: why the fashion headdress must be stopped |url=https://www.theguardian.com/fashion/2014/jul/30/why-the-fashion-headdress-must-be-stopped |url-status=live |archive-url=https://web.archive.org/web/20210217081834/https://www.theguardian.com/fashion/2014/jul/30/why-the-fashion-headdress-must-be-stopped |archive-date=February 17, 2021 |access-date=Jan 23, 2023 |work=]}}</ref> Authentic Native American ]s are sacred ceremonial items earned by people of high status in a traditional tribal society, much like military medals. People from cultures who have this sacred ] typically consider it disrespectful and offensive when someone who has not earned the right to wear one dons an authentic or imitation headdress, whether as part of ] or as a costume or fashion statement.<ref name="GuardianWar2" /><ref name="VCU-Wood2">{{cite journal |last1=Wood |first1=Marisa |date=May 2017 |title=Cultural Appropriation and the Plains' Indian Headdress |url=https://scholarscompass.vcu.edu/cgi/viewcontent.cgi?article=1042&context=auctus |journal=Auctus |language=en |publisher=] - VCU Scholars Compass |pages=1–11 |access-date=23 March 2023}}</ref>


Copying iconography from another culture's history, such as ] tribal tattoos, ], or ], and wearing them without regard to their original cultural significance may also be considered appropriation. Critics of the practice of cultural appropriation contend that divorcing iconography from its cultural context or treating it as ] risks offending people who venerate and wish to preserve their cultural traditions.<ref name="EOnline1">Freda, Elizabeth (28 July 2014) " {{webarchive |url=https://web.archive.org/web/20160507210844/http://www.eonline.com/news/563845/music-festival-is-banning-cultural-appropriation-aka-hipsters-wearing-native-american-headdresses |date=May 7, 2016 }}" for ''EOnline''.</ref><ref name="Zimmerman">Zimmerman, Amy (4 June 2014) " {{webarchive |url=https://web.archive.org/web/20160409140437/http://www.thedailybeast.com/articles/2014/06/04/pharrell-harry-styles-and-native-american-appropriation.html |date=April 9, 2016 }}" for ].</ref> A term among Irish people for someone who imitates or misrepresents Irish culture is '']''.<ref name=Arrowsmith>{{cite journal| last =Arrowsmith| first =Aidan| title =Plastic Paddy: Negotiating Identity in Second-generation 'Irish-English' Writing| journal =Irish Studies Review| volume =8| issue =1| pages =35–43| date =1 April 2000| doi =10.1080/09670880050005093| s2cid =145693196}}</ref><ref name=Mcloughlin>{{cite news|last=Mcloughlin|first=Anya|title=How to be as a plastic paddy this St Patrick's day|url=https://thetab.com/uk/nottingham/2018/03/16/how-to-be-as-a-plastic-paddy-this-st-patricks-day-38091|work=The Nottingham Tab|year=2017|access-date=9 Oct 2021|quote=Bonus brownie points if you're inventive with your cultural appropriation e.g. green eyeshadow, green dyed hair, green suits.|archive-date=9 October 2021|archive-url=https://web.archive.org/web/20211009214200/https://thetab.com/uk/nottingham/2018/03/16/how-to-be-as-a-plastic-paddy-this-st-patricks-day-38091|url-status=live}}</ref><ref name=Moore>{{cite news| last =Moore| first =Johnny| title =Raise a glass, thank the Irish on Paddy's Day| url =https://www.pressreader.com/new-zealand/the-press/20170317/281797103806700| work =The Press Reader| date =17 March 2017| access-date =9 Oct 2021| archive-date =9 October 2021| archive-url =https://web.archive.org/web/20211009214155/https://www.pressreader.com/new-zealand/the-press/20170317/281797103806700| url-status =live}}</ref> Copying iconography from another culture's history, such as ] tribal tattoos, ], or ], and wearing them without regard to their original cultural significance may also be considered appropriation. Critics of the practice of cultural appropriation contend that divorcing iconography from its cultural context or treating it as ] risks offending people who venerate and wish to preserve their cultural traditions.<ref name="EOnline1">Freda, Elizabeth (28 July 2014) " {{webarchive |url=https://web.archive.org/web/20160507210844/http://www.eonline.com/news/563845/music-festival-is-banning-cultural-appropriation-aka-hipsters-wearing-native-american-headdresses |date=May 7, 2016 }}" for ''EOnline''.</ref><ref name="Zimmerman">Zimmerman, Amy (4 June 2014) " {{webarchive |url=https://web.archive.org/web/20160409140437/http://www.thedailybeast.com/articles/2014/06/04/pharrell-harry-styles-and-native-american-appropriation.html |date=April 9, 2016 }}" for ].</ref> A term among Irish people for someone who imitates or misrepresents Irish culture is '']''.<ref name=Arrowsmith>{{cite journal| last =Arrowsmith| first =Aidan| title =Plastic Paddy: Negotiating Identity in Second-generation 'Irish-English' Writing| journal =Irish Studies Review| volume =8| issue =1| pages =35–43| date =1 April 2000| doi =10.1080/09670880050005093| s2cid =145693196}}</ref><ref name=Mcloughlin>{{cite news|last=Mcloughlin|first=Anya|title=How to be as a plastic paddy this St Patrick's day|url=https://thetab.com/uk/nottingham/2018/03/16/how-to-be-as-a-plastic-paddy-this-st-patricks-day-38091|work=The Nottingham Tab|year=2017|access-date=9 Oct 2021|quote=Bonus brownie points if you're inventive with your cultural appropriation e.g. green eyeshadow, green dyed hair, green suits.|archive-date=9 October 2021|archive-url=https://web.archive.org/web/20211009214200/https://thetab.com/uk/nottingham/2018/03/16/how-to-be-as-a-plastic-paddy-this-st-patricks-day-38091|url-status=live}}</ref><ref name=Moore>{{cite news| last =Moore| first =Johnny| title =Raise a glass, thank the Irish on Paddy's Day| url =https://www.pressreader.com/new-zealand/the-press/20170317/281797103806700| work =The Press Reader| date =17 March 2017| access-date =9 Oct 2021| archive-date =9 October 2021| archive-url =https://web.archive.org/web/20211009214155/https://www.pressreader.com/new-zealand/the-press/20170317/281797103806700| url-status =live}}</ref>
] ]


The adoption of First Nations' art forms and strong geometric forms was in sympathy with the Arts and Crafts Society's commitment to modernist design but without serious consideration of the ethics of the appropriation of Aboriginal motifs by Western artists.<ref name=":7" /><ref>{{cite book |title=Transglobal Fashion Narratives: Clothing Communication, Style Statements and Brand Storytelling |publisher=Intellect Books Limited |year=2018 |isbn=9781783208449 |editor-last=Peirson-Smith |editor-first=Anne |location=United Kingdom |oclc=1035393767 |editor-last2=Hancock |editor-first2=Joseph}}</ref> During the 1920s the works of artists like ], Allan Lowe, Olive Nock borrowed or copied Aboriginal motifs.<ref>{{cite journal |last=Derham |first=Frances |date=June 1929 |title=Cover |journal=The Recorder |publisher=Arts and Crafts Society of Victoria |pages=8}}</ref><ref name=":7">{{cite journal |last=Parsons |first=Jonathon |date=Autumn 1989 |title=Aboriginal Motifs In Design: Frances Derham And The Arts And Crafts Society Of Victoria |url=http://latrobejournal.slv.vic.gov.au/latrobejournal/issue/latrobe-43/t1-g-t17.html#n41 |journal=La Trobe Library Journal |volume=11 |issue=43 |pages=41}}</ref> In 1930, ] advocated the use of Indigenous Australian motifs in contemporary art.<ref>{{cite journal |last=Preston |first=Margaret |date=1 March 1930 |title=The Application Of Aboriginal Designs |url=https://nla.gov.au/nla.obj-348498884 |journal=Art in Australia |language=en |volume=Third series |issue=31 |pages=50–64 |access-date=2023-08-06 }}</ref><ref name=AAA_1>{{cite web| title=Appropriating "Aboriginal" Australian Art in the Atomic Age| author=Spennemann, D.H.R.| url=https://www.researchgate.net/publication/362693483| publisher=retrospect| page=9| date=15 August 2022| access-date=11 November 2023}}</ref> In 2017, Canadian visual artist ] garnered negative attention for appropriating and amalgamating styles of Indigenous art into her work. Coleman, who has been accused of "copying and selling Indigenous-style artwork," has described herself as a "translator" of Indigenous art forms, which drew further criticism. In his open letter to Coleman, ]/] Artist Carey Newman stressed the importance of artists being accountable within the Indigenous communities as the antidote to appropriation.<ref name="Open letter">{{cite news |title=Open letter accuses non-Indigenous artist of cultural appropriation |url=https://www.cbc.ca/news/canada/british-columbia/newman-coleman-artists-open-letter-indigenous-appropriation-1.4437958 |access-date=14 August 2019 |publisher=CBC/Radio-Canada |date=8 December 2017 |archive-date=29 May 2019 |archive-url=https://web.archive.org/web/20190529224104/https://www.cbc.ca/news/canada/british-columbia/newman-coleman-artists-open-letter-indigenous-appropriation-1.4437958 |url-status=live }}</ref> The adoption of First Nations' art forms and strong geometric forms was in sympathy with the Arts and Crafts Society's commitment to modernist design but without serious consideration of the ethics of the appropriation of Aboriginal motifs by Western artists.<ref name=":7" /><ref>{{cite book |title=Transglobal Fashion Narratives: Clothing Communication, Style Statements and Brand Storytelling |publisher=Intellect Books Limited |year=2018 |isbn=9781783208449 |editor-last=Peirson-Smith |editor-first=Anne |location=United Kingdom |oclc=1035393767 |editor-last2=Hancock |editor-first2=Joseph}}</ref> During the 1920s the works of artists like ], Allan Lowe, Olive Nock borrowed or copied Aboriginal motifs.<ref>{{cite journal |last=Derham |first=Frances |date=June 1929 |title=Cover |journal=The Recorder |publisher=Arts and Crafts Society of Victoria |pages=8}}</ref><ref name=":7">{{cite journal |last=Parsons |first=Jonathon |date=Autumn 1989 |title=Aboriginal Motifs In Design: Frances Derham And The Arts And Crafts Society Of Victoria |url=http://latrobejournal.slv.vic.gov.au/latrobejournal/issue/latrobe-43/t1-g-t17.html#n41 |journal=La Trobe Library Journal |volume=11 |issue=43 |pages=41}}</ref> In 1930, ] advocated the use of Indigenous Australian motifs in contemporary art.<ref>{{cite journal |last=Preston |first=Margaret |date=1 March 1930 |title=The Application Of Aboriginal Designs |url=https://nla.gov.au/nla.obj-348498884 |journal=Art in Australia |language=en |volume=Third series |issue=31 |pages=50–64 |access-date=2023-08-06 }}</ref><ref name=AAA_1>{{cite web| title=Appropriating "Aboriginal" Australian Art in the Atomic Age| author=Spennemann, D.H.R.| url=https://www.researchgate.net/publication/362693483| publisher=retrospect| page=9| date=15 August 2022| access-date=11 November 2023}}</ref> In 2017, Canadian visual artist ] garnered negative attention for appropriating and amalgamating styles of indigenous art into her work. Coleman, who has been accused of "copying and selling indigenous-style artwork," has described herself as a "translator" of indigenous art forms, which drew further criticism. In his open letter to Coleman, ]/] Artist Carey Newman stressed the importance of artists being accountable within the indigenous communities as the antidote to appropriation.<ref name="Open letter">{{cite news |title=Open letter accuses non-indigenous artist of cultural appropriation |url=https://www.cbc.ca/news/canada/british-columbia/newman-coleman-artists-open-letter-indigenous-appropriation-1.4437958 |access-date=14 August 2019 |publisher=CBC/Radio-Canada |date=8 December 2017 |archive-date=29 May 2019 |archive-url=https://web.archive.org/web/20190529224104/https://www.cbc.ca/news/canada/british-columbia/newman-coleman-artists-open-letter-indigenous-appropriation-1.4437958 |url-status=live }}</ref>

=== Religion and spirituality === === Religion and spirituality ===
{{anchor|Native American Indian ceremonies }} {{anchor|Native American Indian ceremonies }}
Line 63: Line 58:
Many Native Americans have criticized what they deem to be the cultural appropriation of their ] and ] ceremonies by non-Natives, and even by tribes who have not traditionally had these ceremonies. They contend that there are serious safety risks whenever these events are conducted by those who lack the many years of training and cultural immersion required to lead them safely, mentioning the ] in 1996, 2002, 2004, and several high-profile ].<ref>{{cite news|first=RW|last=Byard|work=Forensic Science SA|title=Dehydration and heat-related death: sweat lodge syndrome|date=26 September 2005|pmid=8}}<br />{{cite news|first=Suzanne|last=Herel|work=]|publisher=]|title=2 seeking spiritual enlightenment die in new-age sweat lodge|url=http://www.sfgate.com/cgi-bin/article.cgi?file=%2Fchronicle%2Farchive%2F2002%2F06%2F27%2FBA212763.DTL|date=27 June 2002|access-date=26 September 2006|archive-date=25 May 2011|archive-url=https://web.archive.org/web/20110525050519/http://www.sfgate.com/cgi-bin/article.cgi?file=%2Fchronicle%2Farchive%2F2002%2F06%2F27%2FBA212763.DTL|url-status=live}}<br />{{citation | first = Valerie | last = Taliman | title = Selling the sacred | publisher = Indian Country Today | url = http://indiancountrytodaymedianetwork.com/ict_sbc/selling-the-sacred | date = 13 October 2009 | access-date = 22 October 2014 | archive-url = https://web.archive.org/web/20120724043328/http://indiancountrytodaymedianetwork.com/ict_sbc/selling-the-sacred/ | archive-date = 24 July 2012 | url-status = dead }}<br />{{cite web | first = Bob | last = Goulais | title = Editorial: Dying to experience native ceremonies | newspaper = North Bay Nugget | date = 24 October 2009 | url = http://www.nugget.ca/ArticleDisplay.aspx?e=2144903 | archive-url = https://archive.today/20120906072559/http://www.nugget.ca/ArticleDisplay.aspx?e=2144903 | url-status = dead | archive-date = 6 September 2012 }}<br />Hocker, Lindsay. , ''Quad-Cities Online'', 14 October 2009.</ref> Many Native Americans have criticized what they deem to be the cultural appropriation of their ] and ] ceremonies by non-Natives, and even by tribes who have not traditionally had these ceremonies. They contend that there are serious safety risks whenever these events are conducted by those who lack the many years of training and cultural immersion required to lead them safely, mentioning the ] in 1996, 2002, 2004, and several high-profile ].<ref>{{cite news|first=RW|last=Byard|work=Forensic Science SA|title=Dehydration and heat-related death: sweat lodge syndrome|date=26 September 2005|pmid=8}}<br />{{cite news|first=Suzanne|last=Herel|work=]|publisher=]|title=2 seeking spiritual enlightenment die in new-age sweat lodge|url=http://www.sfgate.com/cgi-bin/article.cgi?file=%2Fchronicle%2Farchive%2F2002%2F06%2F27%2FBA212763.DTL|date=27 June 2002|access-date=26 September 2006|archive-date=25 May 2011|archive-url=https://web.archive.org/web/20110525050519/http://www.sfgate.com/cgi-bin/article.cgi?file=%2Fchronicle%2Farchive%2F2002%2F06%2F27%2FBA212763.DTL|url-status=live}}<br />{{citation | first = Valerie | last = Taliman | title = Selling the sacred | publisher = Indian Country Today | url = http://indiancountrytodaymedianetwork.com/ict_sbc/selling-the-sacred | date = 13 October 2009 | access-date = 22 October 2014 | archive-url = https://web.archive.org/web/20120724043328/http://indiancountrytodaymedianetwork.com/ict_sbc/selling-the-sacred/ | archive-date = 24 July 2012 | url-status = dead }}<br />{{cite web | first = Bob | last = Goulais | title = Editorial: Dying to experience native ceremonies | newspaper = North Bay Nugget | date = 24 October 2009 | url = http://www.nugget.ca/ArticleDisplay.aspx?e=2144903 | archive-url = https://archive.today/20120906072559/http://www.nugget.ca/ArticleDisplay.aspx?e=2144903 | url-status = dead | archive-date = 6 September 2012 }}<br />Hocker, Lindsay. , ''Quad-Cities Online'', 14 October 2009.</ref>


The modern ] movement frequently adopts spiritual ideas and practices from non-Western cultures; according to York, these may include "Hawaiian ] magic, ] ], South American ] '']'' and ''San Pedro'' ceremonies, Hindu ] and yoga, Chinese Feng Shui, ], and ]."<ref>{{Cite journal |last=York |first=Michael |date=October 2001 |title=New Age Commodification and Appropriation of Spirituality |url=http://www.tandfonline.com/doi/full/10.1080/13537900120077177 |journal=Journal of Contemporary Religion |language=en |volume=16 |issue=3 |pages=361–372 |doi=10.1080/13537900120077177 |issn=1353-7903}}</ref> The movement has faced criticism for ] exploiting intellectual and cultural property of Indigenous peoples.<ref name="Mesteth-1993">{{cite web |last=Mesteth |first=Wilmer |display-authors=etal |date=June 10, 1993 |title=Declaration of War Against Exploiters of Lakota Spirituality |url=http://www.thepeoplespaths.net/articles/ladecwar.htm |archive-url=https://web.archive.org/web/20160209203058/http://www.thepeoplespaths.net/articles/ladecwar.htm |archive-date=2016-02-09 |quote=At the Lakota Summit V, an international gathering of US and Canadian Lakota, Dakota and Nakota Nations, about 500 representatives from 40 different tribes and bands of the Lakota unanimously passed a 'Declaration of War Against Exploiters of Lakota Spirituality'. The following declaration was unanimously passed.}}</ref><ref name="Hobson-1978">{{cite book |last=Hobson |first=G. |title=The Remembered Earth |publisher=Red Earth Press |year=1978 |editor-last=Hobson |editor-first=Gary |place=Albuquerque |pages=100–108 |chapter=The Rise of the White Shaman as a New Version of Cultural Imperialism}}</ref> The modern ] movement frequently adopts spiritual ideas and practices from non-Western cultures; according to York, these may include "Hawaiian ] magic, ] ], South American ] '']'' and ''San Pedro'' ceremonies, Hindu ] and yoga, Chinese Feng Shui, ], and ]."<ref>{{Cite journal |last=York |first=Michael |date=October 2001 |title=New Age Commodification and Appropriation of Spirituality |url=http://www.tandfonline.com/doi/full/10.1080/13537900120077177 |journal=Journal of Contemporary Religion |language=en |volume=16 |issue=3 |pages=361–372 |doi=10.1080/13537900120077177 |issn=1353-7903}}</ref> The movement has faced criticism for ] exploiting intellectual and cultural property of indigenous peoples.<ref name="Mesteth-1993">{{cite web |last=Mesteth |first=Wilmer |display-authors=etal |date=June 10, 1993 |title=Declaration of War Against Exploiters of Lakota Spirituality |url=http://www.thepeoplespaths.net/articles/ladecwar.htm |archive-url=https://web.archive.org/web/20160209203058/http://www.thepeoplespaths.net/articles/ladecwar.htm |archive-date=2016-02-09 |quote=At the Lakota Summit V, an international gathering of US and Canadian Lakota, Dakota and Nakota Nations, about 500 representatives from 40 different tribes and bands of the Lakota unanimously passed a 'Declaration of War Against Exploiters of Lakota Spirituality'. The following declaration was unanimously passed.}}</ref><ref name="Hobson-1978">{{cite book |last=Hobson |first=G. |title=The Remembered Earth |publisher=Red Earth Press |year=1978 |editor-last=Hobson |editor-first=Gary |place=Albuquerque |pages=100–108 |chapter=The Rise of the White Shaman as a New Version of Cultural Imperialism}}</ref>


] ]
Line 73: Line 68:
]'s wife, ] wearing a ], 1875]] ]'s wife, ] wearing a ], 1875]]


Cultural appropriation is controversial in the ] due to the belief that some trends commercialise and cheapen the ancient heritage of Indigenous cultures.<ref>{{cite web|url=http://www.universitytimes.ie/2013/11/is-cultural-appropriation-in-fashion-offensive-part-ii/|title=Is Cultural Appropriation in Fashion Offensive? Part – II|website=The University Times |date=Nov 2, 2013 |access-date=27 June 2017|archive-date=7 September 2017|archive-url=https://web.archive.org/web/20170907123041/http://www.universitytimes.ie/2013/11/is-cultural-appropriation-in-fashion-offensive-part-ii/|url-status=live}}</ref> There is debate about whether designers and fashion houses understand the history behind the clothing they are taking from different cultures, besides the ethical issues of using these cultures' shared ] without consent, acknowledgement, or compensation.<ref>{{Cite web|url=https://www.huffingtonpost.com/entry/fashion-cultural-appropriation_us_5632295ce4b00aa54a4ce639|title=Is This The Right Way For Fashion To Do Cultural Appropriation?|last=Varagur|first=Krithika|date=5 November 2015|website=The Huffington Post|access-date=4 March 2017|archive-date=26 February 2017|archive-url=https://web.archive.org/web/20170226234719/http://www.huffingtonpost.com/entry/fashion-cultural-appropriation_us_5632295ce4b00aa54a4ce639|url-status=live}}</ref> According to Minh-Ha T. Pham, writing for '']'', accusations of cultural appropriation are often defended, instead, as ].<ref name="Pham, 2014.">{{cite web|url=https://www.theatlantic.com/entertainment/archive/2014/05/cultural-appropriation-in-fashion-stop-talking-about-it/370826/|title=Why We Should Stop Talking About "Cultural Appropriation"|first=Minh-Ha T.|last=Pham|website=]|access-date=27 June 2017|date=15 May 2014|archive-date=29 November 2019|archive-url=https://web.archive.org/web/20191129083600/https://www.theatlantic.com/entertainment/archive/2014/05/cultural-appropriation-in-fashion-stop-talking-about-it/370826/|url-status=live}}</ref> Cultural appropriation is controversial in the ] due to the belief that some trends commercialise and cheapen the ancient heritage of indigenous cultures.<ref>{{cite web|url=http://www.universitytimes.ie/2013/11/is-cultural-appropriation-in-fashion-offensive-part-ii/|title=Is Cultural Appropriation in Fashion Offensive? Part – II|website=The University Times |date=Nov 2, 2013 |access-date=27 June 2017|archive-date=7 September 2017|archive-url=https://web.archive.org/web/20170907123041/http://www.universitytimes.ie/2013/11/is-cultural-appropriation-in-fashion-offensive-part-ii/|url-status=live}}</ref> There is debate about whether designers and fashion houses understand the history behind the clothing they are taking from different cultures, besides the ethical issues of using these cultures' shared ] without consent, acknowledgement, or compensation.<ref>{{Cite web|url=https://www.huffingtonpost.com/entry/fashion-cultural-appropriation_us_5632295ce4b00aa54a4ce639|title=Is This The Right Way For Fashion To Do Cultural Appropriation?|last=Varagur|first=Krithika|date=5 November 2015|website=The Huffington Post|access-date=4 March 2017|archive-date=26 February 2017|archive-url=https://web.archive.org/web/20170226234719/http://www.huffingtonpost.com/entry/fashion-cultural-appropriation_us_5632295ce4b00aa54a4ce639|url-status=live}}</ref> According to Minh-Ha T. Pham, writing for '']'', accusations of cultural appropriation are often defended, instead, as ].<ref name="Pham, 2014.">{{cite web|url=https://www.theatlantic.com/entertainment/archive/2014/05/cultural-appropriation-in-fashion-stop-talking-about-it/370826/|title=Why We Should Stop Talking About "Cultural Appropriation"|first=Minh-Ha T.|last=Pham|website=]|access-date=27 June 2017|date=15 May 2014|archive-date=29 November 2019|archive-url=https://web.archive.org/web/20191129083600/https://www.theatlantic.com/entertainment/archive/2014/05/cultural-appropriation-in-fashion-stop-talking-about-it/370826/|url-status=live}}</ref>


==== From the 17th century to the Victorian era ==== ==== From the 17th century to the Victorian era ====
Line 85: Line 80:
By the 19th century, the object of fascination among Europeans had shifted to Asian cultures. Regency-era ] adapted the Indian ]s into ] ] and frequently wore ]s within their own houses. Subsequently, Victorian-era gentlemen wore ]s based on the Islamic ], and fashionable ] ladies wore ]<ref>{{cite web|url=http://www.japantimes.co.jp/culture/2015/07/18/books/underneath-orientalist-kimono/#.WO11OoWcHIU|title=Underneath the 'Orientalist' kimono – The Japan Times|date=18 July 2015|access-date=12 April 2017|archive-date=15 December 2015|archive-url=https://web.archive.org/web/20151215003804/http://www.japantimes.co.jp/culture/2015/07/18/books/underneath-orientalist-kimono/#.WO11OoWcHIU|url-status=live}}</ref> Japanese-inspired ] dresses.<ref>{{cite book|url=https://books.google.com/books?id=pUhUmviJQFAC&q=smoking+cap&pg=PT255|title=The Complete Idiot's Guide to Cigars, 2nd Edition|first=Tad|last=Gage|date=1 September 1997|publisher=Penguin|access-date=27 June 2017|via=Google Books|isbn=978-1-101-19857-5|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213062644/https://books.google.com/books?id=pUhUmviJQFAC&q=smoking+cap&pg=PT255|url-status=live}}</ref><ref>{{cite book|url=https://books.google.com/books?id=7G6xDQAAQBAJ&pg=PA202|title=The Social Life of Kimono: Japanese Fashion Past and Present|first=Sheila|last=Cliffe|date=23 March 2017|publisher=Bloomsbury Academic|access-date=27 June 2017|via=Google Books|isbn=978-1-4725-8552-3|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213062645/https://books.google.com/books?id=7G6xDQAAQBAJ&pg=PA202|url-status=live}}</ref> Moreover, this obsession with Orientalism was visible in how one company named its passenger shipping line "The Orient Line".<ref>"The Mails." ''Times'', 1 Aug. 1890, p. 3. ''The Times Digital Archive'', link.gale.com/apps/doc/CS52089601/TTDA?u=tall85761&sid=bookmark-TTDA&xid=b1657280. Accessed 27 Apr. 2023.</ref> During the ] fad of the 1950s, white women frequently donned the ] to give the impression that they had visited ], although the dresses were frequently made by seamstresses in America using ] rather than genuine silk. At the same time, teenage ] wore ]s due to their exotic connotations.<ref>{{cite web|url=http://subcultureslist.com/teddy-girls/|title=Teddy girls – Teddy girl a member of youth subculture in 1950s|website=subcultureslist.com|access-date=27 June 2017|archive-date=6 September 2013|archive-url=https://web.archive.org/web/20130906171955/http://subcultureslist.com/teddy-girls/|url-status=live}}</ref> By the 19th century, the object of fascination among Europeans had shifted to Asian cultures. Regency-era ] adapted the Indian ]s into ] ] and frequently wore ]s within their own houses. Subsequently, Victorian-era gentlemen wore ]s based on the Islamic ], and fashionable ] ladies wore ]<ref>{{cite web|url=http://www.japantimes.co.jp/culture/2015/07/18/books/underneath-orientalist-kimono/#.WO11OoWcHIU|title=Underneath the 'Orientalist' kimono – The Japan Times|date=18 July 2015|access-date=12 April 2017|archive-date=15 December 2015|archive-url=https://web.archive.org/web/20151215003804/http://www.japantimes.co.jp/culture/2015/07/18/books/underneath-orientalist-kimono/#.WO11OoWcHIU|url-status=live}}</ref> Japanese-inspired ] dresses.<ref>{{cite book|url=https://books.google.com/books?id=pUhUmviJQFAC&q=smoking+cap&pg=PT255|title=The Complete Idiot's Guide to Cigars, 2nd Edition|first=Tad|last=Gage|date=1 September 1997|publisher=Penguin|access-date=27 June 2017|via=Google Books|isbn=978-1-101-19857-5|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213062644/https://books.google.com/books?id=pUhUmviJQFAC&q=smoking+cap&pg=PT255|url-status=live}}</ref><ref>{{cite book|url=https://books.google.com/books?id=7G6xDQAAQBAJ&pg=PA202|title=The Social Life of Kimono: Japanese Fashion Past and Present|first=Sheila|last=Cliffe|date=23 March 2017|publisher=Bloomsbury Academic|access-date=27 June 2017|via=Google Books|isbn=978-1-4725-8552-3|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213062645/https://books.google.com/books?id=7G6xDQAAQBAJ&pg=PA202|url-status=live}}</ref> Moreover, this obsession with Orientalism was visible in how one company named its passenger shipping line "The Orient Line".<ref>"The Mails." ''Times'', 1 Aug. 1890, p. 3. ''The Times Digital Archive'', link.gale.com/apps/doc/CS52089601/TTDA?u=tall85761&sid=bookmark-TTDA&xid=b1657280. Accessed 27 Apr. 2023.</ref> During the ] fad of the 1950s, white women frequently donned the ] to give the impression that they had visited ], although the dresses were frequently made by seamstresses in America using ] rather than genuine silk. At the same time, teenage ] wore ]s due to their exotic connotations.<ref>{{cite web|url=http://subcultureslist.com/teddy-girls/|title=Teddy girls – Teddy girl a member of youth subculture in 1950s|website=subcultureslist.com|access-date=27 June 2017|archive-date=6 September 2013|archive-url=https://web.archive.org/web/20130906171955/http://subcultureslist.com/teddy-girls/|url-status=live}}</ref>


In Mexico, the ], which was associated with the ] peasant class, was adapted from an earlier hat which was introduced by ] during the 18th century.<ref name=Sombrero>{{cite book|url=https://books.google.com/books?id=FUz1xhAZcKQC&q=cowboy+hat+sombrero&pg=PA238|title=The Cowboy at Work: All about His Job and how He Does it|first=Fay E.|last=Ward|date=27 June 1987|publisher=University of Oklahoma Press|access-date=27 June 2017|via=Google Books|isbn=978-0-8061-2051-5|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213062645/https://books.google.com/books?id=FUz1xhAZcKQC&q=cowboy+hat+sombrero&pg=PA238|url-status=live}}</ref> This, in turn, was adapted into the ] worn by American cowboys after the ].<ref name=Sombrero/> In 2016, the ] prohibited the wearing of sombreros to parties on campus in the belief that these could offend Mexican students,<ref name=Shriver /> a move that was widely criticised.<ref>{{cite web|url=http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004|title=Is cultural appropriation the bogeyman it's made out to be?|date=21 December 2015|website=abc.net.au|access-date=17 July 2018|archive-date=22 September 2018|archive-url=https://web.archive.org/web/20180922021731/http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004|url-status=live}}</ref><ref>{{Cite web|url = https://thetab.com/uk/norwich/2016/02/07/uea-su-offense-21122|title = Is anyone at UEA really that offended by sombreros?|date = 7 February 2016|access-date = 9 March 2020|archive-date = 14 June 2020|archive-url = https://web.archive.org/web/20200614063414/https://thetab.com/uk/norwich/2016/02/07/uea-su-offense-21122|url-status = live}}</ref><ref>{{Cite web | url=https://www.spiked-online.com/2015/10/02/ueas-sombrero-ban-is-no-joke/ | title=UEA's sombrero ban is no joke | access-date=2020-03-09 | archive-date=2020-06-20 | archive-url=https://web.archive.org/web/20200620135507/https://www.spiked-online.com/2015/10/02/ueas-sombrero-ban-is-no-joke/ | url-status=live }}</ref> In Mexico, the ], which was associated with the ] peasant class, was adapted from an earlier hat which was introduced by ] during the 18th century.<ref name=Sombrero>{{cite book|url=https://books.google.com/books?id=FUz1xhAZcKQC&q=cowboy+hat+sombrero&pg=PA238|title=The Cowboy at Work: All about His Job and how He Does it|first=Fay E.|last=Ward|date=27 June 1987|publisher=University of Oklahoma Press|access-date=27 June 2017|via=Google Books|isbn=978-0-8061-2051-5|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213062645/https://books.google.com/books?id=FUz1xhAZcKQC&q=cowboy+hat+sombrero&pg=PA238|url-status=live}}</ref> This, in turn, was adapted into the ] worn by American cowboys after the ].<ref name=Sombrero/> In 2016, the ] prohibited the wearing of sombreros to parties on campus in the belief that these could offend Mexican students,<ref name="Shriver">{{cite web |date=13 September 2016 |title=Lionel Shriver's full speech: 'I hope the concept of cultural appropriation is a passing fad' |url=https://www.theguardian.com/commentisfree/2016/sep/13/lionel-shrivers-full-speech-i-hope-the-concept-of-cultural-appropriation-is-a-passing-fad |url-status=live |archive-url=https://web.archive.org/web/20161126050319/https://www.theguardian.com/commentisfree/2016/sep/13/lionel-shrivers-full-speech-i-hope-the-concept-of-cultural-appropriation-is-a-passing-fad |archive-date=26 November 2016 |access-date=30 October 2016 |work=The Guardian}}</ref> a move that was widely criticised.<ref>{{cite web|url=http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004|title=Is cultural appropriation the bogeyman it's made out to be?|date=21 December 2015|website=abc.net.au|access-date=17 July 2018|archive-date=22 September 2018|archive-url=https://web.archive.org/web/20180922021731/http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004|url-status=live}}</ref><ref>{{Cite web|url = https://thetab.com/uk/norwich/2016/02/07/uea-su-offense-21122|title = Is anyone at UEA really that offended by sombreros?|date = 7 February 2016|access-date = 9 March 2020|archive-date = 14 June 2020|archive-url = https://web.archive.org/web/20200614063414/https://thetab.com/uk/norwich/2016/02/07/uea-su-offense-21122|url-status = live}}</ref><ref>{{Cite web | url=https://www.spiked-online.com/2015/10/02/ueas-sombrero-ban-is-no-joke/ | title=UEA's sombrero ban is no joke | access-date=2020-03-09 | archive-date=2020-06-20 | archive-url=https://web.archive.org/web/20200620135507/https://www.spiked-online.com/2015/10/02/ueas-sombrero-ban-is-no-joke/ | url-status=live }}</ref>


American ] was copied from the work attire of 19th-century Mexican ]s, especially the pointed ]s and the ], which was adapted into the embroidered ].<ref>"The Cowboys", from Time Life The Old West series. (1973)</ref> The ] dress associated with Mexican women was appropriated from the ] and ] worn by ]n maidservants like ], who arrived from Asia from the 17th century onwards.<ref>{{cite web|url=http://www.analesiie.unam.mx/pdf/71_37-73.pdf|title=A Mughal princess in New Spain|access-date=20 May 2018|archive-url=https://web.archive.org/web/20180921030327/http://www.analesiie.unam.mx/pdf/71_37-73.pdf|archive-date=21 September 2018|url-status=dead}}</ref> American ] was copied from the work attire of 19th-century Mexican ]s, especially the pointed ]s and the ], which was adapted into the embroidered ].<ref>"The Cowboys", from Time Life The Old West series. (1973)</ref> The ] dress associated with Mexican women was appropriated from the ] and ] worn by ]n maidservants like ], who arrived from Asia from the 17th century onwards.<ref>{{cite web|url=http://www.analesiie.unam.mx/pdf/71_37-73.pdf|title=A Mughal princess in New Spain|access-date=20 May 2018|archive-url=https://web.archive.org/web/20180921030327/http://www.analesiie.unam.mx/pdf/71_37-73.pdf|archive-date=21 September 2018|url-status=dead}}</ref>
Line 105: Line 100:
The culturally significant ] festival, ], has been imitated and incorporated into fashion globally. For example, pop artist ] and ] collaborated in 2018 to create the Holi-inspired apparel and shoe line, "Hu Holi." The collection was stated to be a "trivialization of traditions-concepts-symbols-beliefs of Hinduism," according to Raja Zed, president of the Universal Society of Hinduism. The collection included many items which contained leather, a violation of Hindu beliefs.<ref>{{Cite journal|last=Gertner|first=Rosane K.|date=2019|title=The impact of cultural appropriation on destination image, tourism, and hospitality|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/tie.22068|journal=Thunderbird International Business Review|language=en|volume=61|issue=6|pages=873–877|doi=10.1002/tie.22068|s2cid=159073095|issn=1520-6874}}</ref> The culturally significant ] festival, ], has been imitated and incorporated into fashion globally. For example, pop artist ] and ] collaborated in 2018 to create the Holi-inspired apparel and shoe line, "Hu Holi." The collection was stated to be a "trivialization of traditions-concepts-symbols-beliefs of Hinduism," according to Raja Zed, president of the Universal Society of Hinduism. The collection included many items which contained leather, a violation of Hindu beliefs.<ref>{{Cite journal|last=Gertner|first=Rosane K.|date=2019|title=The impact of cultural appropriation on destination image, tourism, and hospitality|url=https://onlinelibrary.wiley.com/doi/abs/10.1002/tie.22068|journal=Thunderbird International Business Review|language=en|volume=61|issue=6|pages=873–877|doi=10.1002/tie.22068|s2cid=159073095|issn=1520-6874}}</ref>


Archbishop ] of the Anglican Church said that the crucifix is "now just a fashion statement and has lost its religious meaning".<ref>{{Cite web|url=https://virtueonline.org/crucifix-now-just-fashion-statement-and-has-lost-religious-meaningwelby|title='A crucifix is now just a fashion statement and has lost religious meaning'Welby &#124; VirtueOnline – The Voice for Global Orthodox Anglicanism|website=virtueonline.org|access-date=2023-02-13|archive-date=2022-09-28|archive-url=https://web.archive.org/web/20220928215937/https://virtueonline.org/crucifix-now-just-fashion-statement-and-has-lost-religious-meaningwelby|url-status=live}}</ref> Crucifixes have been incorporated into Japanese ] by non-Christians in a cultural context that is distinct from its original meaning as a Christian religious symbol.<ref>{{Cite web|url=http://news.abs-cbn.com/lifestyle/12/20/11/japans-lolita-style-cutesy-and-disturbing|title=Japan's Lolita Style Cutesy and Disturbing|access-date=2017-08-14|archive-date=2017-08-14|archive-url=https://web.archive.org/web/20170814062345/http://news.abs-cbn.com/lifestyle/12/20/11/japans-lolita-style-cutesy-and-disturbing|url-status=live}}</ref> Ex-Archbishop ] of the Anglican Church said that the crucifix is "now just a fashion statement and has lost its religious meaning".<ref>{{Cite web|url=https://virtueonline.org/crucifix-now-just-fashion-statement-and-has-lost-religious-meaningwelby|title='A crucifix is now just a fashion statement and has lost religious meaning'Welby &#124; VirtueOnline – The Voice for Global Orthodox Anglicanism|website=virtueonline.org|access-date=2023-02-13|archive-date=2022-09-28|archive-url=https://web.archive.org/web/20220928215937/https://virtueonline.org/crucifix-now-just-fashion-statement-and-has-lost-religious-meaningwelby|url-status=live}}</ref> Crucifixes have been incorporated into Japanese ] by non-Christians in a cultural context that is distinct from its original meaning as a Christian religious symbol.<ref>{{Cite web|url=http://news.abs-cbn.com/lifestyle/12/20/11/japans-lolita-style-cutesy-and-disturbing|title=Japan's Lolita Style Cutesy and Disturbing|access-date=2017-08-14|archive-date=2017-08-14|archive-url=https://web.archive.org/web/20170814062345/http://news.abs-cbn.com/lifestyle/12/20/11/japans-lolita-style-cutesy-and-disturbing|url-status=live}}</ref>


In 2018, ] designers were criticised for sending white models for a catwalk at ] wearing a ] ].<ref name="al18">{{cite news|work=Aljazeera|year=2018|url=https://www.aljazeera.com/features/2018/2/23/gucci-accused-of-culturally-appropriating-sikh-turban|title=Gucci accused of culturally appropriating Sikh turban|access-date=2021-08-30|archive-date=2021-08-30|archive-url=https://web.archive.org/web/20210830134536/https://www.aljazeera.com/features/2018/2/23/gucci-accused-of-culturally-appropriating-sikh-turban|url-status=live}}</ref><ref name="ind18">{{cite news|url=https://www.independent.co.uk/life-style/fashion/gucci-white-models-turbans-avan-jogia-fashion-canada-actor-a8224716.html|work=Independent UK|year=2018|first=Olivia|last=Petter|title=Gucci criticised for putting turbans on white models|access-date=2021-08-30|archive-date=2022-04-21|archive-url=https://web.archive.org/web/20220421153327/https://www.independent.co.uk/life-style/fashion/gucci-white-models-turbans-avan-jogia-fashion-canada-actor-a8224716.html|url-status=live}}</ref><ref name="cnn18">{{cite news|url=https://edition.cnn.com/style/article/gucci-turban-sikh-trnd/index.html|year=2018|first=Harmeet|last=Kaur|work=CNN|title=Here's why Sikhs were offended by this $790 Gucci turban|access-date=2021-08-30|archive-date=2021-08-30|archive-url=https://web.archive.org/web/20210830134536/https://edition.cnn.com/style/article/gucci-turban-sikh-trnd/index.html|url-status=live}}</ref> Thousands of members from the Sikh community shared anger and disappointment that the brand had used ] sacred ] for profit.<ref name="al18" /> Traditionally in ], a turban is worn by both men and women as a symbol of piety, honour, and spirituality, however, many people from ] community, including ], found it "offensive" and "irresponsible" for a white model wearing a turban.<ref name="ind18" /> In 2018, ] designers were criticised for sending white models for a catwalk at ] wearing a ] ].<ref name="al18">{{cite news|work=Aljazeera|year=2018|url=https://www.aljazeera.com/features/2018/2/23/gucci-accused-of-culturally-appropriating-sikh-turban|title=Gucci accused of culturally appropriating Sikh turban|access-date=2021-08-30|archive-date=2021-08-30|archive-url=https://web.archive.org/web/20210830134536/https://www.aljazeera.com/features/2018/2/23/gucci-accused-of-culturally-appropriating-sikh-turban|url-status=live}}</ref><ref name="ind18">{{cite news|url=https://www.independent.co.uk/life-style/fashion/gucci-white-models-turbans-avan-jogia-fashion-canada-actor-a8224716.html|work=Independent UK|year=2018|first=Olivia|last=Petter|title=Gucci criticised for putting turbans on white models|access-date=2021-08-30|archive-date=2022-04-21|archive-url=https://web.archive.org/web/20220421153327/https://www.independent.co.uk/life-style/fashion/gucci-white-models-turbans-avan-jogia-fashion-canada-actor-a8224716.html|url-status=live}}</ref><ref name="cnn18">{{cite news|url=https://edition.cnn.com/style/article/gucci-turban-sikh-trnd/index.html|year=2018|first=Harmeet|last=Kaur|work=CNN|title=Here's why Sikhs were offended by this $790 Gucci turban|access-date=2021-08-30|archive-date=2021-08-30|archive-url=https://web.archive.org/web/20210830134536/https://edition.cnn.com/style/article/gucci-turban-sikh-trnd/index.html|url-status=live}}</ref> Thousands of members from the Sikh community shared anger and disappointment that the brand had used ] sacred ] for profit.<ref name="al18" /> Traditionally in ], a turban is worn by both men and women as a symbol of piety, honour, and spirituality, however, many people from ] community, including ], found it "offensive" and "irresponsible" for a white model wearing a turban.<ref name="ind18" />


The popularity of the 2018 Thai period drama "]," which depicts the Ayutthaya Kingdom era, has sparked a trend of Cambodians adopting traditional Thai clothing, including the ] and Thai-style jewelry. This trend raises concerns about cultural appropriation. While this phenomenon might stem from admiration, critics argue that it overshadows unique Cambodian sartorial traditions, potentially leading to a decline in the popularity of garments like the Cambodian ]. However, Cambodia also grapples with ensuring the accuracy of its own cultural representations, as evidenced by efforts to regulate costume rentals at Angkor Wat.<ref>{{cite web | url=https://www.phnompenhpost.com/national/angkor-vendors-khmer-costumes-must-be-accurate | title=Angkor vendors of Khmer costumes must be 'accurate' }}</ref> The popularity of the 2018 Thai period drama "]," which depicts the Ayutthaya Kingdom era, has sparked a trend of Cambodians adopting traditional Thai clothing, including the ] and Thai-style jewelry. This trend raises concerns about cultural appropriation. While this phenomenon might stem from admiration, critics argue that it overshadows unique Cambodian sartorial traditions, potentially leading to a decline in the popularity of garments like the Cambodian ]. However, Cambodia also grapples with ensuring the accuracy of its own cultural representations, as evidenced by efforts to regulate costume rentals at Angkor Wat.<ref>{{cite web | url=https://www.phnompenhpost.com/national/angkor-vendors-khmer-costumes-must-be-accurate | title=Angkor vendors of Khmer costumes must be 'accurate' }}</ref>
]
In June of 2019, Kim Kardashian launched a clothing line under the name of "Kimono". This clothing line was centered around shapewear lingerie, and the use of the word "kimono" seemed to largely be a play on words for Kardashian's name. However, as noted to in Kalled's article, there was immediate outrage from the Japanese community, both located in the US and Japan itself. The controversy reached a point where the mayor of Kyoto at the time sent a letter to Kardashian asking her to reconsider the name, and the celebrity eventually relented. In August of the same year, Jes Kalled published an article for Savvy Tokyo. This article spoke on the nature of the controversy and also featured interviews from Japanese citizens concerning the matter, with some feeling confusion and disappointment, while others seemed to dislike the notion of cultural appropriation at all.<ref>{{Cite web |last=Kalled |first=Jes |date=2019-08-15 |title=The #KimOhNo Conversation: How Do Japanese People Feel About It Now? |url=https://savvytokyo.com/the-kimohno-conversation-how-do-japanese-people-feel-about-it-now/ |access-date=2024-09-23 |website=Savvy Tokyo |language=en-US}}</ref>


=== Hairstyles, makeup, and body modifications === === Hairstyles, makeup, and body modifications ===
Line 119: Line 116:
* Since the early 2000s, it has become increasingly popular for people not of East Asian or South Asian descent to get tattoos of ], ], or ]s (], ], or ]), often without knowing the actual meaning of the symbols being used.<ref>{{cite web|url=http://eprints.port.ac.uk/1135/|title=Cultural appropriation of Japanese tattoos, 2008|website=port.ac.uk|access-date=27 June 2017|archive-url=https://web.archive.org/web/20160930193600/http://eprints.port.ac.uk/1135/|archive-date=30 September 2016|url-status=dead}}</ref><ref>{{cite web|url=https://thesocietypages.org/socimages/2012/04/13/lost-in-translation-tattoos-and-cultural-appropriation/|title=Lost in Translation: Tattoos and Cultural Appropriation – Sociological Images|first=The Society|last=Pages|website=thesocietypages.org|access-date=27 June 2017|archive-date=22 October 2019|archive-url=https://web.archive.org/web/20191022041918/https://thesocietypages.org/socimages/2012/04/13/lost-in-translation-tattoos-and-cultural-appropriation/|url-status=live}}</ref> In 2000, footballer ] received a tattoo in ].<ref>{{cite web |last1=Chaudhary |first1=Vivek |title=Tattooists own goal leaves Beckham a marked man |url=https://www.theguardian.com/football/2000/nov/28/newsstory.sport5 |website=The Guardian |access-date=28 July 2023 |date=28 November 2000}}</ref> Beckham does not have Indian heritage.<ref>{{cite web |last1=Euse |first1=Erica |title=why that tribal tattoo won't work in a woke world |url=https://i-d.vice.com/en/article/zmmvnx/why-that-tribal-tattoo-wont-work-in-a-woke-world |website=i-d.vice.com |access-date=28 July 2023 |language=en}}</ref> * Since the early 2000s, it has become increasingly popular for people not of East Asian or South Asian descent to get tattoos of ], ], or ]s (], ], or ]), often without knowing the actual meaning of the symbols being used.<ref>{{cite web|url=http://eprints.port.ac.uk/1135/|title=Cultural appropriation of Japanese tattoos, 2008|website=port.ac.uk|access-date=27 June 2017|archive-url=https://web.archive.org/web/20160930193600/http://eprints.port.ac.uk/1135/|archive-date=30 September 2016|url-status=dead}}</ref><ref>{{cite web|url=https://thesocietypages.org/socimages/2012/04/13/lost-in-translation-tattoos-and-cultural-appropriation/|title=Lost in Translation: Tattoos and Cultural Appropriation – Sociological Images|first=The Society|last=Pages|website=thesocietypages.org|access-date=27 June 2017|archive-date=22 October 2019|archive-url=https://web.archive.org/web/20191022041918/https://thesocietypages.org/socimages/2012/04/13/lost-in-translation-tattoos-and-cultural-appropriation/|url-status=live}}</ref> In 2000, footballer ] received a tattoo in ].<ref>{{cite web |last1=Chaudhary |first1=Vivek |title=Tattooists own goal leaves Beckham a marked man |url=https://www.theguardian.com/football/2000/nov/28/newsstory.sport5 |website=The Guardian |access-date=28 July 2023 |date=28 November 2000}}</ref> Beckham does not have Indian heritage.<ref>{{cite web |last1=Euse |first1=Erica |title=why that tribal tattoo won't work in a woke world |url=https://i-d.vice.com/en/article/zmmvnx/why-that-tribal-tattoo-wont-work-in-a-woke-world |website=i-d.vice.com |access-date=28 July 2023 |language=en}}</ref>
* There is debate about non-black people wearing ]{{snds}}a hairstyle many associate with African and ] cultures such as ]n ]{{snds}}and whether their doing so is cultural appropriation.<ref>{{cite web|last=Gabbara|first=Princess|date=18 October 2016|title=The History of Dreadlocks|url=https://www.ebony.com/style/history-dreadlocks/|access-date=21 October 2020|publisher=]|archive-date=31 July 2022|archive-url=https://web.archive.org/web/20220731173844/https://www.ebony.com/style/history-dreadlocks/|url-status=live}}</ref> In 2016 a viral video was published of a young black student arguing with a young white student and accusing him of cultural appropriation.<ref>{{cite web|first1=Emma|last1=Wilson|first2=Mike|last2=Wendling|title=Is it OK for white people to have dreadlocks?|date=2 April 2016|url=https://www.bbc.com/news/blogs-trending-35944803|publisher=]|access-date=21 October 2020|archive-date=17 October 2020|archive-url=https://web.archive.org/web/20201017194717/https://www.bbc.com/news/blogs-trending-35944803|url-status=live}}</ref> In 2018, white actor ] was accused of cultural appropriation, when he posted a picture of himself in dreadlocks.<ref>{{cite web|first=Susanna|last=Heller|title=Zac Efron wore his hair in dreadlocks and he's being accused of cultural appropriation|website=]|date=6 July 2018|url=https://www.insider.com/zac-efron-accused-cultural-over-dreadlocks-2018-7#:~:text=Zac%20Efron%20has%20a%20new,his%20'do%20to%20mixed%20reactions.&text=Many%20accused%20the%20%22Baywatch%22%20actor%20of%20cultural%20appropriation.|access-date=21 October 2020|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213063326/https://www.insider.com/zac-efron-accused-cultural-over-dreadlocks-2018-7#:~:text=Zac%20Efron%20has%20a%20new,his%20'do%20to%20mixed%20reactions.&text=Many%20accused%20the%20%22Baywatch%22%20actor%20of%20cultural%20appropriation.|url-status=live}}</ref> * There is debate about non-black people wearing ]{{snds}}a hairstyle many associate with African and ] cultures such as ]n ]{{snds}}and whether their doing so is cultural appropriation.<ref>{{cite web|last=Gabbara|first=Princess|date=18 October 2016|title=The History of Dreadlocks|url=https://www.ebony.com/style/history-dreadlocks/|access-date=21 October 2020|publisher=]|archive-date=31 July 2022|archive-url=https://web.archive.org/web/20220731173844/https://www.ebony.com/style/history-dreadlocks/|url-status=live}}</ref> In 2016 a viral video was published of a young black student arguing with a young white student and accusing him of cultural appropriation.<ref>{{cite web|first1=Emma|last1=Wilson|first2=Mike|last2=Wendling|title=Is it OK for white people to have dreadlocks?|date=2 April 2016|url=https://www.bbc.com/news/blogs-trending-35944803|publisher=]|access-date=21 October 2020|archive-date=17 October 2020|archive-url=https://web.archive.org/web/20201017194717/https://www.bbc.com/news/blogs-trending-35944803|url-status=live}}</ref> In 2018, white actor ] was accused of cultural appropriation, when he posted a picture of himself in dreadlocks.<ref>{{cite web|first=Susanna|last=Heller|title=Zac Efron wore his hair in dreadlocks and he's being accused of cultural appropriation|website=]|date=6 July 2018|url=https://www.insider.com/zac-efron-accused-cultural-over-dreadlocks-2018-7#:~:text=Zac%20Efron%20has%20a%20new,his%20'do%20to%20mixed%20reactions.&text=Many%20accused%20the%20%22Baywatch%22%20actor%20of%20cultural%20appropriation.|access-date=21 October 2020|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213063326/https://www.insider.com/zac-efron-accused-cultural-over-dreadlocks-2018-7#:~:text=Zac%20Efron%20has%20a%20new,his%20'do%20to%20mixed%20reactions.&text=Many%20accused%20the%20%22Baywatch%22%20actor%20of%20cultural%20appropriation.|url-status=live}}</ref>
*In Scotland and Ireland, non-speakers of Scottish Gaelic or ] get tattoos in those languages, often not understanding what their tattoos mean.<ref>{{cite book|last1=McEwan|first1=Emily|title=The Scottish Gaelic Tattoo Handbook|publisher=Bradan Press|isbn=978-0-9950998-0-7|url=https://books.google.com/books?id=cHb0jwEACAAJ&q=the%20scottish%20tattoo%20handbook|access-date=14 January 2017|year=2016|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213063230/https://books.google.com/books?id=cHb0jwEACAAJ&q=the%20scottish%20tattoo%20handbook|url-status=live}}</ref> * In Scotland and Ireland, non-speakers of Scottish Gaelic or ] get tattoos in those languages, often not understanding what their tattoos mean.<ref>{{cite book|last1=McEwan|first1=Emily|title=The Scottish Gaelic Tattoo Handbook|publisher=Bradan Press|isbn=978-0-9950998-0-7|url=https://books.google.com/books?id=cHb0jwEACAAJ&q=the%20scottish%20tattoo%20handbook|access-date=14 January 2017|year=2016|archive-date=13 February 2023|archive-url=https://web.archive.org/web/20230213063230/https://books.google.com/books?id=cHb0jwEACAAJ&q=the%20scottish%20tattoo%20handbook|url-status=live}}</ref>


=== Sports === === Sports ===
{{See also|Native American mascot controversy|List of sports team names and mascots derived from Indigenous peoples}} {{See also|Native American mascot controversy|List of sports team names and mascots derived from indigenous peoples}}


] logo in Maryland]] ] logo in Maryland]]


While the history of colonisation and ] is not unique to the Americas, the practice of non-Native sports teams deriving team names, imagery, and mascots from Indigenous peoples is still common in the United States and Canada and has persisted in some extent despite protests from Indigenous groups. Cornel Pewewardy, Professor and Director of Indigenous Nations Studies at ], cites Indigenous mascots as an example of dysconscious racism which, by placing images of Native American or First Nations people into an invented media context, continues to maintain the superiority of the dominant culture.<ref name="Pewewardy.1999">{{Cite journal| issn = 0710-1481| volume = 23| issue = 2| pages = 176–189| last = Pewewardy| first = Cornel| title = From enemy to mascot: The deculturation of Indian mascots in sports culture| journal = Canadian Journal of Native Education| date = 1999| id = {{ProQuest|230304174}}}}</ref> It is argued that such practices maintain the power relationship between the dominant culture and the Indigenous culture and can be seen as a form of ].<ref>{{Cite journal| issn = 0027-6014| volume = 40| issue = 3| pages = 1–12| last = Longwell-Grice| first = Robert|author2=Hope Longwell-Grice| title = Chiefs, Braves, and Tomahawks: The Use of American Indians as University Mascots| journal = NASPA Journal (National Association of Student Personnel Administrators, Inc.)| year = 2003 | doi=10.2202/0027-6014.1255}}</ref><ref>{{cite journal| last=Riley| first=Angela| title=Straight Stealing: Towards an Indigenous System of Cultural Property Protection| journal=Washington Law Review| volume=80| issue=69| date=2005| ssrn=703283}}</ref> While the history of colonisation and ] is not unique to the Americas, the practice of non-Native sports teams deriving team names, imagery, and mascots from indigenous peoples is still common in the United States and Canada and has persisted in some extent despite protests from indigenous groups. Cornel Pewewardy, Professor and Director of Indigenous Nations Studies at ], cites indigenous mascots as an example of dysconscious racism which, by placing images of Native American or First Nations people into an invented media context, continues to maintain the superiority of the dominant culture.<ref name="Pewewardy.1999">{{Cite journal| issn = 0710-1481| volume = 23| issue = 2| pages = 176–189| last = Pewewardy| first = Cornel| title = From enemy to mascot: The deculturation of Indian mascots in sports culture| journal = Canadian Journal of Native Education| date = 1999| id = {{ProQuest|230304174}}}}</ref> It is argued that such practices maintain the power relationship between the dominant culture and the indigenous culture and can be seen as a form of ].<ref>{{Cite journal| issn = 0027-6014| volume = 40| issue = 3| pages = 1–12| last = Longwell-Grice| first = Robert|author2=Hope Longwell-Grice| title = Chiefs, Braves, and Tomahawks: The Use of American Indians as University Mascots| journal = NASPA Journal (National Association of Student Personnel Administrators, Inc.)| year = 2003 | doi=10.2202/0027-6014.1255}}</ref><ref>{{cite journal| last=Riley| first=Angela| title=Straight Stealing: Towards an Indigenous System of Cultural Property Protection| journal=Washington Law Review| volume=80| issue=69| date=2005| ssrn=703283}}</ref>


Such practices may be seen as particularly harmful in schools and universities that have a stated purpose of promoting ethnic diversity and inclusion.<ref name="usccr">{{cite web |url=http://aistm.org/fr.usccr.htm |title=Statement of the U.S. Commission on Civil Rights on the Use of Native American Images and Nicknames as Sports Symbols |publisher=The United States Commission on Civil Rights |date=13 April 2001 |access-date=13 June 2012 |archive-date=11 February 2012 |archive-url=https://web.archive.org/web/20120211103022/http://aistm.org/fr.usccr.htm |url-status=live }}</ref> In recognition of the responsibility of higher education to eliminate behaviours that create a hostile environment for education, in 2005, the ] initiated ] against "hostile and abusive" names and mascots that led to the change of many derived from Native American culture, with the exception of those that established an agreement with particular tribes for the use of their specific names. Other schools retain their names because they were founded for the education of Native Americans and continue to have a significant number of Indigenous students. The trend towards the elimination of Indigenous names and mascots in local schools has been steady, with two-thirds having been eliminated over the past 50 years, according to the ] (NCAI).<ref name="NCAI">{{cite web|url=http://www.ncai.org/policy-issues/community-and-culture/anti-defamation-mascots|title=Anti-Defamation and Mascots|publisher=National Congress of American Indians|access-date=12 January 2013|archive-date=16 January 2013|archive-url=https://web.archive.org/web/20130116122338/http://www.ncai.org/policy-issues/community-and-culture/anti-defamation-mascots|url-status=live}}</ref> Such practices may be seen as particularly harmful in schools and universities that have a stated purpose of promoting ethnic diversity and inclusion.<ref name="usccr">{{cite web |url=http://aistm.org/fr.usccr.htm |title=Statement of the U.S. Commission on Civil Rights on the Use of Native American Images and Nicknames as Sports Symbols |publisher=The United States Commission on Civil Rights |date=13 April 2001 |access-date=13 June 2012 |archive-date=11 February 2012 |archive-url=https://web.archive.org/web/20120211103022/http://aistm.org/fr.usccr.htm |url-status=live }}</ref> In recognition of the responsibility of higher education to eliminate behaviours that create a hostile environment for education, in 2005, the ] initiated ] against "hostile and abusive" names and mascots that led to the change of many derived from Native American culture, with the exception of those that established an agreement with particular tribes for the use of their specific names. Other schools retain their names because they were founded for the education of Native Americans and continue to have a significant number of indigenous students. The trend towards the elimination of indigenous names and mascots in local schools has been steady, with two-thirds having been eliminated over the past 50 years, according to the ] (NCAI).<ref name="NCAI">{{cite web|url=http://www.ncai.org/policy-issues/community-and-culture/anti-defamation-mascots|title=Anti-Defamation and Mascots|publisher=National Congress of American Indians|access-date=12 January 2013|archive-date=16 January 2013|archive-url=https://web.archive.org/web/20130116122338/http://www.ncai.org/policy-issues/community-and-culture/anti-defamation-mascots|url-status=live}}</ref>


In contrast, the ], in what the '']'' called an unusual move, approved of the ] use of their historical leader, ], and his ] horse as the mascots ].<ref name="NPR.Seminole">{{cite web|url=https://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line|title=Osceola At The 50-Yard Line|last=Lyden|first=Jacki|access-date=6 December 2015|date=28 November 2015|work=NPR.org|archive-date=3 December 2015|archive-url=https://web.archive.org/web/20151203103815/http://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line|url-status=live}}</ref><ref name="WaPo.Seminole">{{cite news|url=https://www.washingtonpost.com/sports/colleges/florida-states-unusual-bond-with-seminole-tribe-puts-mascot-debate-in-a-different-light/2014/12/29/5386841a-8eea-11e4-ba53-a477d66580ed_story.html|title=Florida State's Unusual Bond with Seminole Tribe Puts Mascot Debate in a Different Light|last=Culpepper|first=Chuck|access-date=6 December 2015|date=29 December 2014|newspaper=The Washington Post|archive-date=24 November 2015|archive-url=https://web.archive.org/web/20151124142105/https://www.washingtonpost.com/sports/colleges/florida-states-unusual-bond-with-seminole-tribe-puts-mascot-debate-in-a-different-light/2014/12/29/5386841a-8eea-11e4-ba53-a477d66580ed_story.html|url-status=live}}</ref> After the NCAA attempted to ban the use of Native American names and iconography in college sports in 2005, the ] passed a resolution offering explicit support for FSU's depiction of aspects of Florida Seminole culture and Osceola as a mascot. The university was granted a waiver, citing the close relationship with, and ongoing consultation between, the team and the Florida tribe.<ref name="WaPo.Seminole" /> In 2013, the tribe's chairman objected to outsiders meddling in tribal approval, stating that the FSU mascot and use of Florida State Seminole iconography "represents the courage of the people who were here and are still here, known as the Unconquered Seminoles".<ref>{{cite web|url=http://seminoletribune.org/like-the-old-florida-flag-let-us-alone/|work=The Seminole Tribune|last=Billie|first=James E.|title=Like the old Florida flag: 'Let us alone!'|access-date=6 December 2015|date=24 October 2013|archive-date=11 January 2016|archive-url=https://web.archive.org/web/20160111133158/http://seminoletribune.org/like-the-old-florida-flag-let-us-alone/|url-status=live}}</ref> Conversely, in 2013, the ] expressed disapproval of "the use of all American Indian sports-team mascots in the public school system, by college and university level and by professional sports teams". Additionally, not all members of the Florida State Seminoles are supportive of the stance taken by their leadership on this issue.<ref name="NPR.Seminole" /><ref name="WaPo.Seminole" /> In contrast, the ], in what the '']'' called an unusual move, approved of the ] use of their historical leader, ], and his ] horse as the mascots ].<ref name="NPR.Seminole">{{cite web|url=https://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line|title=Osceola At The 50-Yard Line|last=Lyden|first=Jacki|access-date=6 December 2015|date=28 November 2015|work=NPR.org|archive-date=3 December 2015|archive-url=https://web.archive.org/web/20151203103815/http://www.npr.org/sections/codeswitch/2015/11/28/456786680/osceola-at-the-50-yard-line|url-status=live}}</ref><ref name="WaPo.Seminole">{{cite news|url=https://www.washingtonpost.com/sports/colleges/florida-states-unusual-bond-with-seminole-tribe-puts-mascot-debate-in-a-different-light/2014/12/29/5386841a-8eea-11e4-ba53-a477d66580ed_story.html|title=Florida State's Unusual Bond with Seminole Tribe Puts Mascot Debate in a Different Light|last=Culpepper|first=Chuck|access-date=6 December 2015|date=29 December 2014|newspaper=The Washington Post|archive-date=24 November 2015|archive-url=https://web.archive.org/web/20151124142105/https://www.washingtonpost.com/sports/colleges/florida-states-unusual-bond-with-seminole-tribe-puts-mascot-debate-in-a-different-light/2014/12/29/5386841a-8eea-11e4-ba53-a477d66580ed_story.html|url-status=live}}</ref> After the NCAA attempted to ban the use of Native American names and iconography in college sports in 2005, the ] passed a resolution offering explicit support for FSU's depiction of aspects of Florida Seminole culture and Osceola as a mascot. The university was granted a waiver, citing the close relationship with, and ongoing consultation between, the team and the Florida tribe.<ref name="WaPo.Seminole" /> In 2013, the tribe's chairman objected to outsiders meddling in tribal approval, stating that the FSU mascot and use of Florida State Seminole iconography "represents the courage of the people who were here and are still here, known as the Unconquered Seminoles".<ref>{{cite web|url=http://seminoletribune.org/like-the-old-florida-flag-let-us-alone/|work=The Seminole Tribune|last=Billie|first=James E.|title=Like the old Florida flag: 'Let us alone!'|access-date=6 December 2015|date=24 October 2013|archive-date=11 January 2016|archive-url=https://web.archive.org/web/20160111133158/http://seminoletribune.org/like-the-old-florida-flag-let-us-alone/|url-status=live}}</ref> Conversely, in 2013, the ] expressed disapproval of "the use of all American Indian sports-team mascots in the public school system, by college and university level and by professional sports teams".<ref name="NPR.Seminole" /><ref name="WaPo.Seminole" />


=== Music ===
In other former colonies in Asia, Africa, and South America, the adoption of Indigenous names for majority Indigenous teams is also found. There are also ethnically related team names derived from prominent immigrant populations in the area, such as the ], the ], and the ].
The history of jazz and improvisational music has been one of many misconstrued details. Many scholars argue that jazz music is rooted in African American culture, specifically the practice of "], or improvisational singing. Scholar George E. Lewis highlights the major differences between "Afrological" and "Eurological" perceptions of music, the former being more concerned with conveying personal expression and community experiences while the latter is more focused on adherence to a typical musical structure. This "Eurological" perception of music, Lewis argues, often leads to the simplifying of black improvisational music, labeling it as "folk" or "pop" music, while the title of "high art" is saved for European forms of classical music. This distinction highlights a pattern of cultural appropriation, one in which a form of African American music, such as jazz, is borrowed, and commodified by artists from outside communities, sometimes obscuring the original context and cultural signifigance. <ref>{{Cite journal |last=Lewis |first=George E. |date=Spring 1996 |title=Improvised Music after 1950: Afrological and Eurological Perspectives |url=http://www.jstor.org/stable/779379 |journal=Black Music Research Journal |volume=16 |issue=1 |pages=91–122 |doi=10.2307/779379 |jstor=779379 }}</ref>


=== African American culture ===
The phenomenon of white people adopting elements of black culture has been prevalent, at least since ] was ] in the ]. The concept has been documented in the United States, Canada, the United Kingdom, Australia, and other white-majority countries. An early form of this was the ''white negro'' in the ] and ] scenes of the 1920s and 1930s, as examined in the 1957 ] essay "]". It was later seen in the ]er of the 1930s and 1940s, the ] of the 1940s, the ] of the 1950s–1960s, the ] of the 1970s, and the hip hop of the 1980s and 1990s. In 1993, an article in the UK newspaper '']'' described the phenomenon of white, middle-class kids who were "wannabe Blacks".<ref>{{cite web|url=https://www.independent.co.uk/news/world/wiggers-just-wannabe-black-white-middleclass-kids-are-adopting-black-street-style-and-chilling-out-to-rap-music-david-usborne-reports-from-washington-1462591.html|title=Wiggers just wannabe black: White middle-class kids are adopting black street style and chilling out to rap music.|date=22 August 1993|publisher=Independent.co.uk|access-date=1 July 2015|archive-date=25 September 2015|archive-url=https://web.archive.org/web/20150925195255/http://www.independent.co.uk/news/world/wiggers-just-wannabe-black-white-middleclass-kids-are-adopting-black-street-style-and-chilling-out-to-rap-music-david-usborne-reports-from-washington-1462591.html|url-status=live}}</ref> The year 2005 saw the publication of ''Why White Kids Love Hip Hop: Wangstas, Wiggers, Wannabes, and the New Reality of Race in America'' by Bakari Kitwana, "a culture critic who's been tracking American hip hop for years".<ref>{{cite web |last=Kitwana |first=Bakari |url=https://www.npr.org/templates/story/story.php?storyId=4773208 |title=Why White Kids Love Hip Hop |website=NPR.org |access-date=1 July 2015 |archive-date=30 July 2015 |archive-url=https://web.archive.org/web/20150730032451/http://www.npr.org/templates/story/story.php?storyId=4773208 |url-status=live }}</ref> The phenomenon of white people adopting elements of black culture has been prevalent, at least since ] was ] in the ]. The concept has been documented in the United States, Canada, the United Kingdom, Australia, and other white-majority countries. An early form of this was the ''white negro'' in the ] and ] scenes of the 1920s and 1930s, as examined in the 1957 ] essay "]". It was later seen in the ]er of the 1930s and 1940s, the ] of the 1940s, the ] of the 1950s–1960s, the ] of the 1970s, and the hip hop of the 1980s and 1990s. In 1993, an article in the UK newspaper '']'' described the phenomenon of white, middle-class kids who were "wannabe Blacks".<ref>{{cite web|url=https://www.independent.co.uk/news/world/wiggers-just-wannabe-black-white-middleclass-kids-are-adopting-black-street-style-and-chilling-out-to-rap-music-david-usborne-reports-from-washington-1462591.html|title=Wiggers just wannabe black: White middle-class kids are adopting black street style and chilling out to rap music.|date=22 August 1993|publisher=Independent.co.uk|access-date=1 July 2015|archive-date=25 September 2015|archive-url=https://web.archive.org/web/20150925195255/http://www.independent.co.uk/news/world/wiggers-just-wannabe-black-white-middleclass-kids-are-adopting-black-street-style-and-chilling-out-to-rap-music-david-usborne-reports-from-washington-1462591.html|url-status=live}}</ref> The year 2005 saw the publication of ''Why White Kids Love Hip Hop: Wangstas, Wiggers, Wannabes, and the New Reality of Race in America'' by Bakari Kitwana, "a culture critic who's been tracking American hip hop for years".<ref>{{cite web |last=Kitwana |first=Bakari |url=https://www.npr.org/templates/story/story.php?storyId=4773208 |title=Why White Kids Love Hip Hop |website=NPR.org |access-date=1 July 2015 |archive-date=30 July 2015 |archive-url=https://web.archive.org/web/20150730032451/http://www.npr.org/templates/story/story.php?storyId=4773208 |url-status=live }}</ref>


=== African American culture ===
The term '']'' (common spelling "wigga") is a slang term for a white person who adopts the mannerisms, ], and ] associated with ], particularly ], and, in Britain, the ] scene, often implying the imitation is being done badly, although usually with sincerity rather than mocking intent.<ref>Bernstein, Nell: ''Signs of Life in the USA: Readings on Popular Culture for Writers'', 5th ed. 607</ref><ref>{{cite web |url=http://www.dictionary.reference.com/browse/wigger |title=Wigger |publisher=Dictionary.reference.com |access-date=1 July 2015 |archive-date=2 July 2015 |archive-url=https://web.archive.org/web/20150702030505/http://dictionary.reference.com/browse/wigger |url-status=live }}</ref><ref>{{cite web |url=http://www.thefreedictionary.com/wigger |title=wigger – definition of wigger by The Free Dictionary |publisher=Thefreedictionary.com |access-date=1 July 2015 |archive-date=5 May 2015 |archive-url=https://web.archive.org/web/20150505062634/http://www.thefreedictionary.com/wigger |url-status=live }}</ref> Wigger is a ] of ''white'' and '']'' or ''],'' and the related term wangsta is a mashup of ''wannabe'' or ''white'' and '']''. Among black hip-hop fans, the word "nigga" can sometimes be considered part of a friendly greeting, but when used by non-black ] and, especially, when used by ] it is usually viewed as offensive.<ref>{{cite web|url=http://www.metroactive.com/papers/metro/04.09.98/cover/nigger-9814.html|title=Metroactive News & Issues – The Word 'Nigger'|website=www.metroactive.com|access-date=27 June 2017|archive-date=25 February 1999|archive-url=https://web.archive.org/web/19990225085338/http://www.metroactive.com/papers/metro/04.09.98/cover/nigger-9814.html|url-status=live}}</ref> Wigger may be derogatory, reflecting stereotypes of African American, ], and white culture (when used as a synonym for ]). The term may be used by white people to belittle those perceived as acting black and by black people to belittle those perceived as mocking black culture.<ref>{{cite book|url=https://books.google.com/books?id=1xmmNfoefAAC&pg=PA113|title=Why White Kids Love Hip Hop: Wankstas, Wiggers, Wannabes, and the New Reality of Race in America|first=Bakari|last=Kitwana|date=30 May 2006|publisher=Basic Books|access-date=27 June 2017|via=Google Books|isbn=978-0-465-03747-6}}{{Dead link|date=March 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

Robert A. Clift's documentary ''Blacking Up: Hip-Hop's Remix of Race and Identity'' questions white enthusiasts of black hip-hop culture. Clift's documentary examines "racial and cultural ownership and authenticity{{snds}}a path that begins with the stolen blackness seen in the success of ], ], ], ], the ]{{snds}} up to ] ... and ]".<ref name="WaPo">Hank Stuever, , '']'', 30 January 2010</ref> A review of the documentary refers to the wiggers as "white ]s", and states that the term ''wigger'' "is used both proudly and derisively to describe white enthusiasts of black hip-hop culture".<ref name="WaPo" /> Robert A. Clift's documentary ''Blacking Up: Hip-Hop's Remix of Race and Identity'' questions white enthusiasts of black hip-hop culture. Clift's documentary examines "racial and cultural ownership and authenticity{{snds}}a path that begins with the stolen blackness seen in the success of ], ], ], ], the ]{{snds}} up to ] ... and ]".<ref name="WaPo">Hank Stuever, , '']'', 30 January 2010</ref> A review of the documentary refers to the wiggers as "white ]s", and states that the term ''wigger'' "is used both proudly and derisively to describe white enthusiasts of black hip-hop culture".<ref name="WaPo" />


{{anchor|Blackfishing}}The term "blackfishing" was popularised in 2018 by writer Wanna Thompson, describing female white social media ] who adopt a look perceived to be associated with black people, including braided hair, dark skin from tanning or make-up, full lips, and large thighs. Critics argue they take attention and opportunities from black influencers by appropriating their aesthetics and have likened the trend to ].<ref>{{cite news|url=https://www.bbc.co.uk/news/newsbeat-46427180|title=Blackfishing: The women accused of pretending to be black|first1=Kameron|last1=Virk|first2=Nesta|last2=McGregor|work=Newsbeat|publisher=BBC News|date=5 December 2018|access-date=5 December 2018|archive-date=6 December 2018|archive-url=https://web.archive.org/web/20181206013236/https://www.bbc.co.uk/news/newsbeat-46427180|url-status=live}}</ref><ref>{{cite news|url=https://www.buzzfeednews.com/article/tanyachen/white-instagram-teen-emma-hallberg-accused-of-performing-as|title=A White Teen Is Denying She Is "Posing" As A Black Woman On Instagram After Followers Said They Felt Duped|last=Chen|first=Tanya|work=BuzzFeed News|date=13 November 2018|access-date=5 December 2018|archive-date=6 December 2018|archive-url=https://web.archive.org/web/20181206102227/https://www.buzzfeednews.com/article/tanyachen/white-instagram-teen-emma-hallberg-accused-of-performing-as|url-status=live}}</ref><ref>{{cite news|url=https://www.teenvogue.com/story/blackfish-niggerfish-white-influencers-using-makeup-to-appear-black/|title=Some White Influencers Are Being Accused of "Blackfishing", or Using Makeup to Appear Black|last=Rasool|first=Amira|work=Teen Vogue|date=16 November 2018|access-date=5 December 2018|archive-date=6 December 2018|archive-url=https://web.archive.org/web/20181206145637/https://www.teenvogue.com/story/blackfish-niggerfish-white-influencers-using-makeup-to-appear-black|url-status=live}}</ref> Florida State University's Alisha Gaines, author of ''Black for a Day: Fantasies of Race and Empathy'', said blackfishing allowed non-Black people to appropriate what is commonly considered "cool" about Blackness while still avoiding the negative consequences, such as "racism and state violence".<ref name=":3">{{cite web|last=Washington-Harmon|first=Taylyn|date=17 August 2020|title=What Is Blackfishing and Why Would Anyone Do It?|url=https://www.health.com/mind-body/what-is-blackfishing|url-status=live|access-date=2021-07-18|website=]|language=en|archive-url=https://web.archive.org/web/20200821212303/https://www.health.com/mind-body/what-is-blackfishing |archive-date=2020-08-21}}</ref> According to '']'', it is an "inverse form" of ].<ref name=":3" /> {{anchor|Blackfishing}}The term "blackfishing" was popularised in 2018 by writer Wanna Thompson, describing female white social media ] who adopt a look perceived to be associated with black people, including braided hair, dark skin from tanning or make-up, full lips, and large thighs. Critics argue they take attention and opportunities from black influencers by appropriating their aesthetics and have likened the trend to ].<ref>{{cite news|url=https://www.bbc.co.uk/news/newsbeat-46427180|title=Blackfishing: The women accused of pretending to be black|first1=Kameron|last1=Virk|first2=Nesta|last2=McGregor|work=Newsbeat|publisher=BBC News|date=5 December 2018|access-date=5 December 2018|archive-date=6 December 2018|archive-url=https://web.archive.org/web/20181206013236/https://www.bbc.co.uk/news/newsbeat-46427180|url-status=live}}</ref><ref>{{cite news|url=https://www.buzzfeednews.com/article/tanyachen/white-instagram-teen-emma-hallberg-accused-of-performing-as|title=A White Teen Is Denying She Is "Posing" As A Black Woman On Instagram After Followers Said They Felt Duped|last=Chen|first=Tanya|work=BuzzFeed News|date=13 November 2018|access-date=5 December 2018|archive-date=6 December 2018|archive-url=https://web.archive.org/web/20181206102227/https://www.buzzfeednews.com/article/tanyachen/white-instagram-teen-emma-hallberg-accused-of-performing-as|url-status=live}}</ref><ref>{{cite news|url=https://www.teenvogue.com/story/blackfish-niggerfish-white-influencers-using-makeup-to-appear-black/|title=Some White Influencers Are Being Accused of "Blackfishing", or Using Makeup to Appear Black|last=Rasool|first=Amira|work=Teen Vogue|date=16 November 2018|access-date=5 December 2018|archive-date=6 December 2018|archive-url=https://web.archive.org/web/20181206145637/https://www.teenvogue.com/story/blackfish-niggerfish-white-influencers-using-makeup-to-appear-black|url-status=live}}</ref> Florida State University's Alisha Gaines, author of ''Black for a Day: Fantasies of Race and Empathy'', said blackfishing allowed non-Black people to appropriate what is commonly considered "cool" about Blackness while still avoiding the negative consequences, such as "racism and state violence".<ref name=":3">{{cite web|last=Washington-Harmon|first=Taylyn|date=17 August 2020|title=What Is Blackfishing and Why Would Anyone Do It?|url=https://www.health.com/mind-body/what-is-blackfishing|url-status=live|access-date=2021-07-18|website=]|language=en|archive-url=https://web.archive.org/web/20200821212303/https://www.health.com/mind-body/what-is-blackfishing |archive-date=2020-08-21}}</ref> According to '']'', it is an "inverse form" of ].<ref name=":3" />


]Additionally, African Americans have been accused of cultural appropriation by people from Africa. This has been disputed, as members of the diaspora have claimed a link to Africa, but those from Africa have disputed it.<ref>{{Cite web|url = https://www.aaihs.org/between-diasporic-consciousness-and-cultural-appropriation/|title = Between Diasporic Consciousness and Cultural Appropriation|date = 3 October 2015|access-date = 26 July 2021|archive-date = 26 July 2021|archive-url = https://web.archive.org/web/20210726193340/https://www.aaihs.org/between-diasporic-consciousness-and-cultural-appropriation/|url-status = live}}</ref>
]
The widespread use of the term '']'' among white people has been highlighted as problematic{{citation needed|date=January 2024}} since it originates in ]. Although woke adherents would advocate vigilance against cultural appropriation, white people using the term may paradoxically be considered to be adopting an element of ] inappropriately.<ref>{{cite web |last1=Brownlee |first1=Dana |title=Exhibit A Bill Maher: Why White People Should Stop Using The Term 'Woke'…Immediately |url=https://www.forbes.com/sites/danabrownlee/2021/04/19/why-white-people-should-stop-using-the-term-wokeimmediately/?sh=58206dbc7779 |website=Forbes |access-date=28 July 2023 |language=en}}</ref>

African Americans have been accused of cultural appropriation by people from Africa. This has been disputed, as members of the diaspora have claimed a link to Africa, but those from Africa have disputed it.<ref>{{Cite web|url = https://www.aaihs.org/between-diasporic-consciousness-and-cultural-appropriation/|title = Between Diasporic Consciousness and Cultural Appropriation|date = 3 October 2015|access-date = 26 July 2021|archive-date = 26 July 2021|archive-url = https://web.archive.org/web/20210726193340/https://www.aaihs.org/between-diasporic-consciousness-and-cultural-appropriation/|url-status = live}}</ref>


=== Martial arts === === Martial arts ===
In China, there is longstanding resentment of the Japanese schools of karate for stealing, imitating, and claiming credit for the forms of ].<ref>{{Cite web|url=https://sunypress.edu/content/download/451735/5494658/version/1/file/9780791469910_imported2_excerpt.pdf|title=Kung fu and Japanese imperialism|access-date=2022-06-19|archive-date=2022-06-14|archive-url=https://web.archive.org/web/20220614232803/https://sunypress.edu/content/download/451735/5494658/version/1/file/9780791469910_imported2_excerpt.pdf|url-status=live}}</ref> Before the 1970s, most ] disapproved of teaching kung fu to non-Chinese students.<ref>Wing Chun Bil Jee, by William Cheung, 1983</ref> In the mid-20th century, Japanese ] was itself appropriated by American soldiers.<ref>{{Cite web|url=https://www.researchgate.net/publication/250959928|title=the Feet of the Master: Three Stages in the Appropriation of Okinawan Karate Into Anglo-American Culture|access-date=2022-06-19|archive-date=2022-06-19|archive-url=https://web.archive.org/web/20220619122422/https://www.researchgate.net/publication/250959928_the_Feet_of_the_Master_Three_Stages_in_the_Appropriation_of_Okinawan_Karate_Into_Anglo-American_Culture|url-status=live}}</ref> As ] gained popularity in the 21st century, practitioners have appropriated and combined Chinese, Japanese and ] techniques with Western-style boxing, wrestling, and kickboxing.<ref>{{Cite web|url=https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1038&context=jca|title=Japanisation of Karate|access-date=2022-06-19|archive-date=2021-06-21|archive-url=https://web.archive.org/web/20210621103950/https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1038&context=jca|url-status=live}}</ref> In China, there is longstanding resentment of the Japanese schools of karate for stealing, imitating, and claiming credit for the forms of ].<ref>{{Cite web|url=https://sunypress.edu/content/download/451735/5494658/version/1/file/9780791469910_imported2_excerpt.pdf|title=Kung fu and Japanese imperialism|access-date=2022-06-19|archive-date=2022-06-14|archive-url=https://web.archive.org/web/20220614232803/https://sunypress.edu/content/download/451735/5494658/version/1/file/9780791469910_imported2_excerpt.pdf|url-status=live}}</ref> Before the 1970s, most ] disapproved of teaching kung fu to non-Chinese students.<ref>Wing Chun Bil Jee, by William Cheung, 1983</ref> In the mid-20th century, Japanese ] was itself appropriated by American soldiers.<ref>{{Cite web|url=https://www.researchgate.net/publication/250959928|title=the Feet of the Master: Three Stages in the Appropriation of Okinawan Karate Into Anglo-American Culture|access-date=2022-06-19|archive-date=2022-06-19|archive-url=https://web.archive.org/web/20220619122422/https://www.researchgate.net/publication/250959928_the_Feet_of_the_Master_Three_Stages_in_the_Appropriation_of_Okinawan_Karate_Into_Anglo-American_Culture|url-status=live}}</ref> As ] gained popularity in the 21st century, practitioners have appropriated and combined Chinese, Japanese and ] techniques with Western-style boxing, wrestling, and kickboxing.<ref>{{Cite web|url=https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1038&context=jca|title=Japanisation of Karate|access-date=2022-06-19|archive-date=2021-06-21|archive-url=https://web.archive.org/web/20210621103950/https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1038&context=jca|url-status=live}}</ref>

Some authors have expressed the opinion, that in many cases, the study of martial arts by members of other countries and nationalities is not a form of negative 'appropriation', but rather that of appreciation.<ref>{{cite book|last=Frantzis|first=Bruce|author-link=Bruce Frantzis|year=2007|title=The Power of Internal Martial Arts and Chi: Combat and Energy Secrets of Ba Gua, Tai Chi and Hsing-I|publisher=Blue Snake Books |isbn=978-1583941904}}</ref><ref>{{cite book|last=Bluestein|first=Jonathan|year=2024|title=Martial Arts Politics Explained|publisher=Amazon Digital Services LLC - Kdp |isbn=979-8335564984}}</ref> In Okinawa for example, unlike in China, the locals considered the Chinese origins of Karate to be an honorable thing to mention, and not a form of cultural theft.<ref>{{cite book|last=Higaonna|first=Morio|author-link=Morio Higaonna|year=1998|title=The History of Karate: Okinawan Goju-Ryu|isbn=978-4900586756}}</ref><ref>{{cite book|last=Cohen|first=Itzik|year=2017|title=Karate Uchina-Di: Okinawan Karate: An Exploration of its Origins and Evolution|publisher=CreateSpace Independent Publishing Platform |isbn=978-1543256932}}</ref><ref>{{cite book|last=McCarthy|first=Patrick|year=2018|title=Legend of the Fist|publisher=CreateSpace Independent Publishing Platform |isbn=978-1985006768}}</ref>


During the 2023 Southeast Asian (SEA) Games in Cambodia, a controversy emerged when Cambodian martial arts competitions adopted Muay Thai rules, leading to allegations of cultural appropriation. Critics argued that this disrespected Thai cultural heritage and overshadowed Cambodian martial arts like Bokator. intervened, threatening fines and bans for countries participating in the Kun Khmer events under these rules. This prompted Thailand to boycott the SEA Games, further straining relations between the two countries.<ref>https://www.yahoo.com/news/muay-thai-kun-khmer-cambodia-thailand-2023-sea-games-134700933.html {{Bare URL inline|date=August 2024}}</ref><ref>{{cite web | url=https://www.nationthailand.com/life/40024598 | title=Energy Ministry closely monitoring electricity costs | date=3 February 2023 }}</ref><ref>https://asianmma.com/sea-games-told-to-choose-either-muay-thai-or-kun-khmer/ {{Bare URL inline|date=August 2024}}</ref> During the 2023 Southeast Asian (SEA) Games in Cambodia, a controversy emerged when Cambodian martial arts competitions adopted Muay Thai rules, leading to allegations of cultural appropriation. Critics argued that this disrespected Thai cultural heritage and overshadowed Cambodian martial arts like Bokator. intervened, threatening fines and bans for countries participating in the Kun Khmer events under these rules. This prompted Thailand to boycott the SEA Games, further straining relations between the two countries.<ref>https://www.yahoo.com/news/muay-thai-kun-khmer-cambodia-thailand-2023-sea-games-134700933.html {{Bare URL inline|date=August 2024}}</ref><ref>{{cite web | url=https://www.nationthailand.com/life/40024598 | title=Energy Ministry closely monitoring electricity costs | date=3 February 2023 }}</ref><ref>https://asianmma.com/sea-games-told-to-choose-either-muay-thai-or-kun-khmer/ {{Bare URL inline|date=August 2024}}</ref>
Line 163: Line 158:
In 2017, '']'', which is based on the ] '']'' by ], provoked disputes over whitewashing. ], a white actress, took the role of ], a Japanese character.<ref name="auto1">{{cite web|title=Sunday Talk: The panel discusses whitewashing in film and television|url=http://www.cbc.ca/news/thenational/whitewashing-in-film-and-television-sunday-talk-1.4042146|publisher=Canadian Broadcasting Corporation|access-date=30 March 2018|archive-date=30 March 2017|archive-url=https://web.archive.org/web/20170330005958/http://www.cbc.ca/news/thenational/whitewashing-in-film-and-television-sunday-talk-1.4042146|url-status=live}}</ref> This was seen as cultural appropriation by some Western fans of the original manga who expected the role to be taken by an Asian or Asian-American actor.<ref name="auto1" /> However, Japanese fans' reactions ranged from neutral to warm feelings about Scarlett Johansson starring in the film, with some fans expressing the sentiment that it would be better to have an actress with no ties to Asia play the character than to have a non-Japanese Asian pretend to be Japanese.<ref>{{cite web |last1=Blair |first1=Gavin J |title=Japanese Fans React to 'Ghost in the Shell' |url=https://www.hollywoodreporter.com/movies/movie-news/japanese-fans-react-ghost-shell-992255/ |website=Hollywood Reporter |date=April 8, 2017 |access-date=20 October 2021 |archive-date=20 October 2021 |archive-url=https://web.archive.org/web/20211020075205/https://www.hollywoodreporter.com/movies/movie-news/japanese-fans-react-ghost-shell-992255/ |url-status=live}}</ref> In 2017, '']'', which is based on the ] '']'' by ], provoked disputes over whitewashing. ], a white actress, took the role of ], a Japanese character.<ref name="auto1">{{cite web|title=Sunday Talk: The panel discusses whitewashing in film and television|url=http://www.cbc.ca/news/thenational/whitewashing-in-film-and-television-sunday-talk-1.4042146|publisher=Canadian Broadcasting Corporation|access-date=30 March 2018|archive-date=30 March 2017|archive-url=https://web.archive.org/web/20170330005958/http://www.cbc.ca/news/thenational/whitewashing-in-film-and-television-sunday-talk-1.4042146|url-status=live}}</ref> This was seen as cultural appropriation by some Western fans of the original manga who expected the role to be taken by an Asian or Asian-American actor.<ref name="auto1" /> However, Japanese fans' reactions ranged from neutral to warm feelings about Scarlett Johansson starring in the film, with some fans expressing the sentiment that it would be better to have an actress with no ties to Asia play the character than to have a non-Japanese Asian pretend to be Japanese.<ref>{{cite web |last1=Blair |first1=Gavin J |title=Japanese Fans React to 'Ghost in the Shell' |url=https://www.hollywoodreporter.com/movies/movie-news/japanese-fans-react-ghost-shell-992255/ |website=Hollywood Reporter |date=April 8, 2017 |access-date=20 October 2021 |archive-date=20 October 2021 |archive-url=https://web.archive.org/web/20211020075205/https://www.hollywoodreporter.com/movies/movie-news/japanese-fans-react-ghost-shell-992255/ |url-status=live}}</ref>


People in the transgender community have protested against the casting of ], ] actors in trans acting roles, such as when ] played the role of artist Lili Elbe in the film '']'' and when ] played the role of a trans woman named Rayon in '']''.<ref name="Caruso">{{cite web |url=https://acculturated.com/hollywood-guilty-cultural-appropriation-casting/ |title=Is Hollywood Guilty of Cultural Appropriation in its Casting? |last=Caruso |first=Jay |date=24 May 2018 |website=acculturated.com |publisher=Acculturated |access-date=21 July 2018 |archive-url=https://web.archive.org/web/20180721162536/https://acculturated.com/hollywood-guilty-cultural-appropriation-casting/ |archive-date=21 July 2018 |url-status=dead }}</ref> Some in the gay community have expressed concerns about the use of straight actors to play gay characters; this occurs in films such as '']'' (straight actors ] and ]), '']'' (] and ]), '']'' (]), '']'' (]) and '']'' (with ] playing the role of the real-life gay rights activist, ]).<ref>{{cite web |url=https://www.them.us/story/call-me-by-your-name-gay-for-pay-oscar-bait |title=Latest Gay-for-Pay Oscar Bait: Dear Hollywood, Let queer people tell our own damn stories. |last=Kirst |first=Seamus |date=6 December 2017 |website=www.them.us |publisher=Them |quote=One need not look far to see that Hollywood often fails to provide both representation of, and employment to, members of marginalized communities. Movements like #OscarsSoWhite, and continued pushback against cisgender actors playing trans roles, have been increasingly covered in media the past few years. Yet the Gay for Pay Problem has not had the same attention, at least in the recent past, as other ways that Hollywood is willing to tell stories from marginalized groups without hiring marginalized people |access-date=21 July 2018 |archive-date=16 January 2021 |archive-url=https://web.archive.org/web/20210116062217/https://www.them.us/story/call-me-by-your-name-gay-for-pay-oscar-bait |url-status=live }}</ref> In the other direction, gay actors playing straight roles, Andrew Haigh, the writer-director, said, "You rarely see a gay actor applauded for playing straight".<ref>{{Cite web|url=https://www.theguardian.com/stage/2019/jan/14/gay-roles-actors-assassination-gianni-versace-bohemian-rhapsody|title=Playing it straight: Should gay roles be reserved for gay actors?|website=]|date=14 January 2019|access-date=13 November 2020|archive-date=12 November 2020|archive-url=https://web.archive.org/web/20201112012246/https://www.theguardian.com/stage/2019/jan/14/gay-roles-actors-assassination-gianni-versace-bohemian-rhapsody|url-status=live}}</ref> Jay Caruso calls these controversies "wholly manufactured" on the grounds that the actors "are playing a role" using the "art of acting".<ref name="Caruso" /> People in the transgender community have protested against the casting of ], ] actors in trans acting roles, such as when ] played the role of artist Lili Elbe in the film '']'' and when ] played the role of a trans woman named Rayon in '']''.<ref name="Caruso">{{cite web |url=https://acculturated.com/hollywood-guilty-cultural-appropriation-casting/ |title=Is Hollywood Guilty of Cultural Appropriation in its Casting? |last=Caruso |first=Jay |date=24 May 2018 |website=acculturated.com |publisher=Acculturated |access-date=21 July 2018 |archive-url=https://web.archive.org/web/20180721162536/https://acculturated.com/hollywood-guilty-cultural-appropriation-casting/ |archive-date=21 July 2018 |url-status=usurped }}</ref> Some in the gay community have expressed concerns about the use of straight actors to play gay characters; this occurs in films such as '']'' (straight actors ] and ]), '']'' (] and ]), '']'' (]), '']'' (]) and '']'' (with ] playing the role of the real-life gay rights activist, ]).<ref>{{cite web |url=https://www.them.us/story/call-me-by-your-name-gay-for-pay-oscar-bait |title=Latest Gay-for-Pay Oscar Bait: Dear Hollywood, Let queer people tell our own damn stories. |last=Kirst |first=Seamus |date=6 December 2017 |website=www.them.us |publisher=Them |quote=One need not look far to see that Hollywood often fails to provide both representation of, and employment to, members of marginalized communities. Movements like #OscarsSoWhite, and continued pushback against cisgender actors playing trans roles, have been increasingly covered in media the past few years. Yet the Gay for Pay Problem has not had the same attention, at least in the recent past, as other ways that Hollywood is willing to tell stories from marginalized groups without hiring marginalized people |access-date=21 July 2018 |archive-date=16 January 2021 |archive-url=https://web.archive.org/web/20210116062217/https://www.them.us/story/call-me-by-your-name-gay-for-pay-oscar-bait |url-status=live }}</ref> In the other direction, gay actors playing straight roles, Andrew Haigh, the writer-director, said, "You rarely see a gay actor applauded for playing straight".<ref>{{Cite web|url=https://www.theguardian.com/stage/2019/jan/14/gay-roles-actors-assassination-gianni-versace-bohemian-rhapsody|title=Playing it straight: Should gay roles be reserved for gay actors?|website=]|date=14 January 2019|access-date=13 November 2020|archive-date=12 November 2020|archive-url=https://web.archive.org/web/20201112012246/https://www.theguardian.com/stage/2019/jan/14/gay-roles-actors-assassination-gianni-versace-bohemian-rhapsody|url-status=live}}</ref> Jay Caruso calls these controversies "wholly manufactured" on the grounds that the actors "are playing a role" using the "art of acting".<ref name="Caruso" />


=== Holidays === === Holidays ===


During ], some people buy, wear, and sell Halloween costumes based on cultural or racial ]s.<ref name="Mueller1">{{Cite journal|title = Unmasking Racism: Halloween Costuming and Engagement of the Racial Other|last = Mueller|first = Jennifer|date = 11 April 2007|journal = Qualitative Sociology|volume = 30|issue = 3|pages = 315–335|doi = 10.1007/s11133-007-9061-1|s2cid = 6826673}}</ref><ref name="Escobar1">Escobar, Samantha (17 October 2014) " {{webarchive |url=https://web.archive.org/web/20160518040502/http://www.thegloss.com/2014/10/17/culture/dear-white-people-review-racist-college-parties-blackface-mexican-stereotypes/ |date=May 18, 2016}}" at ''The Gloss''. Accessed 4 March 2015</ref><ref name=KJohnson /><ref name="AZpbs">{{cite web|url=https://cronkitenews.azpbs.org/|title=Protesters call for end to 'hottie' Native American costumes based on stereotypes|publisher=]|date=25 October 2018|access-date=26 October 2018|archive-date=27 October 2018|archive-url=https://web.archive.org/web/20181027061519/https://cronkitenews.azpbs.org/|url-status=live}}</ref><ref>{{cite web|title=Poster Campaign|url=https://www.ohio.edu/orgs/stars/Poster_Campaign.html|website=Students Teaching About Racism in Society|publisher=Ohio University|access-date=1 December 2015|archive-date=24 December 2015|archive-url=https://web.archive.org/web/20151224205149/https://www.ohio.edu/orgs/stars/Poster_Campaign.html|url-status=live}}</ref><ref>{{cite web|last1=Grinberg|first1=Emanuella|title='We're a culture, not a costume' this Halloween|url=http://www.cnn.com/2011/10/26/living/halloween-ethnic-costumes/|website=www.cnn.com|date=26 October 2011|publisher=CNN|access-date=1 December 2015|archive-date=28 November 2015|archive-url=https://web.archive.org/web/20151128013103/http://www.cnn.com/2011/10/26/living/halloween-ethnic-costumes|url-status=live}}</ref> There have been public protests calling for the end to the manufacture and sales of these costumes and connecting their "degrading" portrayals of Indigenous women to the ] (MMIW) crisis.<ref name="AZpbs" /> In some cases, theme parties have been held where attendees are encouraged to dress up as stereotypes of a certain racial group.<ref name="Mueller1" /><ref name="Escobar1" /> A number of these parties have been held at colleges and at times other than Halloween, including ] and ].<ref name=Mueller1 /><ref name=Escobar1 /> For example, non-Romani people wear ] costumes despite Romani people experiencing everyday racism and stereotypes.<ref>{{cite web |url=https://www.newsweek.com/halloween-costume-roma-gypsy-tropes-1469002 |title=I'm Roma, and your Halloween Gypsy Costume is More Trick Than Treat {{!}} Opinion |website=Newsweek |author=Cristiana Grigore |date=31 October 2019 |access-date=9 September 2021 |archive-date=9 September 2021 |archive-url=https://web.archive.org/web/20210909124734/https://www.newsweek.com/halloween-costume-roma-gypsy-tropes-1469002 |url-status=live}}</ref> During ], some people buy, wear, and sell Halloween costumes based on cultural or racial ]s.<ref name="Mueller1">{{Cite journal|title = Unmasking Racism: Halloween Costuming and Engagement of the Racial Other|last = Mueller|first = Jennifer|date = 11 April 2007|journal = Qualitative Sociology|volume = 30|issue = 3|pages = 315–335|doi = 10.1007/s11133-007-9061-1|s2cid = 6826673}}</ref><ref name="Escobar1">Escobar, Samantha (17 October 2014) " {{webarchive |url=https://web.archive.org/web/20160518040502/http://www.thegloss.com/2014/10/17/culture/dear-white-people-review-racist-college-parties-blackface-mexican-stereotypes/ |date=May 18, 2016}}" at ''The Gloss''. Accessed 4 March 2015</ref><ref name=KJohnson /><ref name="AZpbs">{{cite web|url=https://cronkitenews.azpbs.org/|title=Protesters call for end to 'hottie' Native American costumes based on stereotypes|publisher=]|date=25 October 2018|access-date=26 October 2018|archive-date=27 October 2018|archive-url=https://web.archive.org/web/20181027061519/https://cronkitenews.azpbs.org/|url-status=live}}</ref><ref>{{cite web|title=Poster Campaign|url=https://www.ohio.edu/orgs/stars/Poster_Campaign.html|website=Students Teaching About Racism in Society|publisher=Ohio University|access-date=1 December 2015|archive-date=24 December 2015|archive-url=https://web.archive.org/web/20151224205149/https://www.ohio.edu/orgs/stars/Poster_Campaign.html|url-status=live}}</ref><ref>{{cite web|last1=Grinberg|first1=Emanuella|title='We're a culture, not a costume' this Halloween|url=http://www.cnn.com/2011/10/26/living/halloween-ethnic-costumes/|website=www.cnn.com|date=26 October 2011|publisher=CNN|access-date=1 December 2015|archive-date=28 November 2015|archive-url=https://web.archive.org/web/20151128013103/http://www.cnn.com/2011/10/26/living/halloween-ethnic-costumes|url-status=live}}</ref> There have been public protests calling for the end to the manufacture and sales of these costumes and connecting their "degrading" portrayals of indigenous women to the ] (MMIW) crisis.<ref name="AZpbs" /> In some cases, theme parties have been held where attendees are encouraged to dress up as stereotypes of a certain racial group.<ref name="Mueller1" /><ref name="Escobar1" /> A number of these parties have been held at colleges and at times other than Halloween, including ] and ].<ref name=Mueller1 /><ref name=Escobar1 /> For example, non-Romani people wear ] costumes despite Romani people experiencing everyday racism and stereotypes.<ref>{{cite web |url=https://www.newsweek.com/halloween-costume-roma-gypsy-tropes-1469002 |title=I'm Roma, and your Halloween Gypsy Costume is More Trick Than Treat {{!}} Opinion |website=Newsweek |author=Cristiana Grigore |date=31 October 2019 |access-date=9 September 2021 |archive-date=9 September 2021 |archive-url=https://web.archive.org/web/20210909124734/https://www.newsweek.com/halloween-costume-roma-gypsy-tropes-1469002 |url-status=live}}</ref>


The government of ] has been accused of cultural appropriation in adopting the Caribbean ] and marketing it to African American tourists as an "African festival".<ref>{{cite journal| last=Hasty| first=J| title=Rites of Passage, Routes of Redemption: Emancipation Tourism and the Wealth of Culture| journal=Africa Today| volume=49| issue=3, Fall 2002| pages=47–76| url=https://www.cabdirect.org/cabdirect/abstract/20043196408| doi=10.1353/at.2003.0026| year=2002| s2cid=144339432| access-date=2017-04-20| archive-date=2023-02-13| archive-url=https://web.archive.org/web/20230213063208/https://www.cabdirect.org/cabdirect/welcome/?target=%2fcabdirect%2fabstract%2f20043196408| url-status=live}}</ref> The government of ] has been accused of cultural appropriation in adopting the Caribbean ] and marketing it to African American tourists as an "African festival".<ref>{{cite journal| last=Hasty| first=J| title=Rites of Passage, Routes of Redemption: Emancipation Tourism and the Wealth of Culture| journal=Africa Today| volume=49| issue=3, Fall 2002| pages=47–76| url=https://www.cabdirect.org/cabdirect/abstract/20043196408| doi=10.1353/at.2003.0026| year=2002| s2cid=144339432| access-date=2017-04-20| archive-date=2023-02-13| archive-url=https://web.archive.org/web/20230213063208/https://www.cabdirect.org/cabdirect/welcome/?target=%2fcabdirect%2fabstract%2f20043196408| url-status=live}}</ref>
Line 173: Line 168:
=== Dance and performance === === Dance and performance ===


The Boy Scouts of America-associated ] were noted in '']'' by Native American historian ], referring to them as an example of "object hobbyists" who adopt the material culture of Indigenous peoples of the past ("the vanishing Indian") while failing to engage with contemporary native peoples or acknowledge the history of conquest and dispossession.<ref>{{cite book| last=Deloria| first=Philip J.| year=1998| title=Playing Indian| url=https://archive.org/details/playingindian00delo| url-access=registration| location=New Haven| publisher=Yale University Press| isbn=9780300071115}}</ref><ref>{{cite web| url=http://yalebooks.com/book/9780300080674/playing-indian| title=Playing Indian| publisher=Yale University Press| access-date=6 January 2016| url-status=dead| archive-url=https://web.archive.org/web/20160630090119/http://yalebooks.com/book/9780300080674/playing-indian| archive-date=30 June 2016}}</ref> In the 1950s, the head councilman of the Zuni Pueblo saw a performance and said: "We know your hearts are good, but even with good hearts you have done a bad thing". In ], religious objects and practices are only for those who have earned the right to participate, following techniques and prayers that have been handed down for generations.<ref name="Shalako">{{cite web| url=https://www.sfu.ca/ipinch/outputs/blog/appropriation-month-boy-scout-shalako| title=Appropriation (?) of the Month: The Boy Scout Shalako| author=Kristen Dobbin| date=10 September 2014| access-date=26 August 2017| archive-date=9 September 2017| archive-url=https://web.archive.org/web/20170909010714/http://www.sfu.ca/ipinch/outputs/blog/appropriation-month-boy-scout-shalako/| url-status=live}}</ref> The Boy Scouts of America-associated ] were noted in '']'' by Native American historian ], referring to them as an example of "object hobbyists" who adopt the material culture of indigenous peoples of the past ("the vanishing Indian") while failing to engage with contemporary native peoples or acknowledge the history of conquest and dispossession.<ref>{{cite book| last=Deloria| first=Philip J.| year=1998| title=Playing Indian| url=https://archive.org/details/playingindian00delo| url-access=registration| location=New Haven| publisher=Yale University Press| isbn=9780300071115}}</ref><ref>{{cite web| url=http://yalebooks.com/book/9780300080674/playing-indian| title=Playing Indian| publisher=Yale University Press| access-date=6 January 2016| url-status=dead| archive-url=https://web.archive.org/web/20160630090119/http://yalebooks.com/book/9780300080674/playing-indian| archive-date=30 June 2016}}</ref> In the 1950s, the head councilman of the Zuni Pueblo saw a performance and said: "We know your hearts are good, but even with good hearts you have done a bad thing". In ], religious objects and practices are only for those who have earned the right to participate, following techniques and prayers that have been handed down for generations.<ref name="Shalako">{{cite web| url=https://www.sfu.ca/ipinch/outputs/blog/appropriation-month-boy-scout-shalako| title=Appropriation (?) of the Month: The Boy Scout Shalako| author=Kristen Dobbin| date=10 September 2014| access-date=26 August 2017| archive-date=9 September 2017| archive-url=https://web.archive.org/web/20170909010714/http://www.sfu.ca/ipinch/outputs/blog/appropriation-month-boy-scout-shalako/| url-status=live}}</ref>


The objections from some Native Americans towards such dance teams centre on the idea that the dance performances are a form of cultural appropriation that places dance and costumes in inappropriate contexts devoid of their true meaning, sometimes mixing elements from different tribes.<ref>{{cite web| url=https://intercontinentalcry.org/koshares-appropriation-native-american-dance/| title=The Koshares and the Appropriation of Native American Dance| author=Robert Desjarlait| date=15 December 2015| access-date=5 March 2016| archive-date=13 April 2016| archive-url=https://web.archive.org/web/20160413062847/https://intercontinentalcry.org/koshares-appropriation-native-american-dance/| url-status=live}}</ref> In contrast, the dance teams state that " goal is to preserve Native American dance and heritage through the creation of dance regalia, dancing, and teaching others about the Native American culture".<ref>{{cite web|url=http://nawakwadancers.org/who-are-we/|title=Who are We?|website=Nawakwa Dance & Drum Team|access-date=2019-05-16|archive-date=2018-09-03|archive-url=https://web.archive.org/web/20180903113417/http://nawakwadancers.org/who-are-we/|url-status=live}}</ref> The objections from some Native Americans towards such dance teams centre on the idea that the dance performances are a form of cultural appropriation that places dance and costumes in inappropriate contexts devoid of their true meaning, sometimes mixing elements from different tribes.<ref>{{cite web| url=https://intercontinentalcry.org/koshares-appropriation-native-american-dance/| title=The Koshares and the Appropriation of Native American Dance| author=Robert Desjarlait| date=15 December 2015| access-date=5 March 2016| archive-date=13 April 2016| archive-url=https://web.archive.org/web/20160413062847/https://intercontinentalcry.org/koshares-appropriation-native-american-dance/| url-status=live}}</ref> In contrast, the dance teams state that " goal is to preserve Native American dance and heritage through the creation of dance regalia, dancing, and teaching others about the Native American culture".<ref>{{cite web|url=http://nawakwadancers.org/who-are-we/|title=Who are We?|website=Nawakwa Dance & Drum Team|access-date=2019-05-16|archive-date=2018-09-03|archive-url=https://web.archive.org/web/20180903113417/http://nawakwadancers.org/who-are-we/|url-status=live}}</ref>
Line 189: Line 184:
] dressed up in Native American outfits (1909)]] ] dressed up in Native American outfits (1909)]]


Among critics, the misuse and misrepresentation of ] are seen as an exploitative form of colonialism and one step in the destruction of Indigenous cultures.<ref name="Wernitznig2">Wernitznig, Dagmar, ''Europe's Indians, Indians in Europe: European Perceptions and Appropriations of Native American Cultures from Pocahontas to the Present''. University Press of America, 2007: p.132. "What happens further in the ]'s story is highly irritating from a perspective of cultural hegemony. The Injun elder does not only willingly share their spirituality with the white intruder but, in fact, must come to the conclusion that this intruder is as good an Indian as they are themselves. Regarding Indian spirituality, the Plastic Shaman even out-Indians the actual ones. The messianic element, which Plastic Shamanism financially draws on, is installed in the Yoda-like elder themselves. They are the ones – while melodramatically parting from their spiritual offshoot – who urge the Plastic Shaman to share their gift with the rest of the world. Thus Plastic Shamans wipe their hands clean of any megalomaniac or missionizing undertones. Licensed by the authority of an Indian elder, they now have every right to spread their wisdom, and if they make (quite more than) a buck with it, then so be it.—The neocolonial ideology attached to this scenario leaves less room for cynicism."</ref> Among critics, the misuse and misrepresentation of ] are seen as an exploitative form of colonialism and one step in the destruction of indigenous cultures.<ref name="Wernitznig2">Wernitznig, Dagmar, ''Europe's Indians, Indians in Europe: European Perceptions and Appropriations of Native American Cultures from Pocahontas to the Present''. University Press of America, 2007: p.132. "What happens further in the ]'s story is highly irritating from a perspective of cultural hegemony. The Injun elder does not only willingly share their spirituality with the white intruder but, in fact, must come to the conclusion that this intruder is as good an Indian as they are themselves. Regarding Indian spirituality, the Plastic Shaman even out-Indians the actual ones. The messianic element, which Plastic Shamanism financially draws on, is installed in the Yoda-like elder themselves. They are the ones – while melodramatically parting from their spiritual offshoot – who urge the Plastic Shaman to share their gift with the rest of the world. Thus Plastic Shamans wipe their hands clean of any megalomaniac or missionizing undertones. Licensed by the authority of an Indian elder, they now have every right to spread their wisdom, and if they make (quite more than) a buck with it, then so be it.—The neocolonial ideology attached to this scenario leaves less room for cynicism."</ref>


The results of this appropriation of Indigenous knowledge have led some tribes and the ] to issue several declarations on the subject. The ''Declaration of War Against Exploiters of Lakota Spirituality'' includes the passage: The results of this appropriation of indigenous knowledge have led some tribes and the ] to issue several declarations on the subject. The ''Declaration of War Against Exploiters of Lakota Spirituality'' includes the passage:


{{blockquote|quote=We assert a posture of zero-tolerance for any "white man's shaman" who rises from within our own communities to "authorize" the expropriation of our ceremonial ways by non-Indians; all such "]" are enemies of the Lakota, Dakota, and Nakota people.<ref name="LDNwar1" /><ref name="taliman1">Taliman, Valerie (1993) ". {{webarchive |url=https://web.archive.org/web/20160209203101/http://www.thepeoplespaths.net/articles/warlakot.htm |date=February 9, 2016}}.</ref>}} {{blockquote|quote=We assert a posture of zero-tolerance for any "white man's shaman" who rises from within our own communities to "authorize" the expropriation of our ceremonial ways by non-Indians; all such "]" are enemies of the Lakota, Dakota, and Nakota people.<ref name="LDNwar12" /><ref name="taliman1">Taliman, Valerie (1993) ". {{webarchive |url=https://web.archive.org/web/20160209203101/http://www.thepeoplespaths.net/articles/warlakot.htm |date=February 9, 2016}}.</ref>}}


Article 31 1 of the United Nations '']'' states: Article 31 1 of the United Nations '']'' states:


{{blockquote|quote=Indigenous peoples have the ], ] and ], as well as the manifestations of their sciences, technologies, and cultures, including human and genetic resources, seeds, medicines, knowledge of the properties of fauna and flora, oral traditions, literatures, designs, sports and traditional games and visual and performing arts. They also have the right to maintain, control, protect and develop their intellectual property over such cultural heritage, traditional knowledge, and traditional cultural expressions.<ref name="UNDRIP" />}} {{blockquote|quote=Indigenous peoples have the ], ] and ], as well as the manifestations of their sciences, technologies, and cultures, including human and genetic resources, seeds, medicines, knowledge of the properties of fauna and flora, oral traditions, literatures, designs, sports and traditional games and visual and performing arts. They also have the right to maintain, control, protect and develop their intellectual property over such cultural heritage, traditional knowledge, and traditional cultural expressions.<ref name="UNDRIP2" />}}


In 2015, a group of Native American academics and writers stated the ] members whose acts of "cultural exploitation... dehumanize us as an indigenous Nation because they imply our culture and humanity, like our land, is anyone's for the taking".<ref name="HeSapa">Estes, Nick; et al " {{webarchive |url=https://web.archive.org/web/20160303091719/http://indiancountrytodaymedianetwork.com/2015/07/14/protect-he-sapa-stop-cultural-exploitation |date=March 3, 2016}}" at '']''. 14 July 2015. Accessed 24 November 2015</ref> In 2015, a group of Native American academics and writers stated the ] members whose acts of "cultural exploitation... dehumanize us as an indigenous Nation because they imply our culture and humanity, like our land, is anyone's for the taking".<ref name="HeSapa">Estes, Nick; et al " {{webarchive |url=https://web.archive.org/web/20160303091719/http://indiancountrytodaymedianetwork.com/2015/07/14/protect-he-sapa-stop-cultural-exploitation |date=March 3, 2016}}" at '']''. 14 July 2015. Accessed 24 November 2015</ref>


In writing about ] for the ] (NARF), board member Professor Rebecca Tsosie stresses the importance of these property rights being held collectively, not by individuals: In writing about ] for the ] (NARF), board member Professor Rebecca Tsosie stresses the importance of these property rights being held collectively, not by individuals:


{{blockquote|quote=The long-term goal is to actually have a legal system, and certainly a treaty could do that, that acknowledges two things. Number one, it acknowledges that indigenous peoples are people with a right to self-determination that includes governance rights over all property belonging to the indigenous people. And, number two, it acknowledges that indigenous cultural expressions are a form of intellectual property and that traditional knowledge is a form of intellectual property, but they are collective resources – so not any one individual can give away the rights to those resources. The tribal nations actually own them collectively.<ref name="Tsosie">{{cite web|url=https://www.narf.org/tsosie-intellectual-property/|title=Current Issues in Intellectual Property Rights to Cultural Resources|last=Tsosie|first=Rebecca|work=Native American Rights Fund|date=June 25, 2017|access-date=April 17, 2019|archive-date=July 24, 2019|archive-url=https://web.archive.org/web/20190724113554/https://www.narf.org/tsosie-intellectual-property/|url-status=live}}</ref>}} {{blockquote|quote=The long-term goal is to actually have a legal system, and certainly a treaty could do that, that acknowledges two things. Number one, it acknowledges that indigenous peoples are people with a right to self-determination that includes governance rights over all property belonging to the indigenous people. And, number two, it acknowledges that indigenous cultural expressions are a form of intellectual property and that traditional knowledge is a form of intellectual property, but they are collective resources – so not any one individual can give away the rights to those resources. The tribal nations actually own them collectively.<ref name="Tsosie">{{cite web|url=https://www.narf.org/tsosie-intellectual-property/|title=Current Issues in Intellectual Property Rights to Cultural Resources|last=Tsosie|first=Rebecca|work=Native American Rights Fund|date=June 25, 2017|access-date=April 17, 2019|archive-date=July 24, 2019|archive-url=https://web.archive.org/web/20190724113554/https://www.narf.org/tsosie-intellectual-property/|url-status=live}}</ref>}}


In Australia, ] have discussed an "authenticity brand" to ensure consumers are aware of artworks claiming false Aboriginal significance.<ref>James, Marianne. {{webarchive |url=https://web.archive.org/web/20160111133200/http://www.aic.gov.au/documents/9/2/9/%7B9296EF8C-47F0-4B90-95BF-2A4466B5E863%7Dti170.pdf |date=11 January 2016 }} ''Trends and Issues in Crime and Criminal Justice'', No. 170. Australian Institute of Criminology. October 2000. Retrieved 3 January 2010.</ref><ref> {{webarchive |url=https://web.archive.org/web/20120420120558/http://www.eniar.org/news/artdot.html |date=20 April 2012 }} European Network for Indigenous Australian Rights. 29 July 2000. Retrieved 3 January 2010.</ref> The movement for such a measure gained momentum after the 1999 conviction of John O'Loughlin for selling paintings that he falsely described as the work of Aboriginal artist ].<ref> {{webarchive |url=https://web.archive.org/web/20160411013530/http://news.bbc.co.uk/2/hi/entertainment/3246474.stm |date=11 April 2016 }} BBC News. 28 November 2003. Retrieved 3 January 2010.</ref> In Australia, ] have discussed an "authenticity brand" to ensure consumers are aware of artworks claiming false Aboriginal significance.<ref>James, Marianne. {{webarchive |url=https://web.archive.org/web/20160111133200/http://www.aic.gov.au/documents/9/2/9/%7B9296EF8C-47F0-4B90-95BF-2A4466B5E863%7Dti170.pdf |date=11 January 2016 }} ''Trends and Issues in Crime and Criminal Justice'', No. 170. Australian Institute of Criminology. October 2000. Retrieved 3 January 2010.</ref><ref> {{webarchive |url=https://web.archive.org/web/20120420120558/http://www.eniar.org/news/artdot.html |date=20 April 2012 }} European Network for Indigenous Australian Rights. 29 July 2000. Retrieved 3 January 2010.</ref> The movement for such a measure gained momentum after the 1999 conviction of John O'Loughlin for selling paintings that he falsely described as the work of Aboriginal artist ].<ref> {{webarchive |url=https://web.archive.org/web/20160411013530/http://news.bbc.co.uk/2/hi/entertainment/3246474.stm |date=11 April 2016 }} BBC News. 28 November 2003. Retrieved 3 January 2010.</ref>


== Criticism of the concept == == Criticism of the concept ==
], an African-American professor at ], criticised the concept in 2014, arguing that cultural borrowing and cross-fertilisation are generally positive things and are something which is usually done out of admiration and with no intent to harm the cultures being imitated; he also argued that the specific term "appropriation", which can mean theft, is misleading when applied to something like culture that is inherently not a ], and therefore is not taken away from anyone by imitating it.<ref name=McWhorter>{{cite news |last1=McWhorter |first1=John |title=You Can't 'Steal' A Culture: In Defense of Cultural Appropriation |url=http://www.thedailybeast.com/articles/2014/07/15/you-can-t-steal-a-culture-in-defense-of-cultural-appropriation.html |website=The Daily Beast |date=15 July 2014 |access-date=20 October 2014 |author1-link=John McWhorter |archive-date=31 May 2017 |archive-url=https://web.archive.org/web/20170531130241/http://www.thedailybeast.com/articles/2014/07/15/you-can-t-steal-a-culture-in-defense-of-cultural-appropriation.html |url-status=live }}</ref> ], an African-American professor at ], criticised the concept in 2014, arguing that cultural borrowing and cross-fertilisation are generally positive things and are something which is usually done out of admiration and with no intent to harm the cultures being imitated; he also argued that the specific term "appropriation", which can mean theft, is misleading when applied to something like culture that is inherently not a ], and therefore is not taken away from anyone by imitating it.<ref name=McWhorter>{{cite news |last1=McWhorter |first1=John |title=You Can't 'Steal' A Culture: In Defense of Cultural Appropriation |url=http://www.thedailybeast.com/articles/2014/07/15/you-can-t-steal-a-culture-in-defense-of-cultural-appropriation.html |website=The Daily Beast |date=15 July 2014 |access-date=20 October 2014 |author1-link=John McWhorter |archive-date=31 May 2017 |archive-url=https://web.archive.org/web/20170531130241/http://www.thedailybeast.com/articles/2014/07/15/you-can-t-steal-a-culture-in-defense-of-cultural-appropriation.html |url-status=live }}</ref>

Idrees M. Kahloon of The Harvard Crimson largely criticized the concept in 2015, arguing that while cultural appropriation had some merits, much of the discourse surrounding it was misrepresentative and self-indulgent. Citing the culture surrounding contemporary music as an example of the poor discourse he said: "Music for example is the area of entertainment media where you'll find the majority of these meaningless criticisms. Iggy Azalea is criticized for stealing black accents and body imagery. Isn't promoting diversity something most fans of this medium generally support?"<ref>{{Cite web |title=The Near Myth of Cultural Appropriation {{!}} Opinion {{!}} The Harvard Crimson |url=https://www.thecrimson.com/column/words-words-words/article/2015/9/22/column-myth-cultural-appropriation/ |access-date=2024-09-08 |website=www.thecrimson.com}}</ref>

Another critic of the concept, Chris Berg, argues that culture is "just the current manifestation of a long evolutionary process" in which cultural elements constantly evolve when is contact with other cultures. His assertion then is that opponents of cultural appropriation are actually involved in "a deeply conservative project", one that "first seeks to preserve... the content of an established culture and second tries prevent others from interacting with that culture" ultimately inhibiting the positive relationships created by cultural exchange.<ref name="Bogeyman2">{{cite web |last=Berg |first=Chris |date=21 December 2015 |title=Is cultural appropriation the bogeyman it's made out to be? |url=http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004 |url-status=live |archive-url=https://web.archive.org/web/20160419122304/http://www.abc.net.au/news/2015-12-22/berg-cultural-appropriation-is-bad/7047004 |archive-date=19 April 2016 |access-date=19 April 2016 |work=The Drum}}</ref>


In 2016, author ] said that authors from a cultural majority have a right to write in the voice of someone from a cultural minority, attacking the idea that this constitutes cultural appropriation. Referring to a case in which U.S. college students were facing disciplinary action for wearing ]s to a "tequila party", she said: "The moral of the sombrero scandals is clear: ''you're not supposed to try on other people's hats''. Yet that's what we're paid to do, isn't it? Step into other people's shoes, and try on their hats."<ref name="Shriver" /><ref>{{cite news |last1=Convery |first1=Stephanie |date=15 September 2016 |title=We need to talk about cultural appropriation: why Lionel Shriver's speech touched a nerve |url=https://www.theguardian.com/books/2016/sep/15/we-need-to-talk-about-cultural-appropriation-why-lionel-shrivers-speech-touched-a-nerve |url-status=live |archive-url=https://web.archive.org/web/20161123152039/https://www.theguardian.com/books/2016/sep/15/we-need-to-talk-about-cultural-appropriation-why-lionel-shrivers-speech-touched-a-nerve |archive-date=23 November 2016 |access-date=17 September 2016 |work=]}}</ref> In 2016, author ] said that authors from a cultural majority have a right to write in the voice of someone from a cultural minority, attacking the idea that this constitutes cultural appropriation. Referring to a case in which U.S. college students were facing disciplinary action for wearing ]s to a "tequila party", she said: "The moral of the sombrero scandals is clear: ''you're not supposed to try on other people's hats''. Yet that's what we're paid to do, isn't it? Step into other people's shoes, and try on their hats."<ref name="Shriver" /><ref>{{cite news |last1=Convery |first1=Stephanie |date=15 September 2016 |title=We need to talk about cultural appropriation: why Lionel Shriver's speech touched a nerve |url=https://www.theguardian.com/books/2016/sep/15/we-need-to-talk-about-cultural-appropriation-why-lionel-shrivers-speech-touched-a-nerve |url-status=live |archive-url=https://web.archive.org/web/20161123152039/https://www.theguardian.com/books/2016/sep/15/we-need-to-talk-about-cultural-appropriation-why-lionel-shrivers-speech-touched-a-nerve |archive-date=23 November 2016 |access-date=17 September 2016 |work=]}}</ref>
Line 214: Line 213:
In 2018, conservative columnist ] described cultural appropriation as a positive thing and dismissed opposition to it as a product of some people's desire to be offended.<ref>{{cite news |last1=Goldberg |first1=Jonah |author-link1=Jonah Goldberg |title=Cultural-appropriation outrage shows people are desperate to be offended |url=https://www.chicagotribune.com/opinion/commentary/ct-perspec-goldberg-cultural-appropriation-offended-rules-0507-20180504-story.html |access-date=27 April 2020 |work=Chicago Tribune |date=6 May 2018 |archive-date=6 July 2019 |archive-url=https://web.archive.org/web/20190706100633/https://www.chicagotribune.com/opinion/commentary/ct-perspec-goldberg-cultural-appropriation-offended-rules-0507-20180504-story.html |url-status=live }}</ref> In 2018, conservative columnist ] described cultural appropriation as a positive thing and dismissed opposition to it as a product of some people's desire to be offended.<ref>{{cite news |last1=Goldberg |first1=Jonah |author-link1=Jonah Goldberg |title=Cultural-appropriation outrage shows people are desperate to be offended |url=https://www.chicagotribune.com/opinion/commentary/ct-perspec-goldberg-cultural-appropriation-offended-rules-0507-20180504-story.html |access-date=27 April 2020 |work=Chicago Tribune |date=6 May 2018 |archive-date=6 July 2019 |archive-url=https://web.archive.org/web/20190706100633/https://www.chicagotribune.com/opinion/commentary/ct-perspec-goldberg-cultural-appropriation-offended-rules-0507-20180504-story.html |url-status=live }}</ref>


], ethics columnist for the ''New York Times'', said that the term cultural appropriation incorrectly labels contemptuous behaviour as a ]. According to Appiah, "The key question in the use of symbols or regalia associated with another identity group is not: What are my rights of ownership? Rather it's: Are my actions disrespectful?"<ref>{{cite web|url=https://www.nytimes.com/2020/01/21/magazine/should-i-tell-my-aunt-that-her-costume-is-racist.html|title=Should I Tell My Aunt That Her Costume Is Racist?|author=Kwame Anthony Appiah|author-link=Kwame Anthony Appiah|work=The New York Times|date=21 January 2020|access-date=8 January 2021|archive-date=10 January 2021|archive-url=https://web.archive.org/web/20210110155136/https://www.nytimes.com/2020/01/21/magazine/should-i-tell-my-aunt-that-her-costume-is-racist.html|url-status=live}}</ref><ref>{{cite news| title=I'm an Art Therapist. Am I Guilty of Cultural Appropriation?| quote=The magazine’s Ethicist columnist on who should be allowed to find their “spirit animals.| author=Kwame Anthony Appiah| date=August 17, 2021| newspaper=The New York Times| url=https://www.nytimes.com/2021/08/17/magazine/im-an-art-therapist-am-i-guilty-of-cultural-appropriation.html?campaign_id=52&emc=edit_ma_20210821&instance_id=38496&nl=the-new-york-times-magazine&regi_id=59957604&segment_id=66897&te=1&user_id=5d8358c36919980599e22f1d870ed6e4| access-date=December 9, 2021| archive-date=November 26, 2021| archive-url=https://web.archive.org/web/20211126224424/https://www.nytimes.com/2021/08/17/magazine/im-an-art-therapist-am-i-guilty-of-cultural-appropriation.html?campaign_id=52&emc=edit_ma_20210821&instance_id=38496&nl=the-new-york-times-magazine&regi_id=59957604&segment_id=66897&te=1&user_id=5d8358c36919980599e22f1d870ed6e4| url-status=live}}</ref> ], ethics columnist for the ''New York Times'', said that the term cultural appropriation incorrectly labels contemptuous behaviour as a ]. According to Appiah, "The key question in the use of symbols or regalia associated with another identity group is not: What are my rights of ownership? Rather it's: Are my actions disrespectful?"<ref>{{cite web|url=https://www.nytimes.com/2020/01/21/magazine/should-i-tell-my-aunt-that-her-costume-is-racist.html|title=Should I Tell My Aunt That Her Costume Is Racist?|author=Kwame Anthony Appiah|author-link=Kwame Anthony Appiah|work=The New York Times|date=21 January 2020|access-date=8 January 2021|archive-date=10 January 2021|archive-url=https://web.archive.org/web/20210110155136/https://www.nytimes.com/2020/01/21/magazine/should-i-tell-my-aunt-that-her-costume-is-racist.html|url-status=live}}</ref><ref>{{cite news| title=I'm an Art Therapist. Am I Guilty of Cultural Appropriation?| quote=The magazine's Ethicist columnist on who should be allowed to find their "spirit animals.| author=Kwame Anthony Appiah| date=August 17, 2021| newspaper=The New York Times| url=https://www.nytimes.com/2021/08/17/magazine/im-an-art-therapist-am-i-guilty-of-cultural-appropriation.html?campaign_id=52&emc=edit_ma_20210821&instance_id=38496&nl=the-new-york-times-magazine&regi_id=59957604&segment_id=66897&te=1&user_id=5d8358c36919980599e22f1d870ed6e4| access-date=December 9, 2021| archive-date=November 26, 2021| archive-url=https://web.archive.org/web/20211126224424/https://www.nytimes.com/2021/08/17/magazine/im-an-art-therapist-am-i-guilty-of-cultural-appropriation.html?campaign_id=52&emc=edit_ma_20210821&instance_id=38496&nl=the-new-york-times-magazine&regi_id=59957604&segment_id=66897&te=1&user_id=5d8358c36919980599e22f1d870ed6e4| url-status=live}}</ref>


Upon winning the 2019 ], ] dismissed the concept of cultural appropriation, stating that it is ridiculous to demand of writers that they not "write beyond own culture".<ref>{{cite news |last1=Sanderson |first1=David |title=Booker winner Bernardine Evaristo writes off 'cultural appropriation' |url=https://www.thetimes.co.uk/article/booker-winner-bernardine-evaristo-writes-off-cultural-appropriation-bklfsqhgk |access-date=16 December 2019 |work=The Times |date=3 December 2019 |archive-date=13 December 2019 |archive-url=https://web.archive.org/web/20191213175500/https://www.thetimes.co.uk/article/booker-winner-bernardine-evaristo-writes-off-cultural-appropriation-bklfsqhgk |url-status=live }}</ref> Upon winning the 2019 ], ] dismissed the concept of cultural appropriation, stating that it is ridiculous to demand of writers that they not "write beyond own culture".<ref>{{cite news |last1=Sanderson |first1=David |title=Booker winner Bernardine Evaristo writes off 'cultural appropriation' |url=https://www.thetimes.co.uk/article/booker-winner-bernardine-evaristo-writes-off-cultural-appropriation-bklfsqhgk |access-date=16 December 2019 |work=The Times |date=3 December 2019 |archive-date=13 December 2019 |archive-url=https://web.archive.org/web/20191213175500/https://www.thetimes.co.uk/article/booker-winner-bernardine-evaristo-writes-off-cultural-appropriation-bklfsqhgk |url-status=live }}</ref>


Another critique comes from ], stating in his book ''The People vs Democracy'' (2018), the problem with cultural appropriation necessarily acknowledges a purist conception of culture, it being linked to the building of an mono-ethnical common identity, which appropriates itself of some rites and traits. He argues that no symbols or traditions minoritarian culture should be denigrated or mocked. But it does open the door to what he calls "historical nonsense".<ref name=":12">{{Cite book |last=Mounk |first=Yascha |title=The people vs Democracy |publisher=Harvard University Press |year=2018 |isbn=9780674976825 |edition=1st |location=United States of America |pages=204 |language=English}}</ref> However, cultures have never been completely defined, as they have inspired from one and another, and have thus enriched their own. The segmentation in well-defined cultures works the same way as far right leaders in their views of identity and the defence of their nation, that should not include "foreign influences on their national cultures".<ref name=":12" />
=== Are cultures "pure"? ===
As ] states in his book ''The People vs Democracy'' (2018), the problem with cultural appropriation necessarily acknowledges a purist conception of culture, it being linked to the building of an monoethnical common identity, which appropriates itself of some rites and traits. He argues that no symbols or traditions minoritarian culture should be denigrated or mocked. But it does open the door to what he calls "historical nonsense".<ref name=":1">{{Cite book |last=Mounk |first=Yascha |title=The people vs Democracy |publisher=Harvard University Press |year=2018 |isbn=9780674976825 |edition=1st |location=United States of America |pages=204 |language=English}}</ref>

However, cultures have never been completely defined, as they have inspired from one and another, and have thus enriched their own.


The segmentation in well-defined cultures works the same way as far right leaders in their views of identity and the defence of their nation, that should not include "foreign influences on their national cultures".<ref name=":1" />
==See also== ==See also==


Line 230: Line 225:
* ] * ]
* ] * ]
* ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]
* ] * ]

Latest revision as of 00:06, 25 December 2024

Adoption of culture and cultural identity perceived as inappropriate Not to be confused with Appropriation (art).
Globe icon.The examples and perspective in this article may not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (November 2022) (Learn how and when to remove this message)

Cultural appropriation is the adoption of an element or elements of one culture or identity by members of another culture or identity in a manner perceived as inappropriate or unacknowledged. This can be especially controversial when members of a dominant culture appropriate from minority cultures. When cultural elements are copied from a minority culture by members of a dominant culture, and these elements are used outside of their original cultural context – sometimes even against the expressly stated wishes of members of the originating culture – the practice is often received negatively. Cultural appropriation can include the exploitation of another culture's religious and cultural traditions, customs, dance steps, fashion, symbols, language, history and music.

Cultural appropriation is considered harmful by various groups and individuals, including some indigenous people working for cultural preservation, those who advocate for collective intellectual property rights of the originating cultures, and some of those who have lived or are living under colonial rule. According to American anthropologist Jason Jackson, cultural appropriation differs from other modes of cultural change such as acculturation, assimilation, or diffusion.

Opponents of cultural appropriation see it as an exploitative means in which cultural elements are lost or distorted when they are removed from their originating cultural contexts. Such displays are disrespectful and can even be considered a form of desecration. Cultural elements that may have deep meaning in the original culture may be reduced to "exotic" fashion or toys by those from the dominant culture. Kjerstin Johnson has written that, when this is done, the imitator, "who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experiencing any of the daily discriminations faced by other cultures". The black American academic, musician, and journalist Greg Tate argued that appropriation and the "fetishizing" of cultures, in fact, alienate those whose culture is being appropriated.

The concept of cultural appropriation has also been subject to heavy criticism, debate, and nuance. Critics note that the concept is often misunderstood or misapplied by the general public and that charges of "cultural appropriation" are sometimes misapplied to situations. For example, some scholars conclude that trying food from a different culture or attempting to learn about a different culture can not be considered an instance of cultural appropriation. Others state that the act of cultural appropriation, usually defined, does not meaningfully constitute social harm or that the term lacks conceptual coherence. Additionally, the term can set arbitrary limits on intellectual freedom and artists' self-expression, reinforce group divisions, or promote a feeling of enmity or grievance rather than of liberation.

Overview

Russian Cossack man wearing the chokha, a clothing the Russian Cossacks appropriated from the indigenous peoples of the Caucasus along with other cultural traits

Cultural appropriation can involve the use of ideas, symbols, artifacts, or other aspects of human-made visual or non-visual culture. As a concept that is controversial in its applications, the propriety of cultural appropriation has been the subject of much debate. Opponents of cultural appropriation view many instances as wrongful appropriation when the subject culture is a minority culture or is subordinated in social, political, economic, or military status to the dominant culture or when there are other issues involved, such as a history of ethnic or racial conflict. Linda Martín Alcoff writes that this is often seen in cultural outsiders' use of an oppressed culture's symbols or other cultural elements, such as music, dance, spiritual ceremonies, modes of dress, speech, and social behaviour, when these elements are trivialised and used for fashion, rather than respected within their original cultural context. Opponents view the issues of colonialism, context, and the difference between appropriation and mutual exchange as central to analysing cultural appropriation. They argue that mutual exchange happens on an "even playing field", whereas appropriation involves pieces of an oppressed culture being taken out of context by a people who have historically oppressed those they are taking from and who lack the cultural context to properly understand, respect, or utilise these elements.

Academic discourse

The Oxford English Dictionary's earliest citation for the phrase was a 1945 essay by Arthur E. Christy, which discussed Orientalism. The term became widespread in the 1980s in discussions of post-colonial critiques of Western expansionism, though the concept of "cultural colonialism" had been explored earlier, such as in "Some General Observations on the Problems of Cultural Colonialism" by Kenneth Coutts‐Smith in 1976.

Cultural and racial theorist George Lipsitz has used the term "strategic anti-essentialism" to refer to the calculated use of a cultural form outside of one's own to define oneself or one's group. Strategic anti-essentialism can be seen in both minority and majority cultures and is not confined only to the use of the other. However, Lipsitz argues that when the majority culture attempts to strategically anti-essentialize itself by appropriating a minority culture, it must take great care to recognize the specific socio-historical circumstances and significance of these cultural forms so as not to perpetuate the already existing majority vs. minority unequal power relations.

Historically, some of the most hotly debated cases of cultural appropriation have occurred in places where cultural exchange is the highest, such as along the trade routes in southwestern Asia and southeastern Europe. Some scholars of the Ottoman Empire and ancient Egypt argue that Ottoman and Egyptian architectural traditions have long been falsely claimed and praised as Persian or Arab.

In 2017, Mehgan Gallagher spoke about what exactly does the debate concerning cultural appropriation entail within the modern age, specifically within the United States. She used contemporary examples of cultural appropriation to highlight cases of controversy. In particular, the Washington Redskins of the Nation Football League provided an example that led into a broader conversation regarding the representation of Native Americans when it came to sports mascots.

In 2021, Jason Baird Jackson, attempted to create a model by which instances of cultural appropriation could be understood systematically. He argues that understanding the modes of cultural change most similar to cultural appropriation is key to discussing the outcomes and implications of instances of appropriation as their meaning are often used interchangeably. Jackson offers his definition of appropriation as the "structural inversion of assimilation", being that it is an instance in which "a powerful group takes aspects of the culture of a subordinated group, making them its own."

In 2023, Jonas R. Kunst, Katharina Lefringhausen, and Hanna Zagefka set about to determine what were the differences between cultural appropriation and genuine cultural change. They detailed what they determined as the "dilemma of cultural ownership", a concept that challenges the idea that "cultures are discrete entities owned by specific groups" and therefore do not have the ability to be stolen or appropriated, and instead offers the rationale that the "impact of power disparities" is too large to ignore in cases of cultural appropriation.

In 2024, Angela Gracia B Cruz, Yuri Seo, and Daiane Scaraboto released the results of a study that went about determining strategies consumers used to "self-authorize" how they consumed media that could be considered to be culturally appropriated. They performed a six-yearlong study on international K-Pop fans concerning how they felt when it came to determining what was cultural appreciation vs appropriation. One comment they chose to highlight from redditor named Sam said "Based on my experience, I've observed both. It depends on the context. As an Asian-American, K-Pop fans in America is more appreciation, as opposed to Koreaboos who just use Korean names for comedy are appropriating."

Examples

Art, literature, iconography, and adornment

A model wears a Native American-inspired war bonnet while campaigning to support body modification in the workplace, 2015

A common example of cultural appropriation is the adoption of the iconography of another culture and its use for purposes that are unintended by the original culture or even offensive to that culture's mores.

For example, the use of Native American tribal names or images as mascots. Author Kevin Bruyneel discuss the damage inflicted on indigenous communities from the overwhelming presence of these symbols, as they often reinforce colonial dynamics and perpetuate stereotypical, Euro- American perspectives. Other examples include people not from the originating culture wearing jewelry or fashion that incorporates religious symbols such as the medicine wheel, or wearing items of deep cultural significance and status that must be earned, such as a war bonnet, without having earned the right. Authentic Native American war bonnets are sacred ceremonial items earned by people of high status in a traditional tribal society, much like military medals. People from cultures who have this sacred regalia typically consider it disrespectful and offensive when someone who has not earned the right to wear one dons an authentic or imitation headdress, whether as part of pretending to be Native American or as a costume or fashion statement.

Copying iconography from another culture's history, such as Polynesian tribal tattoos, Chinese characters, or Celtic art, and wearing them without regard to their original cultural significance may also be considered appropriation. Critics of the practice of cultural appropriation contend that divorcing iconography from its cultural context or treating it as kitsch risks offending people who venerate and wish to preserve their cultural traditions. A term among Irish people for someone who imitates or misrepresents Irish culture is Plastic Paddy.

Costume is worn by an attendee of Saint Patrick's Day parade in Dublin, Ohio, US

The adoption of First Nations' art forms and strong geometric forms was in sympathy with the Arts and Crafts Society's commitment to modernist design but without serious consideration of the ethics of the appropriation of Aboriginal motifs by Western artists. During the 1920s the works of artists like Frances Derham, Allan Lowe, Olive Nock borrowed or copied Aboriginal motifs. In 1930, Margaret Preston advocated the use of Indigenous Australian motifs in contemporary art. In 2017, Canadian visual artist Sue Coleman garnered negative attention for appropriating and amalgamating styles of indigenous art into her work. Coleman, who has been accused of "copying and selling indigenous-style artwork," has described herself as a "translator" of indigenous art forms, which drew further criticism. In his open letter to Coleman, Kwakwak'awakw/Salish Artist Carey Newman stressed the importance of artists being accountable within the indigenous communities as the antidote to appropriation.

Religion and spirituality

Many Native Americans have criticized what they deem to be the cultural appropriation of their sweat lodge and vision quest ceremonies by non-Natives, and even by tribes who have not traditionally had these ceremonies. They contend that there are serious safety risks whenever these events are conducted by those who lack the many years of training and cultural immersion required to lead them safely, mentioning the deaths or injuries in 1996, 2002, 2004, and several high-profile deaths in 2009.

The modern New Age movement frequently adopts spiritual ideas and practices from non-Western cultures; according to York, these may include "Hawaiian Kahuna magic, Australian Aboriginal dream-working, South American Amerindian ayahuasca and San Pedro ceremonies, Hindu Ayurveda and yoga, Chinese Feng Shui, Qi Gong, and Tai Chi." The movement has faced criticism for cultural imperialism exploiting intellectual and cultural property of indigenous peoples.

Bindi

From 2020 to the present, there has been a persistent issue regarding the white adoption and convolution of Hindu (a religion originating from South Asia) religious practices, coining them with the umbrella term of "spirituality". These were practices, including the usage of the Evil Eye, Hamsa, etc., that people growing up as Hindus report being bullied for in their past, and even the present. For some members of the South Asian community, the wearing of a bindi dot as a decorative item by a non-Hindu can be seen as cultural appropriation.

Fashion

Claude Monet's wife, Camille Doncieux wearing a kimono, 1875

Cultural appropriation is controversial in the fashion industry due to the belief that some trends commercialise and cheapen the ancient heritage of indigenous cultures. There is debate about whether designers and fashion houses understand the history behind the clothing they are taking from different cultures, besides the ethical issues of using these cultures' shared intellectual property without consent, acknowledgement, or compensation. According to Minh-Ha T. Pham, writing for The Atlantic, accusations of cultural appropriation are often defended, instead, as cultural appreciation.

From the 17th century to the Victorian era

George IV wearing highland dress during his visit to Scotland in 1822

The necktie or the cravat was derived from a scarf worn by Croatian mercenaries fighting for Louis XIII, and the brightly coloured silk waistcoats popularised by Charles II of England were inspired by Ottoman, Indian, and Persian attire acquired by wealthy European travelers.

During the Regency and Victorian eras, the Highland dress, most prominently tartan, was appropriated by Scottish Lowlanders (and people from other parts of the British Isles) as a result of the influence of romantic nationalism on the Scottish national identity. This was spearheaded by writers such as Sir Walter Scott and James Logan, with Logan's romantic nationalist work The Scottish Gael (1831) leading the Scottish tartan industry to invent clan tartans with spurious association to specific Highland clans. Tartan rapidly became a desirable material for dresses, waistcoats, and cravats across the Western world as part of process known as "tartanry". In the United States, plaid flannel had become workwear by the time of America's westward expansion and was widely worn by white pioneers and cowboys in the Old West who were not of Scottish descent. In the 21st century, tartan remains ubiquitous in mainstream fashion.

By the 19th century, the object of fascination among Europeans had shifted to Asian cultures. Regency-era dandies adapted the Indian churidars into slim-fitting pantaloons and frequently wore turbans within their own houses. Subsequently, Victorian-era gentlemen wore smoking caps based on the Islamic fez, and fashionable turn-of-the-century ladies wore Orientalist Japanese-inspired kimono dresses. Moreover, this obsession with Orientalism was visible in how one company named its passenger shipping line "The Orient Line". During the tiki culture fad of the 1950s, white women frequently donned the qipao to give the impression that they had visited Hong Kong, although the dresses were frequently made by seamstresses in America using rayon rather than genuine silk. At the same time, teenage Teddy Girls wore Asian conical hats due to their exotic connotations.

In Mexico, the sombrero, which was associated with the mestizo peasant class, was adapted from an earlier hat which was introduced by Spanish colonists during the 18th century. This, in turn, was adapted into the cowboy hat worn by American cowboys after the US Civil War. In 2016, the University of East Anglia prohibited the wearing of sombreros to parties on campus in the belief that these could offend Mexican students, a move that was widely criticised.

American Western wear was copied from the work attire of 19th-century Mexican Vaqueros, especially the pointed cowboy boots and the guayabera, which was adapted into the embroidered Western shirt. The China poblana dress associated with Mexican women was appropriated from the choli and lehenga worn by Indian maidservants like Catarina de San Juan, who arrived from Asia from the 17th century onwards.

The modern era

In Britain, the rough tweed cloth clothing of the English, Irish and Scottish peasantry, including the flat cap and Irish hat were adopted by the upper classes as the British country clothing worn for sports such as hunting or fishing, in imitation of the Prince of Wales. The country clothing, in turn, was appropriated by the wealthy American Ivy League and later preppy subcultures during the 1950s and 1980s due to both its practicality and its association with the British upper class. During the same period, the British comedian Tommy Cooper was known for wearing a Fez throughout his performances.

When the keffiyeh became popular in the late 2000s, experts made a clear distinction between wearing a genuine scarf and wearing a cheaper, inauthentic one made in China. Palestinian independence activists and socialists denounced the wearing of scarves not made in Palestine as a form of cultural appropriation but encouraged fellow Muslims and progressively minded non-Muslim students to buy shemaghs made in the Herbawi factory to demonstrate solidarity with the Palestinian people and improve the economy of the West Bank. In 2017, Topshop caused controversy by selling Chinese-made playsuits that imitated the keffiyeh pattern.

Several fashion designers and models have featured imitations of Native American warbonnets in their fashion shows, such as Victoria's Secret in 2012, when model Karlie Kloss wore one during her walk on the runway; a Navajo Nation spokesman called it a "mockery". Cherokee academic Adrienne Keene wrote in The New York Times:

For the communities that wear these headdresses, they represent respect, power, and responsibility. The headdress has to be earned, and gifted to a leader in whom the community has placed their trust. When it becomes a cheap commodity anyone can buy and wear to a party, that meaning is erased and disrespected, and Native peoples are reminded that our cultures are still seen as something of the past, as unimportant in contemporary society, and unworthy of respect.

Both Victoria's Secret and Kloss issued apologies stating that they had no intentions of offending anyone.

In 2016, pop star Beyoncé was widely criticised for wearing a sari and bindi in the music video for the Coldplay song "Hymn for the Weekend".

The culturally significant Hindu festival, Holi, has been imitated and incorporated into fashion globally. For example, pop artist Pharrell Williams and Adidas collaborated in 2018 to create the Holi-inspired apparel and shoe line, "Hu Holi." The collection was stated to be a "trivialization of traditions-concepts-symbols-beliefs of Hinduism," according to Raja Zed, president of the Universal Society of Hinduism. The collection included many items which contained leather, a violation of Hindu beliefs.

Ex-Archbishop Justin Welby of the Anglican Church said that the crucifix is "now just a fashion statement and has lost its religious meaning". Crucifixes have been incorporated into Japanese lolita fashion by non-Christians in a cultural context that is distinct from its original meaning as a Christian religious symbol.

In 2018, Gucci designers were criticised for sending white models for a catwalk at Milan fashion week wearing a Sikh religious headpiece. Thousands of members from the Sikh community shared anger and disappointment that the brand had used Sikh sacred religious symbol for profit. Traditionally in Sikhism, a turban is worn by both men and women as a symbol of piety, honour, and spirituality, however, many people from Sikh community, including Avan Jogia, found it "offensive" and "irresponsible" for a white model wearing a turban.

The popularity of the 2018 Thai period drama "Love Destiny," which depicts the Ayutthaya Kingdom era, has sparked a trend of Cambodians adopting traditional Thai clothing, including the Sabai and Thai-style jewelry. This trend raises concerns about cultural appropriation. While this phenomenon might stem from admiration, critics argue that it overshadows unique Cambodian sartorial traditions, potentially leading to a decline in the popularity of garments like the Cambodian Sampot. However, Cambodia also grapples with ensuring the accuracy of its own cultural representations, as evidenced by efforts to regulate costume rentals at Angkor Wat.

An example of appropriation showcasing James and Mary Lowman wearing Kimonos, photographed ca 1909.

In June of 2019, Kim Kardashian launched a clothing line under the name of "Kimono". This clothing line was centered around shapewear lingerie, and the use of the word "kimono" seemed to largely be a play on words for Kardashian's name. However, as noted to in Kalled's article, there was immediate outrage from the Japanese community, both located in the US and Japan itself. The controversy reached a point where the mayor of Kyoto at the time sent a letter to Kardashian asking her to reconsider the name, and the celebrity eventually relented. In August of the same year, Jes Kalled published an article for Savvy Tokyo. This article spoke on the nature of the controversy and also featured interviews from Japanese citizens concerning the matter, with some feeling confusion and disappointment, while others seemed to dislike the notion of cultural appropriation at all.

Hairstyles, makeup, and body modifications

  • The leaders of ancient Israel condemned the adoption of Egyptian and Canaanite practices, especially cutting the hair short or shaving the beard. At the same time, the Old Testament distinguishes the religious circumcision of the Hebrews from cultures, such as the Egyptians, where the practice had aesthetic or practical purposes.
  • During the early 16th century, European men imitated the short, regular haircuts and beards on rediscovered Ancient Greek and Roman statues. The curled hair favoured by the Regency era dandy Beau Brummel was also inspired by the classical era.
  • During the 17th century, Louis XIV began wearing wigs to conceal his baldness. Like many other French fashions, these were quickly appropriated by baroque era courtiers in England and the rest of Europe, to the extent that men often shaved their heads to ensure their wig fitted properly.
  • American soldiers during World War II appropriated the Mohawk hairstyle of the Native American tribe of the same name to intimidate their enemies. These were later worn by 1950s jazz musicians like Sonny Rollins and the 1980s punk subculture.
  • During the early 2000s, it was popular in the West to get tribal tattoos appropriated from African and Polynesian culture, as well as earlobe piercings known as plugs, famously associated with the Buddha.
  • Since the early 2000s, it has become increasingly popular for people not of East Asian or South Asian descent to get tattoos of Devanagari, Korean letters, or Han characters (traditional, simplified, or Japanese), often without knowing the actual meaning of the symbols being used. In 2000, footballer David Beckham received a tattoo in Hindi. Beckham does not have Indian heritage.
  • There is debate about non-black people wearing dreadlocks – a hairstyle many associate with African and African diaspora cultures such as Jamaican Rastafari – and whether their doing so is cultural appropriation. In 2016 a viral video was published of a young black student arguing with a young white student and accusing him of cultural appropriation. In 2018, white actor Zac Efron was accused of cultural appropriation, when he posted a picture of himself in dreadlocks.
  • In Scotland and Ireland, non-speakers of Scottish Gaelic or Irish get tattoos in those languages, often not understanding what their tattoos mean.

Sports

See also: Native American mascot controversy and List of sports team names and mascots derived from indigenous peoples
The Washington Redskins logo in Maryland

While the history of colonisation and marginalisation is not unique to the Americas, the practice of non-Native sports teams deriving team names, imagery, and mascots from indigenous peoples is still common in the United States and Canada and has persisted in some extent despite protests from indigenous groups. Cornel Pewewardy, Professor and Director of Indigenous Nations Studies at Portland State University, cites indigenous mascots as an example of dysconscious racism which, by placing images of Native American or First Nations people into an invented media context, continues to maintain the superiority of the dominant culture. It is argued that such practices maintain the power relationship between the dominant culture and the indigenous culture and can be seen as a form of cultural imperialism.

Such practices may be seen as particularly harmful in schools and universities that have a stated purpose of promoting ethnic diversity and inclusion. In recognition of the responsibility of higher education to eliminate behaviours that create a hostile environment for education, in 2005, the NCAA initiated a policy against "hostile and abusive" names and mascots that led to the change of many derived from Native American culture, with the exception of those that established an agreement with particular tribes for the use of their specific names. Other schools retain their names because they were founded for the education of Native Americans and continue to have a significant number of indigenous students. The trend towards the elimination of indigenous names and mascots in local schools has been steady, with two-thirds having been eliminated over the past 50 years, according to the National Congress of American Indians (NCAI).

In contrast, the Seminole Tribe of Florida, in what the Washington Post called an unusual move, approved of the Florida State Seminoles use of their historical leader, Osceola, and his Appaloosa horse as the mascots Osceola and Renegade. After the NCAA attempted to ban the use of Native American names and iconography in college sports in 2005, the Seminole Tribe of Florida passed a resolution offering explicit support for FSU's depiction of aspects of Florida Seminole culture and Osceola as a mascot. The university was granted a waiver, citing the close relationship with, and ongoing consultation between, the team and the Florida tribe. In 2013, the tribe's chairman objected to outsiders meddling in tribal approval, stating that the FSU mascot and use of Florida State Seminole iconography "represents the courage of the people who were here and are still here, known as the Unconquered Seminoles". Conversely, in 2013, the Seminole Nation of Oklahoma expressed disapproval of "the use of all American Indian sports-team mascots in the public school system, by college and university level and by professional sports teams".

Music

The history of jazz and improvisational music has been one of many misconstrued details. Many scholars argue that jazz music is rooted in African American culture, specifically the practice of "scatting", or improvisational singing. Scholar George E. Lewis highlights the major differences between "Afrological" and "Eurological" perceptions of music, the former being more concerned with conveying personal expression and community experiences while the latter is more focused on adherence to a typical musical structure. This "Eurological" perception of music, Lewis argues, often leads to the simplifying of black improvisational music, labeling it as "folk" or "pop" music, while the title of "high art" is saved for European forms of classical music. This distinction highlights a pattern of cultural appropriation, one in which a form of African American music, such as jazz, is borrowed, and commodified by artists from outside communities, sometimes obscuring the original context and cultural signifigance.

The phenomenon of white people adopting elements of black culture has been prevalent, at least since slavery was abolished in the Western world. The concept has been documented in the United States, Canada, the United Kingdom, Australia, and other white-majority countries. An early form of this was the white negro in the jazz and swing music scenes of the 1920s and 1930s, as examined in the 1957 Norman Mailer essay "The White Negro". It was later seen in the zoot suiter of the 1930s and 1940s, the hipster of the 1940s, the beatnik of the 1950s–1960s, the blue-eyed soul of the 1970s, and the hip hop of the 1980s and 1990s. In 1993, an article in the UK newspaper The Independent described the phenomenon of white, middle-class kids who were "wannabe Blacks". The year 2005 saw the publication of Why White Kids Love Hip Hop: Wangstas, Wiggers, Wannabes, and the New Reality of Race in America by Bakari Kitwana, "a culture critic who's been tracking American hip hop for years".

African American culture

Robert A. Clift's documentary Blacking Up: Hip-Hop's Remix of Race and Identity questions white enthusiasts of black hip-hop culture. Clift's documentary examines "racial and cultural ownership and authenticity – a path that begins with the stolen blackness seen in the success of Stephen Foster, Al Jolson, Benny Goodman, Elvis Presley, the Rolling Stones –  up to Vanilla Ice ... and Eminem". A review of the documentary refers to the wiggers as "white poseurs", and states that the term wigger "is used both proudly and derisively to describe white enthusiasts of black hip-hop culture".

The term "blackfishing" was popularised in 2018 by writer Wanna Thompson, describing female white social media influencers who adopt a look perceived to be associated with black people, including braided hair, dark skin from tanning or make-up, full lips, and large thighs. Critics argue they take attention and opportunities from black influencers by appropriating their aesthetics and have likened the trend to blackface. Florida State University's Alisha Gaines, author of Black for a Day: Fantasies of Race and Empathy, said blackfishing allowed non-Black people to appropriate what is commonly considered "cool" about Blackness while still avoiding the negative consequences, such as "racism and state violence". According to Health.com, it is an "inverse form" of passing.

White protestors in 2018 carrying placards using the term woke

Additionally, African Americans have been accused of cultural appropriation by people from Africa. This has been disputed, as members of the diaspora have claimed a link to Africa, but those from Africa have disputed it.

Martial arts

In China, there is longstanding resentment of the Japanese schools of karate for stealing, imitating, and claiming credit for the forms of kung fu. Before the 1970s, most sifu disapproved of teaching kung fu to non-Chinese students. In the mid-20th century, Japanese karate was itself appropriated by American soldiers. As mixed martial arts gained popularity in the 21st century, practitioners have appropriated and combined Chinese, Japanese and Thai techniques with Western-style boxing, wrestling, and kickboxing.

Some authors have expressed the opinion, that in many cases, the study of martial arts by members of other countries and nationalities is not a form of negative 'appropriation', but rather that of appreciation. In Okinawa for example, unlike in China, the locals considered the Chinese origins of Karate to be an honorable thing to mention, and not a form of cultural theft.

During the 2023 Southeast Asian (SEA) Games in Cambodia, a controversy emerged when Cambodian martial arts competitions adopted Muay Thai rules, leading to allegations of cultural appropriation. Critics argued that this disrespected Thai cultural heritage and overshadowed Cambodian martial arts like Bokator. The International Federation of Muaythai Associations (IFMA) intervened, threatening fines and bans for countries participating in the Kun Khmer events under these rules. This prompted Thailand to boycott the SEA Games, further straining relations between the two countries. The popularity of Bokator has been partly influenced by international media, such as Tony Jaa's portrayal of martial arts in the "Tom Yum Goong" movie series. Tony Jaa, a renowned Thai martial artist, showcased traditional techniques that have inspired martial arts enthusiasts globally, including in Cambodia. This highlights the complex interplay of cultural pride and appropriation in the region.

Languages

In Scotland, the use of incorrect Scottish Gaelic in a tokenistic fashion aimed at non-Gaelic speakers on signage and announcements has been criticised as disrespectful to fluent speakers of the language.

Film and television

Main articles: Whitewashing in film and Color-blind casting

In 2017, Ghost in the Shell, which is based on the seinen manga Ghost in the Shell by Masamune Shirow, provoked disputes over whitewashing. Scarlett Johansson, a white actress, took the role of Motoko Kusanagi, a Japanese character. This was seen as cultural appropriation by some Western fans of the original manga who expected the role to be taken by an Asian or Asian-American actor. However, Japanese fans' reactions ranged from neutral to warm feelings about Scarlett Johansson starring in the film, with some fans expressing the sentiment that it would be better to have an actress with no ties to Asia play the character than to have a non-Japanese Asian pretend to be Japanese.

People in the transgender community have protested against the casting of straight, cisgender actors in trans acting roles, such as when Eddie Redmayne played the role of artist Lili Elbe in the film The Danish Girl and when Jared Leto played the role of a trans woman named Rayon in Dallas Buyers Club. Some in the gay community have expressed concerns about the use of straight actors to play gay characters; this occurs in films such as Call Me by Your Name (straight actors Armie Hammer and Timothée Chalamet), Brokeback Mountain (Heath Ledger and Jake Gyllenhaal), Philadelphia (Tom Hanks), Capote (Philip Seymour Hoffman) and Milk (with Sean Penn playing the role of the real-life gay rights activist, Harvey Milk). In the other direction, gay actors playing straight roles, Andrew Haigh, the writer-director, said, "You rarely see a gay actor applauded for playing straight". Jay Caruso calls these controversies "wholly manufactured" on the grounds that the actors "are playing a role" using the "art of acting".

Holidays

During Halloween, some people buy, wear, and sell Halloween costumes based on cultural or racial stereotypes. There have been public protests calling for the end to the manufacture and sales of these costumes and connecting their "degrading" portrayals of indigenous women to the Missing and Murdered Indigenous Women (MMIW) crisis. In some cases, theme parties have been held where attendees are encouraged to dress up as stereotypes of a certain racial group. A number of these parties have been held at colleges and at times other than Halloween, including Martin Luther King Jr. Day and Black History Month. For example, non-Romani people wear Romani costumes despite Romani people experiencing everyday racism and stereotypes.

The government of Ghana has been accused of cultural appropriation in adopting the Caribbean Emancipation Day and marketing it to African American tourists as an "African festival".

Dance and performance

The Boy Scouts of America-associated Koshare Indian Museum and Dancers were noted in Playing Indian by Native American historian Philip J. Deloria, referring to them as an example of "object hobbyists" who adopt the material culture of indigenous peoples of the past ("the vanishing Indian") while failing to engage with contemporary native peoples or acknowledge the history of conquest and dispossession. In the 1950s, the head councilman of the Zuni Pueblo saw a performance and said: "We know your hearts are good, but even with good hearts you have done a bad thing". In Zuni culture, religious objects and practices are only for those who have earned the right to participate, following techniques and prayers that have been handed down for generations.

The objections from some Native Americans towards such dance teams centre on the idea that the dance performances are a form of cultural appropriation that places dance and costumes in inappropriate contexts devoid of their true meaning, sometimes mixing elements from different tribes. In contrast, the dance teams state that " goal is to preserve Native American dance and heritage through the creation of dance regalia, dancing, and teaching others about the Native American culture".

In 2013, pop star Katy Perry drew criticism for her "geisha-style" performance at the American Music Awards, in which she and her backup dancers donned kimonos, heavy powdered face makeup, and colourful parasols, among other East Asian cultural items. Netizens declared Perry's actions appropriative and harmful to East Asian cultures.

Gender and sexuality

Some heterosexual individuals controversially self-identify by the term "queer heterosexual". As queer is generally defined either as a synonym for LGBT, or defined as "non-heterosexual", this appropriation of queer by cisgender, heterosexual individuals has been highly contested by LGBT people. One reason is that the term has a long history of use as a slur for LGBT people. LGBT people who consider this use of the term queer by heterosexual people to be inappropriate say that it is patently offensive because it involves members of the dominant culture, who do not experience oppression for their sexual orientation or gender identity, appropriating what they see as the fashionable parts of the terminology and identities of those who are oppressed for their sexuality.

For someone who is homosexual and queer, a straight person identifying as queer can feel like choosing to appropriate the good bits, the cultural and political cache [sic], the clothes and the sound of gay culture, without the laugh riot of gay-bashing, teen shame, adult shame, shame-shame, and the internalized homophobia of lived gay experience.

Responses

Indigenous cultures

White Americans dressed up in Native American outfits (1909)

Among critics, the misuse and misrepresentation of indigenous cultures are seen as an exploitative form of colonialism and one step in the destruction of indigenous cultures.

The results of this appropriation of indigenous knowledge have led some tribes and the United Nations General Assembly to issue several declarations on the subject. The Declaration of War Against Exploiters of Lakota Spirituality includes the passage:

We assert a posture of zero-tolerance for any "white man's shaman" who rises from within our own communities to "authorize" the expropriation of our ceremonial ways by non-Indians; all such "plastic medicine men" are enemies of the Lakota, Dakota, and Nakota people.

Article 31 1 of the United Nations Declaration on the Rights of Indigenous Peoples states:

Indigenous peoples have the right to maintain, control, protect and develop their cultural heritage, traditional knowledge and traditional cultural expressions, as well as the manifestations of their sciences, technologies, and cultures, including human and genetic resources, seeds, medicines, knowledge of the properties of fauna and flora, oral traditions, literatures, designs, sports and traditional games and visual and performing arts. They also have the right to maintain, control, protect and develop their intellectual property over such cultural heritage, traditional knowledge, and traditional cultural expressions.

In 2015, a group of Native American academics and writers stated the Rainbow Family members whose acts of "cultural exploitation... dehumanize us as an indigenous Nation because they imply our culture and humanity, like our land, is anyone's for the taking".

In writing about indigenous intellectual property for the Native American Rights Fund (NARF), board member Professor Rebecca Tsosie stresses the importance of these property rights being held collectively, not by individuals:

The long-term goal is to actually have a legal system, and certainly a treaty could do that, that acknowledges two things. Number one, it acknowledges that indigenous peoples are people with a right to self-determination that includes governance rights over all property belonging to the indigenous people. And, number two, it acknowledges that indigenous cultural expressions are a form of intellectual property and that traditional knowledge is a form of intellectual property, but they are collective resources – so not any one individual can give away the rights to those resources. The tribal nations actually own them collectively.

In Australia, Aboriginal artists have discussed an "authenticity brand" to ensure consumers are aware of artworks claiming false Aboriginal significance. The movement for such a measure gained momentum after the 1999 conviction of John O'Loughlin for selling paintings that he falsely described as the work of Aboriginal artist Clifford Possum Tjapaltjarri.

Criticism of the concept

John McWhorter, an African-American professor at Columbia University, criticised the concept in 2014, arguing that cultural borrowing and cross-fertilisation are generally positive things and are something which is usually done out of admiration and with no intent to harm the cultures being imitated; he also argued that the specific term "appropriation", which can mean theft, is misleading when applied to something like culture that is inherently not a limited resource, and therefore is not taken away from anyone by imitating it.

Idrees M. Kahloon of The Harvard Crimson largely criticized the concept in 2015, arguing that while cultural appropriation had some merits, much of the discourse surrounding it was misrepresentative and self-indulgent. Citing the culture surrounding contemporary music as an example of the poor discourse he said: "Music for example is the area of entertainment media where you'll find the majority of these meaningless criticisms. Iggy Azalea is criticized for stealing black accents and body imagery. Isn't promoting diversity something most fans of this medium generally support?"

Another critic of the concept, Chris Berg, argues that culture is "just the current manifestation of a long evolutionary process" in which cultural elements constantly evolve when is contact with other cultures. His assertion then is that opponents of cultural appropriation are actually involved in "a deeply conservative project", one that "first seeks to preserve... the content of an established culture and second tries prevent others from interacting with that culture" ultimately inhibiting the positive relationships created by cultural exchange.

In 2016, author Lionel Shriver said that authors from a cultural majority have a right to write in the voice of someone from a cultural minority, attacking the idea that this constitutes cultural appropriation. Referring to a case in which U.S. college students were facing disciplinary action for wearing sombreros to a "tequila party", she said: "The moral of the sombrero scandals is clear: you're not supposed to try on other people's hats. Yet that's what we're paid to do, isn't it? Step into other people's shoes, and try on their hats."

In 2018, conservative columnist Jonah Goldberg described cultural appropriation as a positive thing and dismissed opposition to it as a product of some people's desire to be offended.

Kwame Anthony Appiah, ethics columnist for the New York Times, said that the term cultural appropriation incorrectly labels contemptuous behaviour as a property crime. According to Appiah, "The key question in the use of symbols or regalia associated with another identity group is not: What are my rights of ownership? Rather it's: Are my actions disrespectful?"

Upon winning the 2019 Booker Prize, Bernardine Evaristo dismissed the concept of cultural appropriation, stating that it is ridiculous to demand of writers that they not "write beyond own culture".

Another critique comes from Yascha Mounk, stating in his book The People vs Democracy (2018), the problem with cultural appropriation necessarily acknowledges a purist conception of culture, it being linked to the building of an mono-ethnical common identity, which appropriates itself of some rites and traits. He argues that no symbols or traditions minoritarian culture should be denigrated or mocked. But it does open the door to what he calls "historical nonsense". However, cultures have never been completely defined, as they have inspired from one and another, and have thus enriched their own. The segmentation in well-defined cultures works the same way as far right leaders in their views of identity and the defence of their nation, that should not include "foreign influences on their national cultures".

See also

References

  1. ^ Fourmile, Henrietta (1996). "Making things work: Aboriginal and Torres Strait Islander Involvement in Bioregional Planning" in Approaches to bioregional planning. Part 2. Background Papers to the conference; 30 October – 1 November 1995, Melbourne; Department of the Environment, Sport and Territories. Canberra. pp. 268–269: "The intellectual property rights system and the (mis)appropriation of Indigenous knowledge without the prior knowledge and consent of Indigenous peoples evoke feelings of anger, or being cheated"
  2. "A right royal rip-off". The Age. Australia. 20 August 2003. Archived from the original on 18 August 2014. Retrieved 17 September 2016.
  3. "cultural appropriation". Lexico, Oxford University Press. Archived from the original on 23 May 2020. Retrieved 14 September 2021.
  4. Baker, KaDeidra (16 August 2018). "Indigenous Appropriation and Protection Provided by Intellectual Property Law". North Carolina Central University Science & Intellectual Property Law Review. 11 (1). North Carolina Central University School of Law: 111. Archived from the original on 12 August 2020. Retrieved 11 October 2021.
  5. Bauer, Matthias (2018). Online platforms, economic integration and Europe's rent-seeking society: Why online platforms deliver on what EU governments fail to achieve PDF Logo (Report). ECIPE. p. 1. hdl:10419/202508. Archived from the original on 13 February 2023. Retrieved 11 October 2021.
  6. Arya, Rina (2021). "Cultural appropriation: What it is and why it matters?". Sociology Compass. 15 (10). doi:10.1111/soc4.12923.
  7. Oshotse, Abraham; Berda, Yael; Goldberg, Amir (2024). "Cultural Tariffing: Appropriation and the Right to Cross Cultural Boundaries". American Sociological Review. 89 (2): 346–390. doi:10.1177/00031224231225665. ISSN 0003-1224. S2CID 267975405. Archived from the original on 21 February 2024. Retrieved 5 December 2024. Alt URL
  8. Young, James O. (1 February 2010). Cultural Appropriation and the Arts. John Wiley & Sons. p. 5. ISBN 978-1-4443-3271-1. Archived from the original on 13 February 2023. Retrieved 22 July 2015.
  9. Young, James O. (1 February 2010). Cultural Appropriation and the Arts. John Wiley & Sons. p. 59. ISBN 978-1-4443-3271-1. Archived from the original on 13 February 2023. Retrieved 22 July 2015.
  10. Houska, Tara. "'I Didn't Know' Doesn't Cut It Anymore". Indian Country Today Media Network. Archived from the original on 19 April 2015. Retrieved 20 April 2015. On imitation Native headdresses as "the embodiment of cultural appropriation ... donning a highly sacred piece of Native culture like a fashion accessory".
  11. ^ Caceda, Eden (14 November 2014). "Our cultures are not your costumes". Sydney Morning Herald. Archived from the original on 13 September 2017. Retrieved 20 January 2015.
  12. ^ Ryde, Judy (15 January 2009). Being White in the Helping Professions. Jessica Kingsley Publishers. ISBN 978-1-84310-936-5.
  13. Hartigan, John (24 October 2005). Odd Tribes: Toward a Cultural Analysis of White People. Duke University Press Books. ISBN 978-0-8223-3584-9.
  14. Okafor, Udoka (4 December 2013). "Cultural Appropriation: The Act of Stealing and Corrupting". Huffington Post. Archived from the original on 7 July 2017. Retrieved 18 July 2018.
  15. Rogers, Richard A. (1 November 2006). "From Cultural Exchange to Transculturation: A Review and Reconceptualisation of Cultural Appropriation". Communication Theory. 16 (4): 474–503. doi:10.1111/j.1468-2885.2006.00277.x. ISSN 1468-2885.
    Carman, Tim (26 May 2017). "Should white chefs sell burritos? A Portland food cart's revealing controversy". The Washington Post. Archived from the original on 4 July 2019. Retrieved 4 June 2017.
    Lindtner, S.; Anderson, K.; Dourish, P. (11–15 February 2012). "Cultural appropriation: information technologies as sites of transnational imagination". CSCW '12: Proceedings of the ACM 2012 conference on Computer Supported Cooperative Work. doi:10.1145/2145204.2145220. S2CID 4464439.
    Borgerson, Janet; Schroeder, Jonathan (21 May 2021). "Midcentury Dance Records and Representations of Identity". Independent Social Research Foundation. Archived from the original on 22 May 2021. Retrieved 22 May 2021.
    Borgerson, Janet; Schroeder, Jonathan (2021). DESIGNED FOR DANCING : how midcentury records taught america to dance. : MIT Press. ISBN 978-0-262-04433-2. OCLC 1230460986. Archived from the original on 13 February 2023. Retrieved 19 October 2021.
    Cavazos, Elsa (4 August 2022). "I Almost Choked On My Agua Fresca When I Learned About Spa Water". refinery29.com. Refinery 29. Archived from the original on 5 August 2022. Retrieved 5 August 2022. In July, TikToker Gracie Norton shared multiple videos of her mixing together a fruity anti-inflammatory drink she called spa water with her more than 500,000 followers.The since-deleted videos caused a stir, especially among Latines on the social network, who responded to Norton's cucumber, water, and sugar blend by calling the drink what it actually is — agua fresca — and her alleged discovery of the so-called "wellness drink" as another example of culinary appropriation and/or food gentrification.
    Pagán, Angela L. (28 July 2022). "How TikTok Is Messing With Latinx Food, and Why It Needs to Stop". thetakeout.com. The Take Out. Archived from the original on 9 August 2022. Retrieved 5 August 2022. By calling esquites Mexican street corn, TikTok influencers like @janellerohnerare essentially rebranding the recipe as if it's something newly concocted by the internet. We don't call spaghetti 'Italian sauce noodles,' so why rename this traditional piece of Mexican cuisine?
  16. Scafidi, Susan (2005). Who Owns Culture?: Appropriation and Authenticity in American Law (Rutgers Series: The Public Life of the Arts). Rutgers University Press.
  17. ^ Mesteth, Wilmer, et al (10 June 1993) "Declaration of War Against Exploiters of Lakota Spirituality". Archived 9 February 2016 at the Wayback Machine. "At the Lakota Summit V, an international gathering of US and Canadian Lakota, Dakota and Nakota Nations, about 500 representatives from 40 different tribes and bands of the Lakota unanimously passed a 'Declaration of War Against Exploiters of Lakota Spirituality'. The following declaration was unanimously passed."
  18. Constable, Anne (3 January 2016). "Hopis say Boy Scout performances make mockery of tradition, religion". Santa Fe New Mexican. Archived from the original on 9 November 2020. Retrieved 23 February 2021.
  19. Davis, Michael (1997). "Indigenous Peoples and Intellectual Property Rights – Indigenous Peoples and Cultural Appropriation". Parliament of Australia. Parliament of Australia – Social Policy Group. Archived from the original on 24 February 2021. Retrieved 2 September 2019. In a general sense, these rights are considered to be 'owned', and managed communally, or collectively, rather than inhering in particular individuals.
  20. "Special System for the Collective Intellectual Property Rights of Indigenous Peoples Archived 2019-04-18 at the Wayback Machine at World Intellectual Property Organization. Accessed 18 April 2019.
  21. Santilli, Juliana. 2006. "Cultural Heritage and Collective Intellectual Property Rights Archived 2019-04-18 at the Wayback Machine". Indigenous Knowledge (IK) Notes; No. 95. World Bank, Washington, DC. Accessed 18 April 2019.
  22. Fourmile, Henrietta (1996). "Making things work: Aboriginal and Torres Strait Islander Involvement in Bioregional Planning" in Approaches to bioregional planning. Part 2. Background Papers to the conference; 30 October – 1 November 1995, Melbourne; Department of the Environment, Sport and Territories. Canberra. pp. 268–269: "The intellectual property rights system and the (mis)appropriation of indigenous knowledge without the prior knowledge and consent of indigenous peoples evoke feelings of anger, or being cheated"
  23. ^ Working Group on Indigenous Populations, accepted by the United Nations General Assembly, Declaration on the Rights of Indigenous Peoples. Archived 26 June 2015 at the Wayback Machine; UN Headquarters; New York City (13 September 2007).
  24. Rainforest Aboriginal Network (1993) Julayinbul: Aboriginal Intellectual and Cultural Property Definitions, Ownership and Strategies for Protection. Rainforest Aboriginal Network. Cairns. Page 65.
  25. Jackson, Jason Baird (April 2021). "On Cultural Appropriation". Journal of Folklore Research. 58 (1): 77–122. doi:10.2979/jfolkrese.58.1.04 – via Project Muse.
  26. ^ Houska, Tara. "'I Didn't Know' Doesn't Cut It Anymore". Indian Country Today Media Network. Archived from the original on 19 April 2015. Retrieved 20 April 2015. On imitation Native headdresses as "the embodiment of cultural appropriation ... donning a highly sacred piece of Native culture like a fashion accessory".
  27. Caceda, Eden (14 November 2014). "Our cultures are not your costumes". Sydney Morning Herald. Archived from the original on 13 September 2017. Retrieved 20 January 2015.
  28. ^ Johnson, Kjerstin (25 October 2011) "Don't Mess Up When You Dress Up: Cultural Appropriation and Costumes". Archived June 29, 2015, at the Wayback Machine; at Bitch Magazine. Accessed 4 March 2015. "Dressing up as 'another culture', is racist, and an act of privilege. Not only does it lead to offensive, inaccurate, and stereotypical portrayals of other people's culture ... but is also an act of appropriation in which someone who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experience any of the daily discriminations faced by other cultures."
  29. Wallace, Michele (1992). Black Popular Culture. Seattle: Bay Press. pp. 13–15. ISBN 978-1-56584-459-9.
  30. Frum, David (8 May 2018). "Every Culture Appropriates". The Atlantic. Archived from the original on 24 July 2019. Retrieved 1 December 2018.
  31. ^ Young, Cathy (21 August 2015). "To the new culture cops, everything is appropriation". Washington Post. Archived from the original on 28 July 2019. Retrieved 22 February 2021.
  32. Chen, Anna (4 May 2018). "An American woman wearing a Chinese dress is not cultural appropriation". The Guardian. Archived from the original on 24 July 2019. Retrieved 1 December 2018.
  33. Friedersdorf, Conor (3 April 2017). "What Does 'Cultural Appropriation' Actually Mean?". The Atlantic. Archived from the original on 4 April 2017. Retrieved 18 May 2017.
  34. Soave, Robby (5 May 2019). "Cultural Appropriation: Don't Let the Woke Scolds Ruin Cinco de Mayo". Reason: Free Minds and Free Markets. Archived from the original on 16 May 2019. Retrieved 25 June 2019.
  35. McWhorter, John (15 July 2014). "You Can't 'Steal' A Culture: In Defense of Cultural Appropriation". The Daily Beast. Archived from the original on 31 May 2017. Retrieved 20 October 2014.
  36. ^ "Lionel Shriver's full speech: 'I hope the concept of cultural appropriation is a passing fad'". The Guardian. 13 September 2016. Archived from the original on 26 November 2016. Retrieved 30 October 2016.
  37. Mali, Malhar (29 March 2017). "I Am a Minority and I Prohibit You". Areo. Archived from the original on 20 August 2019. Retrieved 18 July 2018.
  38. Patterson, Steve (20 November 2015). "Why Progressives Are Wrong to Argue Against Cultural Appropriation". Observer. Archived from the original on 24 July 2019. Retrieved 18 July 2018.
  39. "Canada's war over 'cultural appropriation'". The Economist. 25 May 2017. Archived from the original on 24 July 2019. Retrieved 18 July 2018.
  40. Mamedov, Mikail. "'Going Native' in the Caucasus: Problems of Russian Identity, 1801–64 Archived 2021-06-03 at the Wayback Machine". The Russian Review, vol. 67, no. 2, 2008, pp. 275–295. Accessed 27 April 2020.
  41. Schneider, Arnd (2003) On 'appropriation'. A critical reappraisal of the concept and its application in global art practices. Archived 3 March 2016 at the Wayback Machine; published in Social Anthropology (2003), 11:2:215–229, Cambridge University Press.
  42. ^ Johnson, Kjerstin (25 October 2011) "Don't Mess Up When You Dress Up: Cultural Appropriation and Costumes". Archived June 29, 2015, at the Wayback Machine; at Bitch Magazine. Accessed 4 March 2015. "Dressing up as 'another culture', is racist, and an act of privilege. Not only does it lead to offensive, inaccurate, and stereotypical portrayals of other people's culture ... but is also an act of appropriation in which someone who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experience any of the daily discriminations faced by other cultures."
  43. Scafidi, Susan (2005). Who Owns Culture?: Appropriation and Authenticity in American Law (Rutgers Series: The Public Life of the Arts). Rutgers University Press.
  44. ^ Connor Martin, Katharine (29 March 2018). "New words notes March 2018". Oxford English Dictionary. Archived from the original on 19 January 2022. Retrieved 19 January 2022.
  45. Christy, Arthur E. (1945). The Asian Legacy and American Life. New York: John Day. p. 39.
  46. ^ "Cultural appropriation – Oxford Reference". Archived from the original on 3 May 2017. Retrieved 19 July 2018.
  47. Hutchinson, John; Hiller, Susan (1992). "The Myth of Primitivism". Circa (61): 49. doi:10.2307/25557703. ISSN 0263-9475. JSTOR 25557703. S2CID 195026418.
  48. Darren Lee Pullen, ed. (2009). Technoliteracy, Discourse, and Social Practice: Frameworks and Applications in the Digital Age. IGI Global. p. 312. ISBN 978-1-60566-843-7. Archived from the original on 13 February 2023. Retrieved 4 January 2022.
  49. Ousterhout, Robert. "Ethnic Identity and Cultural Appropriation in Early Ottoman Architecture." Archived 13 June 2006 at the Wayback Machine Muqarnas Volume XII: An Annual on Islamic Art and Architecture. Leiden: E.J. Brill. 1995. Retrieved 3 January 2010.
  50. developer (22 September 2017). "The Debate About Cultural Appropriation". O'Neill. Retrieved 13 September 2024.
  51. Jackson, Jason Baird (April 2021). "On Cultural Appropriation". Journal of Folklore Research. 58 (1): 77–122. doi:10.2979/jfolkrese.58.1.04 – via Project Muse.
  52. Kunst, Jonas R.; Lefringhausen, Katharina; Zagefka, Hanna (August 2023). "Delineating the boundaries between genuine cultural change and cultural appropriation in majority group acculturation". International Journal of Intercultural Relations. 98 (1): 7. doi:10.1016/j.ijintrel.2023.101911.
  53. Cruz, Angela Gracia B.; Seo, Yuri; Scaraboto, Daiane (2024). "Between Cultural Appreciation and Cultural Appropriation: Self-Authorizing the Consumption of Cultural Difference". Journal of Consumer Research. 50 (5): 962–984. doi:10.1093/jcr/ucad022.
  54. Bruyneel, Kevin (2016). "Race, Colonialism, and the Politics of Indian Sports Names and Mascots: The Washington Football Team Case". Native American and Indigenous Studies. 3 (2): 1–22. doi:10.5749/natiindistudj.3.2.0001. JSTOR 10.5749/natiindistudj.3.2.0001.
  55. ^ "This means war: why the fashion headdress must be stopped". The Guardian. 30 July 2014. Archived from the original on 17 February 2021. Retrieved 23 January 2023.
  56. Wood, Marisa (May 2017). "Cultural Appropriation and the Plains' Indian Headdress". Auctus. Virginia Commonwealth University - VCU Scholars Compass: 1–11. Retrieved 23 March 2023.
  57. Freda, Elizabeth (28 July 2014) "Music Festival Is Banning Cultural Appropriation, aka Hipsters Wearing Native American Headdresses Archived May 7, 2016, at the Wayback Machine" for EOnline.
  58. Zimmerman, Amy (4 June 2014) "Pharrell, Harry Styles, and Native American Appropriation Archived April 9, 2016, at the Wayback Machine" for The Daily Beast.
  59. Arrowsmith, Aidan (1 April 2000). "Plastic Paddy: Negotiating Identity in Second-generation 'Irish-English' Writing". Irish Studies Review. 8 (1): 35–43. doi:10.1080/09670880050005093. S2CID 145693196.
  60. Mcloughlin, Anya (2017). "How to be as a plastic paddy this St Patrick's day". The Nottingham Tab. Archived from the original on 9 October 2021. Retrieved 9 October 2021. Bonus brownie points if you're inventive with your cultural appropriation e.g. green eyeshadow, green dyed hair, green suits.
  61. Moore, Johnny (17 March 2017). "Raise a glass, thank the Irish on Paddy's Day". The Press Reader. Archived from the original on 9 October 2021. Retrieved 9 October 2021.
  62. ^ Parsons, Jonathon (Autumn 1989). "Aboriginal Motifs In Design: Frances Derham And The Arts And Crafts Society Of Victoria". La Trobe Library Journal. 11 (43): 41.
  63. Peirson-Smith, Anne; Hancock, Joseph, eds. (2018). Transglobal Fashion Narratives: Clothing Communication, Style Statements and Brand Storytelling. United Kingdom: Intellect Books Limited. ISBN 9781783208449. OCLC 1035393767.
  64. Derham, Frances (June 1929). "Cover". The Recorder. Arts and Crafts Society of Victoria: 8.
  65. Preston, Margaret (1 March 1930). "The Application Of Aboriginal Designs". Art in Australia. Third series (31): 50–64. Retrieved 6 August 2023.
  66. Spennemann, D.H.R. (15 August 2022). "Appropriating "Aboriginal" Australian Art in the Atomic Age". retrospect. p. 9. Retrieved 11 November 2023.
  67. "Open letter accuses non-indigenous artist of cultural appropriation". CBC/Radio-Canada. 8 December 2017. Archived from the original on 29 May 2019. Retrieved 14 August 2019.
  68. Byard, RW (26 September 2005). "Dehydration and heat-related death: sweat lodge syndrome". Forensic Science SA. PMID 8.
    Herel, Suzanne (27 June 2002). "2 seeking spiritual enlightenment die in new-age sweat lodge". San Francisco Chronicle. Hearst Communications. Archived from the original on 25 May 2011. Retrieved 26 September 2006.
    Taliman, Valerie (13 October 2009), Selling the sacred, Indian Country Today, archived from the original on 24 July 2012, retrieved 22 October 2014
    Goulais, Bob (24 October 2009). "Editorial: Dying to experience native ceremonies". North Bay Nugget. Archived from the original on 6 September 2012.
    Hocker, Lindsay. "Sweat lodge incident 'not our Indian way'", Quad-Cities Online, 14 October 2009.
  69. York, Michael (October 2001). "New Age Commodification and Appropriation of Spirituality". Journal of Contemporary Religion. 16 (3): 361–372. doi:10.1080/13537900120077177. ISSN 1353-7903.
  70. Mesteth, Wilmer; et al. (10 June 1993). "Declaration of War Against Exploiters of Lakota Spirituality". Archived from the original on 9 February 2016. At the Lakota Summit V, an international gathering of US and Canadian Lakota, Dakota and Nakota Nations, about 500 representatives from 40 different tribes and bands of the Lakota unanimously passed a 'Declaration of War Against Exploiters of Lakota Spirituality'. The following declaration was unanimously passed.
  71. Hobson, G. (1978). "The Rise of the White Shaman as a New Version of Cultural Imperialism". In Hobson, Gary (ed.). The Remembered Earth. Albuquerque: Red Earth Press. pp. 100–108.
  72. Tripathi, Salil (20 September 1999). "Hindus and Kubrick". The New Statesman. Archived from the original on 3 March 2016. Retrieved 23 November 2006.
  73. McAuliffe, Alanna. "New York Apparel » Cultural Appropriation". Macaulay Honors College. Archived from the original on 24 November 2018. Retrieved 27 June 2017.
  74. O'Neil, Lauren (14 April 2014). "Celebrity bindis at Coachella: Fashion trend or cultural appropriation? – Your Community". CBC News. Archived from the original on 19 March 2017. Retrieved 27 June 2017.
  75. "Is Cultural Appropriation in Fashion Offensive? Part – II". The University Times. 2 November 2013. Archived from the original on 7 September 2017. Retrieved 27 June 2017.
  76. Varagur, Krithika (5 November 2015). "Is This The Right Way For Fashion To Do Cultural Appropriation?". The Huffington Post. Archived from the original on 26 February 2017. Retrieved 4 March 2017.
  77. Pham, Minh-Ha T. (15 May 2014). "Why We Should Stop Talking About "Cultural Appropriation"". The Atlantic. Archived from the original on 29 November 2019. Retrieved 27 June 2017.
  78. Frucht, Richard C. (27 June 2017). Eastern Europe: An Introduction to the People, Lands, and Culture. ABC-CLIO. ISBN 978-1-57607-800-6. Archived from the original on 13 February 2023. Retrieved 27 June 2017 – via Google Books.
  79. Ross, Robert (2 May 2013). Clothing: A Global History. John Wiley & Sons. ISBN 978-0-7456-5753-0. Archived from the original on 13 February 2023. Retrieved 27 June 2017 – via Google Books.
  80. Banks: de la Chapelle 2007: pp. 106–108.
  81. Agnew, Jeremy (25 October 2012). The Old West in Fact and Film: History Versus Hollywood. McFarland. ISBN 978-0-7864-9311-1. Archived from the original on 13 February 2023. Retrieved 27 June 2017 – via Google Books.
  82. "Highland fling – New Humanist". newhumanist.org.uk. 7 November 2008. Archived from the original on 12 March 2017. Retrieved 27 June 2017.
  83. "Underneath the 'Orientalist' kimono – The Japan Times". 18 July 2015. Archived from the original on 15 December 2015. Retrieved 12 April 2017.
  84. Gage, Tad (1 September 1997). The Complete Idiot's Guide to Cigars, 2nd Edition. Penguin. ISBN 978-1-101-19857-5. Archived from the original on 13 February 2023. Retrieved 27 June 2017 – via Google Books.
  85. Cliffe, Sheila (23 March 2017). The Social Life of Kimono: Japanese Fashion Past and Present. Bloomsbury Academic. ISBN 978-1-4725-8552-3. Archived from the original on 13 February 2023. Retrieved 27 June 2017 – via Google Books.
  86. "The Mails." Times, 1 Aug. 1890, p. 3. The Times Digital Archive, link.gale.com/apps/doc/CS52089601/TTDA?u=tall85761&sid=bookmark-TTDA&xid=b1657280. Accessed 27 Apr. 2023.
  87. "Teddy girls – Teddy girl a member of youth subculture in 1950s". subcultureslist.com. Archived from the original on 6 September 2013. Retrieved 27 June 2017.
  88. ^ Ward, Fay E. (27 June 1987). The Cowboy at Work: All about His Job and how He Does it. University of Oklahoma Press. ISBN 978-0-8061-2051-5. Archived from the original on 13 February 2023. Retrieved 27 June 2017 – via Google Books.
  89. ^ "Lionel Shriver's full speech: 'I hope the concept of cultural appropriation is a passing fad'". The Guardian. 13 September 2016. Archived from the original on 26 November 2016. Retrieved 30 October 2016.
  90. "Is cultural appropriation the bogeyman it's made out to be?". abc.net.au. 21 December 2015. Archived from the original on 22 September 2018. Retrieved 17 July 2018.
  91. "Is anyone at UEA really that offended by sombreros?". 7 February 2016. Archived from the original on 14 June 2020. Retrieved 9 March 2020.
  92. "UEA's sombrero ban is no joke". Archived from the original on 20 June 2020. Retrieved 9 March 2020.
  93. "The Cowboys", from Time Life The Old West series. (1973)
  94. "A Mughal princess in New Spain" (PDF). Archived from the original (PDF) on 21 September 2018. Retrieved 20 May 2018.
  95. "Irish Cultural Society of San Antonio". www.irishculturalsociety.com. Archived from the original on 20 December 2017. Retrieved 27 June 2017.
  96. "A brief history of Tweed". www.scotsman.com. Archived from the original on 22 May 2017. Retrieved 27 June 2017.
  97. Bronner, Simon J.; Clark, Cindy Dell (21 March 2016). Youth Cultures in America [2 volumes]. ABC-CLIO. ISBN 978-1-4408-3392-2. Archived from the original on 13 February 2023. Retrieved 27 June 2017 – via Google Books.
  98. "The last keffiyeh factory in Palestine". middleeasteye.net. Archived from the original on 22 June 2017. Retrieved 27 June 2017.
  99. "World Keffiyeh Day in Solidarity with Palestine #keffiyehday – Event – Arab America". arabamerica.com. Archived from the original on 20 May 2017. Retrieved 27 June 2017.
  100. "Keffiyeh makers in Hebron turn to social media". BBC News. 1 August 2011. Archived from the original on 26 May 2017. Retrieved 27 June 2017.
  101. "English". www.kufiya.org. Archived from the original on 4 July 2017. Retrieved 27 June 2017.
  102. "On the Keffiyeh, Palestine, Solidarity, and Cultural Appropriation". bennorton.com. 7 January 2015. Archived from the original on 12 June 2017. Retrieved 27 June 2017.
  103. "Topshop pulls festival playsuit from sale after row comparing it to Palestinian keffiyeh design". www.msn.com. Archived from the original on 12 April 2017. Retrieved 27 June 2017.
  104. ^ Keene, Adrienne (2 August 2015). "The Benefits of Cultural Sharing are Usually One-Sided". The New York Times. Archived from the original on 13 February 2023. Retrieved 14 April 2019.
  105. ^ Also cited in Riley, Angela R.; Carpenter, Kristen A. (1 April 2016). "Owning Red: A Theory of Indian (Cultural) Appropriation". Texas Law Review. 94 (5): 914. Archived from the original on 12 April 2019. Retrieved 14 April 2019.
  106. ^ "Victoria's Secret apologizes for using headdress". usatoday.com. Archived from the original on 7 July 2017. Retrieved 27 June 2017.
  107. "(This is a link to the photo of Karlie Kloss wearing a Native American headdress during the Victoria's Secret Fashion show.)". gannett-cdn.com. Archived from the original on 24 July 2017. Retrieved 27 June 2017.
  108. Horton, Helena (16 January 2016). "Beyoncé criticised for 'cultural appropriation' in new music video with Coldplay and Sonam Kapoor". The Telegraph. Archived from the original on 27 July 2022. Retrieved 26 July 2022.
  109. Gertner, Rosane K. (2019). "The impact of cultural appropriation on destination image, tourism, and hospitality". Thunderbird International Business Review. 61 (6): 873–877. doi:10.1002/tie.22068. ISSN 1520-6874. S2CID 159073095.
  110. "'A crucifix is now just a fashion statement and has lost religious meaning'Welby | VirtueOnline – The Voice for Global Orthodox Anglicanism". virtueonline.org. Archived from the original on 28 September 2022. Retrieved 13 February 2023.
  111. "Japan's Lolita Style Cutesy and Disturbing". Archived from the original on 14 August 2017. Retrieved 14 August 2017.
  112. ^ "Gucci accused of culturally appropriating Sikh turban". Aljazeera. 2018. Archived from the original on 30 August 2021. Retrieved 30 August 2021.
  113. ^ Petter, Olivia (2018). "Gucci criticised for putting turbans on white models". Independent UK. Archived from the original on 21 April 2022. Retrieved 30 August 2021.
  114. Kaur, Harmeet (2018). "Here's why Sikhs were offended by this $790 Gucci turban". CNN. Archived from the original on 30 August 2021. Retrieved 30 August 2021.
  115. "Angkor vendors of Khmer costumes must be 'accurate'".
  116. Kalled, Jes (15 August 2019). "The #KimOhNo Conversation: How Do Japanese People Feel About It Now?". Savvy Tokyo. Retrieved 23 September 2024.
  117. "Audiophile Life". Audiophile Life. Archived from the original on 19 June 2013. Retrieved 27 June 2017.
  118. McClatchey, Caroline (21 November 2011). "Ear stretching: Why is lobe 'gauging' growing in popularity?". BBC News. Archived from the original on 18 March 2017. Retrieved 27 June 2017.
  119. "Cultural appropriation of Japanese tattoos, 2008". port.ac.uk. Archived from the original on 30 September 2016. Retrieved 27 June 2017.
  120. Pages, The Society. "Lost in Translation: Tattoos and Cultural Appropriation – Sociological Images". thesocietypages.org. Archived from the original on 22 October 2019. Retrieved 27 June 2017.
  121. Chaudhary, Vivek (28 November 2000). "Tattooists own goal leaves Beckham a marked man". The Guardian. Retrieved 28 July 2023.
  122. Euse, Erica. "why that tribal tattoo won't work in a woke world". i-d.vice.com. Retrieved 28 July 2023.
  123. Gabbara, Princess (18 October 2016). "The History of Dreadlocks". Ebony. Archived from the original on 31 July 2022. Retrieved 21 October 2020.
  124. Wilson, Emma; Wendling, Mike (2 April 2016). "Is it OK for white people to have dreadlocks?". BBC. Archived from the original on 17 October 2020. Retrieved 21 October 2020.
  125. Heller, Susanna (6 July 2018). "Zac Efron wore his hair in dreadlocks and he's being accused of cultural appropriation". Insider.com. Archived from the original on 13 February 2023. Retrieved 21 October 2020.
  126. McEwan, Emily (2016). The Scottish Gaelic Tattoo Handbook. Bradan Press. ISBN 978-0-9950998-0-7. Archived from the original on 13 February 2023. Retrieved 14 January 2017.
  127. Pewewardy, Cornel (1999). "From enemy to mascot: The deculturation of Indian mascots in sports culture". Canadian Journal of Native Education. 23 (2): 176–189. ISSN 0710-1481. ProQuest 230304174.
  128. Longwell-Grice, Robert; Hope Longwell-Grice (2003). "Chiefs, Braves, and Tomahawks: The Use of American Indians as University Mascots". NASPA Journal (National Association of Student Personnel Administrators, Inc.). 40 (3): 1–12. doi:10.2202/0027-6014.1255. ISSN 0027-6014.
  129. Riley, Angela (2005). "Straight Stealing: Towards an Indigenous System of Cultural Property Protection". Washington Law Review. 80 (69). SSRN 703283.
  130. "Statement of the U.S. Commission on Civil Rights on the Use of Native American Images and Nicknames as Sports Symbols". The United States Commission on Civil Rights. 13 April 2001. Archived from the original on 11 February 2012. Retrieved 13 June 2012.
  131. "Anti-Defamation and Mascots". National Congress of American Indians. Archived from the original on 16 January 2013. Retrieved 12 January 2013.
  132. ^ Lyden, Jacki (28 November 2015). "Osceola At The 50-Yard Line". NPR.org. Archived from the original on 3 December 2015. Retrieved 6 December 2015.
  133. ^ Culpepper, Chuck (29 December 2014). "Florida State's Unusual Bond with Seminole Tribe Puts Mascot Debate in a Different Light". The Washington Post. Archived from the original on 24 November 2015. Retrieved 6 December 2015.
  134. Billie, James E. (24 October 2013). "Like the old Florida flag: 'Let us alone!'". The Seminole Tribune. Archived from the original on 11 January 2016. Retrieved 6 December 2015.
  135. Lewis, George E. (Spring 1996). "Improvised Music after 1950: Afrological and Eurological Perspectives". Black Music Research Journal. 16 (1): 91–122. doi:10.2307/779379. JSTOR 779379.
  136. "Wiggers just wannabe black: White middle-class kids are adopting black street style and chilling out to rap music". Independent.co.uk. 22 August 1993. Archived from the original on 25 September 2015. Retrieved 1 July 2015.
  137. Kitwana, Bakari. "Why White Kids Love Hip Hop". NPR.org. Archived from the original on 30 July 2015. Retrieved 1 July 2015.
  138. ^ Hank Stuever, "'Blacking Up' documentary questions white enthusiasts of black hip-hop culture", The Washington Post, 30 January 2010
  139. Virk, Kameron; McGregor, Nesta (5 December 2018). "Blackfishing: The women accused of pretending to be black". Newsbeat. BBC News. Archived from the original on 6 December 2018. Retrieved 5 December 2018.
  140. Chen, Tanya (13 November 2018). "A White Teen Is Denying She Is "Posing" As A Black Woman On Instagram After Followers Said They Felt Duped". BuzzFeed News. Archived from the original on 6 December 2018. Retrieved 5 December 2018.
  141. Rasool, Amira (16 November 2018). "Some White Influencers Are Being Accused of "Blackfishing", or Using Makeup to Appear Black". Teen Vogue. Archived from the original on 6 December 2018. Retrieved 5 December 2018.
  142. ^ Washington-Harmon, Taylyn (17 August 2020). "What Is Blackfishing and Why Would Anyone Do It?". Health.com. Archived from the original on 21 August 2020. Retrieved 18 July 2021.
  143. "Between Diasporic Consciousness and Cultural Appropriation". 3 October 2015. Archived from the original on 26 July 2021. Retrieved 26 July 2021.
  144. "Kung fu and Japanese imperialism" (PDF). Archived (PDF) from the original on 14 June 2022. Retrieved 19 June 2022.
  145. Wing Chun Bil Jee, by William Cheung, 1983
  146. "the Feet of the Master: Three Stages in the Appropriation of Okinawan Karate Into Anglo-American Culture". Archived from the original on 19 June 2022. Retrieved 19 June 2022.
  147. "Japanisation of Karate". Archived from the original on 21 June 2021. Retrieved 19 June 2022.
  148. Frantzis, Bruce (2007). The Power of Internal Martial Arts and Chi: Combat and Energy Secrets of Ba Gua, Tai Chi and Hsing-I. Blue Snake Books. ISBN 978-1583941904.
  149. Bluestein, Jonathan (2024). Martial Arts Politics Explained. Amazon Digital Services LLC - Kdp. ISBN 979-8335564984.
  150. Higaonna, Morio (1998). The History of Karate: Okinawan Goju-Ryu. ISBN 978-4900586756. {{cite book}}: Check |isbn= value: checksum (help)
  151. Cohen, Itzik (2017). Karate Uchina-Di: Okinawan Karate: An Exploration of its Origins and Evolution. CreateSpace Independent Publishing Platform. ISBN 978-1543256932.
  152. McCarthy, Patrick (2018). Legend of the Fist. CreateSpace Independent Publishing Platform. ISBN 978-1985006768.
  153. https://www.yahoo.com/news/muay-thai-kun-khmer-cambodia-thailand-2023-sea-games-134700933.html
  154. "Energy Ministry closely monitoring electricity costs". 3 February 2023.
  155. https://asianmma.com/sea-games-told-to-choose-either-muay-thai-or-kun-khmer/
  156. "Muay Thai or Kun Khmer? Cambodia and Thailand clash again". 25 January 2023.
  157. "Combined "Kun Khmer (Muay)" for 32nd SEA Games draw ires".
  158. Cox, Richard A. V. (October 1998). "Tokenism in Gaelic: the Language of Appeasement". Scottish Language (17): 70–81. Archived from the original on 16 January 2017. Retrieved 23 January 2023.
  159. ^ "Sunday Talk: The panel discusses whitewashing in film and television". Canadian Broadcasting Corporation. Archived from the original on 30 March 2017. Retrieved 30 March 2018.
  160. Blair, Gavin J (8 April 2017). "Japanese Fans React to 'Ghost in the Shell'". Hollywood Reporter. Archived from the original on 20 October 2021. Retrieved 20 October 2021.
  161. ^ Caruso, Jay (24 May 2018). "Is Hollywood Guilty of Cultural Appropriation in its Casting?". acculturated.com. Acculturated. Archived from the original on 21 July 2018. Retrieved 21 July 2018.{{cite web}}: CS1 maint: unfit URL (link)
  162. Kirst, Seamus (6 December 2017). "Latest Gay-for-Pay Oscar Bait: Dear Hollywood, Let queer people tell our own damn stories". www.them.us. Them. Archived from the original on 16 January 2021. Retrieved 21 July 2018. One need not look far to see that Hollywood often fails to provide both representation of, and employment to, members of marginalized communities. Movements like #OscarsSoWhite, and continued pushback against cisgender actors playing trans roles, have been increasingly covered in media the past few years. Yet the Gay for Pay Problem has not had the same attention, at least in the recent past, as other ways that Hollywood is willing to tell stories from marginalized groups without hiring marginalized people
  163. "Playing it straight: Should gay roles be reserved for gay actors?". TheGuardian.com. 14 January 2019. Archived from the original on 12 November 2020. Retrieved 13 November 2020.
  164. ^ Mueller, Jennifer (11 April 2007). "Unmasking Racism: Halloween Costuming and Engagement of the Racial Other". Qualitative Sociology. 30 (3): 315–335. doi:10.1007/s11133-007-9061-1. S2CID 6826673.
  165. ^ Escobar, Samantha (17 October 2014) "13 Racist College Parties That Prove Dear White People Isn't Exaggerating At All Archived May 18, 2016, at the Wayback Machine" at The Gloss. Accessed 4 March 2015
  166. ^ "Protesters call for end to 'hottie' Native American costumes based on stereotypes". Cronkite News – Arizona PBS. 25 October 2018. Archived from the original on 27 October 2018. Retrieved 26 October 2018.
  167. "Poster Campaign". Students Teaching About Racism in Society. Ohio University. Archived from the original on 24 December 2015. Retrieved 1 December 2015.
  168. Grinberg, Emanuella (26 October 2011). "'We're a culture, not a costume' this Halloween". www.cnn.com. CNN. Archived from the original on 28 November 2015. Retrieved 1 December 2015.
  169. Cristiana Grigore (31 October 2019). "I'm Roma, and your Halloween Gypsy Costume is More Trick Than Treat | Opinion". Newsweek. Archived from the original on 9 September 2021. Retrieved 9 September 2021.
  170. Hasty, J (2002). "Rites of Passage, Routes of Redemption: Emancipation Tourism and the Wealth of Culture". Africa Today. 49 (3, Fall 2002): 47–76. doi:10.1353/at.2003.0026. S2CID 144339432. Archived from the original on 13 February 2023. Retrieved 20 April 2017.
  171. Deloria, Philip J. (1998). Playing Indian. New Haven: Yale University Press. ISBN 9780300071115.
  172. "Playing Indian". Yale University Press. Archived from the original on 30 June 2016. Retrieved 6 January 2016.
  173. Kristen Dobbin (10 September 2014). "Appropriation (?) of the Month: The Boy Scout Shalako". Archived from the original on 9 September 2017. Retrieved 26 August 2017.
  174. Robert Desjarlait (15 December 2015). "The Koshares and the Appropriation of Native American Dance". Archived from the original on 13 April 2016. Retrieved 5 March 2016.
  175. "Who are We?". Nawakwa Dance & Drum Team. Archived from the original on 3 September 2018. Retrieved 16 May 2019.
  176. Feeney, Nolan (25 November 2013). "Katy Perry's 'Geisha-Style' Performance Needs to Be Called Out". The Atlantic. The Atlantic Monthly Group. Retrieved 26 March 2024.
  177. Smith, Clyde (29 July – 1 August 1997), How I Became a Queer Heterosexual, "Beyond Boundaries", An International Conference on Sexuality, University of Amsterdam, archived from the original on 8 March 2016, retrieved 12 November 2020; most papers cite these two as their entry point into the discussion.
  178. Taormino, Tristan (6 May 2003). "The Queer Heterosexual". The Village Voice. Archived from the original on 30 May 2015. Retrieved 12 November 2020.
  179. "queer". The American Heritage Dictionary of the English Language (5th ed.). HarperCollins.
  180. Jodi O'Brien, Encyclopedia of Gender and Society (2009), volume 1.
  181. "queer". Oxford English Dictionary. Oxford University Press. 2014.
  182. ^ Mortimer, Dora (9 February 2016). "Can Straight People Be Queer? – An increasing number of young celebrities are labeling themselves 'queer.' But what does this mean for the queer community?". Vice Media. Archived from the original on 15 December 2018. Retrieved 12 November 2020.
  183. "The Origins Of 'Queer' As A Slur". History Buff. Archived from the original on 21 December 2016. Retrieved 14 December 2016.
  184. Wernitznig, Dagmar, Europe's Indians, Indians in Europe: European Perceptions and Appropriations of Native American Cultures from Pocahontas to the Present. University Press of America, 2007: p.132. "What happens further in the Plastic Shaman's story is highly irritating from a perspective of cultural hegemony. The Injun elder does not only willingly share their spirituality with the white intruder but, in fact, must come to the conclusion that this intruder is as good an Indian as they are themselves. Regarding Indian spirituality, the Plastic Shaman even out-Indians the actual ones. The messianic element, which Plastic Shamanism financially draws on, is installed in the Yoda-like elder themselves. They are the ones – while melodramatically parting from their spiritual offshoot – who urge the Plastic Shaman to share their gift with the rest of the world. Thus Plastic Shamans wipe their hands clean of any megalomaniac or missionizing undertones. Licensed by the authority of an Indian elder, they now have every right to spread their wisdom, and if they make (quite more than) a buck with it, then so be it.—The neocolonial ideology attached to this scenario leaves less room for cynicism."
  185. Taliman, Valerie (1993) Article On The 'Lakota Declaration of War'". Archived February 9, 2016, at the Wayback Machine.
  186. Estes, Nick; et al "Protect He Sapa, Stop Cultural Exploitation Archived March 3, 2016, at the Wayback Machine" at Indian Country Today Media Network. 14 July 2015. Accessed 24 November 2015
  187. Tsosie, Rebecca (25 June 2017). "Current Issues in Intellectual Property Rights to Cultural Resources". Native American Rights Fund. Archived from the original on 24 July 2019. Retrieved 17 April 2019.
  188. James, Marianne. "Art Crime." Archived 11 January 2016 at the Wayback Machine Trends and Issues in Crime and Criminal Justice, No. 170. Australian Institute of Criminology. October 2000. Retrieved 3 January 2010.
  189. "The Aboriginal Arts 'fake' controversy." Archived 20 April 2012 at the Wayback Machine European Network for Indigenous Australian Rights. 29 July 2000. Retrieved 3 January 2010.
  190. "Aboriginal art under fraud threat." Archived 11 April 2016 at the Wayback Machine BBC News. 28 November 2003. Retrieved 3 January 2010.
  191. McWhorter, John (15 July 2014). "You Can't 'Steal' A Culture: In Defense of Cultural Appropriation". The Daily Beast. Archived from the original on 31 May 2017. Retrieved 20 October 2014.
  192. "The Near Myth of Cultural Appropriation | Opinion | The Harvard Crimson". www.thecrimson.com. Retrieved 8 September 2024.
  193. Berg, Chris (21 December 2015). "Is cultural appropriation the bogeyman it's made out to be?". The Drum. Archived from the original on 19 April 2016. Retrieved 19 April 2016.
  194. Convery, Stephanie (15 September 2016). "We need to talk about cultural appropriation: why Lionel Shriver's speech touched a nerve". The Guardian. Archived from the original on 23 November 2016. Retrieved 17 September 2016.
  195. Goldberg, Jonah (6 May 2018). "Cultural-appropriation outrage shows people are desperate to be offended". Chicago Tribune. Archived from the original on 6 July 2019. Retrieved 27 April 2020.
  196. Kwame Anthony Appiah (21 January 2020). "Should I Tell My Aunt That Her Costume Is Racist?". The New York Times. Archived from the original on 10 January 2021. Retrieved 8 January 2021.
  197. Kwame Anthony Appiah (17 August 2021). "I'm an Art Therapist. Am I Guilty of Cultural Appropriation?". The New York Times. Archived from the original on 26 November 2021. Retrieved 9 December 2021. The magazine's Ethicist columnist on who should be allowed to find their "spirit animals.
  198. Sanderson, David (3 December 2019). "Booker winner Bernardine Evaristo writes off 'cultural appropriation'". The Times. Archived from the original on 13 December 2019. Retrieved 16 December 2019.
  199. ^ Mounk, Yascha (2018). The people vs Democracy (1st ed.). United States of America: Harvard University Press. p. 204. ISBN 9780674976825.

External links

Culture
Outline
Sciences
Subfields
Types
Aspects
Politics
Religions
Related
Native American mascot controversy
Professional sports teams
Prior usage
Washington Redskins
Other teams
College teams
Youth and school teams
Change advocates
Related
Categories: