text:
Federal Farmer
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The Federal Farmer was an Anti-Federalist who wrote a methodical assessment of the proposed United States Constitution that was among the more important documents of the constitutional ratification debate. The assessment appeared in the form of two pamphlets, the first published in November 1787 and the second in May 1788. The letters, which were addressed to "The Republican," were signed only with the pseudonym "the Federal Farmer." The identity of the author is unknown, though scholars have put forward Richard Henry Lee and Melancton Smith as possibilities, though recent evidence suggests Smith is the most likely author.[1] "The Republican" was most likely New York state governor George Clinton.
The Federal Farmer made typical Anti-Federalist arguments, claiming that the Constitution would tear down the sovereign states in favor of a consolidated government, and that this end of the federal system would be destructive of American liberties. The letters were praised at the time for their thoughtfulness, composition, and persuasiveness, and today are among the most widely read works in the Anti-Federalist canon.
Contents
[hide]
1 Publication and contemporary reaction
2 Attribution
2.1 Richard Henry Lee
2.2 Questioning Lee's authorship
3 Argument
4 Evaluation
5 References
6 Notes
7 External links
Publication and contemporary reaction[edit]
On November 8, 1787, the New York Journal began to advertise a new pamphlet entitled Observations Leading to a Fair Examination of the System of Government Proposed by the Late Convention; and to Several Essential and Necessary Alterations in It. In a Number of Letters from the Federal Farmer to the Republican.[2] This pamphlet contained the first five Federal Farmer letters, dated October 8 to 13. The first edition was replete with errors and a second, corrected printing appeared within a week. The letters also began to appear in newspapers; on November 14 the Poughkeepsie County Journal started publishing the series, finishing on January 2. The first two editions of the pamphlet were probably produced by Thomas Greenleaf, who printed the New York Journal. At least two further editions were released by other printers.
Through January, the Federal Farmer letters circulated through New York, Connecticut, Massachusetts, and Pennsylvania. Following on the success of the first pamphlet, a second one containing thirteen new letters, dated from December 25 to January 25, appeared in early May. Also printed by Thomas Greenleaf, this pamphlet, entitled An Additional Number of Letters From the Federal Farmer to the Republican Leading to a Fair Examination of the System of Government Proposed by the Late Convention; To Several Essential and Necessary Alterations in It; And Calculated to Illustrate and Support the Principles and Positions Laid Down in the Preceding Letters, was first advertised in the Journal on May 2.[3] The Additional Letters had significantly less success than the Observations.[4]
Among the Federalists, Alexander Hamilton (as Publius), Edward Carrington, and Noah Webster acknowledged the Federal Farmer as, in Hamilton's words, the "most plausible" Anti-Federalist.[5] Only one Federalist, Timothy Pickering, took the time to develop a complete critical response to the Federal Farmer. Though this was not published during the course of the constitutional debates, it survives in a personal letter. Pickering described the Federal Farmer as "a wolfe in sheep's cloathing" and too focused on a misplaced fear of aristocracy.[6]
Attribution[edit]
Richard Henry Lee
Richard Henry Lee[edit]
The authorship of the Federal Farmer letters is uncertain. Until the latter part of the 20th century, the letters were generally accepted to be the work of Richard Henry Lee. Lee had been a member of the Continental Congress and had served as that body's presiding officer. He was known to be an Anti-Federalist, and as he was at New York in 1787 while serving on Virginia's Congressional delegation, he could have arranged for the initial publication of the pamphlets.[7] A handful of contemporary sources identified Lee with the Federal Farmer pamphlets, beginning with a letter addressed to Lee that appeared in the Connecticut Courant on December 24.[8] That letter was reprinted in a handful of Massachusetts papers as a response to the Federal Farmer. Aside from these instances, the Federal Farmer was nowhere identified in the papers as the product of Lee's pen.
Surviving private correspondence is unhelpful in answering the question of authorship.[9] Many contemporary writers admitted the author's identity was unknown to them, including Noah Webster, Timothy Pickering, and Edward Carrington, who was in New York with Lee at the time the pamphlets were composed.[10] Lee was not the only writer accused by Federalists of producing the pamphlets—a correspondent of John Lamb accused him of diverting money from the New York impost into the production of "the foederal farmer and other false Libels."[11] Historian Gordon S. Wood observes that at least in Connecticut, emphasizing the association of Lee with any Anti-Federalist production would have been a sound political move for the Federalists; the Lee family was reviled in the state due to the involvement of Arthur Lee, Richard Henry's brother, in instigating the recall of Connecticut merchant Silas Deane from his position as envoy to France.[12]
The Boston Athenaeum in 1874 published a catalogue of its holdings that indicated Lee as the Federal Farmer; until just a few years prior, major catalogues had listed the pamphlets as anonymous, including the 1864 Library of Congress catalogue and an 1868 bibliography by Joseph Sabin. After the Athenaeum's publication, the Lee attribution appeared in a new Sabin volume in 1878, an 1888 edition of the first Federal Farmer pamphlet, and other documents.[13]
Questioning Lee's authorship[edit]
In 1974, historian Gordon S. Wood presented the first complete argument against Lee's authorship.[14] Wood argues that the letters were almost certainly not written by Lee; nothing in Lee's papers or memoirs supported the notion that he was the author. Lee is not known ever to have written an extended piece for public consumption, and Wood concludes that the production of 181 pages of pamphlets in less than half a year was not his style.[15]
Wood identifies differences in style and content between the Federal Farmer pamphlets and a letter from Lee to Edmund Randolph that was published in various newspapers.[16] While the Federal Farmer's style displays "moderation, reasonableness, and tentativeness," the letter known to be Lee's contained "exclamatory statements" and "charged phrases."[17] The Federal Farmer makes references primarily to the New England states and New York, while Lee focuses particularly on the ways in which the proposed Constitution would be harmful to the South. Finally, Lee's letter and the Federal Farmer pamphlets recommend significantly different measures for remedying the problems with the proposed Constitution; Lee was particularly interested in limiting Congressional control over commerce while the Federal Farmer was most concerned with the threat posed to the states by excess consolidation of national power.
At about the same time as Wood, Herbert Storing, who was working on his collection The Complete Anti-Federalist, came to the same conclusion that the case for Lee's authorship was weak, the only original evidence being the Courant article. Storing, however, argues that the case against Lee's authorship is also weak.[18] Work produced since Wood's paper has been mixed in its attribution of the pamphlets, with some writers not naming an author and others citing the work as Lee's. Authors who have taken the time to comment on the debate generally concur with Wood, and no scholar has attempted a substantial refutation of Wood's paper. Walter Bennett, editor of a 1979 edition of the Federal Farmer, disagrees with Wood on many points but concludes that the evidence for Lee is not "sufficient to justify continuing this attribution."[19] The editors of The Documentary History of the Ratification of the Constitution declare Wood's challenge to Lee's authorship to be "effective."[20]
Accepting that Lee did not write the pamphlet raises the question of who did. Wood asserts that the authorship of the pamphlets is a mystery that will probably never be solved, though he believes it probable that they were produced by a New York resident.[21] Robert Webking argues that Melancton Smith was probably the author. Webking finds deep similarities between Smith's speeches at the New York ratifying convention and the Federal Farmer.[22] Furthermore, a computational analysis of Smith's writings and speeches done by John Burrows found that Lee's authorship "found no support at all" and Smith was the most likely author.[23] Smith, a New York lawyer, was one of the Anti-Federalist leaders at the New York convention, though he eventually voted for the Constitution. Webking speculates that Smith might have kept his authorship of the Federal Farmer pamphlets a close secret so as not to jeopardize his future as a politician in heavily Federalist New York City.[24]
Argument[edit]
The Federal Farmer argues that the plan of the Constitution, while claimed to be a federal system and seeming to be so in some respects, will in the end annihilate the states by consolidating them into one national government.[25] This concern over consolidation was among the most important of the Anti-Federalist objections to the Constitution; they saw the destruction of state sovereignty as inimical to freedom.[26] Honest federalists, in the view of the Federal Farmer, wished for the substantial preservation of the state governments, but sought a federal government that was more than merely advisory. The letters indicate that the Federal Farmer ascribed to the compact theory of federalism.
The threat to federal government constituted a menace to republicanism. Without federalism, a republic the size of the United States would have grave difficulty giving fair representation to the varied interests of the people in the different states. Representatives in the national capital would have to be kept responsible to their constituents at home; the Federal Farmer believed that a large number of representatives was required to ensure a high ratio of representatives to constituents and guarantee that all classes would be fairly represented.
Evaluation[edit]
The Federal Farmer letters are among the best-written and convincing pieces in the Anti-Federalist canon, and make regular appearances in collections of Anti-Federalist writing. Ralph Louis Ketcham writes that "though sometimes discursive and repetitious, the letters, skillfully written, moderate in tone, and thoughtful, were perhaps the most eloquent and persuasive anti-federalist writings."[27]
References[edit]
Bennett, Walter Hartwell. Introduction to Letters from the Federal Farmer to the Republican. Tuscaloosa: University of Alabama Press, 1978.
Main, Jackson Turner. The Antifederalists: Critics of the Constitution, 1781-1788. Chapel Hill: The University of North Carolina Press. 1961.
Webking, Robert H. "Melancton Smith and the Letters from the Federal Farmer." The William and Mary Quarterly, 3rd series, 44 (1987): 510-528.
Wood, Gordon S. "The Authorship of the Letters from the Federal Farmer." The William and Mary Quarterly, 3rd series, 31 (1974): 299-308.
The Anti-Federalist. Ed. Herbert Storing. Chicago: The University of Chicago Press, 1985.
The Anti-Federalist Papers. Ed. Ralph Loius Ketcham. New York: Signet Classic, 2003.
The Documentary History of the Ratification of the Constitution. Vols. XIV-XV. Ed. John P. Kaminski and Gaspare J. Saladino. Madison: State Historical Society of Wisconsin, 1981. (Appears in notes as DHRC) Particularly used here is the editorial note appearing in pp. 14–18.
Zuckert and Webb. The Anti-Federalist Writings of the Melancton Smith Circle. Indianapolis: Liberty Fund.
Notes[edit]
Jump up ^ Zuckert and Webb. The Anti-Federalist Writings of the Melancton Smith Circle p. 418-419
Jump up ^ This section depends on DHRC, XIV, 14-18.
Jump up ^ Bennett, xiii.
Jump up ^ The Anti-Federalist, 23.
Jump up ^ Federalist No. 68.
Jump up ^ DHRC, XIV, 193-4.
Jump up ^ Wood, 299-300.
Jump up ^ DHRC, XV, 80.
Jump up ^ DHRC, XIV, 16.
Jump up ^ Wood, 306.
Jump up ^ The Anti-Federalist, 32.
Jump up ^ Wood, 304-305.
Jump up ^ Wood, 307.
Jump up ^ A 1953 work by William Winslow Crosskey, Politics and the Constitution in the History of the United States, contained a footnote to this effect but indicated only that evidence would be made available in a forthcoming volume of the same work. Crosskey died before that volume could be produced. Wood, 303.
Jump up ^ Wood, 300.
Jump up ^ Wood, 301-303 passim.
Jump up ^ Wood, 301.
Jump up ^ The Anti-Federalist, 24.
Jump up ^ Bennett, xx.
Jump up ^ DHRC, XIV, 16.
Jump up ^ Wood, 307-308.
Jump up ^ Webking, passim.
Jump up ^ Zuckert and Webb. The Anti-Federalist Writings of the Melancton Smith Circle p. 418-419
Jump up ^ Webking, 528n.
Jump up ^ Storing's The Anti-Federalist provides on pp. 26-30 a handy outline of the Federal Farmer's argument. As well, Bennett's introduction to his collection of the letters provides a succinct exposition of the Federal Farmer's major themes, to which this summary is indebted.
Jump up ^ Main, 120-1.
Jump up ^ The Anti-Federalist Papers, 256.
External links[edit]
Full text of letters
Retrieved from "https://en.wikipedia.org/w/index.php?title=Federal_Farmer&oldid=820369388"
Categories:
United States historical documents
Anti-Federalists
Anti-Federalist Papers
Ratification of the United States Constitution
Pseudonymous writers
Hidden categories:
Use mdy dates from June 2013
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Add links
This page was last edited on 14 January 2018, at 09:32.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: href class title

value: sup

attrs: role tabindex class

values: button 0 togglelink

attrs: class dir

values: Edit section: Publication and contemporary reaction

values: The New-York journal and daily patriotic register (page does not exist)

values: Poughkeepsie County Journal (page does not exist)

values:
/wiki/Boston_Athenaeum
mw-redirect
Boston Athenaeum

values: Edit section: Questioning Lee's authorship

values: The Documentary History of the Ratification of the Constitution (page does not exist)

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values: Category:United States historical documents

values: Category:Ratification of the United States Constitution

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Federal_Farmer
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Federal_Farmer rootpage-Federal_Farmer skin-vector action-view


text:
Cultural appropriation
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Cultural appropriation is a concept in sociology dealing with the adoption of the elements of a minority culture by members of the dominant culture.[1][2][3] It is distinguished from equal cultural exchange due to the presence of a colonial element and imbalance of power.[4][3] Cultural appropriation is often portrayed as harmful in contemporary cultures, and is claimed to be a violation of the collective intellectual property rights of the originating, minority cultures, notably indigenous cultures and those living under colonial rule.[2][5][6] Often unavoidable when multiple cultures come together, cultural appropriation can include using other cultures' cultural and religious traditions, fashion, symbols, language, and songs.[7][8][9]
According to critics of the practice, cultural appropriation differs from acculturation, assimilation, or cultural exchange in that this appropriation is a form of colonialism: 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.[3][10][11][12][13][14]
Often, the original meaning of these cultural elements is lost or distorted, and such displays are often viewed as disrespectful, or even as a form of desecration, by members of the originating culture.[10][15][16][17] Cultural elements which may have deep meaning to the original culture may be reduced to "exotic" fashion or toys by those from the dominant culture.[10][11][18] 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."[18] The African-American academic, musician and journalist Greg Tate argues that appropriation and the "fetishizing" of cultures, in fact, alienates those whose culture is being appropriated.[19]
Some writers on the topic note that the concept is often misunderstood by the general public, and that charges of "cultural appropriation" are at times misapplied to situations that don't accurately fit, such as eating at restaurants of a variety of cultures, or learning about different cultures.[20] Others see appropriation as "inevitable" and a contribution to "cultural diversity and free expression."[21][22]. Writing for The Daily Beast, John McWhorter specifically defended white appropriation of African-American music as "cross-fertilization", and something which is usually done out of admiration of the cultures being imitated, with no intent to harm them.[23]
Contents
[hide]
1 Overview
2 Academic study
3 Examples
3.1 Art, iconography, and adornment
3.2 Religion and spirituality
3.3 Fashion
3.3.1 17th century to Victorian era
3.3.2 Modern era
3.4 Hairstyles, makeup and body modifications
3.5 Sports
3.6 African-American culture
3.7 Language
3.8 Costumes
3.8.1 BSA related dance teams
4 Other uses
5 Celebrity controversies
6 Responses
7 Criticism of the concept
8 See also
9 References
10 External links
Overview[edit]
Cultural appropriation can involve the use of ideas, symbols, artifacts, or other aspects of human-made visual or non-visual culture.[24] Anthropologists study the various processes of cultural borrowing, "appropriation," and cultural exchange (which includes art and urbanism), as part of cultural evolution and contact between different cultures.[25]
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[17][18] or when there are other issues involved, such as a history of ethnic or racial conflict.[11] 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,[4] notably when these elements are trivialized 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 analyzing 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 utilize these elements.[11][12][26]
A different view of cultural appropriation characterizes critics of the practice as "engaged in a deeply conservative project: one which first seeks to preserve in formaldehyde the content of an established culture and second tries to prevent others from interacting with that culture."[27] On the contrary, cultures as they exist now are themselves the products of previous instances of cultural appropriation.[21][23] Appropriation can be wrongful under this view, but the wrongfulness is determined by the intent of the appropriator and not the perceived power dynamics between the cultures.[21] Proponents of cultural appropriation view it as often benign or mutually beneficial, citing mutation, product diversity, technological diffusion, and cultural empathy as among its benefits.[28] For example, the film Star Wars appropriated elements from Akira Kurosawa's The Hidden Fortress, which itself appropriated elements from Shakespeare; culture in the aggregate is arguably better off for each instance of appropriation. Fusion between cultures has produced such foods as American Chinese cuisine, modern Japanese sushi, and bánh mì, each of which is sometimes argued to reflect part of its respective culture's identity.[27]
Academic study[edit]
Cultural and racial theorist George Lipsitz 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 cultures and majority cultures, and is not confined only to the use of the other. However, Lipsitz argues, 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.[29]
Examples[edit]
Art, iconography, and adornment[edit]
A common example of cultural appropriation is the adoption of the iconography of another culture, and using it for purposes that are unintended by the original culture or even offensive to that culture's mores. Examples include sports teams using Native American tribal names or images as mascots; wearing jewelry or fashion with religious symbols such as the war bonnet,[17] medicine wheel, or cross without any belief in those religions; and copying iconography from another culture's history such as Polynesian tribal tattoos, Chinese characters, or Celtic art worn without regard to their original cultural significance. Critics of the practice of cultural appropriation contend that divorcing this iconography from its cultural context or treating it as kitsch risks offending people who venerate and wish to preserve their cultural traditions.[17][12][30][31][32]
In Australia, Aboriginal artists have discussed an "authenticity brand" to ensure consumers are aware of artworks claiming false Aboriginal significance.[33][34] The movement for such a measure gained momentum after the 1999 conviction of John O'Loughlin for the fraudulent sale of works described as Aboriginal but painted by non-indigenous artists.[35]
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.[36]
Religion and spirituality[edit]
Among critics, the misuse and misrepresentation of indigenous intellectual property is seen as an exploitative form of colonialism, and one step in the destruction of indigenous cultures.[37]
The results of this use 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.[15][16]
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.[5]
Many Native Americans have criticized what they deem to be 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 also contend that there are higher safety risks when the ceremonies are conducted by non-Natives, pointing to deaths or injuries in 1996, 2002, 2004, and several high-profile deaths in 2009.[38][39][40][41][42]
In 2015, a group of Native American academics and writers issued a statement against 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."[43]
Fashion[edit]
This article may need to be cleaned up. It has been merged from (link).
This article is written like a personal reflection or opinion essay that states a Wikipedia editor's personal feelings about a topic. Please help improve it by rewriting it in an encyclopedic style. (January 2015) (Learn how and when to remove this template message)
George IV of the United Kingdom wearing highland dress, 1822.
Cultural appropriation is controversial[44] 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.[45] In response to this criticism, many fashion experts claim that this occurrence is in fact "culture appreciation",[46] rather than cultural appropriation. Companies and designers claim the use of unique cultural symbols is an effort to recognize and pay homage to that specific culture.[46]
17th century to Victorian era[edit]
During the 17th century, the forerunner to the three piece suit was appropriated from the traditional dress of diverse Eastern European and Islamic countries. The Justacorps frock coat was copied from the long zupans worn in Poland and the Ukraine,[47] the necktie or cravat was derived from a scarf worn by Croatian mercenaries fighting for Louis XIII,[48] and the brightly colored silk waistcoats popularised by Charles II of England were inspired by exotic Turkish, Indian and Persian attire acquired by wealthy English travellers.[49]
Less than a generation after the Highland Clearances, the British aristocracy appropriated traditional Scottish clothing. Tartan was given spurious association with specific Highland clans after publications such as James Logan's romanticised work The Scottish Gael (1831) led the Scottish tartan industry to invent clan tartans [50] and tartan became a desirable material for dresses, waistcoats and cravats. In America, plaid flannel had become workwear by the time of Westward expansion, and was widely worn by Old West pioneers and cowboys who were not of Scottish descent.[51] In the 21st century, tartan remains ubiquitous in mainstream fashion.[52]
By the 19th century the fascination had shifted to Asian culture. English Regency era dandies adapted the Indian churidars into slim fitting pantaloons, and frequently wore turbans within their own houses. Later, Victorian gentlemen wore smoking caps based on the Islamic fez, and fashionable turn of the century ladies wore Orientalist[53] Japanese inspired kimono dresses.[54][55] 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 British Teddy Girls wore Chinese coolie hats due to their exotic connotations.[56]
In Mexico, the sombrero associated with the mestizo peasant class was appropriated from an earlier hat introduced by the Spanish colonials during the 18th century.[57] This, in turn, was adapted into the cowboy hat worn by white Americans after the US Civil War.[58] 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.[59]
Modern era[edit]
In Britain, the rough tweed cloth clothing of the Irish, English and Scottish peasantry, including the flat cap and Irish hat[60] were appropriated by the upper classes as the British country clothing worn for sports such as hunting or fishing, in imitation of the then Prince of Wales.[61] The country clothing, in turn, was appropriated by the wealthy American soc and later preppy subcultures during the 1950s and 1980s due to both its practicality and its association with the English elite.[62]
When keffiyehs became popular in the late 2000s, experts made a clear distinction between the wearing of a genuine scarf, and a fake made in China.[63] Palestinian independence activists and socialists denounced the wearing of scarves not made in Palestine as a form of cultural appropriation, but encouraged white indie kids and Muslim youths[64] to buy shemaghs made in the Herbawi[65] factory to demonstrate solidarity with the Palestinian people and improve the economy of the West Bank.[66][67] In 2017, Topshop caused controversy by selling Chinese-made playsuits that imitated the pattern of the keffiyeh.[68]
In 2012 during the annual Victoria's Secret fashion show, model Karlie Kloss was scrutinized for wearing a Native American headdress during her walk on the runway. There was a mixed public response. People of mixed heritage were the most sensitive to headdress. USA Today ran a feature where they interviewed a woman of mixed heritage who said that the headdress is a symbol of leadership and honour, and also has a religious meaning behind it. This cultural meaning was not considered in Victoria’s Secret’s use of the headdress as an accessory. Victoria's Secret issued an apology stating that they had no intentions of offending anyone.[69][70]
At the 2014 Coachella festival one of the most noted fashion trends was the bindi. The bindi is a traditional Hindu head mark and is a part of the religious culture of Hinduism.[71] As pictures of the festival surfaced online there was public controversy over the casual wearing of the bindi. People were offended because they felt the people wearing the bindi do not understand the meaning behind it.[72]
Archbishop Justin Welby of the Anglican Church has claimed that the crucifix is "now just a fashion statement and has lost its religious meaning.".[73] 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.[74]
Hairstyles, makeup and body modifications[edit]
The leaders of ancient Israel strongly condemned the adoption of Egyptian and Canaanite practises, 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 practise 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.[75]
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 flesh tunnels, famously associated with the Buddha.[76]
Sports[edit]
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 colonization and marginalization 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 to 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.[77] 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.[78][79]
Such practices may be seen as particularly harmful in schools and universities which have a stated purpose of promoting ethnic diversity and inclusion.[80] In recognition of the responsibility of higher education to eliminate behaviors 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).[81]
While nearly all Native Americans and their tribes object to depictions as sports mascots[citation needed], only one tribe explicitly approves of such representations. The Florida State Seminoles use the iconography of the Seminole tribe. Their mascots are Osceola and Renegade, depictions of the Seminole chief Osceola and his Appaloosa horse.[82][83] 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 use of Seminole culture and Osceola as a mascot; the university was granted a waiver, citing the close relationship with and consultation between the team and the tribe.[83] In 2013, the tribe's chairman objected to outsiders meddling in tribal approval, stating that the FSU mascot and use of Seminole iconography "represents the courage of the people who were here and are still here, known as the Unconquered Seminoles."[84] 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", and not all members of the tribe's Florida branch are supportive of its stance.[82][83]
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 ethnicity-related team names derived from prominent immigrant populations in the area, such as the Boston Celtics, the Notre Dame Fighting Irish, and the Minnesota Vikings.
The All Blacks have performed a traditional haka dance (an element of Māori culture) at the start of most of their matches since at least 1905, though a very significant part of those matches (certainly the earlier ones) did not have any, let alone a majority, of indigenous players.[citation needed]
The 2018 Commonwealth Games to be held on the Gold Coast in Australia from 4 April 2018 has named its mascot Borobi, the local Yugambeh word for "koala," and has sought to trademark the word through IP Australia. The application is being opposed by a Yugambeh cultural heritage organisation, which argues that the Games organising committee used the word without proper consultation with the Yugambeh people.
African-American culture[edit]
Example of hip hop fashion
The term wigger (common spelling "wigga") is a slang term for a white person who adopt the mannerisms, language, and fashions associated with African-American culture, particularly hip hop, and, in Britain, the grime scene, often implying the imitation is being done badly, although usually with sincerity rather than mocking intent.[85][86][87] Wigger is a portmanteau of white and nigger or nigga, and the related term wangsta is a mashup of wannabe or white, and gangsta. Among black hip-hop fans, nigga can sometimes be considered a friendly greeting, but when used by whites, it is usually viewed as offensive.[88] "Wigger" may be derogatory, reflecting stereotypes of African-American, black British, and white culture (when used as synonym of white trash). The term is sometimes used in a racist manner, by other white people to belittle the person perceived as "acting black", but it is also widely used by African Americans like 50 Cent offended by the wigga or wanksta's demeaning of black people and culture.[89]
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".[90] 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".[91]
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 -- all the way up to Vanilla Ice (popular music's ur-wigger...) and Eminem."[92] 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".[92]
Language[edit]
Use of minority languages is also cited as cultural appropriated, such as when non-speakers of Scottish Gaelic or Irish get tattoos in that language.[93][better source needed] Likewise, the use of incorrect Scottish Gaelic in a tokenistic fashion aimed at non-Gaelic speakers on signage and announcements has been criticized[weasel words] as disrespectful to fluent speakers of the language.[94]
Since at least the early 2000s, it has become increasingly popular for people not native to those cultures, to get tattoos of Indian devanagari, Korean letters or Han characters (traditional, simplified or Japanese), often without knowing the actual meaning of the symbols being used.[95][96]
Costumes[edit]
During Halloween, some people buy, wear, and sell Halloween costumes based on racial stereotypes.[97][98] Costumes that depict blatant racial stereotypes, like "Indian Warrior" or "Kung Fool" are sometimes worn by people who do not belong to the respective corresponding racial or ethnic group.[99] These costumes have been criticized as being in poor taste at best and, at worst, blatantly racist.[17][18][98] In some cases, theme parties have been held where attendees are encouraged to dress up as stereotypes of a certain racial group.[97][98] 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.[97][98]
BSA related dance teams[edit]
In chapter four of his book Playing Indian, Native American historian Philip J. Deloria refers to the Koshare Indian Museum and Dancers 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.[100][101] Some Native Americans have stated that all such impersonations and performances are a form of cultural appropriation which place dance and costumes in an inappropriate context devoid of their true meaning, sometimes mixing elements from different tribes.[102]
For 2015, the Koshare's Winter Night dances were canceled after a request was received from Cultural Preservation Office (CPO) of the Hopi Nation asking that the troop discontinue their interpretation of the dances of the Hopi and Pueblo Native Americans.[103] Director of the CPO Leigh Kuwanwisiwma saw video of the performances online, and said the performers were "mimicking our dances, but they were insensitive, as far as I'm concerned."[104] 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 object and practices are only for those that have earned the right to participate, following techniques and prayers that have been handed down for generations.[105]
There are many other examples of groups associated with scout troops attempting to duplicate Native American dance with varying degrees of authenticity.
Aabikta Indian Dancers, Slidell, Louisiana.[106]
Coyote Night Dancers, Northern California [107]
Kaniengehaga Dance Team[106]
Kootaga Indian Dancers, Parkersburg, West Virginia[108]
Kossa Indian Dancers, Sulphur, Louisiana[109][110]
Kwahadi Dancers, Amarillo, Texas [111]
Lakota Dancers, Belvidere, Illinois[106]
Mic-O-Say Dancers, St. Joseph, Missouri includes nine teams:[112]
Crossed Arrows, Stewartsville, Missouri
Five Rivers, Jefferson City, Missouri
Kanza, Atchison, Kansas
Lone Star, Dallas, Texas
Ma-Has-Kah, Trenton, Missouri
Maha, Omaha, Nebraska
Otoe, Maryville, Missouri
Robidoux, St. Joseph, Missouri
White Shield, Kansas City, Missouri[113]
Paumanauke Dance Team, Amityville, New York[106]
Sahawe Indian Dancers, Uvalde, Texas[114]
Tsoyaha Indian Dancers & Mossy Creek Singers, Morristown, Tennessee[106]
Other uses[edit]
Costume of Saint Patrick (left)
In some cases, a culture usually viewed as the target of cultural appropriation can be accused of appropriation, particularly after colonization and an extensive period re-organization of that culture under the nation-state system. For example, 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".[115]
For some members of the South-Asian community, the wearing of a bindi dot as a decorative item, by a non-Hindu,[116] or by a woman who is not South Asian, is considered cultural appropriation.[12]
A common term among Irish people for someone who imitates or misrepresents Irish culture is Plastic Paddy.[117]
Celebrity controversies[edit]
This section is written like a personal reflection or opinion essay that states a Wikipedia editor's personal feelings about a topic. Please help improve it by rewriting it in an encyclopedic style. (January 2016) (Learn how and when to remove this template message)
This section appears to be slanted towards recent events. Please try to keep recent events in historical perspective and add more content related to non-recent events. (January 2016) (Learn how and when to remove this template message)
In 2003, Prince Harry used Indigenous Australian art motifs in a painting for a school project. One Aboriginal group labelled it "misappropriation of our culture", claiming that to Aborigines, the motifs have symbolic meanings "indicative of our spiritualism", whereas when non-Aborigines use the motifs they are simply "painting a pretty picture".[118]
In the Victoria's Secret Fashion Show 2012, former Victoria's Secret model Karlie Kloss donned a Native American-style feathered headdress with leather bra and panties and high-heeled moccasins.[119] This was supposedly an example of cultural appropriation because the fashion show is showcasing the company's lingerie and image as a global fashion giant. The outfit was supposed to represent November, and thus "Thanksgiving", in the "Calendar Girls" segment. The outfit met with backlash and criticism as an appropriation of Native American culture and tradition. Victoria's Secret pulled it from the broadcast and apologized for its usage. Kloss also commented on the decision by tweeting "I am deeply sorry if what I wore during the VS Show offended anyone. I support VS's decision to remove the outfit from the broadcast."[120][121]
Avril Lavigne with Hello Kitty outfit
Avril Lavigne has been cited as appropriating Japanese culture in her song "Hello Kitty". The song and music video depict Asian women dressed up in matching outfits and Lavigne eating Asian food while dressed in a pink tutu.[122] Its depiction of Japanese culture was met with widespread criticism, which has included suggestions of racism. Lavigne responded by stating "I love Japanese culture and I spend half of my time in Japan. I flew to Tokyo to shoot this video ... specifically for my Japanese fans, with my Japanese label, Japanese choreographers and a Japanese director in Japan."[123] A lot of the feedback Lavigne received on Twitter was favorable, and those who blamed her for racism were non-Japanese.[124]
When Selena Gomez wore the bindi during a performance, there was debate on her reasoning behind wearing the culture specific piece. Some viewed this as "casting her vote for Team India" but it was also viewed as misuse of the symbol as Selena was seen as not supporting or relating the Bindi to its origin of Hinduism, but furthering her own self-expression.[125] In 2014, Pharrell Williams posed in a Native American war bonnet on the cover of Elle UK magazine, after much controversy and media surrounding the photo Williams apologized.[126]
Actress Amandla Stenberg made a school-related video called "Don't Cash Crop on My Cornrows" about the use of black hairstyles and black culture by non-black people, questioning celebrities like Katy Perry and Iggy Azalea for using "black culture as a way of being edgy and gaining attention".[127] Stenberg later critiqued Kylie Jenner for embracing African-American aesthetic values without addressing the issues that affect the community.[128] The African-American hip hop artist Azealia Banks has also criticized Iggy Azalea "for failing to comment on 'black issues' despite capitalising on the appropriation of African American culture in her music."[129] Banks has called Azalea a "wigger" and there have been "accusations of racism against Azalea" focused on her "insensitivity to the complexities of race relations and cultural appropriation."[129]
Rachel Dolezal made headlines in 2015 when it was discovered that she was not African-American, as she had claimed.
In 2017, Miley Cyrus talked to Billboard magazine regarding her new image. She criticized the same African-American stereotypes and cultural elements that she had previously incorporated into her work. This was met with backlash, with people calling her out for history of appropriating hip hop culture.[130]
Responses[edit]
Bindi
In 2011, a group of students at Ohio University started a poster campaign denouncing the use of cultural stereotypes as costumes. The campaign features people of color alongside their respective stereotypes with slogans such as "This is not who I am and this is not okay."[131] The goal of the movement was to raise awareness around racism during Halloween in the university and the surrounding community, but the images also circulated online.[132]
"Reclaim the Bindi" has become a hashtag used by some people of South Asian descent who wear traditional garb, and object to its use by people not of their culture. #CoachellaShutdown has been used in conjunction with #ReclaimtheBindi in order to protest the use of the bindi at music festivals, most notably the Coachella Valley Music and Arts Festival.[133] Reclaim the Bindi Week is an event which seeks to promote the traditional cultural significance of the bindi and combat its use as a fashion statement.[134]
Criticism of the concept[edit]
Critics of the idea of cultural appropriation dispute it on various grounds; from dismissal of the validity of the entire theory, to critiques of its detailed terms and concepts. Rejection is often based on the opposing view, that cultural borrowing and cross-fertilization is a generally positive thing, and is something which is usually done out of admiration, and with no intent to harm, the cultures being imitated.[23] It is also argued that the specific term "appropriation," which can mean theft, is misleading when applied to something like culture that is not seen by all as a limited resource: unlike appropriating a physical object, others imitating an idea taken from one group's culture don't inherently deprive that originating group of its use.[23] John McWhorter, a professor at Columbia University and contributing editor at The New Republic, has written that, "With gay white men and black women, for example, it's not as if the black women are being left without their culture after the 'theft,' ... The idea that when we imitate something we are seeking to replace it rather than join it is weak. ... Every language in the world is shot through with words and grammatical patterns from other languages—that is, signs of people in the past doing what we would call 'appropriating.'"[23]
Proponents of cultural appropriation theory argue these analyses omit the issues of colonialism, context, and the difference between appropriation and mutual exchange. 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 utilize these elements.[11][12][135]
In 2016, author Lionel Shriver gave a speech[136] at the Brisbane Writers Festival, asserting the right of authors to write from any point of view, including that of characters from cultural backgrounds other than their own – as writers "should be seeking to push beyond the constraining categories into which we have been arbitrarily dropped by birth. If we embrace narrow group-based identities too fiercely, we cling to the very cages in which others would seek to trap us." She also asserted the right of authors from a cultural majority to write in the voice of someone from a cultural minority, attacking the idea that this constitutes unethical "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." Sudanese-Australian social activist Yassmin Abdel-Magied walked out on Shriver's speech.[137] Abdel-Magied later wrote a dissenting opinion piece, published in The Guardian; which has run a series of articles covering the debate over cultural appropriation matters. In it, she called the speech "a poisoned package wrapped up in arrogance and delivered with condescension". She reiterated the basic premises and arguments which form the ideological basis of cultural appropriation, as stated in the above sections, regarding majority/minority, group identity, oppression, colonialism, etc.; but did not address Shriver's arguments about the merits of imagination and intellectual freedom.[138]
In conservative, right-wing, and libertarian circles, media sources such as the Breitbart News Network, Fox News, Rush Limbaugh, Bill O’Reilly and others have widely derided the concept of cultural appropriation as nonsensical, opportunistically selective, hypocritical, an example of "liberal"/left-wing ideological extremism and political correctness, and for often mis-representing the actual origins and history of claimed items of cultural intellectual property.[139][140][141]
See also[edit]
Appropriation (music)
Civilizing mission
Constantinian shift
Crossover music
Cultural appropriation in the fashion industry
Cultural diffusion
Enculturation
Fusion cuisine
Half-breed
Isolationism
Native Americans in German popular culture
Native American hobbyism in Germany
Noble savage
Post-colonial copyright crisis
Recuperation (sociology)
Syncretism
Westernisation
Xenocentrism
References[edit]
Jump up ^ Young, James O. (February 1, 2010). Cultural Appropriation and the Arts. John Wiley & Sons. p. 5. ISBN 9781444332711. Retrieved July 22, 2015.
^ Jump up to: a b 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 [western] 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"
^ Jump up to: a b c Metcalfe, Jessica, "Native Americans know that cultural misappropriation is a land of darkness Archived May 11, 2016, at the Wayback Machine.". For The Guardian. 18 May 2012. Accessed 24 Nov 2015.
^ Jump up to: a b Alcoff, Linda Martin (1998). "What Should White People Do?". Hypatia. 13 (3): 6–26. doi:10.1111/j.1527-2001.1998.tb01367.x. Retrieved November 22, 2014.
^ Jump up to: a b Working Group on Indigenous Populations, accepted by the United Nations General Assembly, Declaration on the Rights of Indigenous Peoples Archived June 26, 2015, at the Wayback Machine.; UN Headquarters; New York City (13 September 2007).
Jump up ^ Rainforest Aboriginal Network (1993) Julayinbul: Aboriginal Intellectual and Cultural Property Definitions, Ownership and Strategies for Protection. Rainforest Aboriginal Network. Cairns. Page 65
Jump up ^ Rogers, Richard A. (2006-11-01). "From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropriation". Communication Theory. 16 (4): 474–503. doi:10.1111/j.1468-2885.2006.00277.x. ISSN 1468-2885.
Jump up ^ Carman, Tim (May 26, 2017). "Should white chefs sell burritos? A Portland food cart's revealing controversy". The Washington Post.
Jump up ^ Lindtner, S.; Anderson, K.; Dourish, P (February 11–15, 2012). "Cultural appropriation: information technologies as sites of transnational imagination" (PDF). Semantic Scholar. ACM 2012 conference on computer supported cooperative work.
^ Jump up to: a b c Houska, Tara. "'I Didn't Know' Doesn't Cut It Anymore". Indian Country Today Media Network. Retrieved April 20, 2015. On imitation Native headdresses as "the embodiment of cultural appropriation ... donning a highly sacred piece of Native culture like a fashion accessory."
^ Jump up to: a b c d e Caceda, Eden. "Our cultures are not your costumes". Sydney Morning Herald. Retrieved January 20, 2015.
^ Jump up to: a b c d e Sundaresh, Jaya (May 10, 2013) "Beyond Bindis: Why Cultural Appropriation Matters Archived May 4, 2016, at the Wayback Machine." for The Aerogram.
Jump up ^ Ryde, Judy (January 15, 2009). Being White in the Helping Professions. Jessica Kingsley Publishers. ISBN 978-1843109365.
Jump up ^ Hartigan, John (October 24, 2005). Odd Tribes: Toward a Cultural Analysis of White People. Duke University Press Books. ISBN 978-0822335849.
^ Jump up to: a b Mesteth, Wilmer, et al (June 10, 1993) "Declaration of War Against Exploiters of Lakota Spirituality Archived February 9, 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."
^ Jump up to: a b Taliman, Valerie (1993) "Article On The 'Lakota Declaration of War' Archived February 9, 2016, at the Wayback Machine.."
^ Jump up to: a b c d e Keene, Adrienne (April 27, 2010) "But Why Can’t I Wear a Hipster Headdress? Archived May 13, 2016, at the Wayback Machine." at Native Appropriations – Examining Representations of Indigenous Peoples.
^ Jump up to: a b c d 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.'
Jump up ^ Wallace, Michele (1992). Black Popular Culture. Seattle: Bay Press. pp. 13–15. ISBN 978-1-56584-459-9.
Jump up ^ Friedersdorf, Conor. "What Does 'Cultural Appropriation' Actually Mean?". The Atlantic. Retrieved 2017-05-18.
^ Jump up to: a b c Young, Cathy (August 21, 2015). "To the New Culture Cops, Everything is Appropriation". The Washington Post. Retrieved December 6, 2015.
Jump up ^ Jacoby, Jeff (December 1, 2015). "Three cheers for cultural appropriation". The Boston Globe. Retrieved December 6, 2015.
^ Jump up to: a b c d e McWhorter, John. "You Can't 'Steal' A Culture: In Defense of Cultural Appropriation". The Daily Beast. Retrieved October 20, 2014.
Jump up ^ Schneider, Arnd (2003) On ‘appropriation’. A critical reappraisal of the concept and its application in global art practices Archived March 3, 2016, at the Wayback Machine., published in Social Anthropology (2003), 11:2:215–229 Cambridge University Press
Jump up ^ Schneider, Arnd (2007) Appropriation as Practice. Art and Identity in Argentina pp. 24–5, 199 Palgrave Macmillan ISBN 978-1-4039-7314-6. review[permanent dead link]
Jump up ^ Scafidi, Susan (2005). Who Owns Culture?: Appropriation and Authenticity in American Law (Rutgers Series: The Public Life of the Arts. Rutgers University Press. Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else's culture without permission. This can include unauthorized use of another culture's dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc. It is most likely to be harmful when the source community is a minority group that has been oppressed or exploited in other ways or when the object of appropriation is particularly sensitive, e.g. sacred objects.
^ Jump up to: a b Berg, Chris (December 21, 2015). "Is cultural appropriation the bogeyman it's made out to be?". The Drum. Retrieved April 19, 2016.
Jump up ^ Smith, Noah (December 19, 2015). "Cultural appropriation is great!". Noahpinion. Retrieved April 19, 2016.
Jump up ^ Darren Lee Pullen, ed. (2009). Technoliteracy, Discourse, and Social Practice: Frameworks and Applications in the Digital Age. IGI Global. p. 312. ISBN 1605668435.
Jump up ^ Ehrlich, Brenna (June 4, 2014) "Here’s Why You Shouldn’t Wear A Native American Headdress Archived November 17, 2016, at the Wayback Machine." for MTV News.
Jump up ^ Freda, Elizabeth (Jul. 28, 2014) "Music Festival Is Banning Cultural Appropriation, aka Hipsters Wearing Native American Headdresses Archived May 7, 2016, at the Wayback Machine." for EOnline.
Jump up ^ Zimmerman, Amy (June 4, 2014) "Pharrell, Harry Styles, and Native American Appropriation Archived April 9, 2016, at the Wayback Machine." for The Daily Beast.
Jump up ^ James, Marianne. "Art Crime." Archived January 11, 2016, at the Wayback Machine. Trends and Issues in Crime and Criminal Justice, No. 170. Australian Institute of Criminology. October 2000. Retrieved January 3, 2010.
Jump up ^ "The Aboriginal Arts 'fake' controversy." Archived April 20, 2012, at the Wayback Machine. European Network for Indigenous Australian Rights. July 29, 2000. Retrieved January 3, 2010.
Jump up ^ "Aboriginal art under fraud threat." Archived April 11, 2016, at the Wayback Machine. BBC News. November 28, 2003. Retrieved January 3, 2010.
Jump up ^ Ousterhout, Robert. "Ethnic Identity and Cultural Appropriation in Early Ottoman Architecture." Archived June 13, 2006, at the Wayback Machine. Muqarnas Volume XII: An Annual on Islamic Art and Architecture. Leiden: E.J. Brill. 1995. Retrieved January 3, 2010.
Jump up ^ 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 [fictitious] 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."
Jump up ^ Byard, RW (2005-09-26). "Dehydration and heat-related death: sweat lodge syndrome". Forensic Science SA. Retrieved 2006-09-26.
Jump up ^ Herel, Suzanne (2002-06-27). "2 seeking spiritual enlightenment die in new-age sweat lodge". San Francisco Chronicle. Hearst Communications. Retrieved 2006-09-26.
Jump up ^ Taliman, Valerie (13 October 2009), Selling the sacred, Indian Country Today
Jump up ^ Goulais, Bob (2009-10-24). "Editorial: Dying to experience native ceremonies". North Bay Nugget.
Jump up ^ Hocker, Lindsay. "Sweat lodge incident 'not our Indian way'", Quad-Cities Online, 14 October 2009.
Jump up ^ 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 Nov 2015
Jump up ^ "Is Cultural Appropriation in Fashion Offensive? Part – II". www.universitytimes.ie. Retrieved 27 June 2017.
Jump up ^ Varagur, Krithika (2015-11-05). "Is This The Right Way For Fashion To Do Cultural Appropriation?". The Huffington Post. Retrieved 2017-03-04.
^ Jump up to: a b Pham, Minh-Ha T. "Why We Should Stop Talking About "Cultural Appropriation"". theatlantic.com. Retrieved 27 June 2017.
Jump up ^ "Reign Louis XIV. French fashion history". world4.eu. Retrieved 27 June 2017.
Jump up ^ Frucht, Richard C. (27 June 2017). "Eastern Europe: An Introduction to the People, Lands, and Culture". ABC-CLIO. Retrieved 27 June 2017 – via Google Books.
Jump up ^ Ross, Robert (2 May 2013). "Clothing: A Global History". John Wiley & Sons. Retrieved 27 June 2017 – via Google Books.
Jump up ^ Banks; de la Chapelle 2007: pp. 106–108.
Jump up ^ Agnew, Jeremy (25 October 2012). "The Old West in Fact and Film: History Versus Hollywood". McFarland. Retrieved 27 June 2017 – via Google Books.
Jump up ^ "Highland fling - New Humanist". newhumanist.org.uk. Retrieved 27 June 2017.
Jump up ^ "Underneath the 'Orientalist' kimono - The Japan Times".
Jump up ^ Gage, Tad (1 September 1997). "The Complete Idiot's Guide to Cigars, 2nd Edition". Penguin. Retrieved 27 June 2017 – via Google Books.
Jump up ^ Cliffe, Sheila (23 March 2017). "The Social Life of Kimono: Japanese Fashion Past and Present". Bloomsbury Academic. Retrieved 27 June 2017 – via Google Books.
Jump up ^ "Teddy girls - Teddy girl a member of youth subculture in 1950s". subcultureslist.com. Retrieved 27 June 2017.
Jump up ^ Ward, Fay E. (27 June 1987). "The Cowboy at Work: All about His Job and how He Does it". University of Oklahoma Press. Retrieved 27 June 2017 – via Google Books.
Jump up ^ "Is cultural appropriation the bogeyman it's made out to be?". ipa.org.au. Retrieved 27 June 2017.
Jump up ^ "Lionel Shriver's full speech: 'I hope the concept of cultural appropriation is a passing fad'". 13 September 2016. Retrieved 27 June 2017 – via The Guardian.
Jump up ^ "Irish Cultural Society of San Antonio". www.irishculturalsociety.com. Retrieved 27 June 2017.
Jump up ^ "A brief history of Tweed". www.scotsman.com. Retrieved 27 June 2017.
Jump up ^ Bronner, Simon J.; Clark, Cindy Dell (21 March 2016). "Youth Cultures in America [2 volumes]". ABC-CLIO. Retrieved 27 June 2017 – via Google Books.
Jump up ^ "The last keffiyeh factory in Palestine". middleeasteye.net. Retrieved 27 June 2017.
Jump up ^ "World Keffiyeh Day in Solidarity with Palestine #keffiyehday - Event - Arab America". arabamerica.com. Retrieved 27 June 2017.
Jump up ^ "Keffiyeh makers in Hebron turn to social media". 1 August 2011. Retrieved 27 June 2017 – via www.bbc.co.uk.
Jump up ^ "English". www.kufiya.org. Retrieved 27 June 2017.
Jump up ^ "On the Keffiyeh, Palestine, Solidarity, and Cultural Appropriation". bennorton.com. 7 January 2015. Retrieved 27 June 2017.
Jump up ^ "Topshop pulls festival playsuit from sale after row comparing it to Palestinian keffiyeh design". www.msn.com. Retrieved 27 June 2017.
Jump up ^ "Victoria's Secret apologizes for using headdress". usatoday.com. Retrieved 27 June 2017.
Jump up ^ "(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. Retrieved 27 June 2017.
Jump up ^ "New York Apparel » Cultural Appropriation". macaulay.cuny.edu. Retrieved 27 June 2017.
Jump up ^ O'Neil, Lauren. "Celebrity bindis at Coachella: Fashion trend or cultural appropriation? - Your Community". www.cbc.ca. Retrieved 27 June 2017.
Jump up ^ "The Crucifix is Now Just a Fashion Statement".
Jump up ^ "Japan's Lolita Style Cutesy and Disturbing".
Jump up ^ "Audiophile Life". Audiophile Life. Retrieved 27 June 2017.
Jump up ^ McClatchey, Caroline (21 November 2011). "Ear stretching: Why is lobe 'gauging' growing in popularity?". Retrieved 27 June 2017 – via www.bbc.co.uk.
Jump up ^ 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. Retrieved 2014-11-22.
Jump up ^ 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. Retrieved 2014-10-29.
Jump up ^ Riley, Angela (2005). "Straight Stealing: Towards an Indigenous System of Cultural Property Protection". Washington Law Review. 80 (69). SSRN 703283  .
Jump up ^ "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. April 13, 2001. Retrieved 2012-06-13.
Jump up ^ "Anti-Defamation and Mascots". National Congress of American Indians. Retrieved 12 January 2013.
^ Jump up to: a b Lyden, Jacki (November 28, 2015). "Osceola At The 50-Yard Line". NPR.org. Retrieved December 6, 2015.
^ Jump up to: a b c Culpepper, Chuck (December 29, 2014). "Florida State's Unusual Bond with Seminole Tribe Puts Mascot Debate in a Different Light". The Washington Post. Retrieved December 6, 2015.
Jump up ^ Billie, James E. (October 24, 2013). "Like the old Florida flag: 'Let us alone!'". The Seminole Tribune. Retrieved December 6, 2015.
Jump up ^ Bernstein, Nell: Signs of Life in the USA: Readings on Popular Culture for Writers, 5th ed. 607
Jump up ^ "Wigger | Define Wigger at Dictionary.com". Dictionary.reference.com. Retrieved 2015-07-01.
Jump up ^ "wigger - definition of wigger by The Free Dictionary". Thefreedictionary.com. Retrieved 2015-07-01.
Jump up ^ "Metroactive News & Issues - The Word 'Nigger'". www.metroactive.com. Retrieved 27 June 2017.
Jump up ^ Kitwana, Bakari (30 May 2006). "Why White Kids Love Hip Hop: Wankstas, Wiggers, Wannabes, and the New Reality of Race in America". Basic Books. Retrieved 27 June 2017 – via Google Books.
Jump up ^ "Wiggers just wannabe black: White middle-class kids are adopting black street style and chilling out to rap music". Independent.co.uk. 1993-08-22. Retrieved 2015-07-01.
Jump up ^ Kitwana, Bakari. "'Why White Kids Love Hip Hop'". Npr.org. Retrieved 2015-07-01.
^ Jump up to: a b Hank Stuever, "'Blacking Up' documentary questions white enthusiasts of black hip-hop culture", The Washington Post, 30 January 2010
Jump up ^ McEwan, Emily (2016). The Scottish Gaelic Tattoo Handbook. Bradan Press. ISBN 9780995099807. Retrieved 14 January 2017.
Jump up ^ Cox, Richard A. V. (October 1998). "Tokenism in Gaelic: the Language of Appeasement". Scottish Language. (17): 70–81. Retrieved 14 January 2017.
Jump up ^ "Cultural appropriation of Japanese tattoos, 2008". port.ac.uk. Retrieved 27 June 2017.
Jump up ^ Pages, The Society. "Lost in Translation: Tattoos and Cultural Appropriation - Sociological Images". thesocietypages.org. Retrieved 27 June 2017.
^ Jump up to: a b c Mueller, Jennifer (11 April 2007). "Unmasking Racism: Halloween Costuming and Engagement of the Racial Other". Qualitative Sociology. 30 (3): 315. doi:10.1007/s11133-007-9061-1. Retrieved 4 March 2015.
^ Jump up to: a b c d 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
Jump up ^ Keene, Adrienne (October 26, 2011) "Open Letter to the PocaHotties and Indian Warriors this Halloween Archived November 5, 2016, at the Wayback Machine." at Native Appropriations – Examining Representations of Indigenous Peoples. Accessed 4 March 2015
Jump up ^ Deloria, Philip J. (1998). Playing Indian. New Haven: Yale University Press.
Jump up ^ "Playing Indian". Yale University Press. Archived from the original on June 30, 2016. Retrieved January 6, 2016.
Jump up ^ Robert Desjarlait (December 15, 2015). "The Koshares and the Appropriation of Native American Dance".
Jump up ^ "Koshare Museum". Retrieved December 22, 2015.
Jump up ^ Anne Constable (January 3, 2016). "Hopis say Boy Scout performances make mockery of tradition, religion". Santa Fe New Mexican.
Jump up ^ Kristen Dobbin (September 10, 2014). "Appropriation (?) of the Month: The Boy Scout Shalako".
^ Jump up to: a b c d e "Boy Scout "Indian dance teams"". Retrieved March 4, 2016.
Jump up ^ "Coyote Night Dancers". Retrieved March 4, 2016.
Jump up ^ "Kootaga Indian Dancers". Retrieved March 4, 2016.
Jump up ^ "Boy Scout "Indian dance teams"". Retrieved March 4, 2016.
Jump up ^ "Kossa Indian Dancers". Retrieved March 4, 2016.
Jump up ^ "Kwahadi Dancers". Retrieved March 4, 2016.
Jump up ^ "Dance Teams". Retrieved March 4, 2016.
Jump up ^ "White Shield Dance Team". Retrieved March 4, 2016. [permanent dead link]
Jump up ^ "Sahawe Dancers". Retrieved March 4, 2016.
Jump up ^ Hasty, J. "Rites of Passage, Routes of Redemption: Emancipation Tourism and the Wealth of Culture". Africa Today. Indiana University Press. 49 (3, Fall 2002): 47–76.
Jump up ^ Tripathi, Salil. "Hindus and Kubrick." Archived March 3, 2016, at the Wayback Machine. The New Statesman. 20 September 1999. Retrieved 23 November 2006.
Jump up ^ Arrowsmith, Aidan (April 1, 2000). "Plastic Paddy: Negotiating Identity in Second-generation 'Irish-English' Writing". Irish Studies Review. Routledge. 8 (1): 35–43. doi:10.1080/09670880050005093.
Jump up ^ "Archived copy". Archived from the original on 2014-08-18. Retrieved 2016-09-17.
Jump up ^ "Karlie Kloss, Victoria's Secret Really Sorry About That Headdress". The Cut. Retrieved 2015-12-06.
Jump up ^ "Victoria's Secret, Karlie Kloss Apologize for Controversial Native American Costume - Us Weekly". Us Weekly. November 12, 2012. Retrieved 2015-12-06.
Jump up ^ "Karlie Kloss Apologizes for Geisha Photo Shoot in Vogue Diversity Issue". people.com. 15 February 2017. Retrieved 27 June 2017.
Jump up ^ Caffrey, Stephanie (March 25, 2014). "Culture, Society and Popular Music; Cultural Appropriation in Music". Audio_Girl. Retrieved 2015-12-12.
Jump up ^ "Avril Lavigne Laughs Off Racist Backlash Over Hello Kitty Music Video: I Love Japanese Culture". E! Online. April 24, 2014. Retrieved 2015-12-12.
Jump up ^ "Avril Lavigne's 'Hello Kitty' Video: 'Favorable' Reactions in Japan After Racism Controversy | Billboard". Billboard. May 22, 2014. Retrieved 2015-12-12.
Jump up ^ "Cultural Appropriation — Is It Ever Okay?". Refinery29. June 15, 2014. Retrieved 2015-11-09.
Jump up ^ "Pharrell Apologizes for Wearing Headdress on Magazine Cover". Rolling Stone. June 5, 2014. Retrieved 2015-11-09.
Jump up ^ Daniels, Sharifa (April 15, 2015). "'Hunger Games' Amandla Stenberg Talks Cornrows & Cultural Appropriation". www.hypehair.com. HypeHair. Retrieved 18 December 2015.
Jump up ^ Eleftheriou-Smith, Loulla-Mae (July 13, 2015). "Kylie Jenner criticised by Hunger Games actress Amandla Stenberg for 'appropriating black culture' with cornrows selfie". Independent. Retrieved 18 December 2015.
^ Jump up to: a b "Azealia Banks's Twitter beef with Iggy Azalea over US race issues misses point | Monica Tan | Music". Theguardian.com. 2014-12-04. Retrieved 2015-07-01.
Jump up ^ "Miley Cyrus Receives Backlash for 'Appropriating' Hip-Hop Culture". Complex. Retrieved 2017-05-17.
Jump up ^ "Poster Campaign". Students Teaching About Racism in Society. Ohio University. Retrieved 1 December 2015.
Jump up ^ Grinberg, Emanuella. "'We're a culture, not a costume' this Halloween". www.cnn.com. CNN. Retrieved 1 December 2015.
Jump up ^ Brucculieri, Julia. "#ReclaimTheBindi Is Proof That Cultural Appropriation Isn't Trendy". HuffPost Style. The Huffington Post. Retrieved 2 December 2015.
Jump up ^ Hellyer, Isabelle. "five things the founder of #reclaimthebindi needs you to know". i-d.vice.com. Vice Magazine. Retrieved 1 December 2015.
Jump up ^ Uwujaren, Jarune (Sep. 30, 2013) "The Difference Between Cultural Exchange and Cultural Appropriation" for everdayfeminism.com.
Jump up ^ "Archived copy". Archived from the original on 2016-11-26. Retrieved 2016-10-30.
Jump up ^ "Archived copy". Archived from the original on 2016-11-23. Retrieved 2016-09-17.
Jump up ^ "Archived copy". Archived from the original on 2016-11-26. Retrieved 2016-09-17.
Jump up ^ "Moms worry trick-or-treating as 'Moana' is 'cultural appropriation'". 16 October 2017.
Jump up ^ "Kendall Jenner Accused of Cultural Appropriation over Twitter Emoji". 21 August 2017.
Jump up ^ "Bill O'Reilly". www.facebook.com.
Banks, Jeffrey; de la Chapelle, Doria (2007). Tartan: Romancing the Plaid. New York: Rizzoli. ISBN 978-0-8478-2982-8.
External links[edit]
A Much-Needed Primer on Cultural Appropriation by Katie J.M. Baker
Intellectual Property Law and Indigenous Peoples: Adapting Copyright Law to the Needs of a Global Community by Megan M. Carpenter for the Yale Human Rights and Development Journal
The dictionary definition of cultural appropriation at Wiktionary
[show]
v
t
e
Appropriation in the arts
By field
Music
Appropriation
Bootleg recording
Contrafact
List
Contrafactum
Cover version
Interpolation
List of musical medleys
Music mashup
Music plagiarism
Musical quotation
Parody music
Pasticcio
Plunderphonics
Potpourri
DJ mix
Quodlibet
Remix
Sampling
Sound collage
Trope
Variation
Literature / theatre
Assemblage
Cut-up technique
Joke theft
Trope
Found poetry
Flarf poetry
Verbatim theatre
Painting / comics /
photography
Collage
Swipe
Comic strip switcheroo
Photographic mosaic
Combine painting
By source material
Mona Lisa
Michelangelo's David
Michelangelo's Pietà
Cinema / television /
video
Video mashup
Re-cut trailer
TV format
Found footage
Remake
Parody film
Collage film
General concepts
Intertextual figures
Allusion
Calque
Plagiarism
Pastiche
Parody
Quotation
Translation
Adaptation
Drama
Film
Literary
Theatre
Other concepts
Assemblage (art)
Bricolage
Citation
Derivative work
Détournement
Found object
Homage
Imitation in art
Mashup
Reprise
Source criticism in the arts
Related artistic
concepts
Originality
Artistic inspiration
Afflatus
Genius (literature)
Genre
Genre studies
Parody advertisement
In-joke
Tribute act
Fan fiction
Simulacrum
Archetypal literary criticism
Readymades of Marcel Duchamp
Anti-art
Pop art
Aesthetic interpretation
Western canon
Standard blocks
and forms
Jazz standard
Stock character
Plot device
Dramatic structure
Formula fiction
Monomyth
Archetype
Epoch-marking
works
L.H.O.O.Q. (1919)
"Pierre Menard, Author of the Quixote" (1939)
Reality Hunger: A Manifesto (2010)
Theorization
Mimesis
Dionysian imitatio
De Copia Rerum
Romantic movement
Russian formalism
Modernist movement
Postmodern movement
Palimpsests: Literature in the Second Degree
Related non-artistic
concepts
Cultural appropriation
Appropriation in sociology
Articulation in sociology
Trope (literature)
Academic dishonesty
Authorship
Genius
Intellectual property
Recontextualisation
[show]
v
t
e
Culture
Outline
Sciences
Cultural anthropology
Cultural astronomy
Cultural ecology
Cultural geography
Cultural neuroscience
Cultural studies
Culturology
Culture theory
Neuroculture
Subfields
Bioculture
Cross-cultural studies
Cross-cultural communication
Cross-cultural leadership
Cross-cultural psychiatry
Cross-cultural psychology
Cultural analytics
Cultural economics
Cultural entomology
Cultural health
Cultural history
Cultural mapping
Cultural mediation
Cultural psychology
Culturomics
Intercultural learning
Intercultural relations
Philosophy of culture
Popular culture studies
Semiotics of culture
Sociology of culture
Sound culture
Theology of culture
Transcultural nursing
Types
Constructed culture
Dominant culture
Folk culture
High culture
Individualistic culture
Legal culture
Low culture
Microculture
Official culture
Political culture
Civic
Popular culture
Urban
Primitive culture
Subculture
Alternative culture
list
Super culture
Vernacular culture
Culture by location
Aspects
Acculturation
Cultural appropriation
Cultural area
Cultural artifact
Cultural baggage
Cultural behavior
Cultural bias
Cultural capital
Cross-cultural
Cultural communication
Cultural conflict
Cultural cringe
Cultural dissonance
Cultural emphasis
Cultural framework
Cultural heritage
Cultural icon
Cultural identity
Cultural industry
Cultural invention
Cultural landscape
Cultural learning
Cultural leveling
Cultural memory
Cultural pluralism
Cultural practice
Cultural property
Cultural reproduction
Cultural system
Cultural technology
Cultural universal
Cultureme
Enculturation
High- and low-context cultures
Interculturality
Manuscript culture
Material culture
Non-material culture
Organizational culture
Print culture
Protoculture
Safety culture
Technoculture
Trans-cultural diffusion
Transculturation
Visual culture
Politics
Colonial mentality
Consumer capitalism
Cross cultural sensitivity
Cultural assimilation
Cultural attaché
Cultural backwardness
Cultural Bolshevism
Cultural conservatism
Cultural contracts
Cultural deprivation
Cultural diplomacy
Cultural environmentalism
Cultural exception
Cultural feminism
Cultural genocide
Cultural globalization
Cultural hegemony
Cultural imperialism
Cultural intelligence
Cultural liberalism
Cultural nationalism
Cultural pessimism
Cultural policy
Cultural racism
Cultural radicalism
Cultural retention
Cultural Revolution
Cultural rights
Cultural safety
Cultural silence
Cultural subsidy
Cultural Zionism
Culture change
Culture minister
Culture of fear
Culture war
Deculturalization
Dominator culture
Interculturalism
Intraculturalism
Monoculturalism
Multiculturalism
Biculturalism
Pluriculturalism
Security culture
Transculturism
Related
Animal culture
Archaeological culture
Bennett scale
Bullying culture
Cannabis culture
Circuit of culture
Coffee culture
Cross-cultural
Cultural center
Cultural Christian
Cultural Mormon
Cultural competence
Cultural critic
Cultural Detective
Cultural determinism
Cultural diversity
Cultural encoding
Cultural evolutionism
Cultural Hindu
Cultural homogenization
Cultural institution
Cultural jet lag
Cultural Judaism
Cultural lag
Cultural literacy
Cultural mosaic
Cultural movement
Cultural mulatto
Cultural Muslim
Cultural probe
Cultural relativism
Culture speculation
Cultural tourism
Pop-culture
Cultural translation
Cultural turn
Cultural sensibility
Culture and positive psychology
Culture and social cognition
Culture gap
Culture hero
Culture industry
Culture shock
Culturgen
Children's culture
Culturalism
Cyberculture
Death and culture
Disability culture
Deaf culture
Emotions and culture
Intercultural communication
Intercultural competence
Languaculture
Living things in culture
Media culture
Oppositional culture
Participatory culture
Permission culture
Rape culture
Remix culture
Tea culture
Transformation of culture
Urban culture
Welfare culture
Category
Portal
Commons
WikiProject
changes
[show]
v
t
e
Cultural appreciation
Europe
Albanian
Armenian
Austrian
English/British
Estonian
Finnish
French
German
Georgian
Greek
Spartan
Irish
Italian
Scandinavian
Swedish
Slavic
Russian
Serbian
Ukrainian
Spanish
Africa
Egyptian
Americas
American
Hispanic
Asia
Asian
Arab
Chinese
Indian
Iranian/Persian
Japanese
Jewish
Korean
Pakistani
Taiwanese
Turkish
Vietnamese
Oceania
Australian
See also: Acculturation • Allophilia • Enculturation • Cultural appropriation • Racial fetishism • Xenophilia
[show]
v
t
e
Native American mascot controversy
Washington Redskins
Name controversy
Redskin (slang)
Name change advocates
Trademark dispute
Opinion Polls
Original Americans Foundation
Chief Zee
Washington Redhawks
Other professional sports teams
Atlanta Braves
Chief Noc-A-Homa
Chicago Blackhawks
Name and logo controversy
Cleveland Indians
Name and logo controversy
Chief Wahoo
Edmonton Eskimos
Kansas City Chiefs
College teams
NCAA Native American mascot decision
Chief Illiniwek
Osceola and Renegade
North Dakota athletics
Fighting Sioux name controversy
San Diego State Aztec Warrior
List of college teams
Youth and school teams
Sports teams named Redskins
List of secondary school teams
Change advocates
Amanda Blackhorse
Gregg Deal
Stephanie Fryberg
Suzan Shown Harjo
Adrienne Keene
Jacqueline Keeler
Robert Roche
Related
Native American mascot laws and regulations
List of teams
Stereotypes about indigenous peoples of North America
Contemporary Native American issues in the United States
Cultural appropriation
Indigenous intellectual property
Redface
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cultural_appropriation&oldid=834578627"
Categories:
Cultural appropriation
Culture
Culture terminology
Intellectual property law
Intellectual property activism
Political correctness
Hidden categories:
Webarchive template wayback links
All articles with dead external links
Articles with dead external links from November 2016
Articles with permanently dead external links
Articles with dead external links from May 2017
Wikipedia articles needing style editing from January 2015
All articles needing style editing
All articles with unsourced statements
Articles with unsourced statements from June 2017
Articles with unsourced statements from July 2016
All articles lacking reliable references
Articles lacking reliable references from January 2017
All articles with specifically marked weasel-worded phrases
Articles with specifically marked weasel-worded phrases from January 2017
Wikipedia articles needing style editing from January 2016
Articles slanted towards recent events from January 2016
Pages using div col with deprecated parameters
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
العربية
Čeština
Deutsch
Español
فارسی
Français
Gaeilge
Italiano
മലയാളം
Nederlands
Norsk
Português
Русский
Suomi
Svenska
Українська
中文
8 more
Edit links
This page was last edited on 6 April 2018, at 14:10.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

value: b

attrs: href title

values:
/wiki/Free_expression
mw-redirect
Free expression

values:
/wiki/Cultural_evolutionism
mw-redirect
Cultural evolutionism

values: Edit section: Art, iconography, and adornment

values: Declaration on the Rights of Indigenous Peoples

attrs: alt src width height srcset data-file-width data-file-height

values:
plainlinks metadata ambox ambox-move
presentation

values:
/wiki/Wikipedia:Encyclopedic_style
mw-redirect
Wikipedia:Encyclopedic style

values: plainlinks metadata ambox ambox-style ambox-essay-like

attrs: alt src width height class srcset data-file-width data-file-height

values:
/wiki/Fashion_industry
mw-redirect
Fashion industry

values: Edit section: 17th century to Victorian era

values:
/wiki/Three_piece_suit
mw-redirect
Three piece suit

values:
/wiki/Traditional_dress
mw-redirect
Traditional dress

values:
/wiki/Zupan_(clothing)
mw-redirect
Zupan (clothing)

values:
/wiki/Scottish_clothing
mw-redirect
Scottish clothing

values:
/wiki/Highland_clan
mw-redirect
Highland clan

values:
/wiki/Westward_expansion
mw-redirect
Westward expansion

values:
/wiki/Skinny_jeans
mw-redirect
Skinny jeans

values:
/wiki/US_Civil_War
mw-redirect
US Civil War

values:
/wiki/Tweed_cloth
mw-redirect
Tweed cloth

values:
/wiki/Edward_VIII_of_England
mw-redirect
Edward VIII of England

values:
/wiki/Soc_(subculture)
mw-redirect
Soc (subculture)

values:
/wiki/Palestinian_independence
mw-redirect
Palestinian independence

values:
/wiki/Palestinian_people
mw-redirect
Palestinian people

values: Coachella Valley Music and Arts Festival

values: Edit section: Hairstyles, makeup and body modifications

values:
/wiki/Ancient_Israel
mw-redirect
Ancient Israel

values:
/wiki/Beau_Brummel
mw-redirect
Beau Brummel

values:
/wiki/Baroque_era
mw-redirect
Baroque era

values:
/wiki/1980s_fashion
mw-redirect
1980s fashion

values:
/wiki/Flesh_tunnel
mw-redirect
Flesh tunnel

values: National Collegiate Athletic Association

values: This claim needs references to reliable sources. (June 2017)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values: This claim needs references to reliable sources. (July 2016)

values:
/wiki/Grime_(music)
mw-redirect
Grime (music)

values:
/wiki/Rolling_Stones
mw-redirect
Rolling Stones

values:
/wiki/Minority_languages
mw-redirect
Minority languages

values: This claim needs references to better sources. (January 2017)

values: noprint Inline-Template noprint noexcerpt Template-Fact

values:
/wiki/Wikipedia:Avoid_weasel_words
mw-redirect
Wikipedia:Avoid weasel words

values:
noprint Inline-Template
margin-left:0.1em; white-space:nowrap;

values:
/wiki/Han_character
mw-redirect
Han character

values:
/wiki/Traditional_Chinese
mw-redirect
Traditional Chinese

values:
/wiki/Simplified_Chinese
mw-redirect
Simplified Chinese

values:
/wiki/Hopi_Nation
mw-redirect
Hopi Nation

values:
/wiki/Dallas,_Texas
mw-redirect
Dallas, Texas

values: plainlinks metadata ambox ambox-style ambox-Recentism

values:
/wiki/Race_relations
mw-redirect
Race relations

values:
/wiki/Breitbart_News_Network
mw-redirect
Breitbart News Network

values: Cultural appropriation in the fashion industry

values:
/wiki/Cultural_diffusion
mw-redirect
Cultural diffusion

values: Native Americans in German popular culture

values:
/wiki/Recuperation_(sociology)
mw-redirect
Recuperation (sociology)

values: div-col columns column-count column-count-3

values: -moz-column-count: 3; -webkit-column-count: 3; column-count: 3;

values:
nofollow
external text
//www.worldcat.org/issn/1468-2885

values:
/wiki/Sydney_Morning_Herald
mw-redirect
Sydney Morning Herald

values:
/wiki/Bitch_Magazine
mw-redirect
Bitch Magazine

values:
nofollow
external text
http://www.eniar.org/news/artdot.html

values:
/wiki/Plastic_Shaman
mw-redirect
Plastic Shaman

values:
nofollow
http://subcultureslist.com/teddy-girls/
external text

values:
nofollow
https://www.kufiya.org/
external text

values:
nofollow
external text
//www.worldcat.org/issn/0710-1481

values:
nofollow
external text
//doi.org/10.2202%2F0027-6014.1255

values:
nofollow
external text
//www.worldcat.org/issn/0027-6014

values:
nofollow
external text
//ssrn.com/abstract=703283

attrs: alt src title width height srcset data-file-width data-file-height

values:
nofollow
external text
http://aistm.org/fr.usccr.htm

values:
nofollow
external text
http://www.thefreedictionary.com/wigger

values:
nofollow
http://eprints.port.ac.uk/1135/
external text

values:
nofollow
http://www.kosharehistory.org/
external text

values:
nofollow
http://kossaindiandancers.weebly.com/
external text

values:
nofollow
external text
http://www.kwahadi.com/about.htm

values:
nofollow
external text
http://www.micosay.org/danceteams

values:
nofollow
http://www.sahawe.com/
external text

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values: Mona Lisa replicas and reinterpretations

values: Copia: Foundations of the Abundant Style

values: Palimpsests: Literature in the Second Degree

values: nowraplinks collapsible autocollapse navbox-inner

values:
/wiki/Sound_culture
mw-redirect
Sound culture

values:
/wiki/Constructed_culture
mw-redirect
Constructed culture

values:
/wiki/Folk_culture
mw-redirect
Folk culture

values:
/wiki/High-_and_low-context_cultures
mw-redirect
High- and low-context cultures

values:
/wiki/Cultural_racism
mw-redirect
Cultural racism

values:
/wiki/Security_culture
mw-redirect
Security culture

values:
/wiki/Cultural_Mormon
mw-redirect
Cultural Mormon

values:
/wiki/Cultural_competence
mw-redirect
Cultural competence

values:
/wiki/Transformation_of_culture
mw-redirect
Transformation of culture

values: nowraplinks hlist collapsible collapsed navbox-inner

values: Template:Native American mascot controversy

values: Template talk:Native American mascot controversy

values: List of Washington Redskins name change advocates

values: Washington Redskins Original Americans Foundation

values: Chicago Blackhawks name and logo controversy

values: Cleveland Indians name and logo controversy

values: List of college sports team names and mascots derived from indigenous peoples

values: List of secondary school sports team names and mascots derived from indigenous peoples

values: Native American mascot laws and regulations

values: Stereotypes about indigenous peoples of North America

values: nowraplinks collapsible collapsed navbox-inner

values: Category:Webarchive template wayback links

values: Category:All articles with dead external links

values: Category:Articles with dead external links from November 2016

values: Category:Articles with permanently dead external links

values: Category:Articles with dead external links from May 2017

values: Category:Wikipedia articles needing style editing from January 2015

values: Category:All articles needing style editing

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from June 2017

values: Category:Articles with unsourced statements from July 2016

values: Category:All articles lacking reliable references

values: Category:Articles lacking reliable references from January 2017

values: Category:All articles with specifically marked weasel-worded phrases

values: Category:Articles with specifically marked weasel-worded phrases from January 2017

values: Category:Wikipedia articles needing style editing from January 2016

values: Category:Articles slanted towards recent events from January 2016

values: Category:Pages using div col with deprecated parameters

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values:
/wiki/Cultural_appropriation
View the content page [ctrl-alt-c]
c

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values: Printable version of this page [ctrl-alt-p]

values: استيلاء ثقافي – Arabic

values:
interlanguage-link interwiki-cs
display: none;

values: استیلای فرهنگی – Persian

values:
interlanguage-link interwiki-ga
display: none;

values: സാംസ്കാരികാപഹരണം – Malayalam

values:
interlanguage-link interwiki-ml
display: none;

values:
interlanguage-link interwiki-nl
display: none;

values:
interlanguage-link interwiki-no
display: none;

values: Культурная апроприация – Russian

values:
interlanguage-link interwiki-fi
display: none;

values:
interlanguage-link interwiki-sv
display: none;

values: Культурне привласнення – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values: All languages (initial selection from common choices by you and others)

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Cultural_appropriation rootpage-Cultural_appropriation skin-vector action-view