Cultural appropriation

Not to be confused withAppropriation (art).

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

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

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

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

Overview

Russian Cossackman wearing thechokha,a clothing the Russian Cossacks appropriated from the indigenous peoples of theCaucasusalong with other cultural traits

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

Academic discourse

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

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

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

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

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

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

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

Examples

Art, literature, iconography, and adornment

A model wears a Native American-inspiredwar bonnetwhile campaigning to supportbody modificationin the workplace, 2015

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

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

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

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

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

Religion and spirituality

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

The modernNew Agemovement frequently adopts spiritual ideas and practices from non-Western cultures; according to York, these may include "HawaiianKahunamagic,Australian Aboriginaldream-working,South AmericanAmerindianayahuascaandSan Pedroceremonies, HinduAyurvedaand yoga, Chinese Feng Shui,Qi Gong,andTai Chi."The movement has faced criticism forcultural imperialismexploiting intellectual and cultural property of Indigenous peoples.

Bindi

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

Fashion

Claude Monet's wife,Camille Doncieuxwearing akimono,1875

Cultural appropriation is controversial in thefashion industrydue 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' sharedintellectual propertywithout consent, acknowledgement, or compensation.According to Minh-Ha T. Pham, writing forThe Atlantic,accusations of cultural appropriation are often defended, instead, ascultural appreciation.

From the 17th century to the Victorian era

George IVwearinghighland dressduringhis visit to Scotland in 1822

Thenecktieor thecravatwas derived from a scarf worn by Croatian mercenaries fighting forLouis XIII,and the brightly coloured silkwaistcoatspopularised byCharles II of Englandwere inspired by Ottoman, Indian, and Persian attire acquired by wealthy European travelers.

During theRegencyandVictorian eras,theHighland dress,most prominentlytartan,was appropriated byScottish Lowlanders(and people from other parts of theBritish Isles) as a result of the influence ofromantic nationalismon theScottish national identity.This was spearheaded by writers such asSir Walter ScottandJames Logan,with Logan's romantic nationalist workThe Scottish Gael(1831) leading the Scottish tartan industry to inventclan tartanswith spurious association to specificHighland clans.Tartan rapidly became a desirable material for dresses, waistcoats, and cravats across the Western world as part of process known as "tartanry".In the United States, plaid flannel had becomeworkwearby the time ofAmerica's westward expansionand was widely worn by whitepioneersandcowboysin theOld Westwho were not of Scottish descent.In the 21st century, tartan remains ubiquitous in mainstream fashion.

By the 19th century, the object of fascination among Europeans had shifted to Asian cultures. Regency-eradandiesadapted the Indianchuridarsintoslim-fittingpantaloonsand frequently woreturbanswithin their own houses. Subsequently, Victorian-era gentlemen woresmoking capsbased on the Islamicfez,and fashionableturn-of-the-centuryladies woreOrientalistJapanese-inspiredkimonodresses.Moreover, this obsession with Orientalism was visible in how one company named its passenger shipping line "The Orient Line".During thetiki culturefad of the 1950s, white women frequently donned theqipaoto give the impression that they had visitedHong Kong,although the dresses were frequently made by seamstresses in America usingrayonrather than genuine silk. At the same time, teenageTeddy GirlsworeAsian conical hatsdue to their exotic connotations.

In Mexico, thesombrero,which was associated with themestizopeasant class, was adapted from an earlier hat which was introduced bySpanish colonistsduring the 18th century.This, in turn, was adapted into thecowboy hatworn by American cowboys after theUS Civil War.In 2016, theUniversity of East Angliaprohibited the wearing of sombreros to parties on campus in the belief that these could offend Mexican students,a move that was widely criticised.

AmericanWestern wearwas copied from the work attire of 19th-century MexicanVaqueros,especially the pointedcowboy bootsand theguayabera,which was adapted into the embroideredWestern shirt.TheChina poblanadress associated with Mexican women was appropriated from thecholiandlehengaworn byIndianmaidservants likeCatarina de San Juan,who arrived from Asia from the 17th century onwards.

The modern era

In Britain, the roughtweed clothclothing of the English, Irish and Scottish peasantry, including theflat capandIrish hatwere adopted by the upper classes as theBritish country clothingworn for sports such as hunting or fishing, in imitation of thePrince of Wales.The country clothing, in turn, was appropriated by the wealthy AmericanIvy Leagueand laterpreppysubcultures during the 1950s and 1980s due to both its practicality and its association with the British upper class.During the same period, the British comedianTommy Cooperwas known for wearing aFezthroughout his performances.

When thekeffiyehbecame popular in thelate 2000s,experts made a clear distinction between wearing a genuine scarf and wearing a cheaper, inauthentic one made in China.Palestinian independenceactivists and socialists denounced the wearing of scarves not made in Palestine as a form of cultural appropriation but encouraged fellowMuslimsand progressively minded non-Muslim studentsto buyshemaghsmade in the Herbawifactory to demonstrate solidarity with thePalestinian peopleand improve the economy of theWest Bank.In 2017,Topshopcaused controversy by selling Chinese-madeplaysuitsthat imitated the keffiyeh pattern.

Several fashion designers and models have featured imitations ofNative Americanwarbonnetsin their fashion shows,such asVictoria's Secretin 2012, when modelKarlie Klosswore one during her walk on the runway; aNavajo Nationspokesman called it a "mockery".CherokeeacademicAdrienne Keenewrote inThe New York Times:

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

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

In 2016, pop starBeyoncéwas widely criticised for wearing asariandbindiin the music video for theColdplaysong "Hymn for the Weekend".

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

Ex-ArchbishopJustin Welbyof the Anglican Church said that the crucifix is "now just a fashion statement and has lost its religious meaning".Crucifixes have been incorporated into Japaneselolita fashionby non-Christians in a cultural context that is distinct from its original meaning as a Christian religious symbol.

In 2018,Guccidesigners were criticised for sending white models for a catwalk atMilan fashion weekwearing aSikhreligious headpiece.Thousands of members from the Sikh community shared anger and disappointment that the brand had usedSikhsacredreligious symbolfor profit.Traditionally inSikhism,a turban is worn by both men and women as a symbol of piety, honour, and spirituality, however, many people fromSikhcommunity, includingAvan Jogia,found it "offensive" and "irresponsible" for a white model wearing a turban.

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

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

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

Hairstyles, makeup, and body modifications

• The leaders of ancient Israel condemned the adoption of Egyptian and Canaanite practices, especially cutting the hair short or shaving the beard. At the same time, the Old Testament distinguishes the religiouscircumcisionof theHebrewsfrom cultures, such as the Egyptians, where the practice had aesthetic or practical purposes.
• During the early 16th century, European men imitated the short,regular haircutsand beards on rediscoveredAncient Greekand Roman statues. The curled hair favoured by theRegency eradandyBeau Brummelwas also inspired by the classical era.
• During the 17th century,Louis XIVbegan wearingwigsto conceal his baldness. Like many other French fashions, these were quickly appropriated bybaroque eracourtiers in England and the rest of Europe, to the extent that men oftenshaved their headsto ensure their wig fitted properly.
• American soldiers duringWorld War IIappropriated theMohawk hairstyleof the Native American tribe of the same name to intimidate their enemies. These were later worn by 1950sjazzmusicians likeSonny Rollinsand the1980spunk subculture.
• During theearly 2000s,it was popular in the West to get tribal tattoos appropriated from African andPolynesian culture,as well as earlobe piercings known asplugs,famously associated with theBuddha.
• Since the early 2000s, it has become increasingly popular for people not of East Asian or South Asian descent to get tattoos ofDevanagari,Korean letters,orHan characters(traditional,simplified,orJapanese), often without knowing the actual meaning of the symbols being used.In 2000, footballerDavid Beckhamreceived a tattoo inHindi.Beckham does not have Indian heritage.
• There is debate about non-black people wearingdreadlocks– a hairstyle many associate with African andAfrican diasporacultures such asJamaicanRastafari– and whether their doing so is cultural appropriation.In 2016 a viral video was published of a young black student arguing with a young white student and accusing him of cultural appropriation.In 2018, white actorZac Efronwas accused of cultural appropriation, when he posted a picture of himself in dreadlocks.
• In Scotland and Ireland, non-speakers of Scottish Gaelic orIrishget tattoos in those languages, often not understanding what their tattoos mean.

Sports

See also:Native American mascot controversyandList of sports team names and mascots derived from Indigenous peoples

TheWashington Redskinslogo in Maryland

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

Such practices may be seen as particularly harmful in schools and universities that have a stated purpose of promoting ethnic diversity and inclusion.In recognition of the responsibility of higher education to eliminate behaviours that create a hostile environment for education, in 2005, theNCAAinitiateda policyagainst "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 theNational Congress of American Indians(NCAI).

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

Music

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

The phenomenon of white people adopting elements of black culture has been prevalent, at least sinceslaverywasabolishedin theWestern 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 thewhite negroin thejazzandswing musicscenes of the 1920s and 1930s, as examined in the 1957Norman Maileressay "The White Negro".It was later seen in thezoot suiterof the 1930s and 1940s, thehipsterof the 1940s, thebeatnikof the 1950s–1960s, theblue-eyed soulof the 1970s, and the hip hop of the 1980s and 1990s. In 1993, an article in the UK newspaperThe Independentdescribed the phenomenon of white, middle-class kids who were "wannabe Blacks".The year 2005 saw the publication ofWhy White Kids Love Hip Hop: Wangstas, Wiggers, Wannabes, and the New Reality of Race in Americaby Bakari Kitwana, "a culture critic who's been tracking American hip hop for years".

African American culture

Robert A. Clift's documentaryBlacking Up: Hip-Hop's Remix of Race and Identityquestions 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 ofStephen Foster,Al Jolson,Benny Goodman,Elvis Presley,theRolling Stones– up toVanilla Ice... andEminem".A review of the documentary refers to the wiggers as "whiteposeurs",and states that the termwigger"is used both proudly and derisively to describe white enthusiasts of black hip-hop culture".

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

White protestors in 2018 carrying placards using the termwoke

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

Martial arts

In China, there is longstanding resentment of the Japanese schools of karate for stealing, imitating, and claiming credit for the forms ofkung fu.Before the 1970s, mostsifudisapproved of teaching kung fu to non-Chinese students.In the mid-20th century, Japanesekaratewas itself appropriated by American soldiers.Asmixed martial artsgained popularity in the 21st century, practitioners have appropriated and combined Chinese, Japanese andThaitechniques with Western-style bo xing, wrestling, and kickbo xing.

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

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

Languages

InScotland,the use of incorrectScottish Gaelicin a tokenistic fashion aimed at non-Gaelic speakers on signage and announcements has been criticised as disrespectful to fluent speakers of the language.

Film and television

Main articles:Whitewashing in filmandColor-blind casting

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

People in the transgender community have protested against the casting ofstraight,cisgenderactors in trans acting roles, such as whenEddie Redmayneplayed the role of artist Lili Elbe in the filmThe Danish Girland whenJared Letoplayed the role of a trans woman named Rayon inDallas Buyers Club.Some in the gay community have expressed concerns about the use of straight actors to play gay characters; this occurs in films such asCall Me by Your Name(straight actorsArmie HammerandTimothée Chalamet),Brokeback Mountain(Heath LedgerandJake Gyllenhaal),Philadelphia(Tom Hanks),Capote(Philip Seymour Hoffman) andMilk(withSean Pennplaying the role of the real-life gay rights activist,Harvey Milk).In the other direction, gay actors playing straight roles, Andrew Haigh, the writer-director, said, "You rarely see a gay actor applauded for playing straight".Jay Caruso calls these controversies "wholly manufactured" on the grounds that the actors "are playing a role" using the "art of acting".

Holidays

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

The government ofGhanahas been accused of cultural appropriation in adopting the CaribbeanEmancipation Dayand marketing it to African American tourists as an "African festival".

Dance and performance

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

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

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

Gender and sexuality

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

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

Responses

Indigenous cultures

White Americansdressed up in Native American outfits (1909)

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

The results of this appropriation of Indigenous knowledge have led some tribes and theUnited Nations General Assemblyto issue several declarations on the subject. TheDeclaration of War Against Exploiters of Lakota Spiritualityincludes the passage:

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

Article 31 1 of the United NationsDeclaration on the Rights of Indigenous Peoplesstates:

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

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

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

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

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

Criticism of the concept

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

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

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

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

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

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

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

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

See also

• Crossover music
• Cultural diffusion
• Cultural imperialism
• Acculturation
• Enculturation
• Exoticism
• Fusion cuisine
• Indigenous intellectual property
• Litvinism
• Multiculturalism
• Orientalism
• Outsider art
• Passing as African American and other races
• Passing as Indigenous American
• Pizza effect
• Politics of food in the Arab-Israeli conflict
• Pretendian
• Racial fetishism
• Racial misrepresentation
• Romantic racism
• Syncretism
• World music
• Xenocentrism