I want to bring up a complicated issue here that has been coming up very often lately in my conversation with artists, and which I deal with often in my role as a creative director in publishing: What is cultural appropriation, and how does it affect what artists make? As media becomes more and more diverse, the question comes up: who has the right to tell which stories? Can an author write a character that is a different ethnicity, or sexual orientation, or gender expression than they themselves are? Can artists depict cultures and experiences not their own?
The short answer is: of course. The fiction world and the art world would get terribly small very quickly (and the Science Fiction and Fantasy genre wouldn’t exist at all) if we could only create from what we ourselves experienced first-hand. Artists (whether of the writing kind, the painting kind, or any other kind) can’t be held to only depicting the experiences they have had first-hand and the cultures they themselves are from. This issue gets especially complicated in the world of fantasy — if a fantasy world is inspired by another culture, where is the line between appreciation and appropriation? Is a Magic: The Gathering set inspired by Ancient Egypt profiting off cultural appropriation? If I have an author who’s fantasy world is inspired by Native American culture, can I only commission a Native American artist to create the cover art? Can a concept artist lift ornamental designs from a Geisha costume from feudal Japan and apply it to their non-asian character design? These are all conversations I have had in the past year — and they are all complicated.
The short answer is: Yes, artists and writers are free — and encouraged— to explore themes from cultures not their own. But they can and should be held accountable for how they depict those cultures, bodies, and experiences. One of the most important steps an artist can take: Research & Respect your inspirations. The #1 thing you need to think about when you are considering depicting cultures and experiences foreign to you is this: Am I showing respect to this person or culture by doing the proper research into the origins of the cultural elements I want to bring into my art? Am I showing disrespect for the things I am using because I don’t know the history of how they were originally used? Am I erasing the origins of the elements I am using in my art?
Cultures adopt aspects of each other all the time. This is fine when both cultures are exchanging equally — called “Cultural Exchange” — but if there is a power imbalance between the cultures then it is not an equal exchange. If a minority culture is adopting aspects of a dominant or colonizing culture in order to fit in or survive oppression then it’s called “Cultural Assimilation”. If it is a dominant or majority culture taking aspects of the minority culture and taking them out of context of that culture and profiting by them in some way the original culture is not free to do, then it’s called “Cultural Appropriation” (or “Cultural Misappropriation”). I want to dig into the issue of Cultural Appropriation a bit deeper, because more and more often I am hearing the term being misused, and a lot of artists are not sure what they should or should not feel able to depict. What we need to aim for is proper Cultural Appreciation.
The issue of cultural appropriation comes up in the larger world at least once a year at Halloween. Dressing up as a “slutty indian” with a feathered headdress is cultural appropriation because the headdresses were signs of honor and used in rituals in Native American culture. They were only able to be worn by certain people who earned them. And there is a long history of Native American people being persecuted by settlers of European descent. If I, a caucasian woman, were to dress in that outfit, I would be taking sacred cultural elements completely out of their original context in an extremely disrespectful way. I would also be wearing that costume, without penalty, when there has been a history of the original culture being persecuted for wearing the same thing.
However — and this is where most of the recent conversation has been centered — would it be cultural appropriation if I used Native American motifs in a piece of artwork I was making? The answer is: It depends. Have I done my research? Am I depicting the elements properly, as they were meant to be used, with cultural meanings intact? That’s fine. That’s properly appreciating a culture. Or am I just copying the style of things “because it looks cool” and not know the origins of what I am using? That would be cultural appropriation.
Again, I am a white cis-gender woman. I am operating from a place of privilege on this issue, and I’d rather have people that face this issue constantly take over for a bit. Here are some of my favorite starter resources on the topic (and if you have others, please share in the comments):
Article: “Is Cultural Appropriation Always Wrong?” The New York Times
This is an important quote from the article above specifically speaking to why artists need to continue to depict other cultures: “the Pakistani novelist Kamila Shamsie called for more, not less, imaginative engagement with her country: ‘The moment you say a male American writer can’t write about a female Pakistani, you are saying, Don’t tell those stories. Worse, you’re saying: As an American male you can’t understand a Pakistani woman. She is enigmatic, inscrutable, unknowable. She’s other. Leave her and her nation to its Otherness. Write them out of your history.'”
Article: “The Difference Between Cultural Exchange and Cultural Appropriation” from Everyday Feminism this is a good article because it addresses how blurry the line can be between the two.
Article: “7 Things You Might Not Realize Are Cultural Appropriation” from Bustle some are obvious…some maybe not so much.
A lot of these links and videos are specifically talking about white people culturally appropriating black fashion, culture, and slang, but the potential for cultural appropriation and just plain old disrespect can happen whenever we are using motifs and characters that are inspired by other cultures. And we have to be so very careful, because ignorance can really trip us up, especially when we’re trolling Google Images for reference. In the rush to find bits and pieces of inspiration to make something cool, do not miss or erase the origins of that coolness. A good example of how easily you can trip up on the issues of rascism and cultural appropriation was a recent Prada window display:
Which reminded many many people of:
If you happened to not know anything about the history of blackface and minstrel shows in America, you might not think anything was wrong with the Prada characters. The truth is they are referencing a very specific (and very rascist) time in American history. I find it hard to believe that Prada meant to signal such an awful period of time…more likely it was ignorance on their part…but it’s still the artists’ responsibility to know what we may be referencing, even if it’s accidental. Is it cultural appropriation? Is it just plain rascist? Was it an honest mistake and not meant to signify anything particular? We don’t know, but the outrage was very swift. I’m bringing this specific example up because within the last year, I sent a European concept artist a message about character designs in their portfolio that, to me, were obviously using elements of black minstrel makeup and costumes. I assumed (rightly) that they didn’t realize what they were referencing. Not having had knowledge of this period of American history, they had just found some old illustrations online and took design elements from them and incorporated them into the characters, I believe thinking they were genuinely tribal African. Regardless of their intent — which was obviously not to offend anyone — the pictures were shocking and offensive to anyone recognizing the elements. This kind of thing happens more often than you think, and while as artists we can’t have an exhaustive knowledge of the visual history of all ornament, we need to be more careful of what we’re grabbing from online reference without properly researching the source.
In publishing, we have something called “sensitivity readers” — when there is a character in a book that is of a certain cultural background, or gender expression, or sexual orientation, or differently-abled then we make sure someone(s) from that community read it through to make sure there is nothing problematic in the depiction. I think artists, when dealing with these kinds of issues, should maybe start using “sensitivity viewers” — if you are depicting someone who’s culture or heritage is not your own, run it by someone who may know more about it from experience. It will not only keep you out of trouble once that art hits the internet, it will also make your work better, by potentially including subtle details that person might be able to share with you to make your art more authentic to their experience.
Again, and I want to reiterate this for emphasis, I am wholeheartedly not saying you shouldn’t depict people that don’t look like you in your art. I am not saying white artists can’t paint black characters. I am not saying a white European concept artist can’t use elements of Native American costume in their next character design. I am not saying that a cis-gender male author can’t write a queer trans woman character. All I am saying is…Do Your Research, and show Respect. Because proper research is the difference between Appreciation and Appropriation.
Do you have kool-aid with your snowflakes in the morning? People come here for art and art career advise, not to be lectured to about whacked out leftist propaganda and white apologetics. I am an artist, a white male one at that, but I must have been out sick when they were passing out the ‘white privilege’ passes because I sure haven’t seen mine. You have too much time on your hands and not enough brain power to deal with it constructively.
Regardless of whether we agree or disagree with the articles posted on this site, I hope all my readers strive to stay above insults. Since you can’t debate the content of my post, and just stoop to insulting my intelligence, I can’t say I’m sad to see you’re calling yourself a “former” reader. I welcome difference of opinion, but calling people “snowflakes” achieves nothing. This is a real question many artists have approached me about, and dealing with the issues artists are dealing with in the SFF community is what this blog is all about. Whatever an artist’s personal feelings are on this topic, the companies that hire them are very aware of this issue and will have to kill any art that transgresses it. In that way, if not any other, it affects illustrators.
You seem nice. Exactly how many minutes was this article up before you decided to activate Trollface and bless us all with your clearly not well thought out points? Please return to the dark corner of the internet from whence you came.
In case it isn’t clear, my reply is to Former Reader, and not Lauren. 😉
Dear Former Reader, I notice that you did not post this under your real name. Unless, of course, you were unfortunate enough to have parents with an odd sense of humor? I can only assume you chose not to use your name because you knew before even hitting ‘reply’ that what you were going to type was something you didn’t really want to admit to actually believing. If you can’t put your name on it, darling, you probably shouldn’t say it. And you weren’t ‘out sick’ when they passed out the WP passes, you’ve just been focused on your own struggles and haven’t taken time to notice that — as hard as you may have had it — your sex and your color have still given you more of an advantage than many others. The fact that you even think you have the right to come here and tell Muddy Colors what they ought to be discussing on their own site reeks of WMP. To insult the intelligence of a woman who has worked and earned her place at the top of an industry long dominated by men only makes you look bad. It’s petty of you, Former Reader, to come here and throw your tantrum. Maybe you ought to look at why this topic caused such a violent reaction in you, when many of the rest of us appreciate the time and thought that went into discussing how to appreciate our varied cultures of the world rather than abuse or mock them. Come to think of it, I suppose you were wise not to use your real name on your post, because then people in positions to hire you as an artist would know exactly what sort of person you are. Yes, smart of you to hide, Former Reader. I hope someone does see your brilliance as an artist some day. I hope they hire you to do a book cover, or some gorgeous spread filled with people who are not white. I hope you take the time to research each and every one of them. I hope you depict them with respect and consideration. I hope it’s a beautiful work of art, Former Reader. And I hope you learn to be a better person because of it.
At NO point in this article did Lauren pass judgment, state her opinion, or call anyone right, or wrong for using cultural influences, even in an insensitive manner.
She defined a term.
That’s it.
Sorry if that information angers you, or threatens your view point.
And you’re right… people do come here for artistic advice. If you don’t think this is relevant advice to someone seeking work in the industry, you are sorely mistaken.
Hey buddy, here’s some advice from a professional artist. Don’t be an ass. Quickest way to never ever get hired anywhere is to be a disrespectful jerk. You can disagree with the most harmless article ever, but you certainly cannot treat someone poorly. There’s your art advice for the day. Enjoy.
FORMER READER just got triggered so hard by an article that essentially says:
‘hey maybe research other cultures before you reference them in your work.”
Good article! Clearly needed to be said given the reaction.
A big issue is that we are not given credit for what we have created and we are even excluded from the spaces we have created. Look at rock n roll. We invented it but Elvis and the Beatles get all the credit. And then some people try to copyright and take ownership of the things we have created. which makes it more difficult for us to partake in our own culture. This is more so the reason people have brought up appropriation in recent years. The feeling of exclusion mixed with a lack of credit and a lack of respect has led many of us to speak out more on it in recent years.
This is such a wonderful post! Thank you so much for making the time to address such a relevant topic. I think it’s awesome that these conversations are being had because it means that not only is there a push for greater inclusivity in our field, but that artists are taking it upon themselves to have a better understanding in their efforts to create respectful depictions of other cultures. It’s not about playing dress up to look “cool” and treating it like that’s all it is, it’s about celebrating other cultures and being able to merge them into our work in an informed way. There is always context to consider- no one’s work exists in a void. It’s not that people have become more sensitive, it’s that minority groups now have more of a voice than ever before to share the concerns and feelings that have always been there. I think the earlier post goes amusingly well with the first video- its hard to say the community is suffering much of a loss. Thanks so much, Lauren!
<3 Thanks Steph! That's exactly it.
Cultural Appropriation is such a complex topic, but you broke down some major points really well!! Thankyou Lauren!
Thank YOU, Odera, for being my sensitivity reader on this <3
As a minority, female artist myself, I think all your points are sound, and I think it would be a real loss to diversity in literature and art if we couldn’t appreciate and integrate various cultures into our creative work–as you said, well researched and respectful is the way to go! That said, I have brought up a few times (in an email to Muddy Colors and on J Gurney’s Instagram) that the hashtag “Orientalism” is racist, objectifying, and disrespectful to Islamic cultures, and that I would like for artists like Gurney to not use it once they are properly informed. I said that as a Historian of International Relations with a focus on Islamic Studies, and also as a person of Pakistani-Persian-Muslim background. I studied the label and concept of Orientalism closely and wrote papers on it in grad school at LSE. Yet… Muddy Colors never responded to my email, Gurney didn’t remove the hashtag from that post last year last I checked, and I just got heckled by some of his followers for speaking up despite my educational and cultural background. I’m not addressing this to you personally, Lauren, but I want to ask, “What happens when you try to educate/inform on something with good reason, but people don’t care to even listen?” So much for then moving on to create respectful, diverse art…I didn’t stop reading Muddy Colors when I was ignored, or stop following Gurney, I just felt sad, disrespected, and ignored.
Hajara, I’m a huge Gurney fan. I don’t think he would be the sort of person to deliberately try to offend you. I personally don’t see why you are offended. Mr. Gurney is not from your culture so I don’t think he knew he would be offending anyone. This article leaves out how you can offend someone based on how you make a living because people have stereotypes of artists that are quite offensive. I myself have felt offended by people in houses of worship, education institutions etc. that make derogatory comments about art when they themselves have no interest or knowledge of art. I guess ignorance can breed offensive statements or art? I once offended some people of a particular age group in my art when I wasn’t trying to do that. This article and your comments make me still feel that I should only represent my own culture.
Hajra, I am aware of the battles over the term “Orientalism” in Art History, and I understand your frustration. It is a term steeped in racism, and should be updated to a different term. The field is taking way too long agreeing on a new one. Out of curiosity, what replacement term for that art movement did you prefer in your paper?
I will also look into what happened to your email, can you forward it to me? Lauren dot Panepinto at hbgusa dot com. It’s very possible Muddy Colors and/or James Gurney never even saw it.
Thanks so much for taking the time to respond, Lauren–taking the time to reply and listen shows care and respect, and I really appreciate you sticking your neck out to address a thorny topic I put out there. I will forward you my email to Muddy Colors from last year soon, thanks also for asking me to send that again. Below is my response to James after he asked the same question as you (about replacement art labels) on his Instagram post in the comments section, though he didn’t reply again or remove the hashtag Orientalism after I posted my reply:
‘@jamesgurneyart Much appreciate your gracious response, James. As a western educated Islamic historian with family background in two Muslim countries, I am flattered by your painting, and your respect for an Islamic aesthetic. However, to make my response more thorough: Post-Edward Said, Orientalism has come to academically mean a derogative term referring to Western stereotypes of a large swathe of an overgeneralized East, and includes stereotyped non-fictional surveys, as well as fiction, art, films, and more. I should know, I am one of those Academics who specialized in studying Orientalism, East-West Diplomatic Relations, Decolonization, and Islamic History in graduate school at LSE. In fact, my copy of Edward Said’s Orientalism had Gerome’s masterfully executed, yet horribly racist “The Snake Charmer” on it’s cover. And doesn’t anyone wonder why no one calls scenes depicting Africa “Africanism” or Canada “Canadaism” or Russia “Russianism–such generalization is itself offensive; Said was correct to reclaim “Orientalism” as an overly-simplfying slur of a sexualized, barbarized East with no thought to its many cultural, religious, and social facets, including modernity. For your contemporary painting, which is not racist, merely appreciative of marketplaces in Arab cultures (souks), your own term, ”Imaginative Realism” is the appropriate label if you have fantasy elements, otherwise it’s just formally ”Realism” like any other art scene portraying “real people with truth and accuracy.” To add more specific hashtags (or specificity of subject like via your title), we can further respect the individuality of the many Eastern cultures and aesthetics by using #Arabia #souk #bazaar #islamicarchitecture and so on, (which again differentiates from a generalized “Orient” that could refer to anything from Samarkand to Pakistan to Persia to Baghdad). Hope that helps, I didn’t expect you to know about this stuff, since you’re not a historian. I’ll see if I can do a blog post about this and then send you a link if you’re interested in more detail from a Historian of this exact subject and with family from this background.’
p.s. I should add, Lauren, that when we are referring to PAST, stereotyped works by Gerome, I as a Historian would still call that art “Orientalism” because that’s what it is. But for CONTEMPORARY works that are not trying to be racist (like painting a beautiful Arab marketplace with or without fantasy elements), DON’T label it Orientalism, that’s an insulting label you don’t want–use other labels like the ones I mentioned above. Thanks again.
Right, I understand why “Orientalism” WAS used for a historical period – but it definitely shouldn’t be used on new works now…
Just for you to know, my parents come from Iran (even if I don’t think it does matter so much here). And I, coming from an historian background as well, don’t know any historian who would dare call Jean-Léon Gérôme’s work or any other orientalist painters (from the past or contemporary) “horribly racist”.
The founders and the followers of this painting movement want to touch us in a way so much deeper. No insulting label at all here. They are artists fascinated by cultures they often (but not always, and who cares ?) encountered themselves. I may be the only one, but when I see before me an orientalist painting it often opens realms of Beauty and Passion for these other cultures and part of the world (as in other art movements as chinoiseries, japonism, etc.) even if they are partly or totally invented. Is it a disrespect for anyone? I truly don’t think so and see it as a near or far Inspiration.
I’ve seen past and modern artists from other parts of the world doing the same thing, depicting western societies (as in occidentalism for example) in the same fascinated and generalized manner for what they don’t always directly know. May their work be real, invented, or stereotyped I enjoy it equally, for it make us understand more our mutual influence and reenchant our own culture.
Moreover the classical or contemporary artists are the firsts to reinvent their own cultures, to promote or criticize them by distorting, generalizing or disrespecting the realities. Is it a problem for anyone?
What brings together all the human artists is the diversity of their visions; may them be imagined or not, from the masters of the past or from the present, from the West or the East, there is no point to be offended by anything.
I know it is hard to imagine it nowadays, but we can create our own worlds if others one don’t fit us, and that’s what Gerôme or Delacroix did in a way. And that’s ok if there is bias and caricatures or stereotypes; there will always be offended people. And the offended ones will for sure continue to be offended.
So I would suggest to find Freedom in our artistic vision, even if it doesn’t fit our modern standards of what we call “political correctness”, and fight for it if you want, without throwing away the shame. As of my concern, I would never restrain myself to use the term or hashtag “orientalism” for future works.
Man, this jogged my memory of being in a history lecture and the instructor defining Orientalism as being “art by Europeans inspired by middle and east asian cultures,” and not understanding a student (from Taiwan, not that it matters to the point) correcting him on the intent. She kept trying to express that the paintings were just portraits and still lifes of stuff the artists had seen and purchased on their trips, and there was no effort to comprehend or empathize with the cultures they were observing. It all devolved in a cyclical argument between the teacher saying “well, by painting those objects, they were inspired by them, no?” and the student trying to get through to him that’s a fairly superficial definition of “inspiration.”
I’ve yet to be present to a clearer contrast of a colonially biased perspective vs one that can empathize with a subjugated culture.
But ya, HAJRA MEEKS, to your point, the grouping of art that is currently branded as Orientalism definitely needs to be rebranded, and all discussion on the paintings should at the very least include some form of, “Hey ya’ll, these were all painted from a imperial and ethnocentric perspective that is anachronistic with modern culture. They still have historical value but proceed with a critical eye.”
That’s an interesting story from your history lecture, Lucas. 🙂 I would say that stereotyping art of Eastern peoples from the PAST (by the likes of Gerome and other Western Orientalists, etc.) IS “Orientalism” and will remain so now that the label is associated with derogatory art of Eastern peoples post-Edward Said. It’s just that appreciative, beautiful, CONTEMPORARY art with Islamic aesthetics and elements (whether it’s fantasy, sci-fi, or not) should NOT be labeled “Orientalism” unless you want to have a negative, slur labeling your art and look dumb and offend people at the same time. (And, I also wholly agree that Orientalist art from the past can and should be studied for art technique, intent, and historical value–no need to destroy history and art, we’re civilized–just learn from it, the good and the bad, and strive to rise above past, racist depictions and labels).
p.s. when I said “you” using Orientalism as a contemporary label, I was referring to artists who don’t know better, not you Lucas. Clearly you and Lauren are super woke in the best ways about learning about, respecting, appreciating other cultures and then putting that into your art. Lauren did a great response with her post, and also her responses in all the comments–the art community and Muddy Colors are lucky to have her.
<3
Hajra, I’ve always wondered why the word oriental is considered offensive. In my native language (and to my knowledge also in english) the word “Orient” is simply a synonym for Asia, it’s a geographical term.
In my eyes the sorts of Orientalist paintings I’ve seen seem to celebrate the visual beauty of that geographical region. After all, why would anyone invest the time and energy to make such a detailed painting of something if they didn’t have some kind of admiration for it? And if I’m not mistaken another main purpose of these paintings was to inform western people about regions of asia most of them couldn’t travel to at the time. All of these things seem more like cultural appreciation than cultural appropriation to me.
I don’t mean to sound dismissive or disrespectful and I’ll be the first to admit that I’m not an expert on the subject. I am genuinely interested in your answer.
For anyone doubting that cultural appropriation can be a thing, I suggest a thought exercise: imagine the phenomenon as it exists in other countries and cultures beyond your own. Remove it for a moment from context where you feel targeted (if you’re in the West, most likely if you’re white) and your defenses are up regarding this topic.
The example I’m most familiar with is China. The Chinese empire has expanded quite a lot over its history, and as a result has colonized quite a lot of indigenous minorities who are not Han Chinese (56 official ones ranging from the almost completely assimilated to those still quite distinct in their culture). That creates an imbalanced power dynamic which in turn tends to lead to situations where cultural misappropriation occurs. During six years in the country I saw this crop up in a number of ways. A tour of a cavern being followed by a song and dance that seemed to conflate minorities with the most cartoonish sort of ‘cave people’, a minority culture petting zoo turned up in a particularly diverse corner of China, the redevelopment of Tibetan monasteries and other sacred spaces into cutesy stereotypes for tourism. Noble savage tropes seemed to come up a lot, except in the case of the muslim Uighurs who are typically either portrayed as exotic dancers or terrorists.
The example that hit me hardest, though, was ‘Christmas celebrations’ in Chongqing. The people there chose to appropriate this foreign religious holiday by donning glow-in-the-dark devil horns and forming a mosh pit in public spaces where they could hit each other over the head with inflatable mallets. Missing my family and everything the holiday had meant, it really did hurt to see it treated like Halloween. I can’t imagine what any Chinese Christians (also a minority in that country) would have felt.
I think if there’s one key takeaway it’s this: misappropriation is not a question of what you are allowed to do. It’s a question of being considerate towards others, your empathy, and your humility if you ever do find you’ve caused offense. Whoever you are, you too can be hurt by it.
That’s so fascinating about Christmas in China, Bruce! Thank you for giving that example. I think you’re absolutely right to suggest we think of it from another frame of reference. And we’re all SciFi/Fantasy fans here, so we don’t just have to limit it to other cultures…we have had many writers guide us into thinking about what cultural issues look like in human—alien interactions. A good start is Ursula K/ LeGuin’s fabulous Left Hand of Darkness. That book is really just one giant empathy exercise.
TBH I had no idea this was a thing (I’m in Europe from a non-English speaking country, maybe it’s not as big of an issue here). Of course I wouldn’t deliberately depict other cultures in my art in an offensive way — that goes without saying. However, research can only go so far and will always be somewhat superficial if you don’t do university level of studying.
I was recently commissioned to draw characters for a game in a fantasy world with cultures that are loosely based on real world cultures (as is often done in this genre). Now I’m scared to post the images in my portfolio, because I have no idea if I’m accidentally going to offend someone with the way I’ve depicted the characters by borrowing from clothing, symbolism, etc. loosely based on the real world cultures.
I draw a lot of artwork in the fantasy genre, where these issues will always come up (because of the way the worldbuilding is done in these books or games). In my eyes, my artwork and its use of cultural symbolism isn’t offensive at all, but again, how am I supposed to know for sure? I don’t know any people from these cultures that I could run my artwork by for approval.
And how far does this actually go? Can my viking-themed cultures no longer use nordic runes as decoration, when I’m using them randomly for style and don’t actually know what they mean? Can my fantasy desert folk no longer wear head scarves or turbans without it being mistaken for religious symbolism? What if my client requests or expects the usage of cultural symbolism in the work they commission, in order to get a certain cultural feeling across?
In fact, I’m now scared to draw anything that resembles a foreign or minority culture or ethnicity or takes inspiration from it. I’m deeply unsettled and confused by this post. 🙁
This goes as far as your ability to have genuine, humble conversation with anyone who might be troubled by your use of their culture in your fantasy art. Try your best to be kind. That’s it.
Also, don’t let the perfect be the enemy of the good. None of us are perfect, and perfect research isn’t expected. This just suggests that some sort of due diligence research will benefit you. It allows you better control over what you are trying to communicate with your art. It makes the art itself better, because research will lead away from bland generalizations and towards more specific design ideas. Your concepts will be stronger for having to actually think about why characters are wearing specific types of clothing or using particular types of symbolism.
That you are feeling unsettled and confused is a good thing. Growth isn’t comfortable. It means you care about what you’re communicating, now that you’re aware. Plenty of people don’t.
Lord knows, I’ve bungled my share of fantasy illustrations representing minority cultures. From a practical standpoint, you can just curate those pieces out of your social media. If you don’t share the past the job, it’s pretty clear to those aware of the image that you’re trying to distance yourself from a piece you felt missed the mark, and it doesn’t bring the piece in question to the attention of those who are unfamiliar with it.
But also, authorial intent does count for something. When you are purposefully trying to homage a culture with respect, it shows. And sometimes, you mess up the meaning, or you miss some nuance in your depiction, and if that’s the case, in my experience it’s worth owning the problem and either going back and fixing the illustration, or expressing you’ll keep it in mind moving forward.
What’s considered appropriate and culturally sensitive is a moving target. You aren’t always going to hit a bullseye, but at least in my experience, people are fairly forgiving when they can see you’re at least aiming for it.
Don’t be afraid, keep doing your art. People will always find something to be offended by. Look for example Caricature art: Some people love it others hate it. If your intention is not to ridicule with the intent to offend with a direct message to someone you are fine. Look authors like Stephen Fry for example that he is writing about Heroes a Mythos from Greek thems or Neil Gaiman that has a book about Norse Mythology. Context always will play a big role here.
Hena, I agree with Bruce below. You can’t be afraid to try. I wrote this article specifically because artists have come to me scared of “getting this wrong” and in most cases just being aware that this is a possibility is enough to keep you on the “appreciation” side. You absolulely can and should use other cultures and time periods as inspiration, just know what you are referencing. You don’t have to have an anthropologist’s expertise, just know if something is a sacred symbol in another culture. Or if it’s only for women, or if it denotes something specific. Instead of a reason to NOT use these inspirations, we should see it as an opportunity to bring greater meaning to the work. If you are designing a warrior, inspired by a culture that had warriors, wouldn’t it be more interesting to use ornaments that were used ON warriors in that culture, as opposed to say, priests? And think about how amazed a fan will be if they know that culture well enough to recognize the symbols? You’ll have a true fan for life.
And if you DO “screw up”? Then you listen, you apologize, and you fix it.
After having a couple of convention attendees start getting choked up at my artist alley booth after seeing a fantasy paintings making nods to a cultural background or heritage they associate with, I’ve come to realize how important it is to get cultural appreciation right. It can be a challenge to do your homework and get cultural representation right, but well worth it.
Also, just to take this topic from a less heavy angle, representing other cultures CAN BE FUN, especially when you get into the more obscure iconography and use it correctly. It’s like having easter eggs in your paintings that one out of a hundred viewers will be like, “I see what you did there, and I’m having a genuine moment with your art, ’cause I feel personally connected with that reference and I know only me and a handful of other people in this dealer’s hall would understand what you’re homaging!” Some of my favorite genuine interactions have come from those moments of excitement.
That’s beautiful
LUCAS: THIS. EXACTLY THIS. SO MUCH THIS! Thank you! You’re hitting the nail on the head.That’s exactly the reason to do the research and get the symbols right. Not because you’ll “get in trouble” if you don’t, but because it brings a while other layer of richness to the work.
How inspiring! I’ve been anxious about getting it wrong and appropriating instead of appreciating, but between Lauren’s article and your experience, I know what to aim for. I feel excited about geeking out over correct iconography and honoring the heritage they come from.
I agree that always keep in mind respecting other cultures and research always is the best to do. But I will never agree with ANY POLITICAL view that is searching for ways to censor works of arts.
I understand the political climate of The United States of America and is good to know the opinion from your political stance on art, always is welcome. But each corner of the earth has different views about this topic with people reacting differently to it. Some people love mixing politics with art and set of rules on how to do art while others try their best to keep it separate and free from any censorship.
No one is talking about censorship here. In fact I don’t think I could more loudly have called out in the last paragraph that this is NOT about telling people NOT to make a specific kind of work.
Yes, you were very clear that you are not telling people what to do and what not in art. But your article dive with the notion of Cultural Appropriation that is linked with Political Correctness that is a form of censorship and never leads anywhere good. I have seen people being killed for expressing their art just because some felt offended by it. I pointed on another comment no one should be afraid of expressing their art or speech. But Again, I welcome your ideas, I like many, especially about research and respect just as a principle.
There is actually no such thing as “political correctness” — there is only what we used to do, in ignorance, and shouldn’t continue to do once we know better. And…I think you should look up what “censorship” means, because, again, nowhere in this post is there anything about someone NOT making art. Just making better researched, richer, art.
Political Correctness it is real and is finding its way in different areas and now you find people policing others on what to do or what not to do about any subject matter on what to say and how to say it. I am well documented and experienced into Censorship and the term of cultural appropriation is walking right on the edge of censorship. Yes, ignorance leads to bad works of art. Shouldn’t continue once we know better? I think thats up to every individual. Also I can see how you will not accept any other opinion different from your political ideas but still, I find valid points in your article. Just remmeber Charlie Hebdo when they where target by a group of extremist. kill to censor artists just becouse they felt ofended and is not the only case around.
https://charliehebdo.fr/en/?doing_wp_cron=1551263025.2042489051818847656250
Really? You’re comparing me to murderers? Don’t you think that’s a WEE bit out of proportion?
I am not comparing you to murderers. But Cultural Appropriation
and Political Correctness leads to Censorship and with Charlie Hebdo shows how some people that felt offended went to silence Art and speech. Something that will cut the wings of artist.
Joe Rogan give some good points in the topic
https://youtu.be/-cVhcN8hQd8
This video from Actualized.org Helped me to slow down on this topic from this article and empathise much more with you. Now I know that I could have fleshed out my points much more constructive without borderline as emotionally unstable in what is Right and what is Wrong. I still hold some of my points of views but now I am able to fully comprehend your key points. Also if I offended you in any way it wasn’t my intention and I would like to extend an apology for any distress that may cause you.
https://www.youtube.com/watch?time_continue=508&v=Pv9Cs3FB2vQ
Thank you for the apology, I accept it and I’m glad you considered what I was saying again in calmer times.
Nice post, Lauren. I look forward to sharing it with my students.
thanks! <3
That was a good thoughtful piece, Lauren. This subject is a minefield.
I have a couple of questions that may or may not stimulate further discussion. Lauren wrote:
“The #1 thing you need to think about when you are considering depicting cultures and experiences foreign to you is this: Am I showing respect to this person or culture by doing the proper research into the origins of the cultural elements I want to bring into my art? Am I showing disrespect for the things I am using because I don’t know the history of how they were originally used? Am I erasing the origins of the elements I am using in my art?”
What constitutes such erasure, particularly in fantasy and science fiction illustration which, of course, is often based on hypothetical developments in culture or largely invented cultures (sometimes including races of beings that don’t exist)?
On a related note, Lauren also wrote: “However — and this is where most of the recent conversation has been centered — would it be cultural appropriation if I used Native American motifs in a piece of artwork I was making? The answer is: It depends. “
Suppose an artist has done their research, knows the origin of the elements they’re using but isn’t using them with cultural meanings intact. What if they actually do use it “because it looks cool” anyway or because they want to repurpose that original meaning in the context of the invented culture they’re depicting? Is that appropriate?
Perhaps they are using the element because it simply makes sense based on the environment in which the characters live or maybe they’re using something that can be found in more than one culture and has different meanings in different parts of the world. There’s no shortage of possibilities.
Complicating matters further: a person viewing an image isn’t likely to know if the artist researched the cultural history of it’s elements or not. If they’re used without clear cultural meanings intact (which seems at least somewhat likely in SF/F art), how would the viewer know if they’ve been utilized because they look cool, if the artist diligently researched the elements or if there were other considerations involved? Furthermore, if the viewer can’t tell, we have to ask if it truly makes a difference?
I imagine just asking these questions may upset some people. As I said, this subject is a minefield.
Thanks Jim! (He copied this over from FB)
Ok going to break this up into reply sections:
Q: What constitutes such erasure, particularly in fantasy and science fiction illustration which, of course, is often based on hypothetical developments in culture or largely invented cultures (sometimes including races of beings that don’t exist)?
A: If the races/beings are totally made up, then don’t worry, you’re clear! But often alien worlds and fantasy races are based on real-world races. Think of Black Panther. Wakanda is made up, but it is supposed to be an African nation. Thus, the great concept artists that worked on that film (and who are all now Oscar winners! Congrats!) did a ton of research into African tribal costume and weaponry and culture. They made sure to not just pick and choose what looked cool, but they kept influences from the same tribe together, they took into account who would be traditionally wearing that ornament, etc. And remember, cultures and biology are both affected by geography. I heard Nora Jemisin speak to this beautifully: her fantasy worlds are made up, but the people who are from closer to the equator are darker skinned than the people living by the poles of a planet. There should still be some science in science fiction.
Q: “Suppose an artist has done their research, knows the origin of the elements they’re using but isn’t using them with cultural meanings intact. What if they actually do use it “because it looks cool” anyway or because they want to repurpose that original meaning in the context of the invented culture they’re depicting? Is that appropriate?”
A: It depends on the case. No one is saying you shouldn’t be looking for things because they look cool to you — that’s the starting point. You just should check that you’re not using something for a completely wrong purpose…not just because it might be offensive, but because there’s probably a reason that things evolved that way. Just pulling an example off the top of my head…many women in China in a certain period in history had their feet bound to achieve a certain tiny-footed aesthetic. It was done so that they had to remain aristocratic and cared for and couldn’t do manual labor. It wouldn’t make sense to give those kinds of feet/shoes to a warrior woman. That’s not about offending anyone, but it does make your character design better. To speak to the second half of that question — if you have a functional reason for using that thing, then the culture themselves probably also had a reason for using that thing. Makes sense if they align.
Q: “Complicating matters further: a person viewing an image isn’t likely to know if the artist researched the cultural history of it’s elements or not. If they’re used without clear cultural meanings intact (which seems at least somewhat likely in SF/F art), how would the viewer know if they’ve been utilized because they look cool, if the artist diligently researched the elements or if there were other considerations involved? Furthermore, if the viewer can’t tell, we have to ask if it truly makes a difference?”
Not EVERY viewer can tell. But we don’t expect EVERY viewer to “get” EVERY piece of our art. If you like a culture enough to use it for inspiration, then you should care about it enough to care what members of that culture would think of it when THEY see it. You can’t divorce the people from the culture.
“I imagine just asking these questions may upset some people. As I said, this subject is a minefield.”
It is a minefield because people feel so strongly and passionately about it, as they should. But I know people are scared to ask questions because of the fear of saying something “wrong” and that’s exactly why I wanted to post this. We can’t learn by avoidance.
Thanks, Lauren. Your answers provided a little more clarity to a subject i admittedly find complex and occasionally confusing. Nora Jemisin’s comment speaks to something I was thinking about, which is that certain environments and conditions can produce clothing, art, etc. that with surface similarities but with quite different meanings. We see that in the real world so naturally, we’d see it in SF/F worlds too.
Your example about foot binding is a great illustration of why it’s important to research, regardless of concerns about cultural appropriation. Research leads to better, more convincing solutions to visual problems.
After reading your column this morning, I was thinking about the hairstyle popularly known as a “mohawk”. Variations of that hairstyle have been used by different world cultures over the course of history. It’s most associated with Native American peoples but it has a more diverse history. It’s also been a part of modern, western culture since at least the late ’70s, but that use of the style has little to do with its cultural roots. Whether that hairstyle is an example of cultural appropriation or not, it strikes me as an example of how such elements get reincorporated into modern societies, obviously something SF artists need to think about when creating a vision of the future. “Tribal” tattoos occupy a similar area and I feel it’s areas like this that become very subjective when it comes to determining what constitutes cultural appropriation in SF art and what doesn’t.
I hope that makes sense.
Oh it makes sense, and honestly, I have to get back to you on things like Mohawks — that IS a super fascinating layered one. I think in the case that a symbol or style has been co-opted so many times over that it gets too murky to really say it means any one thing. I think if the ONLY thing a character had was a mohawk it wouldn’t be considered Native American. But if you mixed it with other Native American elements, then yes. As always, it depends on the context of how you’re using it.
It is such a small thing, in the end, to do the work necessary to connect with those different from ourselves. One of the reasons this has been on my mind so much lately is two different trips to the movies I took in 2018: one, to see Black Panther, the other to see Spidererse. Both times, I saw the movies close to release (although in Spiderverse’s case, I went more than once because hhhhnnnnggg so pretty), when the crowds were big and theaters were packed. I will never forget turning around after each movie ended and seeing the joy on the faces of all of those around me, faces of all colors, but by and large darker than my own. It was wonderful to see so many people feel so good. People were moved! Moved!! How could you not want to be a part of that?
Making art is so many things to so many people… but the idea that it can make someone who has been overlooked feel special and seen and appreciated resonates with me deeply. I appreciate the advice on how to do it right.
Exactly! Why WOULDN’T we as artists want to bring joy to the faces of our fans?
I often read these columns but have never posted here before, but as a book cover artist myself, I agree completely with Lauren’s points here, especially about “sensitivity viewers” – personally I try to get as good of an idea as I can about the audience- all of the audience-not just the ones like me. I would also like to point out that the comments from “former reader” – suggesting that the people who write these muddy colors columns have too much time on their hands- is at best misinformed, but also myopic and untrue. The world is changing, it isn’t the 20th century anymore, just as it isn’t the 15th century. The world evolves – Inability to adapt to evolution leads to extinction.
Happy to count you as a reader, Robert. Big fan.
I second that, Robert! Thank you for the words of support <3
This is a very tricky topic and a super scary one for me – since I make monsters. I don’t want to offend anyone but putting something sacred on a weirdo alien thing.
This article helped me a lot.
It’s amazing how much “research it and use good reference” is the answer.
Thanks for this article and you’re bravery in writing it.
You deserve a Last Word. 🙂
At least 1 Last Word per troll.
Pushing the idea of cultural appropriation, especially as an art director, is frankly disgusting. It’s open support for censorship. I know you tend to push a leftist viewpoint with just about every article of yours, Lauren, but this is taking it pretty damn far. I know Muddy Colors gives a lot of freedom to their contributors for their articles, but it really might be time to consider implementing a ‘no politics’ rule.
You do see the irony in your request for MC to censor Lauren’s editorial over being “too political,” right?
Like, you’re obviously trolling, right? You literally just posted, “GRRR, I’m against all forms of political correctness, please take down this post I disagree with politically?”
In case you forgot, this is an art blog, Lucas. Openly supporting censorship of art is as counter-productive as you can get. Especially considering how by the logic of this post, Muddy Colors’ owner, Dan Dos Santos, would be considered a racist. He paints women with feathers in their hair for no other reason than, as he himself has stated, ‘they look nice.’ Culturally appropriating Native American heritage, especially on white women? Not a good look for a progressively-minded blog such as this.
If that’s true then he IS racist and SHOULD be called out. Sorry to say but racists exist. Just because they own the blog doesn’t mean they’re exempt.
Yeah, an art blog shouldn’t ever discuss shifts in the cultural and political zeitgeist or how to be aware of market shifts or companies expanding into larger demographic, and being aware of how your commercial illustrations need to reflect that to meet their goals. Spare me.
Also spare my the straw man argument about Dan’s work. If he feel he needs to defend/explain his art, I’ll leave that to him, but you’re setting up a false dichotomy logical fallacy of either being culturally sensitive or racist, and I ain’t playin,’ troll.
Yeah… that character is part Native American.
As is the actual model.
And even if she wasn’t, my painting in no way affects the validity of this article.
Now…
In the off chance you actually want to debate a real point, Farah…
I will agree with you, asking someone not to Culturally Appropriate something IS censorship.
I think, personally, there are instances where cultural appropriation is OK. If you are trying to make a political statement, and part of that statement is about actually offending people, it could be argued that it in certain cases the very fact that it IS insensitive has artistic merit.
But I don’t think that is the point of this article.
It is about defining what the concept is, and making sure that people know that even though THEY may not be as sensitive, or as informed, about a certain culture… that it doesn’t mean someone else isn’t.
And when you are an Illustrator, which by definition is about making art for other people’s sake, what they think MATTERS.
Way to exhibit you know NOTHING about the character depicted on those covers, Farah. If you’re curious, her name is Mercy Thompson and she’s a magical Biracial Native American shape shifter.
I support your efforts to bring awareness to racism, but it takes away from the validity of others fighting the good fight when you misrepresent that battle to win an internet argument because you want to shame someone for being too “leftist.”
wow, you are really missing the point, Farah… Don’t you see that if you understood other cultures better (namely ones you are inserting directly or indirectly into your art), that your art would be better? That you would have a larger, and more loyal audience? That you yourself would be more creative with higher efficacy by being better informed? It’s not just about caring about others, which is something nice folks should do–it would also be about leveling up your own friggin art in quality, metaphors, pathos, diverse audiences, etc.
Farah,
Sorry to hear you’re displeased with the article.
We DO have a no politics rule. Just like we have a no religion rule. But the rules apply to expressing opinions and passing judgement on such topics that it could be construed as the blog’s opinion, and not the author’s.
That said, we DO discuss religion and politics as they pertain to art… without passing judgment. At NO point in this article did Lauren pass judgment, state her opinion, or call anyone right, or wrong for using cultural influences, even in an insensitive manner.
She defined appropriation so that readers are better informed about what it is.
That’s it.
It’s up to YOU to decide if that’s right or wrong and how that might affect the way your work is perceived.
If you feel like defining that term was somehow forcing an agenda on you, perhaps you should be questioning why you perceive it that way. But we won’t be ignoring issues that are incredibly relevant to today’s art market, just because some people think it’s in bad taste to even mention it.
Farah, I’m pretty sure it would help your arguments if you read the article before you comment, instead of just seeing the title and reacting. Also, there’s nothing political in this post. Cultural Exchange, Cultural Appropriation, etc are all Sociology and Anthropology. Not a politician in sight.
And also, those paintings of Dan’s you’re calling racist? That character in the books IS Native American. See? A little research makes everything better.
It’s not political to suggest people respect cultures different from their own. It’s just common decency. No one is asking anyone to censor their art, just offering up suggestions in case you’re someone who doesn’t want to accidentally offend. I once wanted to paint Ganesh on a pair of boots — until an Indian friend told me it would be offensive to her. She meant more to me than the boots, and I honestly didn’t want to offend anyone. What you seem to be calling political is basically just a call out to (mostly) white people to change form and actually attempt to understand different cultures rather than just assume they all want to be white-washed.
Hey Lauren!
It’s not unusual for me to feel that the daily muddy colors post fits exactly into what I was interested or needed at that particular day.
Your post today did just that!
I’m painting an image that features cultures and identities different from my own. And even though I’m reading about the context that encircles those groups and the points of view of people belonging to them, it’s very useful to see a post that approaches the subject with such solidity and in perspective of the craft.
Thank you very much for the time you spent sharing those words and links with us, Lauren!
Thanks Pedro!
This is a really bad take. Lauren always feels the need to include politics in her posts =\ which is really unfortunate since I’ve loved some of her other posts about things like fonts, business cards, and logos. I really hope muddy colors eases back on politics. like farah above me said it’s especially bad when the owner and probably a lot of other artists here would be branded as racists for not meeting these standards =\
Jessica,
The fact is, politics plays a MASSIVE role in art. Both in fine arts and editorial work. Half of the editorial work available out there is political satire. Informing our viewers of a political or sociological point of view is NOT pushing a view… It’s acknowledging it.
At no point in this article did Lauren actually pass judgement or give her opinion on the validity of appropriation. She simply defined it, so that readers are better informed about what it is.
It’s up to YOU to decide if that’s right or wrong and how that might affect the way your work is perceived.
And yes, Lauren’s posts do tend to address sensitive issues. But that is the state of art today. We would be remiss not to point it out simply because some readers don’t like it.
We hope you’ll take the information presented in the article, not as an agenda, but as shared artistic experience that you’re free to utilize or ignore, just like any other article on here.
Although I 1000% appreciate Dan’s words, I have to stand by the fact that there are actually no politics in this post. Cultural Exchange is a Anthropological term. No talk of politicians or governments here at all.
I’m generally willing to give the benefit of the doubt, but it is 100% disingenuous to say that the topic of cultural appropriation is apolitical.
I think you might not understand the meaning of the word politics. No politician or political party is currently campaigning on the pro-cultural-appropriation ballot.
Is it only “politics” when it’s a topic that makes you uncomfortable, Jessica? Cultural appropriation is a cultural and social issue, not political. Nobody is lobbying for votes, Lauren is simply educating us on the term.
Hello. In my college classes we address the issue of cultural appropriation quite a bit and I am grateful for the training and plan to have discussions about this with my future students. I do not understand why people bristle at the suggestion that they do actual research as part of the ideation process. Isn’t that what we artists are supposed to do? What does being sensitive to another culture’s concerns have to do with politics?
I agree, and thank you for the kind words. Unfortunately some people feel threatened by the idea of any “other” group gaining more rights. I think it is a symptom of “scarcity thinking”, which means people believe there’s only so many good opportunities around, and if you help someone else to reach them, then there’s less for you. That’s actually a myth I’m trying to fight in general in art. Great art begets better art, and more opportunities. From a commercial POV, from my own industry, if an illustrated book comes out, or a gorgeous cover, and it becomes a selling point of the book, then the publisher AND other publishers are all more open to the idea of spending more money on art next time. Thus it makes more jobs. Better for everyone. In this case, connecting more authentically with new fan bases through better researched work (regardless of what cultures you may be influenced by) is absolutely something that’s going to get your work more noticed, more respected, and lead to more financial opportunities.
I think “scarcity thinking” as well as fear of the other group rather than empathy, coupled with a dissatisfaction with what they’ve achieved and a need to blame others is what is behind most trolls.
And it’s not a “political” issue. I think people are getting confused with the idea of “political correctness” which isn’t actually politics.
ooof. not touching this one
Although I said it in the individual answers to some of the folks objecting to “politics” on Muddy Colors…this isn’t politics. Cultural Exchange, and it’s variants, are terms and issues from Anthropology and Sociology. Politics and political parties aren’t involved at all. Don’t confuse “political correctness” with “politics” — and I am not talking about “political correctness” either, which is not a genuine term, it’s always been used as a criticism or insult.
i’m staying out of this dsicussion. but i dont think i’ve seen such a controversy on this site before. if you have to defend yourselfs this much then maybe there was a misstep somewhere. i don’t know american politics, I try to stay out of it. so maybe I’m wrong.
Artists shouldn’t be shying away from talking about controversial, complicated, and sensitive topics. They definitely bring out the passionate comments though!
High five for this article. Seems clear that some commenters need it even if they won’t hear it.
Thanks Park! I didn’t write it for the angry folks, honestly. There’s lots of wonderful discussion going on here. And that’s why it’s important to tackle these issues. I’ve been getting this question from a ton of artists privately, and I wanted to drag it out into the open where we can all debate.
Respect and knowledge aren’t political, they’re measurements of your own character.
I don’t even think this issue is complicated. I tend to think most people my age have friends and acquaintances around the world, but, I suppose I don’t have extensive evidence.
It is heartwarming that some people have had great experiences as a result of their research. Dealing with the other types of reactive people is just exhausting to me. So.. high five again.
This kind of garbage is ridiculous to be coming from Muddy Colors. You say you aren’t here to push an agenda and then the author of the article flat out denies that cultural appropriation is political at all? Are you kidding? Nobody from the center or right thinks it even exists and you’re trying to say it isn’t political? What a joke. But I guess Lauren who eats, sleeps and breaths soy really WOULDN’T think it’s political. Hell she probably thinks anybody who disagrees with her is alt-right. I really expected better from this place.
I actually don’t like soy. Regardless, I don’t see what tofu has to do with it, lol.
It’s vocabulary from these groups of people that support gamergate, comicsgate, hate Captain Marvel and Black Panther and frequent r/thedonald. It’s sad because a lot of young men are influenced by this kinds of rhetoric and ways of thinking.
Any attempt at diversity is considered weak and is looked at as hollywood/game industries/comic industry trying to sacrifice story or quality for diversity.
It’s very common behavior in youtube, twitch (twitch chat), reddit. Pretty much everywhere. Even artists, especially young male artists who want to work in games.
Thanks for the tofu primer! Lol. I’ve had to stay off those places once I started getting death threats and rape threats bc of my book covers. Isn’t that ridiculous? Wanting to kill someone because you don’t like the book cover they designed? It’s sad…
Very sad. Sorry you have to go through that. Death threats and the internet seem to go hand in hand. For a long time now. There’s no excuse but for so many people words have no weight so they can just say whatever they want online without consequence.
The good thing and bad thing about social media is that everyone has a voice and opinion. So you’ll see a lot of this behavior everywhere it can exist.
There is a rebellion element to it too. Punk rock in general was to go against the norm and the standards of society. Anti Government and anti establishments.
Now that our media in general has progressed and arts in every industry has become more, for the lack of a better term, Liberal, a lot of young guys find themselves going against this. And now, no matter where they live, they can find support and community online to encourage each other’s behavior.
It’s a crazy time.
Hi “gone” why don’t you get off of muddy colors and stop trolling. Without this article I wouldn’t have notes for my school project on cultural appropriation with art and fashion etc. I’m 12 and I even know what your doing is wrong. So please stop.
So glad I could help Daphne! Rock on with that badass project.
Reminds me when I was working on a lot of Shadowrun illustrations, and I had to represent the office of a Tribal Elder….I emailed a First Nations friend I went to art school with and asked her what would be respectful to decorate his office with. Best part was when my AD came back with questions why I chose certain things, I had ready answers defending the content, even if it wasn’t often seen in Shadowrun. 🙂
<3 that's doing it right.
Like it or hate it or think it “doesn’t exist” (whatever that means), I always try to at least KNOW when I’m insulting people. Doesn’t mean I won’t do it, but I do like it to be intentional when it happens.
There are times when an artist wants to offend. They should feel free to do so….but they should know that that is what they are doing.
Fabulous point.
Lauren, kudos on another thoughtful essay, one question it prompted: Do you think it can be cultural appropriation to consume a work of art, to buy and display a work made and sold by a person of that culture?
For example, earlier this week I was in a doctor’s office lobby and there was a sculpture of a Native American figure wearing a symbolic costume that the doctor said he bought on a reservation. Other than paying the purchase price, did the doctor have any obligation regarding that sculpture, maybe to research whether it is a deity that should be displayed in a place of more honor than a windowless, germ-filled almost-closet?
For another example, earlier today I got an email (including video, link below) from a company that sells beautiful (“cool”) dresses that seem to be an expression of a traditional Indian artform made by artisans in India:
https://www.youtube.com/watch?v=bDJWwFFdjAI
Assuming the artisans have been fairly paid, and the company puts no condition on my purchase other than payment, can I buy and give as a gift with no other obligations to research or contextualize? Can my wife wear with no other obligations? Something tells me “no”, there are additional obligations, but then am I substituting my judgment for that of the seller, who is of the culture?
By extension — and maybe this is the only part of my comment relates back to your audience — does a maker or seller from a certain culture have any obligation to put other conditions on the sale, or alert the buyer to relevant pitfalls of appropriation?
Oh my goodness those are gorgeous dresses! Thank you Andrew, for the words & the link! I’m not an expert of how this would apply to fashion, but it is my understanding that going to an authentic source is half the battle, and the other half would be using the garment respectfully. The gold standard example people use are the Native American feather headdresses that are worn constantly at Coachella and festivals like that. Nothing about the rest of their outfit hints to an understanding or reference back to the original culture, it’s stripped of its cultural significance and reduced to just an accessory.
If your wife were to wear this whole ensemble and talk about where she got it from anyone who asked, then I think she would be in the clear. Many Native American craftsmen have said buying from legit Native American sources who respect the cultural heritage (in other words will not sell sacred items) is the way to go. It’s about who’s profiting from it. Example: http://www.beyondbuckskin.com/p/buy-native.html
Have to admit, these kinds of discussions always bring up knee-jerk reactions in me. Not proud of that and the strategy to counteract this was thinking about it in reverse.
I am of German descent. Some Chinese have copied and are producing Cuckoo Clocks … at low prices and equally low quality.
This irks me.
Suddenly it isn’t too difficult to understand how it must irk others when we do it to their culture.
Thank you for sitting with your uncomfortable reactions. It’s hard, we’ve all been trained to react certain ways. And what you’re doing is the perfect empathy exercise. <3
Dear Lauren,
Thank you so very much for this post. Global empathy + historical education= better artists doing better work.
thank you! <3
Have you ever come across cultural appropriation with regard to food? It seems chefs can cook in any country’s cuisine, borrow for fusion cuisine, without it being appropriation, yet food is as much a part of a culture as clothing is it not?
They celebrate it, they don’t ridicule it. Reread the post and you will find out the difference.
Actually this is a VERY hot topic in food right now. In general if you’re celebrating a culture & it’s roots, then it doesn’t matter whether you’re from the culture in question. But if you strip all meanings or traditions off the food and just do it for profit (yet call it the same name) then it gets exploitative. Interesting article about that & poke I read recently: https://www.tastecooking.com/theres-a-poke-problem/
This author has denied that this post is political because there is no political candidate running on a ‘cultural appropriation docket.’ She has even gone so far as to deny that political correctness even exists because everything that isn’t politically correct is actually just immoral. I think that by this point it’s impossible to deny that this article does not push a political agenda. Really, really disappointing, Muddy Colors.
Yes, that’s what I was trying to point out that Political views are clouding people to see beyond Reality with Facts. The moment people start trying to set Standards of Art they will be walking in the line of Censorship. I agree with the article about research and respect just as a principle. But there are areas of Art that touch the offensiveness like the satire. Should they apologise for their work? I don’t think so but that’s up to every individual with their context.
https://charliehebdo.fr/en/wp-content/uploads/sites/2/2015/12/Luz-Version-Finale-2.png
Even Cyanide and Happiness are having a hard time with this Political Correctness madness.
https://twitter.com/RobDenBleyker/status/1100560789294010371
Joe Rogan on Cultural Appropriation.
https://youtu.be/-cVhcN8hQd8
Hi,
first of all, thanks for the article, while I may not agree with all of your views you’ve definitely helped me understand them better.
It’s obvius to me why things like the prada product and the “slutty Indian” costume are offensive (although I see the depiction of an Indian as “slutty” as the main problem with the latter, not the headdress). But when it comes to taking design elements from other cultures and applying them to your fantasy characters I fail to see a problem. You said this was okay if one did their research on the origin and meaning of the design element and depicted it with that meaning, but why would a fantasy design element require the same origin and meaning as its real world inspiration? As far as I know, Indians earn the feathers on their headdresses through acts of bravery or by earning the respect of their tribe in some other way, but what would be wrong with a fantasy culture in which such feathered headdresses are simply a type of ornament warriors of a certain empire wear on top of their helmets, or one in which they are worn by a religious group as a symbol of their feathered serpent deity? I don’t think we should limit the possibilities of fantasy by the history of reality.
The serious problem with this article is the unquestioned notion that an artist has to treat other cultures and their artifacts with respect, and not use those artifacts in a way that would be inconsistent or objectionable to (some?) arbiters of that culture. But that isn’t true at all. Artists should feel free to lampoon cultural artifacts, or criticize them, or simply use them in ways they themselves find meaningful even if some members of the culture find it offensive.
For example, consider Leonard Nimoy’s 2003 book of photography, Shekhina. He considered it an exploration of femininity in relation to God. Much of its content consists of nude and semi-nude women wearing Jewish ritual objects such as prayer shawls and phylacteries. That content is very inappropriate and disrespectful from an Orthodox Jewish point of view (and it is primarily Orthodox Jews who use those ritual objects daily). In Orthodox Judaism, those objects are used only by men (with extremely rare exceptions), and they would never be worn except by people who are fully dressed. Many Orthodox Jewish men even wear an additional cloth belt while praying to act as a symbolic barrier between the sacred upper half of the body and the profane lower half.
By any measure, Leonard Nimoy misappropriated the artifacts of Orthodox Jewish culture for his art. And he was completely right to do so. Artists (i.e., everybody) get to do whatever they want without prior restraint or approval by those who would proclaim themselves masters of correctness. (Which does not immunize them from criticism, of course, but no artist is immune from criticism.)
That being said, artists who produce work commercially, such as for book publishers and game companies, need to be aware that art directors are going to act as this article suggests, and are not going to buy from artists who are perceived as participating in cultural appropriation or creating other non-politically correct art, so they need to pay careful attention.
You’re absolutely right, Hyman. Lauren made the mistake of assuming her readers would be interested in treating other cultures and their artifacts with respect. What naivete.
Look, you don’t HAVE to be respectful and considerate of other cultures if you don’t want to be. No one can stop you. Artists are 100% free to ignore Lauren’s advice here.
But, as you correctly point out, they have to be willing to accept the possible consequences. Whether that’s receiving criticism, possibly turning off potential clients, or just living with the knowledge that your art made someone else’s day a little worse by treating their sacred symbols with disrespect.
Or – most likely – the impoverishment of your own art, as a result of insisting on your right to depict cliched, dated stereotypes.
But you are, still, 100% free to do what you like.
Actually, what Leonard Nimoy ‘s work did was have a conversation with the original cultural meanings. He knew exactly what those symbols meant and chose to make a statement about it. That is different from being ignorant of the original meanings.
Absolutely, an artist can and should critique, respond to, and reject beliefs that they don’t agree with. But you need to know what they ARE before you disagree. Thank you for giving another example to support why you do need to be informed about the cultural meanings.
shit article
Agreed.
These people do not even know the BS they are peddling nor the effects or outcomes that will affect society at large in very negative ways where there are no winners. Very short sighted to think that culture can be policed.
The bottom line is that no one has the right NOT to be offended, and any effort (like this moronic article) to push those efforts only resorts in silencing speech. The issue with silencing speech is that when you lose that discourse physical violence is the next natural alternative in expression.
Cultural appropriation is just another marxist tool designed to break down the fabric of society.
Dr Peterson is that you!??!
Oh my gosh Dr. Peterson, I had no idea you were a reader of Muddy Colors! What an honor
Definitely is a very debated subject and definitely is necessary to listening every point of view to have a more broad understanding. I desagree with many concepts of the article and I agree with others points but I would like to suggests to be respectfull with the author of the article, I beleved she express her ideas and thoughts carefully in what she believes in the subject matter, it has some good research and she make it clear that in the end every artist is free to express themselves with respect and thats something I can agree with. Also to have a bit of kindness doesnt hurth us.
Also I would like to add that not everyone that disagree with you is a Troll and exposing them on social media calling them Trolls does not help with a healthy debate on the subject matter and can make people of being affraid expressing their ideas for fear of being label. I did not attack you or insult you in any moment. I know some people they did call you names and I completly desagree with that. I beleve that you also deserve respect.
This video from Actualized.org Helped me to slow down on this topic from this article and empathise much more with the Autor. Now I know that I could have fleshed out my points much more constructive without borderline as emotionally unstable in what is Right and what is Wrong. I still hold some of my points of views but now I am able to fully comprehend your key points. Also if I offended you in any way it wasn’t my intention and I would like to extend an apology for any distress that may cause you.
https://www.youtube.com/watch?time_continue=508&v=Pv9Cs3FB2vQ
Thank you John, I appreciate that. I don’t expect everyone to agree with everything I am saying, but let’s all stay civil. You certainly don’t convince anyone they’re wrong by being demeaning.
Thanks for taking the time to put together this post, Lauren! I appreciate the thought and effort you’ve put into starting conversations about what can be such a thorny topic. Besides respect and research (which really is the bare minimum), I do think it’s also worth asking questions about power and gaze as an artist when looking to draw from any culture.
For both the characters in a story or illustration, as well as real life communities, we could ask: who has power? who profits from this? Who gets to speak, and whose voice is silenced? Being able to say “I’ll use *this* in my work however I want to” and get away with it is a form of privilege. Being able to not think about cultural appropriation is a form of privilege.
For the artist: what motivations does one have for using elements/stories from a particular culture?
Sometimes it’s a genuine desire to share those stories, born out of an appreciation and understanding of the culture. Sometimes that motivation may be more for shock value, to “draw cool things”, to denote something foreign and strange. As someone from SEAsia who’s been reading and looking at mainstream English language SF&F her whole life, I’m aware that the usage of visual elements from non-Western cultures can sometimes be a lazy shorthand for denoting exoticness and The Other. Particularly if the story or image has been set up to be viewed through the gaze of an outsider, who would see certain cultural practices/ traditions/ items as strange/ cool/ exotic, as compared to an insider for whom these things would be mundane and normal. Orientalism is a prominent example of this.
I do think some of those issues can be mitigated by simply having more voices and artists from diverse cultures in the conversation, as a balance and to widen the range of stories being told. Let’s have perspectives from actual people, not just pictures of them!
And when we do derive inspiration or materials from cultures which are not our own, as we inevitably have to, there are small actions we can take. Be careful about the sources we use – there’s a danger of honing in on an element that is really quite fringe and using it to stand for a whole society. Talk to people who come from those communities! They can’t speak for all, but they can probably offer a more nuanced viewpoint than, say, a book of patterns or old photos. Credit sources and references, center awareness on creators and artisans from that cultural background, perhaps consider financially supporting institutions that safeguard and promote cultural heritage.
(For people interested in exploring this further, I found the Writing The Other book and Building Inclusive Worlds masterclass to be very helpful.)
As artists we have the power to tell stories that move people, that shape how they view the world. Might as well use it thoughtfully and responsibly.
<3 <3 <3
Exactly, Charis! And I do think more diverse creators help this conversation develop in really important ways.
Next Lauren Panepinto article, it’s Muddy Colors: Are Your Male Figures TOO Toxic?
If I have misread or overinterpreted something you wrote, let me apologize in advance. There is too much here to respond to, and I can’t track it all and respond specifically to every point. The following has been written hastily and should be taken more as general commentary on your ideology rather than a specific rebuke, even if at times I am directly critiquing something you have written. I hope none of the language contained herein is deemed so offensive that some attached ideas get dismissed without consideration. I only know my own sensitivities for certain.
—————
You imply that “being disrespectful toward other cultures” is an unassailable cultural sin.
First of all, those other cultures haven’t asked for your help, and you shouldn’t assume they want your advocacy. Well-intentioned as it is, there is a pernicious soft bigotry in your assumption of the fragility of “the other” such that they would need you to elect yourself their maternal protector.
The odds are good that the general population of minorities or non-white cultures (or women, for that matter) haven’t sought or don’t need your assistance and have no idea who you are, what you do, or what books you help produce. So you shouldn’t presume that you work on behalf of any group’s wishes.
As for the few who do cry out for swift brutal justice for micro-infractions, their ability to generate cultural noise through the press and social media, and to cause personal and financial harm, makes them seem a bigger demographic than they are. It would be a hasty generalization, as well as disrespectful, to assume the fragility of whole groups based on the few who insistently cry foul.
So there is no real cause to presumptively limit some “protected” group’s access to content they might just find interesting and relevant. After all, the examples of members of “protected classes” or minorities enjoying, for example, jokes at their ethnicity’s expense are endless. This is a whole class of comedy creativity that you have just seemingly declared “off limits” by asserting the necessity of “respectful” accuracy and “respectful” research. Well no culture is unassailable. No culture is all dignity and no dingbats. And artists come in all shapes and sizes and mentalities.
In fact, the creation of comic, adulterated, downright silly versions of other cultures by white dudes is the reason we got Wikanda and Black Panther in the first place. Lee & Kirby’s Wakanda fantasy was absolute nonsense, a funhouse version of African culture in every way imaginable. And if those white, Jewish 1960s creative men didn’t have the freedom to do whatever the heck they wanted with invented black characters and invented black culture, there would be no Black Panther movie. You would have snuffed that candle before it was lit based on the hypersensitive heuristics you have just espoused.
There are hundreds of thousands of other works of art from the past that would have fallen afoul of your judgment too. And had you had the power to snuff or sanction them before they were made, presumably none of them would currently exist. If it were left up to you, similar works would not exist in the future either, for the same reason.
The fact is, none of us have any idea what the next cool-as-hell other-culture-than-white-based Black Panther-level property might be. Or who it might be coming from, or to what degree it might or might not conform to your or my sense of what is culturally respectful out of the gate. Could very well be some white or Jewish fellow has another great, world shaking idea…. But at present it’s too-edgy, too stereotypical, or too malformed. But just maybe, long after first publication, it might evolve into something Chinese or Hindus or Mexicans (or whomever), might adore and revere.
In short, those of like mind with you are not only excluding certain creatives from certain types of creative work , but also chopping off the strong possibility of positive conceptual evolution stemming from one of their ideas… that just might turn into something you (or others) would approve of or even enjoy.
These considerations you offer are not the kind that artists should have in their heads as they work. Artists should just make, according to their own personal lights. You should no more assert that a Hillbilly dude should avoid making up stories about a Chinese girl than you should assert that a Chinese girl should avoid making up stories about Hillbillies. We all speak constantly outside of our expertise because some ignorance lurks in every thought we have. We are nothing if not fallible in the extreme. And creativity is not journalism anyhow.
Furthermore, as a general matter, in any creative milieu, failure and embarrassment cannot be considered failures and embarrassments. Artists must be allowed their freedom to err, offend, disgrace, and disgust, which includes the freedom to fall outside and afoul of anybody’s mores or politics, including yours or mine.
That’s the abiding problem with what you are propagating out to your readers here; it seems to me you are taking a censorious stance and suggesting, albeit it subtly, they adopt the same restrictions. And you don’t know what creative ideas you are meddling with by limiting what you (or they) find to be acceptable and from whom. There are many gradations of gray between the poles of absolute reverence for a culture and an abject debasement of it. And no one can read an artist’s mind as to what their real intentions are. (One can only guess. Which is why editors have traditionally been more apt to give creative license than take it away, leaving it up to the reader to judge for themselves.)
But of course I understand; you are an editor in a time of “call out culture” and “micro-aggressions” and “safe spaces.” And it is your job to be selective, critical, and to think of the marketplace, your demographic, and its fashions and concerns. That you have been appointed to an important editorial position in such a big book company shows the current power of your particular activist mindset. You have been appointed, aside from your taste and editorial skills, at least in part, to signal to your ideological kin via their preferred forms of censorship that this company you work for passes muster with them. Such avoids slaughter for your bosses at their hands and allows the continuation of business in this rapidly politicizing space.
And you and your company are free to do that, while risking the readership of those not indoctrinated into your particular hypersensitivities. (It’s a market gamble combined with a political power play — as you assert your mores into the wider cultural sphere through your editorial office and decisions.)
But at the end of the day, human creativity is its own force of nature and it cannot be stemmed nor stopped. Every era and fashion passes. Soon enough those who want to control who gets to create what, what kind of influence is allowable, and what gets deemed offensive or acceptable — no matter how honorable their intentions — will fall away. And the normal uncontrollable course of human creativity will reassert itself.
Best wishes,
Kev
“You imply that “being disrespectful toward other cultures” is an unassailable cultural sin.”
Yeah, this is because people who came up with cultural appropriation think all whites are inherently racist and super evil, and just not able to respect anyone else; even though the Western world is the only one that builds churches for all, so it doesn’t really make any sense, at all. But anyway, to teach is better, because whites are just too bigoted and moronic, the left wants to restrict our creativity to black equals nice, white equals bad. I’m sure for our own good, or something:D
Lauren, I think this is a well researched and insightful look into this somewhat complicated concept– although, to be honest, I think when you approach with an open mind and respect for others it’s actually very straight forward: do your research, it’s as simple as that.
It seems a lot of people commenting are confusing political, satirical art with art that is narrative and referencing cultures (the Charlie Hebdo example that was constantly referenced, for example, versus a fantasy book cover serving two distinctly different purposes). Of course something political or satirical is going to disregard cultural significance or in fact use it in a purposefully offensive way. Cultural Appropriation versus Cultural Appreciation is NOT about censorship and those unable to divorce that from their mentality I believe are triggered by those terms for as much as they hate the concept of “triggering.” It is about being informed and respectful, not stopping yourself from depicting different cultures or communities.
Anyways, just want to say thank you for starting these difficult conversations. I think it’s important to talk about and be mindful of.
Thanks Melisa! Yea, these topics are hard to tackle, but all the more important to get these debates out in the open, right?
Guys, seriously, cultural appropriation is a made up concept by some psychologically damaged people and it’s an absolute nonsense. It even doesn’t make sense in the whole extreme-leftist narrative.
For example, Kingdom Come Deliverance and Dunkirk are both set in specific parts of western history. Both are very highly culturally appropriate as both tried to be as true to history/facts as possible, involving a number of acclaimed historians from the respective cultures. BOTH were heavily criticised for not including black people. I guess someone forgot all about cultural appropriation there for a moment. Oops.
All cultural appropriation does is creating/widening gaps between cultures.
If you desperately want to integrate cultural appropriation into your lives, by all means! But bear in mind that you should definitely start boycotting Frazettagirls, Tolkien should be your number one enemy, as well as Lovecraft and Howard. You should petition WOTC for deleting the Drow from the universe and to take most Salvatore books off the shelves, world-wide. Also, most people absolutely hate cultural appropriation, as well as PC and all that assorted lunacy, so get ready for being less liked, too!
I thought Muddy Colors is an artsy site and every artsy site worth their salts would recommend their artists to do spectacular art that attracts attention. If cultural appropriation is really such an eyebrow-raiser, I say, that’s exactly what you have to do to get a free note in BBC, CNN, NYTimes, New Yorker and Huff post. But you have to do it quickly, because they are all running out of business!
The reason some people find the term “cultural appropriation” triggering is that we don’t believe that it’s about respect and not censorship. Even if we grant that its inventors intended it that way, the inevitable result is that the witch burners get ahold of it and start looking for opportunities to censor.
Obviously the most egregious recent example was Hannah Black calling for the literal destruction of Dana Schutz’s _Open Casket_. Women are attacked for wearing the wrong dress to a prom (Keziah Daum wearing a qipao) or a performance (Beyoncé wearing a mang teeka). Productions of _The Mikado_ have been shut down all over America (but not _The Merchant of Venice_, which raises additional interesting questions). Amélie Wen Zhao chose (or “chose”, depending on how you look at it) to withdrew her YA book from publication. Ithaca High School cancelled a production of _The Hunchback of Notre Dame_ after a white girl was cast to play Esmerelda.
So insisting that this is not about censorship but only respect is disingenuous, and therefore gives the impression that those claimants are being deliberately dishonest.
We are engaging in “motive attribution asymmetry,” as Arthur Brooks recently wrote in the New York Times.
Something like:
We are asking people to be polite and respectful to other cultures, especially those that have been historically put upon. Only vicious racist bigots could want to oppose that.
versus
Politically correct people are trying to control and censor art because they want to be the ones in charge of what can be said and who can say it, and they want to destroy anyone who disagrees with them.
Well put. I think it’s unfortunately obvious that this article was meant to push a narrative given the author’s response about political correctness: “There is actually no such thing as “political correctness” — there is only what we used to do, in ignorance, and shouldn’t continue to do once we know better.”
I have enjoyed Lauren’s articles before, but she does unfortunately include her politics in many of them. I can generally overlook them because usually it doesn’t make up the entirety of her posts. This time, however, the article simply served to push a political ideology =\
I think that insisting cultural appropriation be a standard by which meaning is derived and insisting all follow its guidelines for interaction is akin to pushing a religion. The rules for how one interacts with things in existence lies with the individuals involved, not with a particular doctrine.
There is a difference between insisting art be referenced and researched (which is covered quite well in many articles on this site I would say), and prescribing a particular doctrine for behavior.
The treatment of a culture or references thereto need not be seen through this particular doctrine, nor is it appropriate or even accurate to insist it is the correct frame of interpreting reality, or that everybody should be “aware”. Cultural appropriation does not have a corner on the interpretation of meaning. This article is terribly inappropriate for this site.
I am very sad to see the last bastions of my art worlds fall to this academic fallacy.
And if identity is so important in bring any clout to my words, which it shouldn’t be, this is coming from a left-leaning, first-gen American female of color minority.
I prefer my art from art sites and my morals from religion. Which one is this site?
A balanced, mindful, and considerate treatise on an unquestionably complex and convoluted issue, Lauren…Thank you. The idea that approaching cultural exploration with an attitude of respect and a desire to learn and grow and to enrich rather than ransack is a lesson we would do well to apply broad-brush to life.
While the implications of cultural appropriation as a creator are not a direct concern in my life, I find them quite relevant from the other side of the easel. As consumers–of art, clothing, food, what have you–we are all at times in the position of making choices about how we integrate culturally impactful things into our lives. Some calls are easy, like understanding the inappropriateness (and illegality) of purchasing eagle feathers and in specific replicas of Native American ceremonial garb. But there are “muddier” areas we should pause to consider in our fandoms and consumerism. Heck, even our beloved Tiki, outrageously kitschy escapism that it is, has come in question with regards to supplanting of a real culture with an artificial construct.
Integration of other-cultural elements into our lives is something we should approach with consideration, and I very much appreciate your taking the time to curate a foundational guide to building an appropriate lens.
Thanks Jerry! <3 Bringing up Tiki culture is a great example — and there have been some great conversations going on in that space as well that have relevance here too.
It never fails to shock me that “be decent to other cultures” is seen as political. I mean, holy shit some of these comments.
Zachery, the phrase “holy shit” is disrespectful to certain religious cultures. You may continue to use that phrase, of course, but if you don’t refrain from using such language in the future there will be social repercussions, amplified by social media, that may affect your work life and personal life. So if you start experiencing harassment, you only have yourself to blame. (See how this works?)
More censorship, even though you are saying it in a positive way, human factors are being dangerous to be treated, and the left uses it and polarizes, said this, for a man who enjoys the process of painting without commandments, censures and conditions I have found refuge in landscapes, and objects devoid of human touch, there is no censorship or all this sociological shit that can make you paranoid. On the other hand is not fair your appreciation on many points, especially being South American feel great admiration, genuine natural since childhood for European culture, thank God fortunately these terms of “cultural appropriation” is only attacked if the culture is Asian, from African Oceania or from Latin America, so I do not think any European feels offended by drawing a fairy or a troll, since from the point of view you have written it could be offensive to the Nordics, but luckily it is not.
Moreover, you can only be guilty of cultural appropriation if you’re white.
Thank you for this great post! It’s something I’ve been paying a lot of attention to in trying to include diversity in my art and writing with respect. I just have one suggestion about your example of the appropriation of “Native American headdresses”: you use the past tense to describe their use, when many of the Plains Indian cultures that used them historically are still alive and still keeping their traditions. Thanks for bringing such an important issue to the forefront!
With all due respect, and you being sure that the question is formulated by me very seriously, to understand and broaden this issue that is glassy and generates reactions, I would like to know what you think of three circumstances that caught my attention, those Circumstances made me remember this article.
1-) In Thor’s films (from the same team that you praised for his work in Black Panther) they changed and modified many elements and characters that are part of the mythology of which the comic, Norse Mythology, is inspired. Among them the most striking is the change of the character of Valkyiria, which was given to an Afro-descendant actress, is this not a deliberate modification of the essence of that mythology? Since it is an ethnically homogeneous people at that time?
2-) The work of my compatriot Mía Araujo on Alicia, the characters and the world of that story, as well as the appearance of the girl, who is described by the same author as a blonde girl, is it not also a cultural appropriation ? Since they modified a story that is specifically from England in a specific time?
3-) The new little mermaid: The new little mermaid is of Afro-descendant race, the author is Danish in the context of his time of an era where they were ethnically homogeneous, being a little more flexible, of Greek origin. Nor is it something similar to those that many criticized when Scarlett Johanson would play the character of Ghost in the Shell?
Please I ask that you can answer me sincerely, since as you see, your articles remained in my mind and I took them seriously and it is something in which I meditate a lot. Thank you.
I would also be interested if anyone takes the time to answer it if they wish. Thank you!
Your magnum opus of erudition enthralls the intellect, enkindling a voracious appetite for enlightenment and impelling readers to embark upon a perpetual quest for knowledge, inspired by the incandescent luminescence that radiates from your blog.
I appreciate the way you blend personal experiences with valuable insights in your posts.
Your blog is a reliable source of information and inspiration for your readers.
Your words have a way of resonating deeply with your readers’ hearts.
Thanks for bringing such an important issue to the forefront!
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I have looking at many of these videos on the subject because a class paper and I have to tell I totally understand where you are coming from. I grew up in Chicago and it was in the early 70’s I lived in Robert Taylor projects we were the only white family in the entire project and school the only white kids in Crispus Attucks on 39th and Federal. I wore cornbreads with beads in my long down my back hred hair. My friends did them we were in 5-8th grade no one ever called me names or thought there was anything wrong with it. and I do not see anyone saying anything about the black weave that black young ladies are putting in there here of red or bllonde. I think to continue to make a deal out of people doing the norm from where they live is perfectly fine. I think it is wrong to do it out of disrespect. Saying that a rapper artist should be only black is a racist statement. The music is what you learn and live. I lived and grew up around an entire black community so as a young teenagers I developed the desire to date the people I grew up with. I never saw anyone else white until high school besides my mother. Why I do not know my step father was black and I seen my grandparents twic in my life I don’t know them they lived in Florida. So as a young lady I was attracted to who I was around. I get shitting faces in the grocery store my husband Black American get called a trader. I’m affraid of my children with their dark skin to get stopped by a white police officers. Yes there is white previllage and that is how we own a house in Madison, WI it exist but you can not say Rapper music is for only Black artist’s that is prejudce.
I totally agree when you talk about the importance of running your peace with someone who actually has experience with a certain heritage or culture that you want to create, so you will not be in trouble when people start seeing your work. As a consumer who is looking for an online Native American art auction, that is probably a good idea to do as well on my part so that I will not be getting pieces that do not represent a certain culture properly. It is something that I just want to have in my home because I have been really interested in that part of our history even during these modern times.
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