Collaborate and reciprocate; don't appropriate

Out of Context #5: Appreciation vs. Appropriation of Cultural Musical Objects

A 10-part series that addresses the topic of cultural appropriation as it intersects with both Western European-based classical music and the broader social landscape.

'I do not doubt [John] Cage’s sincerity with his use of the I Ching, and his emersion into Zen and Japanese culture was probably deep and profound. But in a world where we celebrate the ideas of individual geniuses like John Cage, how do we also acknowledge the source communities for these ideas?'

Why Malaysians Need a New Term to Define Cultural Appropriation and Appreciation

Analysis of cultural appropriation in Malaysia, even after centuries of intercultural exchange in Malay, Chinese, Indian and indigenous communities.

Five creative project scenarios are presented that raise questions of appropriation, and potential alternative ways of moving forward more ethically.

'Cultural power acknowledges that imbalances exist. It’s not just about sharing, but recognising that dominant cultures dictate what’s acceptable while minority cultures face erasure or stereotypes.'

Mexico accuses Zara and Anthropologie of cultural appropriation

Organisations that do not demonstrate cultural respect risk being held publicly to account. One example is Mexico's culture ministry calling out fashion brands Zara, Anthropologie and Patowl; it said the companies had taken inspiration from designs created in the south-western state of Oaxaca and called for benefits to be awarded to the communities behind them.

Considering Co-Creation

A report commissioned by the Arts Council England that shares thoughts on principles, ethics, and references in the area of co-creation by two organisations that deal with socially engaged arts - and presents new ideas that challenge current paradigms of community arts. While it is not an exhaustive work, it features a literature review and a survey of 77 practitioners and contributors.

Supplementary materials such as podcasts and a survey analysis are included as part of this research.

Whitewashed: why does Australian TV have such a problem with race?

Discussion of representation in Australian TV, from the awful stereotypes of the 90s, like Neighbours' first non-white family, the Lims, being accused of eating a dog, to shows that got it right, such as Gary Foley on A Country Practice.

'Crucially, Foley says, he was allowed to write his character himself. “[Creator] Jim Davern rung me up and asked me if I was interested,” Foley told Guardian Australia. “I said I was only interested if I could write my own character and my own dialogue.”'

Cultural Appropriation: Another Form of Extractivism of Indigenous Communities

Indigenous communities around the world face attacks on multiple levels, including extractivism in their territories, and appropriation of their cultural creations and knowledge. This article highlights the requirements of respect for ancestral knowledge and Informed consent.
Photo: Ayuujk weaver, by Luis Balbuena Gómez.

Cultural Appropriation vs Appreciation

Andean Textile Arts is an organization dedicated to supporting the communities of the Andes to preserve and revitalize their textile traditions. The author of this article asks: where is the line between appreciating and appropriating? and draws on the instructive categorization of the three types of cultural borrower - the 'Invader, the Tourist, and the Guest' (originally coined by Diantha Day Sprouse).

The problem with 'cripping up' and why casting disabled actors matters

Article examining 'cripping up': when able-bodied actors portray people with disability, such as Daniel Day-Lewis' role in 1990's 'My Left Foot'.

'what must it have been like to be one of those child actors on the set of My Left Foot? To not only watch a man act as though he too had cerebral palsy on screen, but to see him continue the charade once filming stopped.

How would they have felt, then, to later see him walking on stage to accept an award for how well he imitated them?'

The art-ivism of Malaysia’s Pangrok Sulap

Pangrok Sulap is an art collective which engages with a diverse range of performers, civil society organisations (CSOs) and the public in their art-ivism. This group is famously known for creating woodcut prints to tell the unknown stories of Sabah’s rural community, helping to preserve rural culture and traditions as well as amplifying calls for environmental protection, democracy and human rights.

Cultural immersion for young people through dance

At Nigeria's prestigious Hadiza Ibrahim Aliyu Schools Festival, performers are required to present a dance from a different cultural group, fostering engagement and understanding across the nation’s 450-plus ethnicities.

“We want to accommodate these cultural and ethnic diversities and see how we can harness them for our growth and the unity of Nigeria” - Makama Shekwo’aga, Festival Curator

Anthropological tools for artists

Peru’s Dinamo is working to bring anthropology and ethnography skills to artists and communities, so that they can better collaborate and consult with communities in their practices.

“Dinamo always works in a participatory manner, consulting and exchanging knowledge in a non-hierarchical or imposed way, and keeping the community at the centre of every decision.”

What is community engaged practice?

In this article on ArtsHub, Jade Lillie provides an overview of what community engaged practice is, and how to effectively do it.

"Community engaged practice is an effective way to create great creative and cultural outcomes with artists, practitioners and communities."