Cultural Appropriation Without Cultural Essentialism?

Matthes, Erich Hatala

doi:10.5840/soctheorpract201642219

Cited by 91 publications

(57 citation statements)

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“…Some authors contend that cultural appropriation is “morally problematic” as it may involve “misrepresentation, misuse, and theft of the stories, styles, and material heritage of people who have been historically dominated and remain socially marginalized” (Matthes, , p. 343). Despite the topic's importance and sensitivity, it has been largely ignored by place‐branding scholars and practitioners in general and in particular by those involved with destination marketing, tourism, and hospitality.…”

Section: Cultural Appropriation and Tourism Destinationsmentioning

confidence: 99%

“…This is evident in language, religion, agriculture, folklore, food, and other cultural elements” (Arewa, , p. 26). Nevertheless, a growing number of detractors are questioning the “morality” of the “misrepresentation, misuse, and theft of the stories, styles, and material heritage of people who have been historically dominated and remain socially marginalized” (Matthes, , p. 343).…”

Section: Introductionmentioning

confidence: 99%

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The impact of cultural appropriation on destination image, tourism, and hospitality

Gertner

2019

Thunderbird Intl Bus Rev

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Harsh critics have relentless exposed myriad instances of misuse, exploitation, and misrepresentation of values, customs, rituals, and religious objects, for example, by different actors, such as designers and artists, and in myriad contexts, such as in art, entertainment, and tourism. Instead of being perceived as the appreciation or preservation of cultures, as claimed, they have been condemned as cultural appropriation. Occasionally, they are deemed offensive by members of the culture of origin. In the context of destination image, tourism, and hospitality, the matter can be even more problematic as many places are economically dependent on tourism and hospitality services. A growing number of critics believe place brands in general and tourist destinations in particular have exploited indigenous groups for the commercial purpose of entertaining visitors. This article represents a pioneer effort to build awareness among place marketing scholars and practitioners, particularly in the context of tourism, of the importance, implications, and risks of cultural appropriation to the future of destination image, reputation, attractiveness, and sustainability and advances suggestions for future research.

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Section: Cultural Appropriation and Tourism Destinationsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

The impact of cultural appropriation on destination image, tourism, and hospitality

Gertner

2019

Thunderbird Intl Bus Rev

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“…Taking utterances from other cultures might be viewed as something to be cautious of but, in total, cultural appropriation may not be ethically or morally wrong (Young, 2005). However, this type of philosophical discussion has the potential to purport an essentialist view, where cultures are classified as homogenous collectives -a dangerous and possibly damaging cultural view (Matthes, 2016), that tends to distinguish insiders from outsiders based on cultural authenticity claims. Essentialism negates the nuances within groups, segregating voices within an imposed classification system that conceals the spectrum of difference within a classified group.…”

Section: Addressivity Appropriation and The Dabmentioning

confidence: 99%

Multitextual Literacy in Educational Settings: Contextual Analysis and the Dab

McGarry

2019

Art/Research International

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KarenMcGarry is a visual artist and arts educator currently working toward a PhD in Educational Studies at the University of Cincinnati. Research interests embrace reflection/reflexivity and critical pedagogy in teacher education and teacher professional development. Prior experience includes adjunct work in teacher education, secondary level visual art and humanities teaching, and studio practice supporting visual artmaking and exhibiting.Abstract: Literacy is more directly linked to language arts than the visual arts even though both disciplines demand a high level of proficiency knowledge. This article examines how Feldman's (1970) art criticism model, applied in visual arts and aesthetics, and Fairclough's (2015) critical discourse analysis (CDA), used predominantly in literacy research, imbricate to reveal a multitextual literacy approach to gesture as an extension of utterance. Transdisciplinary textual analysis, supported by Bakhtin's theories on addressivity and social language construction (1986), critique both cultural appropriation and media literacy. Gesture, as an extension of utterance, transpired from witnessing a random gestural act, blurring textual boundaries in a decoding process to suggest multiliterate awareness in learning ecologies. Art criticism reflection and CDA reveal methods for examining communication processes within cultural contexts and, as a result, suggest integration into educational settings as vital tools for conscientious textual decoding praxis. Multitextual Literacy in Educational Settings 482As a part of communication, a gesture extends a visual or verbal text toward a multimodal message that often assists in completing a thought, a sentence, or an action.

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“…While there are many examples of shifting sovereignty over nearby territories (as tural property must be justified by appeal to a universal understanding of cultural products as the property of the particular culture that birthed them, independently of facts about socio-political power. 8 But advocates of cultural property need not be committed to such a principle, any more than an opponent of cultural appropriation must be committed to the claim that it is wrong for a native American to wear blue jeans (Matthes 2016;Todd 1990). Consistency only requires treating like cases alike, and principles that abstract away from the morally differentiating features of a case are distractions rather than objections.…”

Section: Cultural Propertymentioning

confidence: 99%

“…With regard to the first limitation, it's not clear that production by a member of a culture cannot be construed as grounding at least certain moral claims that might fit in the bundle of property rights. 3 For instance, production by a member of a particular culture might delineate moral restrictions on how that product is used or represented by cultural outsiders, especially in the context of appropriation of the product of a culturally marginalized group by members of a culturally dominant group (Matthes 2016). This would not necessarily require that the product play an important role in communal practices.…”

Section: Cultural Propertymentioning

confidence: 99%