Cathy Young trips over cultural appropriation everywhere:
A few months ago, I read The Orphan’s Tales by Catherynne Valente. The fantasy novel draws on myths and folklore from many cultures, including, to my delight, fairy tales from my Russian childhood. Curious about the author, I looked her up online and was startled to find several social-media discussions bashing her for “cultural appropriation.”
There was a post sneering at “how she totally gets a pass to write about Slavic cultures because her husband is Russian,” with a response noting that her spouse isn’t even a proper Russian, because he has lived in the United States since age 10. In another thread, Valente was denounced for her Japanese-style LiveJournal username, yuki-onna, adopted while she lived in Japan as a military wife. In response to such criticism, a browbeaten Valente eventually dropped the “problematic” moniker.
Welcome to the new war on cultural appropriation. At one time, such critiques were leveled against truly offensive art — work that trafficked in demeaning caricatures, such as blackface, 19th-century minstrel shows or ethnological expositions, which literally put indigenous people on display, often in cages. But these accusations have become a common attack against any artist or artwork that incorporates ideas from another culture, no matter how thoughtfully or positively. A work can reinvent the material or even serve as a tribute, but no matter. If artists dabble outside their own cultural experiences, they’ve committed a creative sin.
To take just a few recent examples: After the 2013 American Music Awards, Katy Perry was criticized for dressing like a geisha while performing her hit single “Unconditionally.” Last year, Arab-American writer Randa Jarrar accused Caucasian women who practice belly dancing of “white appropriation of Eastern dance.” Daily Beast entertainment writer Amy Zimmerman wrote that pop star Iggy Azalea perpetrated “cultural crimes” by imitating African American rap styles.
And this summer, the Museum of Fine Arts in Boston has been dogged by charges of cultural insensitivity and racism for its “Kimono Wednesdays.” At the event, visitors were invited to try on a replica of the kimono worn by Claude Monet’s wife, Camille, in the painting “La Japonaise.” The historically accurate kimonos were made in Japan for this very purpose. Still, Asian American activists and their supporters besieged the exhibit with signs like “Try on the kimono: Learn what it’s like to be a racist imperialist today!” Others railed against “Yellow-Face @ the MFA” on Facebook. The museum eventually apologized and changed the program so that the kimonos were available for viewing only. Still, activists complained that the display invited a “creepy Orientalist gaze.”
