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Cultural exchange, cultural appropriation, and privilege -- Are there advantages to cultural appropriation? -- Who is harmed by cultural appropriation and how? -- Facts about cultural appropriation -- Organizations to contact -- For further reading -- Index -- Picture credits.

In this section, we examine the difference between cultural appropriation and appreciation by sharing many examples, including hairstyles, Halloween costumes, Blackface, sports team jerseys and names, and perhaps the most controversial, trying to appear or claiming to be racialized when you're white. ; https://source.sheridancollege.ca/blurred_lines_of_racism_project/1003/thumbnail.jpg

"Shakespeare and Cultural Appropriation pushes back against two intertwined binaries: the idea that appropriation can only be either theft or gift, and the idea that cultural appropriation should be narrowly defined as an appropriative contest between a hegemonic and marginalized power. In doing so, the contributions to the collection provide tools for thinking about appropriation and cultural appropriation as spectrums constantly evolving and renegotiating between the poles of exploitation and appreciation. This collection argues that the concept of cultural appropriation is one of the most undertheorized yet evocative frameworks for Shakespeare appropriation studies to address the relationships between power, users, and uses of Shakespeare. By robustly theorizing cultural appropriation, this collection offers a foundation for interrogating not just the line between exploitation and appreciation, but also how distinct values, biases, and inequities determine where that line lies. Ultimately, this collection broadly employs cultural appropriation to rethink how Shakespeare studies can redirect attention back to power structures, cultural ownership and identity, and Shakespeare's imbrication within those networks of power and influence. Throughout the contributions in this collection, which explore twentieth and twenty-first century global appropriations of Shakespeare across modes and genres, the collection uncovers how a deeper exploration of cultural appropriation can reorient the inquiries of Shakespeare appropriation studies. This collection will be of great interest to students and scholars in theatre and performance studies, Shakespeare studies and adaption studies"--

Cover -- Halftitle page -- Title page -- Copyright page -- Dedication -- Contents -- Figures and Tables -- Preface -- 1 Introduction-Culture YUNIYA KAWAMURA -- Culture in Classical Social Theory -- Different Schools of Thought: Value-laden and Value-neutral Culture -- Conceptual Tools for Cultural Analysis -- Outline of the Book -- Conclusion -- 2 Academic Studies on Cultural Appropriation YUNIYA KAWAMURA -- Definitions, Processes, and Types -- Logos, Mascots, and Nicknames -- Gastronomy and Cuisine -- Literary Works -- Adornment -- Conclusion -- 3 Fashion YUNIYA KAWAMURA -- In Pursuit of Exoticism and Novelty -- Biological, Cultural, and Sartorial Hierarchies -- Conceptual Typologies -- The Strength of Weak Virtual Ties -- Conclusion -- 4 Entertainment JUNG-WHAN MARC DE JONG -- What is Sociological about Entertainment? -- The Commodification of Culture and the Other -- Conditions of Cultural Appropriation -- The Production of Culture in the Social Media Age -- Cultural Hybridization and Cultural Appropriation -- Conclusion -- 5 Ambivalence and Paradox YUNIYA KAWAMURA -- Cross-cultural Encounters in a Historical Context -- Globalization and Deterritorialization -- Immigration and Cultural Globalization Through Mediascapes -- Culture as Epistemological Relativism -- Ambivalence in Fashion Globalization -- Cultural Authentication Process -- Conclusion -- Conclusion YUNIYA KAWAMURA -- Notes -- Bibliography -- Index.

In Fashion and Cultural Studies, Susan Kaiser asks if cultural appropriation can be seen as "a somewhat innocent or even respectful process of aesthetic influence or inspiration, with the appropriate degree of credit or profit attributed to the other culture in question" and "a matter of cultural 'borrowing'" (2012, p. 48). Cultural appropriation, in other words, can be seen as an inevitable outcome of transnational global capitalism, where the demand for increased speed and flexibility of production and the constant movement of people, capital and commodities across and beyond national borders defy the notions of identity, tradition, heritage and ownership. Kaiser's useful suggestion points us towards a problem inherent in most media and academic criticisms of cultural appropriation, namely, the assumption that culture is something that can be owned by a specific people in a specific time and place and, as such, it should not be appropriated, but rather be appreciated through serious, sincere study, empathy and contemplation. In Culture and Imperialism, Edward Said warns us against the possible consequences of assuming such a radical, irreducible difference and distance between different cultures: "In our wish to make ourselves heard, we tend very often to forget that the world is a crowded place, and that if everyone were to insist on the radical purity or priority of one's own voice, all we would have would be the awful din of unending strife, and a bloody political mess" (1994, p. xxi). Incorporating Kaiser's stress on "flexibility" and Said's emphasis on "overlapping territories, intertwined histories", this paper will analyse the discursive explosion, in contemporary fashion media, around the subject of cultural appropriation. More specifically, this paper will discuss whether and how such discursive explosion can be seen as a diagnosis of new forms of racial capitalism, white supremacy and cultural imperialism in the twenty first century. Media critiques of cultural appropriation, however, can also be viewed as symptomatic of an emotional capitalism (Illouz, 2007) whereby the radicalism of cultural activity is reduced to an increasingly emotional language of postcolonial and national sensitivities at the expense of issues of labour, production, and the global political economy. Delice contributed this invited, keynote lecture at "Fashion, Race and Cultural Appropriation: a conference at CSM" on 10 June 2017.

Introduction -- Archaeological finds : legacies of appropriation, modes of response / George P. Nicholas and Alison Wylie -- The appropriation of human remains : a First Nations legal and ethical perspective / James [Sa'ke'j] Youngblood Henderson -- The repatriation of human remains / Geoffrey Scarre -- The skin off our backs : appropriation of religion / Conrad G. Brunk and James O. Young -- Genetic research and culture : where does the offense lie? / Daryl Pullman and Laura Arbour -- Appropriation of traditional knowledge : ethics in the context of ethnobiology / Kelly Bannister, Conrad Brunk, and Maui Solomon -- A broken record : subjecting 'music' to cultural rights / Elizabeth Burns Coleman and Rosemary J. Coombe with Fiona MacArailt -- Objects of appropriation / Andrea Naomi Walsh and Dominic McIver Lopes -- Do subaltern artifacts belong in art museums? / A.W. Eaton and Ivan Gaskell -- Nothing comes from nowhere : reflections on cultural appropriation as the representation of other cultures / James O. Young and Susan Haley

This article attempts to describe the Polish-American Friends Movement (PAIFM) in the context of cultural appropriation. It first describes the history of the movement by linking it to the phenomenon of playing Indian, which started in the United States in the colonial period and then was transplanted to Europe in the late 19th century. Subsequently, it briefly presents the history of the Polish hobbyism movement in Poland, pointing out the historical, social, and psychological circumstances of its development. In the next part it defines the concept of cultural appropriation and its main types according to James Young (2010). The last part is devoted to a detailed analysis of different forms of activities of the PAIFM, especially the annual week gathering, as observed by the author during the 40th gathering of Polish Indian enthusiasts in 2016. Different types of cultural appropriation and an array of consequences resulting from such a positioning are discussed. In this paper it is argued that the negative undertones of the concept obscure the complexity of the movement as a cultural phenomenon and its multiple links with Native American cultures and their present political and cultural situation.

Social media is full of accusations and counter-accusations of a wrong called 'cultural appropriation'. Our goal in this article is to sift through these deliberations and identify what cultural appropriation is, what it is not, and what, if anything might be wrong with it. We begin by explaining why public discourse about cultural appropriation should matter to political theorists of multiculturalism, especially in the anti-immigrant mood that has engulfed many immigrant-receiving countries. We then place cultural appropriation under the umbrella of cultural engagement, before identifying two forms of problematic cultural engagement – cultural offence and cultural misrepresentation – that are often conflated with cultural appropriation. In the next section, we define cultural appropriation as the appropriation of something of cultural value, usually a symbol or a practice, to others. We go on to explain that two additional conditions must be present to define an act of cultural appropriation: the presence of significant contestation around the act of appropriation, and the presence of knowledge (or negligent culpability) in the act of appropriation. Although this account of cultural appropriation is normative, cultural appropriation is often wrong only in a trivial sense. One of the ways it can become more serious is through the presence of what we term 'amplifiers'. The contextual conditions that can render acts of cultural appropriation more egregious include: the existence of a power imbalance between the cultural appropriator and those from whom the practice or symbol is appropriated; the absence of consent; and the presence of profit that accrues to the appropriator. Ultimately, we find that there are very few instances of seriously wrongful cultural appropriation, and that many of the actions decried as cultural appropriation may be wrongful, but not because they appropriate.