borrowed power essays on cultural appropriation pdf

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Borrowed power : essays on cultural appropiation

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Uploaded by station13.cebu on February 15, 2022

Borrowed power : essays on cultural appropriation

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© Stanford University , Stanford , California 94305 .

Borrowed Power: Essays on Cultural Appropriation, Bruce Ziff & Pratima Rao, eds.

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Borrowed Power: Essays on Cultural Appropriation

Professor bruce ziff.

350 pages, Paperback

First published January 1, 1997

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Cultural Appropriation: Yours, mine, theirs, or a new intercultural?

2020, Cultural Appropriation: Yours, mine, theirs, or a new intercultural?

This article considers how by shifting culturally anchored design materials from one context to simplistic placement in decontextualized settings, cultural appropriation takes place in costume design. Building on that, it discusses how production teams need to be cognizant of such issues in the design process given that availability of such materials has historically been possible because acquisition has often aligned with political and commercial ambitions. Reviewing scholarship on appropriation that includes performance, costume, fashion and cultural studies, it questions how designing costumes through intercultural interaction might be navigated in a globalized context, where artists are excluded through travel bans, but cultural materials are permitted free movement. The article then discusses how to create productive intercultural projects with teams willing to invest in ethical engagement. By including case studies in which such processes were less successful as well as one that indeed created new intercultural exchanges, this article is one of the first texts to address this complex issue. It intends to engender future forward thinking conversations with practitioners and researchers on the thorny but urgent issue of cultural appropriation through costume.

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Denise Nicole Green , Susan Kaiser

The great irony of a special issue about ‘Fashion and Appropriation’ is that the topic is simultaneously passé and ever-relevant. Both producers and consumers of fashion have long expressed a fascination with difference, the ‘exotic’, ambiguity, and uncertainty through style-fashion-dress (Tulloch 2010; Kaiser 2012). In addition to fuelling fashion change, these inclinations have also encouraged various forms of appropriation, making this topic an ongoing, yet deeply historical, debate. Appropriation is a complex political and ethical discussion with many nuances and layers that require careful and critical unpacking; the articles in this special issue approach this complexity from different angles and perspectives. We hope that each of these papers will encourage readers to think about appropriation in new ways, engage with its various definitions and articulations, and consider the impact appropriation has on communities, identities, economies, and aesthetics.

Barbara Pozzo

Fashion is considered an element of "cultural identity". At the same time, it has always been a dynamic phenomenon in which different styles, designs and models converged, acting both as a source of attraction for designers as well as a source of inspiration to draw and depart from in an attempt at innovation. Influences were reciprocal, with the phenomenon of Orientalism going hand in hand with that of Occidentalism. Today's discussion focuses on the vindication by various ethnic groups of ways to protect their own folklore as expression of their own cultural identity. The questions that arise are manifold. This contribution aims at framing the problem in the nowadays fashion industry as well as investigating the various possibilities of protecting folklore while preserving cultural identity. The discussion will deal with recent studies that have analyzed the various aspects of cultural appropriation. Intellectual property will be taken into consideration as a way to protect folklore. Nevertheless, this article suggests that other options for achieving protection of cultural heritage and folklore emerge in the field of Private Governance and Corporate Social Responsibility that will offer new opportunities to tackle the problem of cultural appropriation in the fashion world.

Daniela Monasterios Tan

This essay contends that ethnic dress has become a commodity devoid of meaning in western fashion and it will trace this through the way in which fashion designers and journalists have been appropriating ethnicity in relation to promoting it as a commodity to satisfy consumer behavior. In order to examine this phenomenon it is necessary to establish what constitutes as ethnic dress and what kind of meaning it holds in its original context. When discussing meaning of clothing, references to both Malcolm Barnard (2002, 2007) and Roland Barthes (2006) will serve as a pivot for the central argument. Using Edward Said’s (1995) theory of orientalism the reader will understand why ethnicity has been extensively used in fashion which will then be followed by a study and break down on the changes that designers make to the meaning in accordance to their design process. The essay will end with a discussion on the need for a conscious appropriation of ethnicity in terms and how a post-modern approach could serve to update the fashion vocabulary into the years to come.

Sofia Pantouvaki

The first issue of "Studies in Costume and Performance" draws materials from Critical Costume 2015, a significant international costume-based event that took place at Aalto University, Helsinki, in March 2015. [...] Critical Costume 2015 was a three-day event consisting of an academic conference that included presentations of theoretical approaches and practice-as-research, as well as an exhibition of costume art, costume design and costume research. [...] Critical Costume 2015 was a significant feedback event for the ‘Costume Methodologies’ project, allowing to map the field of costume research by identifying areas of research interests, research approaches and individuals involved in costume research at an international level. [...] The content of this issue evidences the diversity of approaches in conceptualizing costume. This is seen in both the variety of topics presented and the fields of practice they represent (film, theatre, dance, television and popular culture), as well as in the background of the authors. It is also reflected in the formats of writing, namely articles, visual essays, reflections and reviews. In addition to new research, critical reflections and reviews bear testimony to the event itself, along with a number of reviews of other costume-related events from the international field in the year 2015.

Smruti Mahapatra

DIS '20: Proceedings of the 2020 ACM Designing Interactive Systems Conference

Eva Hornecker

Deploying wearable technologies in the performing arts not only concerns costume wearers but affects further stakeholders whose work is impacted by the interactive effects or who help maintain the technology. Beyond the wearer, literature neglects how these other stakeholders engage with interactive costumes, though a performance production is based on the contribution of many parties. We conducted a longitudinal study to examine how stakeholders of a youth ballet production experience and appropriate interactive costuming. Our findings suggest that user experiences vary according to stakeholders' closeness to the costume, background and taste, the costume interaction mode and social environment. We expand existing models of technology appropriation with two novel technology relations: professional reserve and polite indifference. Based on these, we suggest integration into existing practices, to design for the show, and create positive experiences to incorporate interactive costumes in the performing arts and discuss relevance for other professional fields.

Studies in Theatre and Performance

Rachel Hann

In this article, I present an argument for a proposed focus of ‘critical costume’. Critical Costume, as a research platform, was founded in 2013 to promote new debate and scholarship on the status of costume in contemporary art and culture. We have now hosted two biennial conferences and exhibitions (Edge Hill University 2013, Aalto University 2015). These events have exposed an international appetite for a renewed look at how costume is studied, practised and theorized. Significantly, Critical Costume is focused on an inclusive remit that is interdisciplinary and supports a range of ‘voices’: from theatre and anthropology scholars to working artists. In that regard, I offer an initial argument for how we might collectively navigate this interdisciplinary field of practice with reference to other self-identified critical approaches to art and design. By focusing on an interdisciplinary perspective on costume, my intention is to invite new readings and connections between popular practices, such as Halloween and cosplay, with the refined crafts of theatrical and film professionals. I argue that costume is a vital element of performance practice – as well as an extra-daily component of our social lives – that affords distinct methods for critiquing how appearance is sustained, disciplined and regulated. I conclude by offering a position on the provocation of critical costume and a word of caution on the argument for disciplinarity.

Dora Malnar

Over the last decade, as the world economies grow so does the global market, the fashion industry and the number of brands. Consequently, the competitiveness grows and the brands have been forced to trying in every way possible to distinguish themselves and stay relevant. In todays' world where social media play such an important role, the price of mistakes they might make for being offensive or not knowing how to tackle the ethical/ethnic/body positive/racist/cultural topics is truly great. This essay deals with the ever so popular question of cultural appropriation and tries to solve the enigma of the thin line between 'borrowing' and 'stealing' from other cultures in the fashion industry through products and through advertising campaigns. It discusses the definition and the question of the culture that is changing faster than ever. There is a great pressure for fashion brands today to be 'woke' and not only aware of the social issues, but to try and make a real difference themselves. What are the roots of the cultural misconceptions, stereotypes and appropriation and why are some cultures more sensitive to this problem than the others are some of the key questions this paper is trying to provide an answer to, while using the examples from around the globe-from the North America to Eastern Europe.