More on racist mascots

In my house, we are already two months into baseball season -- which also means the resurgence of critical blogs, news articles and discussions about racist mascots. We posted last year about Racist Mascots (11 April 2016), and this post adds to that earlier and ongoing discussion.

Native Mascots Perpetuate Racism Against Indigenous People

Last April as the Toronto Blue Jays battled through the American League Championship Series, Cleveland's team arrived in Toronto for Game 3 of the series amidst a legal challenge to ban the use of that team's racist mascot and name. Where many of the Cleveland fans interviewed by Canadian media feel that "the team's nickname and logo are not offensive and should not be changed," well-known Indigenous architect, activist, and officer of the Order of Canada Douglas Cardinal filed an injunction against the team's name and mascot as offensive and discriminatory. Douglas argued

that the logo reflects stereotypes and misunderstandings about indigenous cultures, lumping diverse groups of First Nations into one offensive, homogenous cartoon.
“It’s much deeper and more profound than a logo being offensive. It’s really an indicator of why that relationship (between First Nations peoples and society at large) is so flawed. Because there’s this lack of recognition of what the true conditions of native peoples have been over the last 500 years.”

The last-minute injunction was overturned by the Superior Court and Cleveland proceeded to wear their racism on their sleeves throughout the series.

The challenge to ban the broadcast of the name and mascot was successful, however, in raising this discussion again in mainstream media, and highlighting ways in which people in relative positions of power are already acknowledging the connections between this imagery and institutional racism against Indigenous peoples. For instance, much was made of how the long-time radio announcer for the Jays, Jerry Howarth, stopped calling Cleveland and Atlanta by their offensive team names since a 1992 letter from an Indigenous fan. This announcer has also made a concerted effort to stop using "terms such as tomahawk chop and powwow on the mound." Local teams with similarly offensive team names or mascots have also recently been called upon to change because of how these symbols perpetuate racism in the everyday.

Indigenous artists are also using these kinds of moments to speak back to and challenge these sports symbols of institutional racism. See for instance, Artists Respond to Cleveland Team’s Racist Logo (Canadian Art) or Culturally Appropriate Chicago Blackhawks Logo by First Nations Artist Goes Viral (Indian Country Today).

In the classroom, these team names and symbols provide fruitful examples for discussing how banal imagery comes to support the status quo of institutionalized racism, as well as more general questions of representation, cultural change and the invention of tradition.

Quick links:

• Racist Mascots (11 April 2016, anthro everywhere!)
• Canadian activist seeking injunction against use of ‘Cleveland Indians’ name (16 October 2016, Toronto Star)
• Cleveland Indians Can Use Logo and Name in Toronto, Canadian Judge Says (17 October 2016, New York Times)
• Blue Jays' radio voice Jerry Howarth sticks to 1992 vow to not say 'Indians' (11 October 2016)
• Native Mascots Perpetuate Racism Against Indigenous People (4 March 2016, HuffPost Canada)
• Cleveland Fans Say Team's Name 'Honours' Indigenous Culture (17 October 2016, HuffPost Canada)
• HuffPost Canada Will Not Be Using Racist Sports Team Names (13 October 2016, HuffPost Canada)
•  Artists Respond to Cleveland Team’s Racist Logo (18 October 2016, Canadian Art)
• Culturally Appropriate Chicago Blackhawks Logo by First Nations Artist Goes Viral (18 Vovember 2015, Indian Country Today)

Bringing anthropological ethics into the classroom

With the Canadian Anthropology Society Conference next week comes CASCA's Spring issue of the network's newsletter, Culture.

One item that caught our eye in this issue was Eric Henry's description of a case-study discussion activity he created for students to work through some of the potentially thorny issues anthropologists and linguists face in the field: Targaryen Ethics: A Case Study in Linguistic Appropriation Using “Game of Thrones”

Henry writes that in his linguistic anthropology course,

language appears to students to be a relatively uncontroversial topic of research – in what possible way could listening to an oral history or eliciting verb conjugations harm someone?
I wanted to get students thinking about some of the thorny ethical issues surrounding linguistic heritage, appropriation, and ownership.

In this short piece, Henry provides the short text of his case study, where the linguistic anthropologist is approached by the producers of the hit television program about adapting a local (endangered) language to fit one of the show's mythic peoples. Henry also reflects on the outcomes of working through this case-study with his students, including some of the unanticipated issues that students themselves raised about the case, and the role of the anthropological expert in terms of language revitalization, representation, development, and what ethics means in these moments.

Henry's case-study is a great example of an activity to bring an experiential learning element into the classroom through role-playing. How might you adapt this style of case-study exercise in your own teaching?

Quick links and further reading:

• CASCA's Culture newsletter
• The AAA's Handbook on Ethical Issues in Anthropology edited by Joan Cassell and Sue-Ellen Jacobs
• Chapter 3: Cases and Solutions provides 12 ethics case-studies on general ethical issues raised by practicing anthropologists similar to Henry's case study above
• AAA's Ethics blog
• The Smithsonian's Anthropology Outreach Office has also created an Ethical Dilemmas activity with 6 short case-studies
• anthro everywhere!'s Reading Lists & Syllabi Resources page

Updated 23 August 2017: Henry's article is no longer available via Culture

Understanding hipsters - scholarly and otherwise

Are "hipsters" on their way out, or have they become so normalized in our popular culture that we don't really notice them anymore? (And, if the latter, is that ironic?)

In any case, social scientists still have some interesting things to say about hipsterdom.

If you never quite figured out who or what hipsters were, you might want to start with this cheeky and informative video (4.40 minutes of the 5.53 minute video) from PBS: Are You A Hipster? | Idea Channel | PBS Digital Studios (2013). The main argument reflects on the interconnections between subculture authenticity, cultural capital (in subculture objects and affects), and cultural appropriation.

From there, you might want to check out some commentary on "The sociology of ‘hipsters’" by Mark Carrigan on hipsters as an youth subcultural movement.

Or, perhaps a little more intriguing is this Savage Minds series from Alex Posecznick questioning and working through the possibility of "Anthropologists as Scholarly Hipsters" (2014):

• Part I: What is a Hipster?
• Part II: Critiques from the Margins
• Part III: The Anthropological Brand
• Part IV: Authenticity and Privilege
• Part V: Why Do They Hate Us?

Across the five-part series, Posecznick addresses the hipster as a conceptual category that's productive for thinking about the discipline (practice, style, public reception) of anthropology today.

Hallowe'en & Racism

LSPIRG's (Wilfred Laurier University)
I am Not a Costume campaign

Boo!

Hallowe'en is a rich holiday for anthropologists to dig into for how it brings together many different social phenomena such as ritual and liminality, layers upon layers of changing tradition, and social justice in questions of cultural appropriation and racism in costuming.

Every year in recent memory, my social media feeds have been chock-full of snappy posts and often well-considered reactions to racist Hallowe'en costumes. While black-face still seems to be a good idea to some (it's not), other groups and cultures also frequently turn up in costume shops and Hallowe'en social events (also not a good idea).

These racist costumes -- like the ongoing use of racist mascots and team names -- have become important public sites for discussion around racism in the everyday, and how these common aggressions are actually part of larger systemic issues. For instance, this year in Canada, costumes parodying Indigenous people have been subject to criticism through public campaigns like this one in Regina, where 'warning labels' were attached to these costumes in a popular seasonal costume store:

In case you can't read the fine print, this warning label indicated that "The items contained in this package are offensive and promote the sexualisation of Indigenous women and peoples. Please avoid contact with these dangerous materials. 
There are well-over 4000 missing and murdered Indigenous women and girls in Canada. An inquiry is being pursued to address this issue. It takes everyone in Canada to fight against sexualised violence. That starts with outfits of this nature."

In the classroom, examining something that may seem frivolous -- such as
Hallowe'en costumes -- can help us to make sense of the much deeper and complex connections between these banal practices and systems of social inequality that are built on institutional racism and colonialism. How are these costumes connected to the broader social and political issues that are daily making headlines at the moment, such as MMIW in Canada, and the North Dakota Access Pipeline in the US? How do these costumes help to shed light on the ongoing processes of systemic violence against Indigenous peoples in North America by our governments and settler-Canadians/ Americans? What are the guidelines for choosing a costume that isn't racist?

Quick links and further reading:

• Google search on "racist Halloween costumes" because there is actually just so much great content being written on these issues on the web.
• Google search on the "my culture is not a costume" campaigns, such as LSPIRG's (Wilfred Laurier University) 'I am Not a Costume' campaign, and the 2011 Ohio University 'We're a Culture, Not a Costume' campaign
• The relevANTH Guide to Choosing a Culturally Sensitive Halloween Costume (2016, relevANTH)
• Racist Halloween Costumes Get Temporary Warning Labels In Regina Store (2016, Huffington Post)
• Native Americans Try On "Indian" Halloween Costumes (2015, BuzzfeedYellow video, 2 minutes 30 seconds)
• Native Women's Association of Canada and their site on MMIW
• Related past anthro everywhere! posts: 
• The dos & don'ts of Cultural Appropriation (13 June 2016)
• Racist Mascots (11 April 2016)
• Anthropoliteia's #BlackLivesMatter Syllabus (5 September 2016)
• How To Support Blacademics & Be an Ally (8 July 2016)

A Short Resource Guide to Food, Race, and Cultural Appropriation

Cultural appropriation has been almost a buzzword lately, giving us anthropologists a lot of popular culture fodder on the topic -- and perhaps more importantly, spurring critical discussion about issues of power, cultural difference, and respect in the public sphere.

While many of these discussions have focused on fashion, or the ongoing debate about racist mascots in sports, we are less likely to see how cultural appropriation is also an issue in relation to food. In this piece, Bitch magazine has put together "A Short Resource Guide to Food, Race, and Cultural Appropriation" (2016), which includes video, podcasts, and texts on the issue.

I suggest that you get a snack before reading through the links.

Quick links and further reading:

• A Short Resource Guide to Food, Race, and Cultural Appropriation (2016, Bitch)
• anthro everywhere!'s past posts on cultural appropriation
• Tracing the erased histories & diaspora traditions in Southern cooking (17 February 2016, anthro everywhere!)

Indigenous cultural appropriation?

In June we posted an article from The Atlantic on The do's and don'ts of Cultural Appropriation. In that post I suggested that the article, with its focus on fashion and written from the perspective of a white woman in North America, might be useful for provoking or starting a discussion with students about the issue of cultural appropriation.

In the context of contemporary Indigenous rights and cultural activism, this interview from Fader (a music and lifestyle magazine) with an Indigenous clothing-designer and artist provides an interesting twist and greater nuance to discussions of cultural appropriation in fashion.

In "This Is What Happens When Indigenous Artists Do Their Own Appropriating" (2016), Sage Paul discusses her work as an Indigenous artist (Dene) in the fashion industry, and the connections of her work to indigenous culture, cultural identity and activism, as well as the wider world of fashion.

 Jeneen Frei Njootli with Rodrigo HGz / Photo by Krissy Ballanger (Fader Magazine)

Paul is based in Toronto and runs the Setsuné Fashion Incubator with Erika Iserhoff. In this interview, Paul addresses the complexities of her intersectional identity, work, and the power dynamics of cultural appropriation.

"... the idea of cultural appropriation isn’t new to me. I really feel that in the last few years it’s been trendy again to be native. What upsets me about cultural appropriation is the sense of entitlement that comes along with it. The dominant society really feels, like, It’s just beautiful, you know? I think you're overly sensitive about us using this thing. We want to celebrate beautiful Indigenous women. Well actually, Indigenous women are the lowest class of people in this country right now and to use them as an object just keeps us as this objectified, exotic, fantasy image as opposed to beautiful, strong women who are doing work and have a voice, words, and ideas to share. Now, I want to talk about the people who are actually that culture, rather than people who are stealing. So: talk about Indigenous artists, and celebrate and support Indigenous-made work."

Instructors might wish to couple this article with our previous post to add nuance and an alternative perspective to a discussion about cultural appropriation in the context of fashion. This interview would also be interesting to think about in a discussion of representation, authenticity, or reviving traditional knowledge and practices.

Quick links & additional reading:

• "This Is What Happens When Indigenous Artists Do Their Own Appropriating" (2016, Fader)
• Setsuné Fashion Incubator
• How Indigenous artists are taking back what the fashion industry stole (2016, CBC)
• The do's and don'ts of Cultural Appropriation (anthro everywhere! 13 June 2016)
• Cultural appropriation versus appreciation (anthro everywhere! 22 February 2016)
• Other posts from anthro everywhere! on "cultural appropriation"

The dos & don'ts of Cultural Appropriation

In "The Dos and Don’ts of Cultural Appropriation" (2015, The Atlantic), author Jeni Avins argues that cultural appropriation can actually be a positive thing. Heavily focused on the issue of cultural appropriation in fashion, Avins declares,

At my house, getting dressed is a daily act of cultural appropriation, and I’m not the least bit sorry about it. ...

As I dress in the morning, I deeply appreciate the craftsmanship and design behind these items, as well as the adventures and people they recall. And while I hope I don’t offend anyone, I find the alternative—the idea that I ought to stay in the cultural lane I was born into—outrageous. No matter how much I love cable-knit sweaters and Gruyere cheese, I don’t want to live in a world where the only cultural inspiration I’m entitled to comes from my roots in Ireland, Switzerland, and Eastern Europe.

Before you write this piece off as ethnocentric and privileged (or even generously, naive and frivolous)... Avins does lay out some arguments and cases for how and when cultural appropriation may be okay:

1. Blackface Is Never Okay
2. It’s Important to Pay Homage to Artistry and Ideas, and Acknowledge Their Origins
3. Don’t Adopt Sacred Artifacts as Accessories
4. Remember That Culture Is Fluid
5. Don’t Forget That Appropriation Is No Substitute for Diversity
6. Engage With Other Cultures on More Than an Aesthetic Level
7. Treat a Cultural Exchange Like Any Other Creative Collaboration—Give Credit, and Consider Royalties

Instructors may consider using this piece as a way of provoking or introducing class discussion around issues of cultural appropriation. Angles to consider might include how processes of globalization affect what cultural appropriation means, or how historical power relations play out today in such banal parts of our lives as fashion.

Racist Mascots

Alongside all of the excitement and fanfare that accompanied the recent start to the 2016 MLB season (go Jays!), seeing sportscasters (and twitter users) discuss the team in Cleveland reminds me of how Native Mascots Perpetuate Racism Against Indigenous People (HuffPo Canada, 2016).

The National Congress of American Indians' "Proud to Be" campaign seeks to end the era of harmful “Indian” mascots. This site provides useful historical information about the use of harmful, stereotypical and racist caricatures of Native Americans by sporting teams. Similarly, The Native Circle explains How 'Indian' Mascots Oppress with point-by-point counterarguments to the usual reasons fans and 'devil's advocates' give to keeping racist mascots and logos (e.g. "I know Indians who have no problem with "Indian" mascots,"  "It's our 'tradition'," or "This is just 'political correctness' run amok").

To round out this sports-centric discussion of racism against First Nations and provide a bit of commentary from an anthropologist about how we are also implicated in the systemic racism of our societies is this reflective piece by anthropologist Steven E. Nash. In this article (Sapiens, 2016) Nash considers his fandom for Chicago's NHL team, their racist logo, and his role as an anthropologist:

As an anthropologist I understand the power of imagery to shape our perceptions of identity. Representations of American Indians shape the public’s concept of Native America, past and present. Anthropologists are supposed to respect difference, not turn to caricature.

Considering how normal these kinds of racist depictions of North American Indigenous Peoples are in sports iconography, this controversy can provide a useful starting point for thinking about issues of systemic racism and structural violence in the classroom. This issue might also be useful for thinking about issues of identity and representation in media, as Nash writes, "[c]hanging logos and mascots is hard because they become part of individual and collective identities."

See also:

• How Understanding Fans is Changing Television (Anthro Everywhere! 5 April 2016)
• Who makes the news? (Anthro Everywhere! 8 March 2016)

Appropriating Indigenous Knowledge: Biopiracy or Scientific Colonialism

"Biopiracy: when indigenous knowledge is patented for profit" (7 March 2016) reflects on an ongoing form of colonial exploitation and cultural appropriation.

Historically, biopiracy has been linked to colonialism, with formerly colonised countries having many of their resources forcibly removed. Pepper, sugar, coffee, quinine, or rubber did, and still do, have significant impact on the world economies. All of them have a colonial past.
At the heart of the matter is the idea of ownership. Patents and trademarks are hotly defended by international trade organisations and multinational groups. But for many traditional farmers or indigenous groups, owning a constantly evolving and changing organism is illogical, as is assigning ownership to one person instead of a community of users.

Even though international organizations like the WTO have prompted the development of legal frameworks to protect plant and animal resources in the contexts of pharmaceutical and agricultural development, these legal interventions fall short of protecting or considering the cultural aspects of knowledge. 

Cultural appropriation versus appreciation

This post from anthropologist Michael A. Brown (michaelfbrown.net) adds nuance to discussing the sometimes confusing lines between cultural appreciation and appropriation, using recent cases that have made headlines in North American media.

The Spectrum of Cultural Appropriation: Recent Cases