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"

Reflecting on Métis identity

This post comes from the âpihtawikosisân blog. The author, Chelsea Vowel, describes herself as "Métis from the Plains Cree speaking community of Lac Ste. Anne, Alberta. She currently lives in Montreal, Quebec. Her passions are: education, Aboriginal law, the Cree language, and roller derby. She holds a BEd, an LLB and teaches indigenous youth."

Her blog links to a number of resources on Aboriginal issues in Canada, including a thorough collection of Online Learning Resources, An Open Letter to Non-Natives in Headdresses, and a regular blog.

One such blog post is "You’re Métis? So which of your parents is an Indian?" In this post, the author reflects on Métis identity, and addresses common misconceptions that she has faced in her own experience, what identity means, and some of the legal and political issues that affect these peoples. Here's a short except from this excellent post:

"My understanding of my Métis identity has shifted considerably over the years.  You see, I was only about 5 years old when the term Métis was recognised officially in section 35(2) of the Constitution Act of 1982.  I point this out because although the term Métis predates that official recognition, it was not necessarily the most common term in use. Often we were referred to in the Prairies as the Road Allowance People.  The term ‘halfbreed’ still got tossed around a lot when I was growing up and was pretty ubiquitous in my parent’s and grandparent’s time.  You can imagine how confusing it is in terms of forming an identity, to be known by so many ill-defined names."

Check out this post and others on the âpihtawikosisân blog, or read them in Vowel's forthcoming book, Indigenous Writes: A Guide to First Nations, Métis & Inuit Issues in Canada.

Quick links and further reading:

• "You’re Métis? So which of your parents is an Indian?" (2016, âpihtawikosisân blog)
• âpihtawikosisân blog
• Online Learning Resources, 
• An Open Letter to Non-Natives in Headdresses
• An article about Michif artist and activist, Christi Belcourt, that addresses how she has experienced discrimination from within the indigenous arts community: "Christi Belcourt turned an act of discrimination into a work of art" (2016, CBC)

The power of language in historical narratives

Representation -- the images and language we use to describe our social worlds -- matters. "Discovery, settlement or invasion? The power of language in historical narratives" (2016, The Conversation) digs into how the historical relationship between Australia's indigenous peoples and British 'settlers' has been framed, and what this means for contemporary relationships between these groups.

"The University of New South Wales recently found itself in a firestorm for reportedly encouraging students to use the terms “invasion”, “occupation” or “colonisation” when discussing Captain Cook, who had hitherto often been described as “discovering” Australia in the 18th century, as part of the history of British “settlement”."

Going back to Captain Cook, terra nulis, and delving into current and recent land claims issues, this piece is a useful reflection on how and why language matters.