A powerful essay on the “co-opting” of minority cultures by Parul Sehgal. This is something I am deeply interested in understanding and observing within “participatory culture,” which often takes part in remixing texts of many kinds. Sehgal’s points are a clear and necessary check on the “fast and loose” nature of those borrowing culture to create culture.
Calling out the co-opting of minority cultures to seem cool has become a public ritual. But where is the line between borrowing and theft?
…Questions about the right to your creation and labor, the right to your identity, emerge out of old wounds in America, and they provoke familiar battle stances. The same arguments are trotted out (It’s just hair! Stop being so sensitive! It’s not always about race!) to be met by the same quotes from Bell Hooks [sic], whose essays from the early ’90s on pop culture, and specifically on Madonna, have been a template for discussions of how white people ‘‘colonize’’ black identity to feel transgressive: ‘‘Ethnicity becomes spice, seasoning that can liven up the dull dish that is mainstream white culture.’’ It’s a seasonal controversy that attends awards shows, music festivals, Halloween: In a country whose beginnings are so bound up in theft, conversations about appropriation are like a ceremonial staging of the nation’s original sins.
…In an essay in the magazine Guernica, the Pakistani novelist Kamila Shamsie called for more, not less, imaginative engagement with her country: ‘‘The moment you say a male American writer can’t write about a female Pakistani, you are saying, Don’t tell those stories. Worse, you’re saying: As an American male you can’t understand a Pakistani woman. She is enigmatic, inscrutable, unknowable. She’s other. Leave her and her nation to its Otherness. Write them out of your history.’’