with spooky season approaching i would like to once again gently remind the rpc that

día de los muertos/the day of the dead isn’t Mexican Halloween and shouldn’t be treated as such

also if your character is jewish you should NEVER give them horns in any depictions. this is a very problematic stereotype that affects jewish people every day as well. 

Cultural Appropriation, Star Wars and the Myths of White Supremacy

“Look, without our stories, without the true nature and reality of who we are as People of Color, nothing about fanboy or fangirl culture would make sense. What I mean by that is: if it wasn’t for race, X-Men doesn’t sense. If it wasn’t for the history of breeding human beings in the New World through chattel slavery, Dune doesn’t make sense. If it wasn’t for the history of colonialism and imperialism, Star Wars doesn’t make sense. If it wasn’t for the extermination of so many Indigenous First Nations, most of what we call science fiction’s contact stories doesn’t make sense. Without us as the secret sauce, none of this works, and it is about time that we understood that we are the Force that holds the Star Wars universe together. We’re the Prime Directive that makes Star Trek possible, yeah. In the Green Lantern Corps, we are the oath. We are all of these things—erased, and yet without us—we are essential.“ — Junot Díaz

Ever since I saw this quote I’ve been thinking about my favorite fantasy franchises like Star Wars, and how they function in entirely white worlds while depending on racial tropes and stereotypes in order to build that world. For example, the Jedi Knights very clearly draw from Buddhist philosophies, and yet they are almost all played by white men. Another striking example though is the costuming of Padme, played by Natalie Portman, in the newer SW movies. For example:

This exquisite and elaborate regalia is based directly off off Mongolian royal attire, pictured below:

I mean they weren’t really trying to be subtle about it. They just assumed, as most white people do, that nobody watching Star Wars would care or know enough about Asian cultures to notice.

Example 2:

This exquisite hairstyle is also borrowed from a POC culture, specifically an NDN one.

The above image is titled simply “Hopi Girl” and was taken by a white male photographer named Edward S. Curtis who obviously didn’t care to differentiate his subjects with names. The Hopi nation is based in the Southwestern United States.

Keep reading

This is excellent! (We used to get Star Wars comments so often; check out the links!)

You never showed up before.

I’m sure I’m going to get yelled at or tone-policed for this post, so let’s start here: spare your fucking breath.

But if you feel you must rant back at me, read the whole fucking post first.

A few years ago, Black Harry Potter fans pointed out the lack of Black characters in the books. If memory serves me, there are two–Kingsley Shacklebolt and Blaise Zabini. One is a Death Eater. The other one is literally a man named after a kind of prison chain. And fans went “well Jo supports Black Hermione headcanons and she was played onstage by a Black girl!”

A few years ago, Black readers expressed concern over how Rowling portrayed S.P.E.W., and the concept of house elves being slaves. People dismissed this as being because the house elves are based on the folkloric brownies–and while this is true, there was absolutely no attempt to show why Hermione was wrong beyond “lol silly girl, wanting to free the house elves,” nor was any attempt made to show why the treatment of Dobby and Winky was wrong beyond “well their masters were Slytherins what can you expect.” Black readers’ concerns were dismissed.

And a few years ago–around the release of Cursed Child was the first time I encountered it–Black fans pointed out that Lavender Brown was Black in the movies … until she became Ron’s love interest and was recast as a while girl. People got kind of mad and then forgot about it.

Over a decade ago, Jews pointed out that the goblins were antisemitic stereotypes. They were largely ignored. More recently, these pointings-out have been gaslit, ahistorically waved away, or the critics have been threatened.

About four years ago, I wrote a piece about why Snape is an antisemitic stereotype, and why, while he’s fascinating as a character, his narrative is extremely concerning within the context of being framed as Jewish-coded. I was largely ignored, except by Jews. I was still a gentile at the time and even so I was told by other gentiles that I was imagining things–or that I was the one stereotyping Jews by recognizing the negative stereotypes in the work, so maybe I was the bigot, huh, how about that.

A couple of years ago, someone actually took Rowling to task on Twitter about there being no Jews in the books. Her reply was “there are plenty! Anthony Goldstein is Jewish!” Anthony has no spoken lines–his biggest interaction with any of the main cast is shooting Harry a dirty look–and his Jewishness is not mentioned or shown anywhere.

I can’t be sure when I started seeing this, but as a onetime Harry Potter fan myself, I can say for sure it was within a year of Deathly Hallows the book coming out: criticism of the fact that the only gay character in the books turned out to be a master manipulator who was in love with a Hitler parallel, was in charge of children, and was actively grooming a young boy. (Later criticisms have been angry that Dumbledore was never mentioned as gay in the books. On that one, I have to give Rowling a very begrudging pass–even if she’d found a way to bring it up, in 2007 it would have been censored right back out.) And yet other than the occasional stray comment, that criticism has largely been ignored.

LGBT activists and gay men have been outraged since 1999 because Rowling stated that lycanthropy was supposed to be a corollary for AIDS. Ah, yes: because AIDS makes its victims turn into deadly, feral beasts once a month but causes absolutely zero other health problems, and it’s most commonly spread by ill actors who know they’re poz and deliberately infect others. Yep. Sounds accurate to me … not.

Twenty years ago, Chinese-American readers and Chinese-British readers pointed out the racism inherent in the name “Cho Chang,” which sounds quite close to the racial slur “ching-chong” (and also is not a real Chinese name). They were ignored. At best, their legitimate grievance was trotted out as a “tsk tsk” addendum when the focus on Rowling’s anti-trans views started coming to light.

When the background lore for Fantastic Beasts came out, Native American readers were horrified by what Rowling did with their culture. I don’t think I can even list all of their complaints here because they were so many, so myriad, and it’s literally easier and more to the point to just say “she was lazy and clearly did not do a single line of research, ever, at all, and did not get anything right, at all, and in fact got a lot of things very offensively wrong.”  People got mad for about five minutes and then forgot all about it when the movie dropped.

Readers with ties to the African continent were also horrified, by the way, because supposedly there’s one magical school for the tiny little islands of the UK and also one magical school for the biggest continent on earth. The many cultures, languages, and the basic geographic impossibility of this were all ignored by Rowling and her publishers–and fans, who got mad for five minutes and then forgot about it when the movie dropped.

When it came out that Nagini was some kind of snake woman, being played by a Korean actress, some fandomers pointed out that it was really fucking gross to have a Korean woman trapped by a man who then “impregnates” her with part of himself. Among other things, it’s at best an unfortunate parallel with the Korean “comfort women” of WWII. (translation: Korean women who were raped and tortured by Japanese soldiers.) People got mad for about five minutes and then forgot about it.

At some point–again, Potter has been in my direct or periphery for such a long time that years start blending together–Rowling made a statement about how the reason there are no disabled people at Hogwarts is because they’re “fixed” by magic. There was basically no outcry at all.

And now that Rowling’s rabid anti-trans views have come to light, you want to pretend you never knew she was a terrible bigot.

You’re showing up for trans women. As you should. Good job, have a gold star.

But do not forget, and do not give yourself a pass, that you never fucking showed up for the rest of us. You were passive and dismissive and justifying.

She is racist, ableist, queerphobic, and antisemitic. You have had a way to know this for twenty years. Even if you missed some of the early criticisms–I did, I was twelve years old and I fully recognize that many Potter readers aren’t even as old as the series itself, I don’t expect a five-year-old to have noticed this stuff–the evidence has piled up and piled up and piled up.

And only when it became a cause that’s politically convenient did outrage begin.

Speak out for the trans women who have been and will be harmed by Rowling’s recent drive off the cliff. Please do. I mean that genuinely. This is not okay.

But speak out for the rest of us too. Call her to task for EVERYTHING. Otherwise it’s empty performative posturing.

Your activism must be intersectional. Or it’s bullshit.

Found this on Facebook! BOOST!

Tell Etsy that #ThisIsNotNative

you're telling me gucci wants to "convene, unite and strengthen the voices speaking out for girls and women around the world"?

'Abused so badly they suffered miscarriages': Horrific conditions at Gucci store (where staff were told they were 'too poor' to get discount card)

....Chinese immigrants toiling long hours in ramshackle, poorly illuminated sheds, and then sleeping in small rooms behind thin plywood right there in the factories......Though located in one of Italy’s most picturesque and tourist-frequented regions, many of the factories are nothing more than sweatshops with deplorable conditions and virtually indentured workers.

...the brand showcased a complete disavowal of minority groups by having a group of majority white models (78 out of 90 models to be exact) walk down the runway wearing clothes stolen from other ethnicities and cultures. A white man wearing a bindi, white models in hijabs and turbans, and a white woman in a headpiece designed to look like Chinese architecture...

Why It’s Ridiculous for Gucci to Claim “Ignorance” in Its Blackface Designs...managing to release a sweater featuring one of the oldest racist tropes in America.

Two More Designers Have Called out Gucci for Plagiarism

The Story Behind Gucci's Plagiarism of Disabled Artist Sharona Franklin

but keep telling me how woque and ethical they are i guess

Sara Jacobsen, 19, grew up eating family dinners beneath a stunning Native American robe.            

Not that she gave it much thought. Until, that is, her senior year of high school, when she saw a picture of a strikingly similar robe in an art history class.

The teacher told the class about how the robe was used in spiritual ceremonies, Sara Jacobsen said. “I started to wonder why we have it in our house when we’re not Native American.”

She said she asked her dad a few questions about this robe. Her dad, Bruce Jacobsen, called that an understatement.

“I felt like I was on the wrong side of a protest rally, with terms like ‘cultural appropriation’ and ‘sacred ceremonial robes’ and ‘completely inappropriate,’ and terms like that,” he said.

“I got defensive at first, of course,” he said. “I was like, ‘C’mon, Sara! This is more of the political stuff you all say these days.’”

But Sara didn’t back down. “I feel like in our country there are so many things that white people have taken that are not theirs, and I didn’t want to continue that pattern in our family,” she said.

The robe had been a centerpiece in the Jacobsen home. Bruce Jacobsen bought it from a gallery in Pioneer Square in 1986, when he first moved to Seattle. He had wanted to find a piece of Native art to express his appreciation of the region.

       The Chilkat robe that hung over the Jacobsen dining room table for years.   Credit Courtesy of the Jacobsens      

“I just thought it was so beautiful, and it was like nothing I had seen before,” Jacobsen said.

The robe was a Chilkat robe, or blanket, as it’s also known. They are woven by the Tlingit, Haida and Tsimshian peoples of Alaska and British Columbia and are traditionally made from mountain goat wool. The tribal or clan origin of this particular 6-foot-long piece was unclear, but it dated back to around 1900 and was beautifully preserved down to its long fringe.

“It’s a completely symmetric pattern of geometric shapes, and also shapes that come from the culture,” like birds, Jacobsen said. “And then it’s just perfectly made — you can see no seams in it at all.”

Jacobsen hung the robe on his dining room wall.

After more needling from Sara, Jacobsen decided to investigate her claims. He emailed experts at the Burke Museum, which has a huge collection of Native American art and artifacts.

“I got this eloquent email back that said, ‘We’re not gonna tell you what to go do,’ but then they confirmed what Sara said: It was an important ceremonial piece, that it was usually owned by an entire clan, that it would be passed down generation to generation, and that it had a ton of cultural significance to them.“  

Jacobsen says he was a bit disappointed to learn that his daughter was right about his beloved Chilkat robe. But he and his wife Gretchen now no longer thought of the robe as theirs. Bruce Jacobsen asked the curators at the Burke Museum for suggestions of institutions that would do the Chilkat robe justice. They told him about the Sealaska Heritage Institute in Juneau.

When Jacobsen emailed, SHI Executive Director Rosita Worl couldn’t believe the offer. “I was stunned. I was shocked. I was in awe. And I was so grateful to the Jacobsen family.”

Worl said the robe has a huge monetary value. But that’s not why it’s precious to local tribes.

“It’s what we call ‘atoow’: a sacred clan object,” she said. “Our beliefs are that it is imbued with the spirit of not only the craft itself, but also of our ancestors. We use [Chilkat robes] in our ceremonies when we are paying respect to our elders. And also it unites us as a people.”

Since the Jacobsens returned the robe to the institute, Worl said, master weavers have been examining it and marveling at the handiwork. Chilkat robes can take a year to make – and hardly anyone still weaves them.

“Our master artist, Delores Churchill, said it was absolutely a spectacular robe. The circles were absolutely perfect. So it does have that importance to us that it could also be used by our younger weavers to study the art form itself.”

Worl said private collectors hardly ever return anything to her organization. The federal Native American Graves Protection and Repatriation Act requires museums and other institutions that receive federal funding to repatriate significant cultural relics to Native tribes. But no such law exists for private collectors.

       Bruce and Gretchen Jacobsen hold the Chilkat robe they donated to the Sealaska Heritage Institute as Joe Zuboff, Deisheetaan, sings and drums and Brian Katzeek (behind robe) dances during the robe’s homecoming ceremony Saturday, August 26, 2017.   Credit NOBU KOCH / SEALASKA HERITAGE INSTITUTE      

Worl says the institute is lobbying Congress to improve the chances of getting more artifacts repatriated. “We are working on a better tax credit system that would benefit collectors so that they could be compensated,” she said.

Worl hopes stories like this will encourage people to look differently at the Native art and artifacts they possess.

The Sealaska Heritage Institute welcomed home the Chilkat robe in a two-hour ceremony over the weekend. Bruce and Gretchen Jacobsen traveled to Juneau to celebrate the robe’s homecoming.

Really glad that this is treated as hard hitting news, no really, I am

This is why spaces like Tumblr are so vital in changing the narrative. We cannot back down from the truth.

The conversation surrounding cultural appropriation has been so severely mutilated by white “allies” that the original intention behind that conversation has become almost unrecognizable in most social contexts.

To explain what I mean, the conversation around cultural appropriation was started by black and native people to discuss the frustrations we feel at being punished socially and financially for partaking in our cultural heritage while white people could take, I.e. appropriate, aspects of our culture that we are actively shamed for and be heralded as innovators. It was about the frustrations we feel when the same white people who shamed us would take our culture and wear it as if they were the ones who created it while still actively shaming us for doing the same.

The original push behind naming cultural appropriation and having these conversations were so that we as a society could evaluate why we were punished for our heritage while white People were not. It was supposed to be about seeking solutions. The idea was to create a society where we could celebrate our cultures with impunity. It was never about telling white people that they “weren’t allowed” to do certain things. We did ask that white People stop doing certain things because they weren’t doing them respectfully and were not invited to do them, but the primary reason we asked them to desist was to reclaim the things they had stolen and to reassign them culturally back where they belonged.

White “allies” saw these conversations happening and instead of trying to aplify our own voices or even try to learn about the complexities behind why we were saying what we were saying, they instead began screaming over us and creating a narrative that was hardly even the bones of what we originally set out to say. It was like they took the conversation we were trying to have, completely decontextualized it, and stripped it of all it’s nuance in order to gain social currency by seeming progressive.

So the conversation around cultural appropriation went from “This aspect of our heritage belongs to us and we find it egregious that we are shamed for it. What steps can we take to address the racism that’s creating this situation as well as rehome the things that have been stolen” to “you’re not allowed to do that because if you do that you’re racist, we don’t really understand why that’s racist but you’re not allowed to do that and if you do that you’re a klansman no exceptions. So you’re not allowed because because”

At the end of the day, did I like the fact that sally was wearing dreads? No. But my primary concern was not that sally was wearing dreads but rather that sally could wear dreads and I couldn’t. THAT was the intended focus of those conversations. It was about addressing the inequality. It was about us. Now the conversation is just about sally and were completely forgotten.

White People are always asking me what they can do to help. You want to know? Stop talking. Aplify our voices and shut the fuck up because you all have pretty much derailed this conversation and many more like it to the point that we no longer are trying to make steps to understand and dismantle the racism around cultural appropriation and instead are just using it as social shaming tactics.

TL;DR: read my post. Most things worth learning about can’t be summarized in the bullet points of a buzfeed article. Don’t come into academic circles and complain because everything hasn’t been conviently summarized for you. Stop pretending that things aren’t accessible to you because you refuse to do the intellectual labor that is learning.

http://www.bihorcouture.com

hey friends, if you care about cultural appropriation and the damage it causes, please check out this awesome project!

in 2017 dior copied the design of a traditional romanian coat from the county of bihor and sold it for 30,000 euro, giving no credit to the local artisans. in response, romanian fashion magazine beau monde helped the community create their own brand, bihor couture, which sells the original coat, handmade to order, for 500 euro a piece. they also sell other traditional clothing and jewelry for much more accessible prices (5-45 euro). they’ve been hugely successful so far, and currently have enough pre-orders to cover 4.5 years of work, with 100% of the profits returning to the community. 

it’s surprisingly common for big name fashion designers like dior, gaultier, tom ford and altuzarra to copy traditional romanian clothing and sell it for ridiculous prices, with minimal original input, while giving nothing back to the community where these designs originated. it’s completely unfair that a big name designer can just steal so much hard work and misuse it to make huge profits. 

please support bihor couture, if not by ordering one of their products, then by spreading the news around. it’s really awesome to see a small community fight back against cultural appropriation so successfully. i hope they carry on for a long time!

What is cultural appropriation, and how to avoid it

I think I’m going to make that previous post into a post that can be reblogged. Again, this is just one person’s opinion about cultural appropriation! Don’t take my words as absolute truth. Ask different people what they think and read different stories.

—

What is cultural appropriation?

The phrase means literally, “one culture taking parts from another culture”, for example, the idea of pizza spreading from Italian immigrants to become a food that people call “American”. But, it’s not as simple as that.

One reason cultural appropriation can be bad, is that sometimes, it has the power to make people stereotype the original culture, or, make them see a version of it that is mostly invented by people who are not from that culture, and, not actually true. It can cause people to see the other culture as “strange” and “exotic”, because, they only see the other culture through the eyes of the people from their own culture. This usually happens when a very powerful culture takes things from a less powerful culture, and stereotypes them or creates their own idea about them, that erases people’s idea of the original culture.

Another reason it can be bad, is that rituals and history that have a strong meaning to the original culture, can be treated by outsiders as “just for fun”. Then, the ritual or history is treated in a way that is disrespectful and offensive, to someone who has it as a very deep part of their culture.

—

How to avoid cultural appropriation?

Cultural appropriation damages cultures when a dominant culture takes things from another culture without understanding them, or uses them in ways that are not how they were originally, and replaces the dominant culture’s idea of what the other culture is like. To avoid this:

In the end, treat other cultures like you would want people to treat yours. You don’t have to think “I never can do anything involved with this culture”, but be very careful thinking you know about a culture because you learned a few things. Be respectful and humble, and always willing to learn. Don’t jump in with your ideas, listen more than you speak. Always let the person from that culture speak first.

And if someone says, “those clothes/that word/that kind of food has an important meaning, you can’t just use it for fun”… then, listen and respect that.

This way, you can enjoy learning and moving beyond just the ideas in your own culture, without causing harm! I hope this helps （´・ω・｀）