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PART 1: Promoting Cultural Appreciation and Avoiding Cultural Appropriation
By: Denise Viera, Member PSA Board of Governors & DEI Committee
It was an overcast yet slightly warmer-than-usual mid-January Sunday afternoon in Boston. Mildly concerned that I would miss my flight out of Logan airport in just a few hours, I still made my way to the front row of TD Garden to watch the Men’s Free skate at the 2014 U.S. Figure Skating Championships. I scrambled past a small Japanese man who spoke little English — at least to me. Other than awkwardly polite nods and small smiles we barely interacted over the next two hours.
Then it happened. A 19-year-old white Jewish skater took the ice to perform his Irish-American themed program created by an Afro-Latino choreographer and polished by the Midwestern woman who coached him. Before Jason Brown could finish his final spin, I, an African-American woman uncontented with merely applauding, had leapt to my feet while simultaneously the Japanese man to my left sprung from his seat. Overwhelmed by what we had just experienced we hugged each other while jumping up and down. Through not only technical skating elements, but by incorporating all the core dance components (Body, Action, Shape, Timing and ENERGY) paired with vibrant costume design, Jason Brown, Rohene Ward and Kori Ade had woven the tapestry of a compelling and successful program. Such is the power of a wellconceived, well-constructed, well-executed figure skating program. And, the audience loved it.
But, were we all wrong? Does a Jewish guy get to skate to Riverdance? Should an African American of Puerto Rican descent interpret a decidedly Irish American dance style? Is green costuming too cliché and stereotypical in depicting Irish culture? Was I as an African American supporting cultural appropriation at the expense of Irish and Irish American people? Were we all supporting the appropriation of culture?
Cultural Appropriation
Noun
1. The unacknowledged or inappropriate adoption of the practices, customs, or aesthetics of one social or ethnic groups by members of another (typically dominant) community or society.
Oxford English Dictionary, March 2018
What is cultural appropriation? How does it differ from cultural appreciation and cultural exchange? Who gets to decide?
Three items are central to the concept of cultural appropriation:
First, the use must be outside of its original cultural context.
Next, an imbalance of power must exist between the person or people using a cultural aspect and the people from which it is drawn. Typically, this is the dominant social or economic community drawing from a marginalized community.
Finally, the use must be inappropriate when seen through the lens of the originating group and/or the originators are unacknowledged.
Conversely, cultural appreciation and cultural exchange are respectful and require an understanding and acknowledgement of the source material.
In a creative context some wonder if concerns about cultural appropriation even matter. Why not use music from another culture, or add in some exotic movements, use a cool symbol on a costume or juxtapose elements from several communities? Isn’t that what being creative is all about? Isn’t imitation the highest form of flattery?
Sadly, no. Cultural appropriation is exploitative.
Every culture’s history is essential. Everyone deserves to have their lives elevated through the beauty of truthful representation. - ROHIT BHARGAVA
Even when the manner of use is not overtly negative, it is still disrespectful to use something of value that belongs to others without credit or compensation. Too often people are marginalized and belittled for customs and aesthetics that when adopted by people from outside their community are lauded. For example, Black women have long been told that wearing their hair in protective styles such as braids, locs, or knots is not professional. Many workplace dress codes specifically banned these styles. However, when non-Black women such as Kim Kardashian (and Bo Derek) wore them, these styles were considered new and trendy.
Cultural or religious icons may have sacred or important meanings that require use only in a very specific context. Use outside of those contexts or by the timing of elements and shapes we make are not random. This synergy of art and athleticism is grounded in a rich history of proven technique. We take the time to learn about elements and how they connect. people who are not members of the community is disrespectful and often offensive. Further, marginalized communities typically lack access to markets to monetize their creativity. When people from outside of the community benefit financially while people within the community could not disadvantaged people are further exploited.
We must be no less diligent in our use of components derived from other cultures. Because even when easily mimicked, styles, rhythms, poses, and movements are grounded in cultural context. Use of cultural elements without context is not creativity; it is caricature.
Building a strong program takes time. Use some of that time to learn authentic origins; appreciate cultural context; consult experts and compensation them; incorporate respectful usage; and acknowledge the sources you draw from. Don’t use fear of the hard work as an excuse for exclusion and exploitation.
Borrowing from other cultures is inevitable, but there are positive ways in which it can be done. We should engage with other cultures on more than an aesthetic level. - RUKA HATUA-SAAR WHITE
Cultural appreciation and exchange require respect and effort. As coaches and choreographers there is the constant challenge to create something fresh, new, or different. Each season becomes increasingly complex. Coaches must teach jumps with more rotations; spin with greater variety and difficulty; develop intricate, yet proscriptive footwork; keep up with constant rule changes; and train younger and younger athletes. All of this must be done under the time pressure of a never-ending training cycle and crammed into a few short minutes. Under pressure to innovate, it is often tempting to look to the latest fad or copy a style with little thought of its cultural context.
As skating coaches, we train our students to understand the use of their bodies, the importance of specific movements and isolations. We understand that
Do the work to truly learn about other cultures from its members. In doing this it is important to remember that no one person or small group is the keeper of culture. But, through research and engagement we can learn to appreciate different cultures in their context. This sharing of information can lead to authentic cultural exchange.
All cultures learn from each other. The problem is that if the Beatles tell me that they learned everything they know from Blind Willie, I want to know why Blind Willie is still running an elevator in Jackson, MS. - AMIRI BARAKA
Jason Brown’s Riverdance at 2014 Nationals went viral. It was viewed online over 3.5 million times. That is the stuff that makes coaches’ dreams and careers. Music selection, program concept and construction can make or break a skater’s season. While trying to create “that moment”, we should not fear trying something new. But, like other aspects of skating cultural exchange takes work.
The next article in this series will provide more information how to avoid cultural appropriation and promote cultural appreciation — including tips from other coaches and choreographers.
