Apropiación cultural & chicano culture ph5

Cultural Appropriation & Transculturalism

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Cultural appropriation is an active process -> retains the meaning of a ‘‘taking.’’ Mere exposure to the music or film of another culture does not constitute cultural appropriation.

Appropriation:Merriam-Webster’s Collegiate Dictionary (2004) offers two definitions of the verb ‘‘appropriate’’: ‘‘to take exclusive possession of’’ and ‘‘to take or make use of without authority or right’’ (p. 61). Appropriation is derived from the Latin appropriare, meaning ‘‘to make one’s own,’’ These meanings parallel the use of the term in legal contexts, strengthening the connotation of an unfair or unauthorized taking: theft.

"[...] appropriation as the use of one culture’s symbols, artifacts, genres, rituals, or technologies by members of another culture—regardless of intent, ethics, function, or outcome." (p. 476)Rogers. R. (2006) From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropriation. Communication Theory, 14(4),474-503

Cultural Appropriation

Chincano identity emerged among anti-assimilationist youth. Some of them felt identified with the Pachuco subculture, who re-claimed the term pachucho which had previously been a classist and racist slur. Chicano culture was reclaimed in the 60's and 70's, with a revival in the 90's to express political empowerment, ethnic solidarity and pride in being of indigenous descent.

A chosen identity for many Mexican Americans in the United States.

Chicano culture

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1. Cultural exchange: the reciprocal exchange of symbols, artifacts, rituals, genres, and/or technologies between cultures with roughly equal levels of power.2. Cultural dominance: the use of elements of a dominant culture by members of a subordinated culture in a context in which the dominant culture has been imposed onto the subordinated culture, including appropriations that enact resistance.3. Cultural exploitation: the appropriation of elements of a subordinated culture by a dominant culture without substantive reciprocity, permission, and/or compensation.(p. 477)

Cultural Appropriation: 3 styles

¿Boxer braids?

Cornrows dated far back to 3000 B.C., particularly in the Horn and West coasts of Africa.They signified your tribe, your marital status, your wealth, religion, and more.Many slaves were forced by their slave masters to shave their hair so that they would be more “sanitary”. Not all slaves would shave their heads. And this is how cornrows became popular among the enslaved Africans. Cornrows were also used to give messages, draw maps, hide seeds and gold to survive after escaping.

Transculturation: cultural elements created from and/or by multiple cultures, such that identification of a single originating culture is problematic, for example, multiple cultural appropriations structured in the dynamics of globalization and transnational capitalism creating hybrid forms.Ex voto: An ex-voto is a votive offering to a saint or to a divinity; usually restricted to Christian examples. It is given in fulfillment of a vow or in gratitude or devotion. Votive offering: is one or more objects displayed or deposited, without the intention of recovery or use, in a sacred place for religious purposes.

Transculturation

EN EL BARRIOen el barrio—en las tardes de fuegowhen the dusk prowls4en la calle desiertapues los jefes y jefastrabajan—often late hoursafter schoolwe play canicasin the playgroundabandoned and dark5sin luceshasta la nochewe play canicasuntil we growto make borloteand walk the streets

ALURISTA(Alberto Baltazar Urista Heredia) ->(born August 8, 1947) is a Chicano poet and activist.

[...]Red ocher. Yellow ocher. Indigo. Cochineal.Pin. Copal. Sweetgrass. Myrrh.All you saints, blessed and terrible,Virgen de Guadalupe, diosa Coatlicue,I invoke you.Quiero ser tuya. Only yours. Only you.Quiero amarte. Atarte. Amarrarte.Love the way a Mexican woman loves. Letme show you. Love the only way I know how.

[...]You bring out the colonizer in me.The holocaust of desire in me.The Mexico City ‘85 earthquake in me.The Popocatepetl/Ixtacchuatl in me.The tidal wave of recession in me.The Agustín Lara hopeless romantic in me.The barbacoa taquitos on Sunday in me.The cover the mirrors with cloth in me.

[...]You bring out the Dolores del Río in me.The Mexican spitfire in me.The raw navajas, glint and passion in me.The raise Cain and dance with the rooster-footed devil in me.The spangled sequin in me.The eagle and serpent in me.The mariachi trumpets of the blood in me.The Aztec love of war in me.The fierce obsidian of the tongue in me.The berrinchuda, bien-cabrona in me.The Pandora’s curiosity in me.The pre-Columbian death and destruction in me.The rainforest disaster, nuclear threat in me.The fear of fascists in me.Yes, you do. Yes, you do.

You Bring out the mexican in me by Sandra Cisneros (born in Chicago in 1954)