by Liam Li
Whether it’s the release of Nicolas Jaar’s critically-acclaimed “Sirens”, subsumed in the influence of Chilean politics and culture as a counter-narrative to the Western cultural hegemony or the rather intriguing cover art and oriental elements of the experimental debut “Asiatish” by the Kuwaiti Fatima Al Qadiri, the debate on the use of culture has always driven more to polemics than towards a more critically constructive path. In a world of irreversible globalization, constant interchange of culture, ideology, and goods, is there a universal approach to culture in art that will elevate the conversation from stifling confrontation to a productive synergy?
Culture, as the metaphysical and material abode of collective identity, is the benchmark against which individuals reaffirm and ascertain the presence and validity of their individual identities. Intertwined with religion, ethnicity, locality, generation and class, culture forms part of a subject’s self-awareness and self-perception. Prior to the globalization era, most cultures existed in isolated vacuums, with potential traceable roots in organic origins. As borders become increasingly blurry and equivalent, however, cultural identities are no longer based in a single monolithic dimension. Conventional self-identification is being challenged as the extant identity converges into countless new and hybridized forms.
Kathy Lee, known professionally as Yaeji, is one artist who unapologetically celebrates the multiple facets of her identity while also asserting a sort of resistance against the usual underground electronic music scene dominated traditionally by straight, white, male DJs. The Korean-American, who has lived in both in the US and Korea, started to attract public attention through hosting small parties with local musicians in NYC. These were punctuated by her small and intimate sets, named “Curry in No Hurry” for the Japanese-style curry bowls provided to guests. Residing at the intersection of hip-hop and house music traditions, Yaeji chose not to blend into the existing conventions but to challenge the status quo with dreamy Korean lyrics that are surprisingly catchy and easy to sing along to. This roused an enthralling yet endearing phenomenon: a diverse crowd, defying expectations and enjoying the fun, enigmatic and introspective space that Yaeji had created over a fleeting few hours. Most of them came with common ground, being limited neither by the demarcations of culture, nor their differences. They were there to immerse themselves in a boundless creative space to dance and, as much as possible, let bias and preconceptions go.
Discussion of culture would be void in the absence of politics. Greater political dynamics often reinforce patterns of cultural interaction and serve as reflections of reality. Consequent of global political turmoil and emerging resistance groups, counter narratives targeted at established oppressive institutions and power structures are awakening. Critical groups have begun to participate and deliberate more in public places and re-examine historical wrongdoings. While the majority of these efforts are commendable, some such movements are plagued by one essential problem—excessive identity politics, i.e. forming distinct, exclusive and isolated groups with a cohesive agenda that moves them away from inclusive, broad-spectrum public participation. The self-assertion of traditionally marginalized and oppressed groups is a strong and radical step towards self-identification and resistance. However, overly politicised messages can create an insulated space, inevitably instigating more confrontation.
Admittedly, the line between cultural appropriation and appreciation is extremely fine, but is a call out for the sake of calling out a truly purposeful way to engage in political debate? Is there an unproblematic way to promote a more creative and equal exchange of cultures?
Even those with shared cultural heritage balk at the use of such cultural heritage. Born in Malaysia, later emigrating to the US, Tzusing remarked on the reflection of his chinese roots and his use of Chinese traditional instruments, samples and arts in his latest album “Dongfang Bubai (东方不败)”, named after a famous film in which a the protagonist castrated himself to master a form of mythical martial art. In an interview with Resident Advisor, Tzusing commented on his relationship with his Chinese roots: "If I'm using [a] reference that is Chinese, it's OK because I'm Chinese. But I feel like I'm culturally appropriating my own culture, because I don't know it that well," he said, "It's my background, but I'm getting it from this corny Hong Kong movie. I didn't grow up there, and I didn't grow up listening to traditional Chinese music. I'm just interested in it now.”
Cultural appropriation generally alludes to the adoption of select elements of a minority culture by dominant cultural groups, enabled by power imbalances incurred through historical factors such as oppression and colonialism. Infamous cases include white people wearing Native American headdresses, and the dancers from the Black and White Minstrel Show. However, in an increasingly interconnected world, no one is immune to exposure to other cultures. Many artists and creative folks often draw inspiration from heritage that is not necessarily rooted in their native culture, yet a plethora masterpieces have flourished in the creative symbiosis while maintaining basic respect and appreciation for different cultural heritage. Such intercultural exchanges have existed for centuries. Many of Japan’s iconic foods, such as tempura (Portuguese), tonkatsu (generic European) and even matcha (Ancient China, probably from the Tang dynasty) can be traced back to some foreign origins. Yet, all these elements are well-integrated, and they undoubtedly enriched Japanese cuisine.
In today’s technological democracy, it’s crucial that we scrutinise the information we consume and exercise analytical citizenship. Critical self-reflection like that of Tzusing’s is indeed important in expanding dialogue, but the discussion shouldn’t stop there. Culture flourishes in times of equal exchange, mutual respect, acknowledgment and understanding.
Contrary to the notion that any attempt to use certain elements should be classified as cultural appropriation, more holistic approaches that take into account intercultural dynamics, power imbalances and individual identities will only enrich the culture and bring in more unbounded creativity.
This is especially true in the underground electronic music scene. This space started out as a safe and unrestrained sanctuary in which people freed themselves from normative constraints imposed by greater society, and were encouraged to translate this freedom into all kinds of arts. Equal cultural exchange can co-exist with the current arrangements by promoting intercultural understanding of the cultures themselves and the underlying power structures. Is there a universal creative approach in the use of culture then? No. Societal problems seldom have a single, comprehensive solution, but there are some constants to keep in mind.
A more constructive approach would be to represent the culture you are appreciating in a non-stereotypical manner, i.e. the culture in its pristine own form without comical mockery or chauvinism, followed by the concomitant acknowledgment of where the inspiration came from.
Even in the case of blatant and problematic cultural appropriation, there is a need to inform and enlighten rather than the simple confrontation or policing which is unlikely to be productive.
Art flourishes in times of hardship. We create, we resist and we critically reflect. Instead of appropriating, we must assert and appreciate all kinds of culture.
Photography and image design by Liam Li. Edited by Siobhan McKay.
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