See also: [Feminism] esp: [Modernism] (art) [] (poly-sci) [Modernists] [Post Modernism] [Post-post-modernism] [Post-911 Era [Art Talk, by Cindy Nemser] [Post-Modernism] (LIT)


On this page: {Appropriation}


Source: "Worlds in Collision -- Dialogs on MultiCultural Art Issues", by Carlso Villa (Project Directeur), Reagan Louie and Carlos Villa (eds), David featherStone (Assoc Ed), LCCN N'6537.4'W67'1994, ISBN 1.883255.46.5, (International Scholars Publications, San Francisco, CA (see map), 1994) On Pp. 114-115, the subject of "Appropriation" is raised. Specfically, arguments that anglos *appropriating* non-anglo cultural outlooks to create works of fiction. BEGIN BLOCK QUOTE (extracted from a much longer discussion) [begins with discussing a "machine" which is refered to as the "border machine"; briefly, the fiction that a border exists, it is a convenience by which (primarily) American and Japanese companies exploit the Mexican workers (in Mexico), and with the advent of mass communications (refer to Cosumerism, Disney, et al) the *desire* (ganos if my Spanish serves me still) is produced in the average Mexican to see the "City of Gold" to the North (refer to my "Tale in the Manner of Kahlil Gibrahn"). Finally, in the context of this "machine"...] It is in the context of the desiring machine that I [Emily Hicks, "The Border Machine", Chapter (op. cit), PP.111-118] that I want to discuss appropriation and liberary voice: Given the economic in-equalities between Anglo women and Latinas [Spanish: Hispanic Women; in spec. re: Women of Latino descent (ie, of the "Western Hemisphere" as opposed to the "Old World" (Eastern Hemisphere; in spec. re: Europe); NB: "Latino" (masc), "Latina" (fem), LatinXX?? (nether??) -- alas, i digress]
Given the economic in-equalities between Anglo [W]omen and Latinas in this machine, for example, Chican critic and artist Amalia Mesa-Bains would want to know [would she? Intiionlist falacy suspected] the motivation for the collaboration (read appropriation of Chicana voices [again, Fem. Usage; masc: "Chicano", nether: "ChicanXX??"] by [authors] [Marge] Piercy [authoress: "Woman on the Edge of Time"] and [Kate] Braverman [authoress: "Palm Lattitudes"]. Neither Piercy or Braverman are fluently bilingual, so neither are their books, although Spanish words and passages do appear. [Note 1 where in i begin] END BLOCK QUOTE


(This section only) [1] It is at this point, that i (surely, Shirely) feel compelled to raise the intentionalist flag on the play. I am not (nore probaly care to be) familiar with the two works in question (by authoresses Piercy and Braverman], on the other foot, i am (some-what) familiar with a non-african-american authoress of the book: "Ashaki, African Princess", by Patricia Weaver, ISBN 0.595.18283.6, LCCN (not listed), (Writer's Club Press (an imprint of, Inc), Lincoln, NEB, US, 2001). When she went to promote her book at a meeting of (mostly) Black writers some were upset by the presence of this "upstart", others vibed favourably. When she first described to [various personal commications], me this project I became quite excited -- here was a civilisation that I (that's how excited i was, i started using (briefly) upper case for the first-personal pronoun! ;) A CIVILISATION THAT HAD HERE-TO-FORE (in my limited knowledge; see map) HAD ONLY BEEN GIVEN SCANT SPACE IN ART HISTORY BOOKS. Now, of course the Kingdom of Kush (located on the upper Nile) is well known; eg, the modern poet/rap artist "Naz" (as in NaZstrodomous) uses it as part of the central theme in his rap "I know I can" which gives a very up-lifiting (and historically accurate (tip my towel three times in his general direction; once to the man, once to his work, and once to all that seek the way of peace). But, outside of the "issue" [film reference "True Crime"] of "appropriation", Weaver's intent is clear (it is stated in the introduction, unless like Borges/Nadin/Leeding we must (if we must) entertain the concept that the introduction is fiction as well) -- "One day, I listened to a young black couple as they lamented the shortage of positive black images in the medai and what effect this might hav on their young, impressionable daughter. [Weaver has a daughter and a son]. That's when it hit me: 'Why are there no young children's stories of a black African beautiful princess and handsome prince that might counter-act or 'balance' some of the negative images of blacks?" Even Disney (which has wwonderful African stories such as "Tarzan" and "The Lion King") has no fairy tales revolving around a 'black' prince and princess. [P. v, "Forward", Op. Cit, Weaver, 2001]. Don't get me started on Disney [Note 2]. Weaver (begin who she is) reflects (in her novel) a scientific and humanist outlook; after a search for a publisher, she was able to self-publish via []. ??exact page ref?? I would argue that regardless of the "appropriation of voice" at work here; she is hardly conversant with Swahilli, let alone Bantu, etc. (who, other than native spearkers, linguists, and a few odd balls here and there are?). So, i would say that probably the same arguments raised by Hicks and others would equally apply to Weaver's work. And yet, when i pick up a paint brush my "whiteness" or "redness" (or for that matter my "Irish-ness" is not the first thing that leaps to mind (tears itself into my consciouse existence/existance)). When i pause to think of Nacho Lopez, his thought pervade my mind regardless of whether he speaks a word of English, and i speak so little Spanish. Indeed, as i begin a work, my mind often wanders from topic to topic. And as i let a particular thought here or there "take me over", become aware of the culture and b/g (as much as i might know it -- my ignorance (see map) *is* vast), it begins to affect every "stroke" of the brush/pen/yarn/burnisher/etc. What pervades/resonates/speaks/alters/re-invents-within-me/etc is not so much the differences, but the similarities (natch). As i am wont to say or at least think about on an almost daily basis: Four Million Years ago in Africa did we all stand. ... (fade to scene, Afar Region, Terra (see map))... Lucy: (sighs realising that things are *not* going to get any better), picks up Kwahmi and sez to the tribe) We have to go. There's nothing for us here. (after a few seconds, mumbles from tribal members) (to the rest of her children) Come-on Kids, let's go. (exunt slowly .. fade from scene -- almost darkness, when the lights come back up, an old white man is sitting at a small card table typing furiously into lap-top computer. He pauses, wipes teers from his eyes, sniffs his nose, and then pauses, stretches backward in the OFFICE CHAIR that he is sitting in. CLOSE UP: (he activates music player on the notebook, after searches up and down, for a bit, finally activates an entry: SHUBY#8 (Schubert's Eight Symphony) CLOSE UP (his face) -- teers, keeps typing NOTE: THe part of the "old white man" is completely arbitray, "he" may be played by anyone young or old, human or dolphin, fromage or monolith, etc. (it's "just a reference point") CLOSE UP (what is being typed on the screen) And onto the dry plane, they began. Much was on Lucy's mind. The death of her mate. The words of the sage who had plumeted over the chasm, leading the lion to its own doom, and thus saving the tribe: Time will tell. It always does. But, mostly she thought to look back. But, then checking herself. She stopped. She was the leader now. Her mate had been eaten by the lionesses. If she looked back, it would give (close up, the writer's face -- breaks into semi-silent sobs; Music index 4:24) it would give a bad impression. She went on. (POV "She went on", CLOSE UP, the writer's face, then resumes typing) END OF CHAPTER ONE (gets up from the table, hobbles into the kitchen -- noticable problems walking (NOTE: If the part of the "writer" is played by a monolith or other floating object, "somehow" the idea that despite some very apparent ailment, the "writer" goes on as well; eg, as in Samuel Beckett's comment: I can't go on. I *will* go on. -- peace to all, Frank. 2005.12.09, 12:39pm CaDST {Back to the TEXT}