What is cultural appropriation and what does it have to do with finding voice as an artist?
Hi my name is Carrie Brummer and here on Artist Strong I help artists like you build your skill and develop your unique artist voice.
I started drawing mandalas as an act of play. I felt super stressed and anxious, and my feelings of perfectionism were gaining ground when it came to my art. I had as an art teacher taught this activity to my students in the past. I decided I wanted to do something that felt free, fun and relaxing.
When I started drawing them, I couldn’t stop. It became such a source of release! That’s when people starting asking me to make a coloring book from my drawings. I had all of these images, why not? I hired someone to edit my images to make them coloring friendly and then put together the book myself. I felt proud and excited to share this work and feeling of relaxation and fun with others.
Then came the embroidery. My mom looked at my designs and said by chance, “Hey I think these would make lovely embroidery patterns.” A fireworks display went off in my brain, super excited at the notion of returning to textile work, something I’ve done on and off since I was a child.
After I finished these embroideries I decided to start drawing and painting larger and larger mandalas. There was something so fun about them. It was an act of meditation for me to create them, and I was excited at the notion of sharing that sense of calm and meditation with others through my design and use of color.
It was somewhere around this time I started to wonder: am I appropriating a cultural practice?
For years now I’ve practiced yoga. It’s been a regular part of my life and has enhanced the quality of my health and clarity of my mind. I’m kinder to people and myself because of this practice. And I know because of yoga’s connection to India that I likely discovered mandalas through this connection.
For years I’ve always known I want to share my success. And thus it’s always been a plan to have an organization to support through my work. I kept looking and looking, and again yoga led the way. I went to Rishikesh, India and attending The International Yoga Festival. While I was there I went to Ramana’s Garden, an organic food kitchen run by orphans. After eating there and talking with one of the boys raised in that learning community, I knew I had found the place I wanted to serve. You can learn more about Ramana’s Garden in the link I provide below this video.
While living in Muscat and Dubai no question of appropriation came to my mind. But as soon as I returned to North America, it felt so obvious and in my face. Was I using an idea from another culture and using it for my financial benefit? Yes. Was I giving money to an organization to honor that cultural heritage? Yes.
I feel guilt. I haven’t even told anyone really about it because I felt (and still do) embarrassed around this. Maybe even a little ashamed. “Carrie, you should know better.” And I guess I do, because I’m here talking about it.
While there is the inspiration that likely comes from one culture, there is also the interesting fact that mandalas span across time and cultures worldwide:
You can find them as sand drawings, created by Tibetan Buddhists.
You can see them in the art of Aboriginal or First Nations cultures of North America in the dream catcher or medicine wheel.
Mandalas were present in the Aztec calendar.
You can see them in Celtic crosses.
You can see it in Bagua Circle Walking, part of a martial arts training originating from China.
One thing that appears to be shared across all cultures and time periods is that it is a sacred symbol tied to religious belief and meditative practices. Mine do have a mindful, meditation connection but I don’t have religious belief around them.
I like to end my articles tied up and wrapped with a pretty bow, but this is one I don’t have an ending to. I can tell you I have art for sale that is mandala art. I designed them myself, I did not copy or refer to images of other mandalas when I created them. I want to continue to create them for the mental benefits I receive, but I’m no longer sure I should sell future ones I create.
I had a smaller percentage of the art profit going to Ramana’s Garden when the work sells, and I do think I will increase it to honor the inspiration from which they came. But I’m also no longer certain I want to make anymore. I haven’t felt called to create any in a few years now.
Cultural appropriation can be a triggering topic for people. I don’t entirely understand why. IF we make art that looks directly like someone else’s, say Van Gogh’s art, is it REALLY our voice anyway? That’s part of how I hope to serve people in our Artist Strong community: I want to help you find that voice. So separate from the perceived political tone people take with it, ultimately it also points out potential derivative art: a term that suggests the work is not uniquely your style or voice.
I can see how mandalas, and especially working with them in my embroidery work has influenced the work I’m currently doing. And this new series of art, well, I finally feel like I found my voice. It’s the thing I can do and want to do for years to come. And the process and media I use have been directly inspired by my creation of those mandalas.
I would not be making my unique art today without making my mandalas. This is because part of the journey to finding voice is to emulate other artists. Some of the artists we copy from are people like Van Gogh. I sometimes see artists selling art in the style of Van Gogh, but we always think: oh, they paint like Van Gogh. You are likely here because that is something you don’t want for yourself. You want people to look at your art and think, hey, that’s by Carrie (or insert your name here)!
Generally, I encourage students to copy the art of those they admire, but then leave those at home. There is no rule we should sell all the art we create and these are works that are part of finding voice. Often we don’t sell our very first drawings or paintings because we don’t think our skill is strong enough yet. This copying, this Stealing Like An Artist, as Austin Kleon calls it, is a valuable step in skill building and developing voice.
But there are artists who inspire us from groups who have faced historical and even continued oppression today. And it is this context that makes copying their art and selling it questionable.
I know some artists who hate being told what to do (and what NOT to do). Surprising to hear that about artists, no? Haha. You need to trust yourself and what feels right to you. And I’ve always noticed: when I listen to that inner artist of mine, the advice is always pure. I encourage you as an artist to continually ask yourself questions and be curious about the world around you and how the work you create fits in it. It doesn’t matter what I think at the end of the day, it matters how you feel about your artistic contributions when your head touches the pillow every night.
Before I close today’s conversation I’m going to be clear here: Artist Strong always has been and always will be a place that allows people to share their thoughts and feelings, but I insist our community show one another love, thoughtfulness, and kindness in their responses. And this is MOST important when you disagree with someone. Because this topic can be triggering I want to make it clear: I will not have our comments space turn into a shouting match. This isn’t a space to change someone else’s mind, it’s a place to open your own. I will not approve offensive or intolerant comments.
I also want to openly state: I did not write this or talk about this topic to seek permission from others. I’m not looking for comments giving me permission to continue the work. I’m making my decision based on what feels right for me.
As an artist who has built a community, I’m sharing today’s conversation to let you in on some of the things I think about and don’t always openly share with you as part of my creative process, because then I hope you might feel freedom to do the same. Ambiguity is uncomfortable, but I think we should all spend some more time there. Too quickly these days we are quick to point fingers, name call and cut people out of our lives because of different beliefs. But it is through meaningful, ambiguous, awkward conversations we can actually grow, connect, and unite.
I encourage you to be curious about different perspectives and open yourself to ideas that make you uncomfortable. Maybe you will even learn something new about you.
I’ve read some wonderful and interesting articles on this topic that can really bring light to the grey areas of this conversation that I will share below this video.
I know I will certainly continue to do this kind of reflection and ask myself these important questions about my art, because ultimately this work will help me find my unique voice and lead me to the art that I should be sharing with the world. This is what it means to be an artist.
This post from Artist Strong is brought to you by The Artist Strong Studio, our community of patrons who believe and wish to support this community. You can become part of the Artist Strong Studio for a small monthly commitment as low as 1 dollar a month. To learn more visit https://www.patreon.com/ArtistStrong.
A special thank you to current patrons, I couldn’t do this work without your support.
Now, let’s start that conversation: have you ever found yourself creating art that feels too much like someone else? Or reflective of a culture other than your own? Comment below and tell me more.
Thanks for watching and I’ll see you next time here on Artist Strong.
Additional reading for your interest:
https://kenanmalik.com/2017/12/08/the-art-politics-of-cultural-appropriation/
https://ethics.org.au/the-art-of-appropriation/
https://www.researchgate.net/publication/288810938_Cultural_Appropriation_and_the_Arts
https://artseverywhere.ca/roundtables/politics-of-social-justice/
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Carrie, Thank you for opening the conversation. As artists, we are vulnerable creatures when we offer our works to the ‘outside world.’ What we offer is of our own hands, eyes, minds, and very personal perspectives; even when we are studying, or emulating others’ forms and techniques. Opening myself up to others and ‘exposing’ myself through my artwork to others has encouraged me to practice deep reflection on my own artist philosophy; others are interested in my voice, and I want to be able to consciously understand and express myself outwardly in more appropriate ways.
Art is a way to communicate with something outside ourselves, whether we voice it or not; otherwise we wouldn’t put it ‘out there’ to be seen or heard.
As a teacher, I understood the power of sharing others’ cultures and beliefs, so that my students could soak in or reject thoughts, beliefs, etc. in the development of their own Self. If your Mandala creations honor what you have researched of them, and it helps spread the history and culture to others, I personally, do not see a problem with selling your works to help others—but that is my personal opinion.
I feel the important message that you explore here is that we must make these decisions and choices for ourselves; there will always be others to disagree with us. If we understand WHY we are expressing a message through art to others, and WHY we want to expose the outside world to our own personal views and perspectives, then isn’t that enough?
I look forward to reading the articles you have referenced, in order to challenge or reinforce my own views!
As part of that reflection it’s important to ask ourselves (when considering cultural appropriation):
(1) Am I using a style, voice, or emulating an artist that comes from a group this is historically or currently underrepresented, and/or facing oppression?
and
(2) Is this really embodying my unique voice? Or can I take the ideas, styles, and techniques I’m learning and really push them further and in a new way to truly make it my own voice?
If we say yes to 1, or no to 2, we have more journey to make with regard to developing, practicing and sharing art to sell or exhibit (if those are our goals).
Just sharing my perspective, on the issue of cultural appropriation. As an art teacher, a practicing artist, and someone whom comes from a pretty diverse and inclusive family, I think there is a slippery slope in trying to avoid using a style, voice, or emulating an artist that comes from a group this is historically or currently underrepresented, and/or facing oppression. I think as long as you are clear/honest (with yourself and others) and your intentions are pure, I do not see anything wrong with incorporating a style or conceptual element from other cultures, whether they have faced oppression or been underrepresented. If anything, I think that (again the artist is up front and intentions are good) art can bring attention to traditionally underserved cultures and acts as a way to honor them. Every year my students, create an art project based on a culture. I actually prefer to base it on those cultures that have been largely forgotten about (i.e. Native Americans, Hispanic/Mestizo, African American, Asian, because I think it is important to remember and honor them. As an artist, I think the same holds true…as long as the artist is being up front with what they are doing, not claiming it as their own idea. I think in that case, there work will be generally accepted. There are countless examples of artist being influenced by other cultures. For example, the early Greeks were inspired by the Egyptian sculpture, Roman and Byzantine artists were later inspired by the Celts, Vincent Van Gogh was overwhelmingly inspired by Japanese culture and style, Picasso was inspired by traditional African art, Jacob Lawrence, an African-American, was inspired by Picasso’s Cubism, Islamic architecture inspired French and European artists and architects of the Gothic Period, Georgia O’Keefe was inspired by Native American subject matter within some of her paintings, and on and on. Clearly, someone who is making a mockery of a certain culture or claiming something as their own when it not is different, but I think there is a bit of danger in an attempt at avoidance of being inspired by the world around us. Anyhow, this is simply my opinion and I appreciate the article and your views on this subject:)
There is a difference between teaching art forms in a classroom setting where we are hopefully conveying the historical context and full meaning of the work and taking elements of an art form purely for interest or curiosity to incorporate into our art. Influence and cultural appropriation are also different.
I’ve found many people use the examples you share as an excuse not to fully engage with this topic or conversation because of course, no art is made in a vacuum.
As I believe I encourage in this article, I don’t believe artists have to stop making art that is influenced by any one group, but I believe one should think very carefully about profiting from this work. It can be part of the work to developing voice, but is a stepping stone and only a beginning.
I appreciate you thinking on this subject.
Hi, Carrie. The one traditional college visual art (painting) class I took was color study. We did some original work but one of the instructor’s teaching methods was to copy artists. Because I have always loved the Impressionists/Post-Impressionists I chose Cezanne and copied several of his works. Pretty accurately, if I do say so. Someone asked why I didn’t sign my work and I told them that on the back I wrote “color study by Mary Varnum” my maiden name. I love the way Cezanne uses color and brush strokes but I don’t want anyone to ever say “you paint like Cezanne”. I don’t even draw or paint other’s photographs without explicit permission. When a photograph looks like art it already is and belongs to the photographer. I take photographs to help me remember things I want to paint. By the way some areas in North West Florida look like Cezanne’s French landscapes.
It seems to me that here in the United States we are such a mishmash of cultures that it is hard to claim a particular thing as one’s own. So, I am going to do the best I can to be an individual who tries to see accurately and depict what I see in my own individual way.
I know that this is not exactly what you were talking about. But when we balance a flower arrangement in a certain way are we not drawing from the Japanese aesthetic of shibui? When we decorate our Christmas trees aren’t we drawing on German culture by way of New England. How can we avoid it?
I don’t think we should purposely copy specific cultural items to pass off as our own culture for financial gain but for the most part I am not going to second guess everything I try to create. Everything comes from somewhere:
What has been will be again,
what has been done will be done again;
there is nothing new under the sun. Ecclesiastes 1:9 NIV
Or:
If there be nothing new, but that which is
Hath been before, how are our brains beguil’d,
Which, labouring for invention, bear amiss Sonnet 59 Shakespeare
So, while I am trying to find my voice, I am just going to try to be honest in what I do and not worry too much about from where in the vast universe of ideas and visions it comes.
Mary, I am SO glad you posted about this. THIS IS great conversation. And what you are talking about IS the work.
It doesn’t matter where in the world we make art, we don’t make art in a vacuum, we are influenced by things around us. It’s totally okay to be influenced and use ideas we find from others. But what makes it our voice (and not appropriation), is that we twist it, change it, mold it into something new.
For someone to make and sell a dreamcatcher that is not First Nations or Aboriginal, this is appropriation. It’s an idea, an art form that comes from a repressed group in our culture. If instead, someone researched the story and techniques behind dream catchers and perhaps incorporated some of the knots into how they weave, or decided to apply some of the color choices to their paintings, well, this has the potential to be a step in the journey to finding voice.
This year, I went to an exhibition in Montreal that paired African art, as well as contemporary African and African-descended artists to work by Picasso. It was a wonderful way to have a conversation about appropriation.
I genuinely believe if we take a little time to think about it, and care enough to worry about whether we are, it means we are doing some of the reflection work necessary to make sure we are making our unique art.
Don’t let the worry stop you from making. That’s also the value of community and quality feedback from peers and mentors. You can ask those questions and get honest, useful answers!
I’m so glad you wrote here.
Very well said Mary! I totally agree… there’s no sense in second-guessing everything. As a beginning artist, I did some research and read a lot of forum comments on the subject. I would think that most people with a conscience can navigate what should be appropriate “stealing” in art… I was sad (I guess triggered) by the alarming number of people who were just fine with exactly duplicating photography and becoming quite popular for it, under the premise that they would likely not get caught. Some comments were that the legal fees for making a case almost always ensures a victimized photographer won’t take serious action. Myself, I enjoy sleeping at night! Such an interesting topic and fine line for creatives.
Hi Lauren, I understand what you are saying about spending so much time second guessing that we might not make art. But isn’t that a privilege in itself? We can choose to ignore this topic or overlook it because it doesn’t necessarily impact us directly. And yet, with cultural appropriation, there is negative impact on others.
I hear you regarding theft and use of other’s images, it is a rampant problem I have to constantly teach to both young people and adults. It makes me sad too.
Thanks for adding to this conversation.
Hi Carrie,
As you say, mandalas are a part many cultures and religions including Christianity, e.g., the rose windows in many cathedrals. They probably have been a part of many cultures and peoples who no longer exist through artifacts of any kind in our present.
The mandala, the circular form with its multiple layers and symbolic representations is a timeless universal symbol, one that Carl Jung would say is accessible to everyone as part of the Collective Unconscious. As images move from the collective to the personal unconscious into one’s consciousness, that’s when the form takes shape in fashions consistent with both the individual and their culture. Besides the mandala, another example of that are ancient civilizations’ winged gods and individuals who evolved into Christianity’s angels.
If the mandala form had not resonated with you, regardless of the original source, you would not have directed your energy into creating your own versions of them.
There is no one specific people or culture who own the mandala form or its use
as a meditative device.
In fact, the Tibetan Buddhist mandalas, which are so meticulously created by the monks are destroyed soon after completion. It’s done as a lesson of the inherent transitory nature of life and of the everyday world, and as a lesson in non-attachment. Those lessons are a part of the Buddhist religion. The mandala is merely the means of delivering those and other lessons for Tibetan Buddhists but not Mahayana Buddhists such as myself.
If you were to represent your mandalas as Tibetan Buddhist mandalas, Celtic, or even Aztec mandalas, then that would smack of cultural appropriation like many people have done with the Native American dreamcatchers.
But you’re not.
One thing that’s very important in Buddhism is the intent with which one performs an action. In fact, according to one of my dharma teachers, the Buddha said that intent was more important than the result of any action the individual then took either deliberately or accidentally.
What you yourself have said about what you’re doing is simply sharing the sense of calm and meditation the mandalas helped you achieve with others through your design and use of color.
Your intent is to help people, and I hope this helps a little in breaking down those barriers that are stopping you from doing so in your unique way.
Should you be paid for that work? Only you can answer that question, but I suggested you also ask the opposite question as to why you shouldn’t be paid for that work.
One thing that did resonate with me about your post was your intent in writing it as it seems to me reflective of one of my favorite Joseph Campbell quotes.
“One way or another, we all have to find what best fosters the flowering of our humanity in this contemporary life, and dedicate ourselves to that.”
With loving kindness,
Quinn
Thanks Quinn, what you say here, reiterates the things I say in my article. And I agree it would clearly be appropriation if I was copying directly a practice used by another group.
In the end, as I say, I’m not looking for personal permission or people to tell me whether I should or not with my work. I know it wasn’t fully expressive of my voice and that is part of the conversation as well. The work I do now is stronger, more aligned with my spirit, and actually speaks to original voice in a way those mandalas do not.
Thankyou Carrie.. thought provoking, as are the articles you provided as reference. When we place rigid boundaries around our cultures, oppressed or otherwise, we widen the gaps.. create a divide that sharpens tongues and fosters misunderstanding and ill feelings. Cultural respect can reach across boundaries. Therefore I would not choose to emulate the art of the aboriginal artist which hangs on my wall. However, I would not hesitate to use a circle, or ‘her’ earth colours, on a work of my own. It is my hope that the artist received fair compensation. There is no absolute guarantee of that. Would it honour her to remove it? I think not.
Carrie, the exercise program I teach is a blend, an appropriation of elements, of Eastern and Western movement methodologies! And I would not have it otherwise. It is rich and beneficial. Conversations regarding appropriation are healthy and yes somewhat uncomfortable. I pay homage to the ‘pure’ practices by acknowledging publicly their influences and I charge a fee for the services I offer. As I observe, with gratitude, the benefits to myself and my classes, I am at peace. But challenging ourselves and our world view is invaluable. Again thankyou for your contribution.
Thank you Judy for reading, thinking, and engaging with this community.
A lot of creatives feel resistance to this because they believe it’s black and white. And using ANYTHING tied to any culture in any way is appropriation. So I have heard in the past a lot of people offer examples as reasons why it’s okay. But often their examples are not true appropriation. As you say, copying the style of Aboriginal work would be disrespectful and ultimately, not reflective of your voice as a creative.
Thank you for taking the time to write.
I have traveled the path you explained. I once worked in an art gallery that specialized in Native American art. The gallery was owned by a Jewish proprietor. I learned that American (of European descent) teachers taught their Native American students in the forced boarding schools the technique and provided house paint as the paint that was cheap and available. So whose culture is involved with today’s Native American art that is a distinct cultural style? I struggle with various philosophical questions such as this, too. I wonder about using the materials of other cultures, because materials are an intricate part of an art form. And we use the musical scale of ages and cultures past. And our English language is an amalgamation of many languages… and the list goes on.
We are one. We learn from one another through all our cultural methods and they learn from us. I don’t feel oppression is a valuable part of this discussion — only because all cultures have oppressed subcultures, and we just might lift them up in the way we appreciate and learn from their arts. It is always a matter of integrity…. and I think that is probably what you struggle with. I believe integrity is developed the hard way…and is not a given. Let us struggle together to grow our souls!
Hi Carolyn, thank you so much for sharing your perspective. I’m so glad to have people willing to share their personal experiences and thoughts around this conversation.
Being able to choose between whether we include a discussion of oppression is the privilege we have… but many do not. That is exactly why I wanted to share my thoughts. I can opt out of including that in a discussion because of my privileged life. While I am not part of an oppressed group, I imagine hearing “because there has always been a history of oppression of subcultures” could be perceived as justifying or overlooking our own roles in society, culture and laws that continue to keep different groups of people small.
I love your belief and desire to lift people up through the arts and our collective positivity. We need more people who share and ACT on those beliefs!
Hear, hear to “let us struggle together to grow our souls.” I’m trying, as is everyone in this amazing community. Thank you again for commenting, and for listening. I really appreciate it. <3
I stumbled upon your page as I was researching cultural appropriation.Thank you so much for sharing this. I appreciate your honesty and willingness to question! You touch on so many great points here and its refreshing to know I am not alone in thinking about the impact of my own art work.
Thank you for reading Yahaira. I hope my thought process is helping you with yours.
Considering cultural appropriation in the arts is something that has been a moral and ethical journey for me recently. In particular, I’ve been considering Huichol beading and form line drawing of the Northwest Coast indigenous peoples. Long story short, I decided I was comfortable using a technique that originated in in an indiginous culture except when the technique is integral to the substance of the art. I found some very helpful information at the Sealaska Heritage website: https://www.sealaskaheritage.org/institute/culture-history/culture-history-programs/indigenous-intellectual-properties
Thank you for sharing your resource Lisa!
Thanks for this, Carrie. I’ve just encountered your article/video here as my first foray into asking if I can, in good conscience, sell the mandala art I taught myself, and love to make. I’m learning to be anti-racist, and cultural appropriation is the topic I’m investigating right now. This was a great start to my explorations on the topic. I love dotting and drawing mandalas, but I’m very aware it is not “my” style. I am a 58 year old, new artist and do very much hope I will discover my style as I continue to explore.
Barbara thanks for joining me in my own learning journey. <3