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- Susan Scafidi stresses the sense of the unauthorised in the taking: cultural appropriation involves ‘taking – from a culture that is not one’s own – of intellectual property, cultural expressions or artifacts, history, and ways of knowledge’ (2005, p. 9).
pure.hud.ac.uk/ws/files/39481863/SOCO_1743.R1_Proof_hi.pdf
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Jul 16, 2020 · Susan Scafidi, the academic director of Fordham University’s Fashion Law Institute and a Yale Law School alum, defines cultural appropriation as taking intellectual property, traditional knowledge, cultural expression, or artifacts from another culture without permission.
Let’s look again at Susan Scafidi’s definition: “Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else’s culture without permission. This can include unauthorized use of another culture’s dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc.”
Oct 21, 2023 · Appropriation involves taking from a culture that has relatively less power. ‘Oppression account’ is the taking in this dynamic which increases inequality and marginalisation (Matthes, 2019) – this is what makes appropriation morally wrong.
Mar 2, 2022 · Cultural appropriation is ‘retracted’ into the dominant subject to the extent that this appropriation can be upheld in symbolic terms: as a subjective entitlement to marginalised identities that may – or crucially, may not – overlap with objective conditions of ownership.
Mar 10, 2018 · Susan Scafidi was quoted in a Juneau Empire article about cultural appropriation. Fordham law professor Susan Scafidi defines cultural appropriation as “taking intellectual property, traditional knowledge, cultural expressions or artifacts from someone else’s culture without permission including … dance, dress, music, language, folklore ...
Cultural appropriation refers to the taking of items (whether tangible or intangible) from one culture by another (Young, 2010, p. 5). To this standard definition, reference to the inequality in power between the two cultures should be included, which problematises the taking.
ing possibilities for the balanced protection of cultural products, American law should be tailored to facilitate the initiative of old and new source communities—whether directed toward commodification or preservation of their cultural products—and their participation in the life of the nation as self-defining cultural groups.
