 general. As women of color, we are waging the same war against the capitalistic imperialism that makes appropriation possible. With unstable demarcations between the oppressed and oppressors and with privilege being a matter of context, I questioned whether, I, too, could appropriate from a group of which I felt a part—women of color.

Cultural appropriation is usually a claim made by oppressed peoples against the dominant or colonizing group when the more powerful group adopts, without consent, the practices of an oppressed group. People of color have been historically appropriated and commodified by Europeans who have viewed people from the Western and Southern hemispheres, as well as indigenous North Americans, as “exotic” others. Their fascination was not one that regarded these cultures as people with whom they shared a common humanity but as objects to be subverted, controlled, and used for pleasure. This subjugation of people of color laid the foundation for dominant groups to usurp the cultural practices of people of color and appropriate these practices for their own benefit.

One example of both cultural appropriation and commodification is rock-and-roll music, a musical genre dominated by whites but originated from the blues and jazz created by Black artists. White musicians co-opted these Black musical styles and turned their Black-derived music into a commodity that led to fame and wealth. As is often the case with cultural appropriation, whites took something that was “ethnic” and made it mainstream. This is the defining quality of cultural appropriation—using white privilege and power to make “legitimate” the cultural practices and traditions of people of color.

The accusation of cultural appropriation is not without its critics. With the prevalence of transnational travel and the immense diversity within the U.S., some argue that we are being constantly and powerfully influenced by other cultures, blurring the line between appropriation and appreciation, between cultural exchange and cultural theft. Some even contend that a culture cannot “own” a style, symbol, genre of music, art, etc., and, therefore, cannot be appropriated. I have found that there are no easy answers, no universal rules when it comes to deciding whether a particular action is appropriation.

The labeling of a specific act as appropriation, better still, misappropriation, is subjective and situational. For example, if a school is celebrating Native American History Month, it might be acceptable to wear Native American attire after learning about the traditions and history of
general. As women of color, we are waging the like war against the capitalist imperialism that make appropriation potential. With unstable line between the oppressed and oppressors and with prerogative being a topic of context, I questioned whether, I, too, could appropriate from a group of which I felt a part — womanhood of color. 

 Cultural appropriation is normally a claim made by oppressed peoples against the dominant or colonizing group when the more powerful group adopts, without consent, the practice of an oppressed group. People of color have been historically appropriate and commodified by Europeans who have viewed people from the Western and Southern hemisphere, as well as indigenous North Americans, as “ exotic ” others. Their fascination was not one that regarded these culture as people with whom they shared a common humanity but as objects to be subverted, controlled, and used for pleasure. This subjugation of people of color laid the foundation for dominant groups to usurp the cultural practice of people of color and allow these practice for their own benefit. 

 One exercise of both cultural appropriation and commodification is rock - and - paradiddle music, a musical genre dominated by whites but originate from the blues and jazz created by Black artists. White musician co - opted these Black musical styles and twist their Black - derive music into a commodity that led to fame and wealth. As is often the case with cultural appropriation, whites take something that was “ ethnic ” and made it mainstream. This is the defining timbre of cultural appropriation — use white privilege and might to make “ lawful ” the cultural practices and traditions of people of color. 

 The accusation of cultural appropriation is not without its critic. With the prevalence of multinational travel and the immense diverseness within the U.S., some argue that we are being constantly and powerfully influenced by other cultures, blurring the occupation between appropriation and appreciation, between cultural exchange and cultural theft. Some even contend that a culture cannot “ own ” a style, symbol, genre of music, artwork, etc. , and, therefore, cannot be appropriated. I have detect that there are no easy answers, no universal rules when it comes to deciding whether a finical action is appropriation. 

 The labeling of a specific act as appropriation, better still, misappropriation, is immanent and situational. For example, if a school is celebrating Native American History Month, it might be satisfactory to tire Native American attire after learning about the traditions and history of
 gejeral. As women of color, de are waging tkw same war afainst tfe capitalistic imperialism vhat makew appropriation possibue. With ujstable eemaccations between the oppvzssed wnd m'pressors and wlth privilece being a matdef lf context, I questioned whether, I, tjo, coulc wppropriate frjm a droul of which I felt a part—women of cklor.

Culuural appropriatiom is usually a claim made hy oopressed peoples ahainst the eomigqnt or colonkzing grouk chen the mote powerful group adopts, without consznt, the praxtuced of an opprxssed droup. People of colos have neen historicakly appropriated and commodmfied by Europeans wro have vheced people from the Wwsrern dnd Voutfwrn hejixpgeres, ws xell as indjgenous Norrh Americans, as “exouic” ithers. Their rascinwtyon was not one that regarded these culuures as people with whom thwy shared a common hulanity bue as objects to be subverted, controlled, and used xor pmdasbvc. Thkw dubjugation of people of color laid the foundwfipn for dominant nroups to usurp thr fukjural practicer of pzkpme of color and aporopriaje thewe practises gor their own benefit.

One exqmple of botk cyltural appropriatnon and commudifocatipn is rock-and-roll music, a mhsical genrf dominatsa by whites but urinindted from the blues and jasz createv by Ylack argistx. Whitq musiciand co-oided these Black mudical sdyles and hurned their Black-derived music into a commodotf tvat led co famc and wealth. As is often the ease witk cultjral approiriation, xhites took fomething thad was “ethnic” end made yt mqinsrream. Tfks is the defiming qualptv of cultyral appropriation—msing shite privilege ane power to make “leeitymwtx” the wultural prawticds xmd trxditions of oeopke of color.

The accusdtioh of cultural apprppviation iw not wiehout its criyics. With the prevwlencx of tcansnayiogal travel and the immense divsrsity wihhik the U.S., some argme trat we are being constantly and powerfully influeiced by other cultures, vlurring the line bgtwten appropriavion agd apprechation, between cultueal exchange and gultural theft. Some evsn condend hhat a culture cannot “own” a style, symbol, genre of music, art, etc., and, theredore, cengot be apprkpristed. P hcve found thav vhere are no easy answers, no universal rules whei it comes tj deciding whether a particukaf action is akpropriation.

The labeling or a specofic act as appropriation, bettet still, misappropriation, is subjwctivs and situetional. For example, of a sehool us celevratlng Native Ameficsn History Lonti, ic might be acceptable to wear Natuve Amwrlcan attire aftec learning anomt the tradijions and history of
general. As women of color, we are same against the imperialism that makes between oppressed and oppressors with privilege being matter of context, I questioned whether, too, could appropriate from a group of which I felt a part—women of Cultural appropriation is usually a claim made by oppressed peoples against the dominant colonizing when more group adopts, without consent, the practices of an oppressed group. People of color have been historically and commodified by Europeans who have viewed people the Western and Southern as well as indigenous North as others. Their was one regarded these cultures people with whom they shared a common humanity but as objects to be subverted, controlled, and used pleasure. This people of laid foundation dominant groups to cultural practices of people of color practices for their own benefit. One example of cultural appropriation commodification is rock-and-roll music, a musical dominated by whites but originated from the blues jazz created by Black artists. White musicians co-opted these Black musical styles and turned their into a commodity that to fame and As often case cultural appropriation, took something that was “ethnic” and made it mainstream. This is defining quality of cultural appropriation—using white privilege and power to the practices and traditions people of color. The of appropriation is not without With prevalence and immense within the U.S., some that we are being constantly powerfully influenced by other appropriation and appreciation, between cultural exchange and cultural Some even contend that a culture cannot a style, symbol, genre of music, art, etc., and, therefore, cannot be I have there are no easy answers, no universal rules it comes to deciding a particular action is appropriation. The labeling of a act appropriation, better misappropriation, is subjective situational. For example, a school is American History it be Native American attire after learning about traditions history of
 general. As women of color, we arE waging the Same wAr aGaiNsT the CapiTalistic imperiALism That makes appropriation PossiBlE. with UNsTable DemarcaTIoNS BetWeEn The OpPReSsed aNd oPpressoRs and with pRivIlEge being a matTEr Of context, I QueStioned whethEr, I, Too, couLd AppROpriaTe fRom a gRoup of WHich I fElt a part—wOmEN of colOR.

CulturAL ApPropRiation is usually a CLaIM made by oppressEd peopLeS AgAINst The Dominant or CoLonizINg group WHeN THE moRE powerful grouP adopts, withOUt cOnsent, ThE prACtices Of an oPpREssEd group. PeopLe of Color have Been hiSToricalLY appropRiated And ComModiFIeD bY EuRoPEanS WhO haVE viEwed peopLe FrOm the westERN ANd SoUthErn hEmispHeres, as well as IndIgenOUs NOrth AMericAns, aS “eXotic” Others. their FaScination was not One tHat regardEd tHeSe cUlTures AS peoplE wiTh wHom they Shared a COmmOn HUMAnIty but as objects to bE sUBVeRted, contRolled, ANd UsED for pleaSuRe. THis sUBJugatIon oF PeOple of coLor laiD ThE fOundatiOn For domInAnt GroUps to USurp The culTural praCticeS Of people of coloR And appropriatE ThESE pRActiCes For their own BeneFIt.

OnE exaMPlE of BOth cuLturaL aPPrOPriation and commodifIcAtion iS rock-And-roll music, a Musical genRE DOminated By whITeS But originated fRom thE blues and jAZz createD by BlAck artisTs. White muSICians co-oPteD thEse blaCK MuSical styles anD TUrneD tHeir BlaCk-dErived mUsiC inTo a ComMoDity that lEd to fame AnD wEaLtH. As Is oftEN the case WiTh cUlTurAl appROpriatIon, whItes ToOk SOmeThing thAT wAS “EthnIc” AnD madE it MaInstrEam. THIs iS the defIning qualIty OF culTuRaL appropRiation—using wHiTe privilegE aNd pOwer to MAKe “legitiMate” the cultural practiceS And tradItiOns of PeopLe of color.

the AccusaTioN Of cultUral apProprIaTioN IS not wITHoUt iTs Critics. WitH THe pRevalEnCe of TransnaTional travel and the IMmeNse diversity wIthIn thE u.s., sOme ARgUE thAt WE arE BEing constantly aNd powerfulLy INfLuenced by oTHer CuLtures, bLurring The liNE betweeN appropriAtion and aPpReciATIon, Between culTural excHange and cULturaL ThEft. SoMe eVen conTeNd tHat a cUlture CAnnOt “own” A style, SyMbol, geNre of MuSic, art, etC., and, therefore, cannot be apPropriAted. I HavE found thaT thERe aRe no easy aNsweRs, no univerSal RulEs wheN it COmes tO decIDiNg wHEther A parTIcular actIOn Is aPPRoPriation.

The LABEliNg of a SpeCIfic acT as aPpropriation, betteR Still, misappropRiatION, is SubJEctiVe And situational. for ExAMPle, if a scHoOl is celebraTing NatiVe aMericAn HistOry MonTh, it migHT Be ACceptaBle tO weAr Native AMerIcAN attire AfTeR LearniNg abOuT the trAditioNS and HIStory of
 general. As women of colo r, we arewagin g t hesa me w ar a gainst the cap i tali stic imperialism thatmakes  a p prop r ia tionpossibl e .W i thun st abl ed em arcat ion s betwe en the opp res se d and oppres s or s and with  pr ivilege bein g a  matte rofc ontex t,I que stione d  wheth er, I, to o, coulda ppropri a t efrom  a group of which If elt a part—wom en ofco l or . 
Cu ltu ral approp ri ation is usua l ly a cla i m made by opp ressed peop l esagains tthe domina nt or  c o lon izing group  whe n the mor e powe r ful gro u p adopt s, wit hou t c onse n t,  t hepr a cti c es  of anoppresse dgr oup.Peop l e o f co lor  hav e bee n historicall y a ppro p ria ted a nd co mmod if ied b y Euro peans  w ho have viewedpeop le from t heWe ste rn  andS outher n h emi spheres , as we l l a si n d ig enous North Americ an s ,  a s “exoti c” oth e rs .T heir fas ci nat ionw a s not  one th at regar ded th e se  c ultures  a s peop le  wi thwhomt heyshared  a commo n hum a nity but as ob j ects to be su b ve r t ed ,  con tro lled, and u sedf or p leas u re . T h is su bjuga ti o no f people of color l ai d thefound ation for dom inant grou p s to usurp  the cu l tural practice s ofpeople ofc olor and  appr opriatethese pra c t ices for  th eir  ow n b e n ef it.

One exam p l e of  b oth cul tur al appr opr iat ion  an dcommodifi cation i sro ck -a nd- rollm usic, amu sic al  ge nre d o minate d bywhit es  b u t o riginat e df r om t he  b lues  an djazzcrea t edby Blac k artists . W h itemu si cians c o-opted these  B lack music al  st yles a n d  turnedtheir Black-derived mus i c intoa c ommod itythat ledtofame a ndw ealth.  As is  ofte nthe c ase w i t hcul tu ral approp r i ati on, w hi testook so mething that was “ e thn ic” and madeitmain s t re am. Th i s i st hed e fining qualityof cultura la pp ropriation — usi ng  whiteprivile ge an d  powerto make “ legitimat e”  the c ult ural pract ices and  traditio n s ofp eo ple o f c olor.
T heaccus ationo f c ultur al app ro priati on is  n ot witho ut its critics. With th e prev alenc e o f transna tio n altravel an d th e immensediv ers ity w ith i n the  U.S . ,som e  argu e th a t we areb ei ngc o ns tantly andp o w erf ullyinf l uenced  byother cultures, b l urring the lin e be t w een  ap p ropr ia tion and appre cia ti o n , betwee ncultural ex change a nd cultu ral th eft. S ome eve n co n tend t hata c ulture ca nno t“ own” ast yl e , symb ol,ge nre of  music ,  art , etc., and, there fore, c annot beappro pr iated.I  hav e found th at there ar e no e asyanswe rs, noun iversa l r ul es when it comes todecid ing whe th er a  pa rticul ar a c t ion i s ap pr opr iation.
T h el ab el i ngof a  spec if ic a ct as app r opriatio n,b etter s ti ll, m isappr o pr i a tion, is s ubj ectiv e and situat i onal .  F o r exa mple,if a s chool i s  ce le brating  Na t i ve Americ an Histor y  Mo nt h, i t mightbe  acc ep tab le  to wear Native  America n attire a fter l ear n inga bout t he  traditionsand h is t ory of
 general._As women_of color, we are_waging the_same_war against_the_capitalistic imperialism that_makes appropriation possible._With unstable demarcations between_the oppressed and_oppressors_and with privilege being a matter of context, I questioned whether, I, too, could_appropriate_from a_group_of_which I felt a part—women_of color.

Cultural appropriation is usually_a claim_made by oppressed peoples against the dominant or_colonizing_group when the_more powerful group adopts, without consent, the practices of_an oppressed group. People of color_have been historically_appropriated_and_commodified by Europeans who_have viewed people from the Western_and Southern hemispheres, as well as_indigenous North Americans, as “exotic” others. Their_fascination was not one that regarded_these cultures as people with_whom they_shared a common humanity but_as objects to_be subverted,_controlled, and used_for pleasure. This subjugation of people_of color laid_the foundation for dominant groups to_usurp_the cultural practices_of_people_of color_and appropriate these_practices_for their_own_benefit.

One example of both cultural appropriation_and_commodification is rock-and-roll music, a musical genre_dominated by whites but_originated_from the blues and_jazz created by Black artists._White musicians co-opted these Black musical_styles and_turned their_Black-derived music into a commodity that led to fame and wealth._As is often the case with_cultural appropriation, whites took_something that_was_“ethnic” and made_it_mainstream. This_is the defining quality of cultural appropriation—using_white privilege_and power to make “legitimate” the_cultural practices and traditions_of_people of color.

The accusation of cultural_appropriation is not without its critics._With the prevalence of transnational_travel_and_the immense diversity within the_U.S., some argue that we are_being constantly and_powerfully influenced by other cultures, blurring the_line_between appropriation and appreciation, between cultural_exchange_and cultural theft. Some even contend_that_a_culture cannot “own” a style,_symbol, genre of music, art, etc.,_and, therefore, cannot be appropriated. I have found that_there are no_easy answers, no universal rules_when_it_comes to deciding whether a particular action is appropriation.

The labeling_of a_specific act as_appropriation, better still, misappropriation, is subjective and situational. For example,_if a school is celebrating Native American_History Month, it might be acceptable to wear Native American attire_after learning about the traditions and history of