cultural appropriation

The first topic that was found to be an excellent premise for discussion was the rule of academic misconduct which can be used as a term for all aspects of intellectual property. The ongoing epistemological arguments are now to be more indicative of how we exchange ideas now more so than ever. The empirical stance on which we use most often in ourselves can be thought of as a series of emblems which represent something in which its existence is tangible beyond the self, however, is independent on cognition by an agent figure. During the interaction, there are both apparent and unintelligible action brought to either member of the party and in this transcription of emotional assertion, a premise for empathetic understanding shares a relationship with the power structure of the interaction.
Cultural appropriation is in essence, the theft of cultural signs and symbols that are devoted to historical
anecdotes which are misappropriated for use in other aspects for gain to any degree by another. This in its self leaves room to question to what extent is something inspiring and what is appropriation. Braids are a hairstyle synonymous with African women and its extensive history of cultural significance is well documented and highly intelligent. Hair and more specifically the styling of hair was a sociocultural, sociopolitical and interpersonal display of one’s status. As with many cultures, the hair that was most adorned signified one’s place in the hierarchical structure of the society and this had many adaptations amongst gender, age and tribes amongst many other things (Sherrow, 2006). With this information, it can be understood that many years later its importance and its meaning subsides in the ideologies of the more modern human yet more specifically in the modern offspring to the pioneers of the modes of expression.
Comme Des Garcon in their fall/winter 20 show featured primarily white male models “striding bouncily along on adolescent legs, exuberantly crisscrossing the room in some kind of headlong boy-dance.” according to an article on Vogue by Sarah Mower which however failed to mention or even acknowledge any signs of appropriation throughout the show. Out of 32 looks, only 6 of them were modelled by black models which are only 18.75% of the show. Surely to have a show in which the aspect of cornrows is a primary figure in the show’s concept the expected figure for models of Afrocentric origin should be in the realm of 70%+ to give the concept any validity. Even for the sake of creativity those who are the key workers in assembling the show must show compassion and not instead seek industry norms. In the words of artist Jenn Nkiru “Rebirth is necessary.”
Change is a process that requires systematic cohesion in order for it to flow freely throughout the given audience which arguably, as fashion is one of the most prominent mediums of self-expression, is predominantly to the hands of those who uphold the pyramid. In a paper by Robert A. Dahl titled the critique of the ruling elite model to elaborate on political discrepancies however the model is transferable to any other system in which an agreed ruling majority share similarities and have somewhat a monopoly on power in comparison to an alternative party of which is part of the same system.