Black Cultural Appropriation Quotes

What would America be like if we loved black people as much as we love black culture?

America fears anger from black people, has always feared anger from black people, considers black people angry even when something more like “despaired” or “fatigued” better suits the mood.

The model minority myth is often used to separate Asian Americans from other people of color by using their perceived socioeconomic and academic success and docile nature to compare and contrast with black Americans, Hispanic Americans, and Native Americans. This divide-and-conquer technique serves to redirect struggle against oppressive White Supremacy to competition between Asian Americans and other people of color. The real animosity between some Asian Americans and other people of color that has been manufactured by the model minority myth prevents Asian Americans and non-Asian people of color from recognizing and organizing around shared experiences of labor exploitation, lack of government representation, lack of pop culture representation, cultural appropriation, and much more.

white privilege adopts something from a Black or Brown culture, they are somehow enhanced because they have adopted something “exotic.” Cultural appropriation is collecting the parts of Blackness and Brownness that appeal to whiteness while discarding actual Black and Brown people.

Cultural appropriation happens when members of a dominant group—in the United States, white people—take elements from the culture of a people who are disempowered. It’s problematic for a number of reasons. For one, it trivializes historic oppression. It also lets people show love for a culture while still remaining prejudiced toward the people of the culture and lets privileged people profit from the labor of oppressed people. On top of that, it can perpetuate racist stereotypes.

a truthful, equitable and culturally appropriate education is understood to be a basic human right and not only a condition of Black people’s individual success and collective survival. It is also fundamental to civilization and human freedom.

Cultural appropriation is a tricky subject. It’s often viewed as one of the great sins of our times—an indefensible act of racism—as it typically involves people from a majority ethnic group borrowing cultural elements from a minority ethnic group and exploiting those elements for fun or profit.

At Belmont, where 50 percent of the students are Black, and 70 percent are people of color, Malcolm and I got to be normal. Nobody was asking to touch my twist-out, nobody was asking him about his locs, and nobody was asking us for permission to appropriate Black culture as if we’re the authority for our entire race.

Why, then, don’t we hear the same cries of “cultural appropriation” when Archie Comics’ Jewish co-CEOs green-light Archie’s murder in defense of a gay senator or Marvel’s Hispanic editor decides to make Captain America black and Thor into a woman? Why, especially, is a non-Nordic male allowed to rub his grubby fingers all over an ancient Nordic male god to suit his half-assed “progressive” agenda?

The ballroom collective House of Xtravaganza once summed up their position on the matter in a succinct Instagram post: “You can’t be homophobic/transphobic and use terms such as ‘yaaass’ or ‘giving me life’ or ‘werk’ or ‘throwing shade’ or ‘reading’ or ‘spilling tea.’ These phrases are direct products of drag and ball culture. You don’t get to dehumanize black and Latinx queer/trans people and then appropriate our shit.

This is not the "relativism of truth" presented by journalistic takes on postmodernism. Rather, the ironist's cage is a state of irony by way of powerlessness and inactivity: In a world where terrorism makes cultural relativism harder and harder to defend against its critics, marauding international corporations follow fair-trade practices, increasing right-wing demagoguery and violence can't be answered in kind, and the first black U.S. president turns out to lean right of center, the intelligentsia can see no clear path of action. Irony dominates as a "mockery of the promise and fitness of things," to return to the OED definition of irony. This thinking is appropriate to Wes Anderson, whose central characters are so deeply locked in ironist cages that his films become two-hour documents of them rattling their ironist bars. Without the irony dilemma Roth describes, we would find it hard to explain figures like Max Fischer, Steve Zissou, Royal Tenenbaum, Mr. Fox, and Peter Whitman. I'm not speaking here of specific political beliefs. The characters in question aren't liberals; they may in fact, along with Anderson himself, have no particular political or philosophical interests. But they are certainly involved in a frustrated and digressive kind of irony that suggests a certain political situation. Though intensely self-absorbed and central to their films, Anderson's protagonists are neither heroes nor antiheroes. These characters are not lovable eccentrics. They are not flawed protagonists either, but are driven at least as much by their unsavory characteristics as by any moral sense. They aren't flawed figures who try to do the right thing; they don't necessarily learn from their mistakes; and we aren't asked to like them in spite of their obvious faults. Though they usually aren't interested in making good, they do set themselves some kind of mission--Anderson's films are mostly quest movies in an age that no longer believes in quests, and this gives them both an old-fashioned flavor and an air of disillusionment and futility.

Black women have long been the backbone of our political progressive past: the strategists and protesters and organizers and volunteers, the women who've gotten out the vote and licked the envelopes, pioneered the thinking that led to the revolutions. Yet they've been only barely represented in leadership of the political parties they've bolstered, their policy priorities have often gone unaddressed and unrecognized; their participation has long been taken for granted. And when white women have caught up to where black women have been for a long time, the work of the black women has often been appropriated, ignored, and uncredited by those with greater economic, cultural, and racial advantage.

Over the seven years that I chipped away at this topic, I found hoarding to be a historically intricate lattice of worry about the unsuitable roles that household furnishings, mass-produced whatnots, curiosa, keepsakes, and clutter play in our daily lives. The majority of these apprehensions over the stuff of normal life originated in the twentieth century, and they are not so far removed from other cultural anxieties. As much as a hoard might be about depression and impulsivity and loss and misplaced stacks of paper, it is also about fears of working-class blacks in 1930s Harlem, post-1960s New Christian Right literatures, and emerging models of appropriate aging in the 1940s and 1950s. Though neglected in the current rhetoric of chronic savers, these unlikely sources each fed into definitions of HD.

At first glance, professionalism tries to convince you it’s a neutral word, merely meant to signify a collection of behaviors, clothing, and norms “appropriate” for the workplace. We just ask that everyone be professional, the cis white men will say, smiles on their faces, as if they’re not asking for much. We try to maintain a professional office environment. But never has a word in the English language been so loaded with racism, sexism, heteronormativity, or trans exclusion. Whenever someone is telling you to “be professional,” they’re really saying, “be more like me.” If you’re black, “being professional” can often mean speaking differently, avoiding black cultural references, or not wearing natural hair. If you’re not American, “being professional” can mean abandoning your cultural dress for Western business clothes. If you’re not Christian, “being professional” can mean potentially removing your hijab to fit in, sitting by while your officemates ignore your need for kosher or halal food, sucking up the fact that your office puts up a giant Christmas tree every year. If you’re low-income or working class, “being professional” can mean spending money you don’t have on work clothes—“dressing nicely” for a job that may not pay enough for you to really afford to do so. If you’re a woman, “being professional” can mean navigating a veritable minefield of double standards. Show some skin, but don’t be a slut. Wear heels, but not too high, and not too low, either. Wear form-fitting clothes, but not too form-fitting. We offer maternity leave, but don’t “interrupt your career” by taking it. And if you’re trans like me, “being professional” can mean putting your identity away unless it conforms to dominant gender norms.

Aesthetics then is more than a philosophy or theory of art and beauty; it is a way of inhabiting space, a particular location, a way of looking and becoming. It is not organic. I grew up in an ugly house. No one there considered the function of beauty or pondered the use of space. Surrounded by dead things, whose spirits had long ago vanished since they were no longer needed, that house contained a great engulfing emptiness. In that house things were not to be looked at, they were to be possessed — space was not to be created but owned — a violent anti-aesthetic. I grew up thinking about art and beauty as it existed in our lives, the lives of poor black people. Without knowing the appropriate language, I understood that advanced capitalism was affecting our capacity to see, that consumerism began to take the place of that predicament of heart that called us to yearn for beauty. Now many of us are only yearning for things.

Black people have every right to be upset about the long history of cultural appropriation in this country.

From white women wearing their hair in box braids to non-Native Americans wearing stereotypical Native American attire on Halloween (or anytime), cultural appropriation is one of the most frequently disrespectful and racist occurrences in society.

Part of what makes cultural appropriation so problematic is that it ignores the need for understanding the actual history and people who own the culture. People can learn and appreciate, but unless they are from that group, they can never fully understand.

In the new millennium, there is All Lives Matter and the more absurd Blue Lives Matter, anti-black counter-slogans that nonetheless cannot escape the rhetorical world black people made. Indeed, as scholars P. Khalil Saucier and Tryon P. Woods have observed, “The meme has become a political Rorschach producing a cornucopia of identitarian hashtags . . . that, at the end of the day, effortlessly obscures or subsumes blackness’s grammar of suffering.

As Baraka knew, black American life is movement, a living verb: we swing, we get hip, we real cool we. The white American, meanwhile, stands close by and observes—ready to transform life into style and profit, a process Baraka calls “the cultural lag.

The appropriation of black language cannot be stopped, except only if we were to leave for Mars and never come back. At issue isn’t the transmission, but the vacuous want behind it—as if black culture lives to rescue mass culture from boredom.

Black speech cannot sooth the broken white soul. Only revolution can do that.

Newspapers and magazines only, and still reluctantly, cover black death when the buzz borders on frenzy—not because it happened but because it went viral. The media sits and waits for a name to trend that doesn’t belong to a (yet) public figure. Then they make them public. They trot out their Negro writer du jour and the Negro writer produces an aching tribute to being black in America. And another. And another. Et cetera.

Black enterprise does not go unpunished if unaffiliated with white profits. Whiteness will gleefully disturb black neighborhoods, black accolades, black centers, black classrooms, black archives, and black methods. If not allowed to join in—that is, if prevented from profiting from the goings-on—well, the whole thing might as well go up in flames.†

In reality, the various movements and removals of Indigenous peoples from the Southeast due to white invasion meant that the first western settlers were often Native Americans who migrated to spaces other than their homelands, where they encountered other tribes—longtime enemies, other displaced peoples, and groups who had long called this land home. Native peoples adjusted their oral histories and survivance strategies to incorporate their new surroundings as they had done for millennia, crafting stories that told of successful migrations and learning about the food and herbs of their new homes. As they were forced westward, the Five Tribes’ experience in Indian Territory was different from the other Indigenous migrations occurring around them. The Chickasaw, Choctaw, Cherokee, Creek, and Seminole Nations sought to use the settler colonial process to cast themselves as civilizers of their new home: they used the labor system that Euro-Americans insisted represented sophistication—chattel slavery—to build homes, commercial enterprises, and wealth, and they portrayed themselves as settlers in need of protection from the federal government against the depredations of western Indians, which, the Five Tribes claimed, hindered their own civilizing progress. Moreover, they followed their physical appropriation of Plains Indians’ land with an erasure of their predecessor’s history. They perpetuated the idea that they had found an undeveloped ‘wilderness” when they arrived in Indian Territory and that they had proceeded to tame it. They claimed that they had built institutions and culture in a space where previously neither existed. The Five Tribes’ involvement in the settler colonial process was self-serving: they had already been forced to move once by white Americans, and appealing to their values could only help them—at least, at first. Involvement in the system of Black enslavement was a key component of displaying adherence to Americans’ ideas of social, political, and economic advancement—indeed, owning enslaved people was the primary path to wealth in the nineteenth century. The laws policing Black people’s behavior that appeared in all of the tribes’ legislative codes showed that they were willing to make this system a part of their societies. But with the end of the Civil War, the political party in power—the Republicans—changed the rules: slavery was no longer deemed civilized and must be eliminated by force. For the Five Tribes, the rise and fall of their involvement in the settler colonial process is inextricably connected to the enslavement of people of African descent: it helped to prove their supposed civilization and it helped them construct their new home, but it would eventually be the downfall of their Indian Territory land claims. Recognizing the Five Tribes’ coerced migration to Indian Territory as the first wave among many allows us to see how settler colonialism shaped the culture of Indian Territory even before settlers from the United States arrived. Though the Cherokee ‘Trail of Tears’ has come to symbolize Indian Removal, the Five Tribes were just a handful of dozens of Indigenous tribes who had been forced to move from their eastern homelands due to white displacement. This displacement did not begin or end in the 1830s Since the 1700s, Indian nations such as the Wyandot, Kickapoo, and Shawnee began migrating to other regions to escape white settlement and the violence and resource scarcity that often followed. Though brought on by conditions outside of their control, these migrations were ‘voluntary’ in that they were most often an attempt to flee other Native groups moving into their territory as a result of white invasion or to preempt white coercion, rather than a response to direct Euro-American political or legal pressure to give up their homelands….

In a racial dialogue, communication style differences may not only portray the behaviors of socially marginalized groups as inferior and undesirable, but may trigger stereotypes from Whites of the angry, hostile, and violent Black man or woman. Likewise the reticent, subtle, and quiet communication style of Asian Americans may be seen by Whites as being passive, inhibited, unfeeling, and guarded. Among traditional Asian culture, however, indirectness and subtlety in expressing oneself are seen as signs of maturity, wisdom, and appropriateness.

Reading seems to be easier to defend than writing. Writing is a far larger act of presumption. Sensing this, we seek to shore up the act of writing with false defenses, like the dubious idea that one could ever be absolutely “correct” when it comes to representing fictional human behavior. I understand the desire—I have it myself—but what I don’t get is how anyone can possibly hope to achieve it. What does it mean, after all, to say “A Bengali woman would never say that!” or “A gay man would never feel that!” or “A black woman would never do that!”? How can such things possibly be claimed absolutely, unless we already have some form of fixed caricature in our minds? (It is to be noted that the argument “A white man would never say that!” is rarely heard and is almost structurally unimaginable. Why? Because to be such a self is to be afforded all possible human potentialities, not only a circumscribed few.)

The only way for black and brown small business people to enter is if you can partner with a large funded white business,

Everyone should feel uncomfortable with how white America is setting up generational wealth off of weed when so many Black and Latino men have been incarcerated and lost their livelihood over the same thing”—

America is addicted to hurting black people. America is addicted to watching itself hurt black people. The internet didn’t invent this kind of spectacle, nor is it the source of the disease, but rather collaborates with the country’s disregard for the black lives without which it wouldn’t exist. Black people taught the internet how to go viral. But when virality became enterprise, black people were seldom to be found.

But where a black dollar can be made, white violence follows.

Appropriation was once associated with unprincipled borrowing from a minority population's art or culture, or shameless imitations that pretended to be the original. Nowadays, in discussions among African Americans, it seems to refer more often to a borrowing of black experience (and most often, black pain) in which the very act of borrowing, with or without attribution, is a form of inexcusable disrespect.

These cultural forms—coolness, the hipster, and emo, the white blues—have a history and a prehistory derived from African American culture; they are black cultural forms turned white. In this way they follow the long trajectory of conscious and unconscious appropriation Kevin Young traces in The Grey Album: “In the face of alienation and anomie the mask, modern and often racial, becomes necessary,

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