Is there something morally wrong with cultural appropriation in the arts? I argue that the little philosophical work on this topic has been overly dismissive of moral objections to cultural appropriation. Nevertheless, I argue that philosophers working on epistemic injustice have developed powerful conceptual tools that can aid in our understanding of objections that have been levied by other scholars and artists. I then consider the relationship between these objections and the harms of cultural essentialism. I argue that focusing on (...) the systematic nature of appropriative harms may allow us to sidestep the problem of essentialism, but not without cost. (shrink)

Cultural appropriation occurs when an individual from one culture uses another culture's ideas. Often the ideas relate to artifacts, clothes, food, and symbols. Frequently, critics of cultural appropriation claim that it is a type of theft. The critics also claim that it disrespects minorities and also is similar to or involves colonialism. In this paper, we argue that it is neither wrong nor bad to culturally appropriate. It is not wrong because no one owns cultural symbols, not all cultural appropriation (...) involves insult or ridicule, and it is unclear what makes something an instance of cultural appropriation. It is often not bad because a free market in cultural goods frequently maximizes the good. (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...) we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

In this paper, I present an outline of the oppression account of cultural appropriation and argue that it offers the best explanation for the wrongfulness of the varied and complex cases of appropriation to which people often object. I then compare the oppression account with the intimacy account defended by C. Thi Nguyen and Matt Strohl. Though I believe that Nguyen and Strohl’s account offers important insight into an essential dimension of the cultural appropriation debate, I argue that justified objections (...) to cultural appropriation must ultimately be grounded in considerations of oppression as opposed to group intimacy. I present three primary objections to the intimacy account. First, I suggest that in its effort to explain expressive appropriation claims (those that purportedly lack an independent ground), the intimacy account doubles down on the boundary problem. Second, I question whether group intimacy possess the kind of bare normativity that Nguyen and Strohl claim for it. Finally, I argue that these objections give us reason to accept the importance of group intimacy to the cultural appropriation debate, but question the source of its significance as identified by Nguyen and Strohl. (shrink)

Do members of cultural groups have special claims to own or control the products of the cultures to which they belong? Is there something morally wrong with employing artistic styles that are distinctive of a culture to which you do not belong? What is the relationship between cultural heritage and group identity? Is there a coherent and morally acceptable sense of cultural group membership in the first place? Is there a universal human heritage to which everyone has a claim? Questions (...) such as these concern the ethics of cultural heritage (or heritage ethics, for short). This entry seeks to provide an overview of the philosophical work on topics in heritage ethics, as well as introduce readers to some of the most philosophically relevant literature from other disciplines. (shrink)

This paper seeks to clear up the confusion surrounding debates over cultural appropriation. To do so, I argue for an agent-centred approach—a focus on appropriators more than appropriation. In my view, cultural misappropriation involves agents who exhibit disregard toward a relevant culture and its members. I argue further that this approach improves upon recent alternative philosophical approaches to cultural appropriation, which I divide into two camps: toleration-based and power-based.

Many existing defenses of group rights seem to rely on the notion of group freedom. To date, however, no adequate analysis of this notion has been offered. Group freedom is best understood in terms of processes of social categorization that are embedded in social mechanisms. Such processes often give rise to group-specific constraints and enablements. On the proposed social mechanism account, group rights are demands for group freedom. Even so, group rights often serve to eradicate individual unfreedom. Furthermore, generic measures (...) sometimes provide the most appropriate solution to a problem of group unfreedom. (shrink)