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Calling out Culture Vultures: Nonwhite Interpretations of Cultural Appropriation in the Era of Colorblindness

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Calling Out Culture Vultures: Nonwhite Interpretations of Cultural Appropriation in the Era of Colorblindness A Dissertation Submitted to the Graduate School at the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Ph.D.) in the Department of Sociology of the College of Arts and Sciences by Aaryn L. Green B.A., University of Cincinnati, 2009 M.A. University of Cincinnati, 2012 Dissertation Chair: Erynn Casanova Committee Members: Jennifer Malat Annulla Linders June 2018 Abstract Colorblind theory argues that racism has not subsided but has taken on a new form which appears nonracial and is hard to detect. Music videos are one form of popular culture that utilizes cross-racial or cultural images which appear to be racially inclusive, but when closely analyzed are firmly rooted in traditional stereotypes and take cultural expressions out of their proper sociohistorical contexts. This process is called cultural appropriation. Too often, researchers have determined what modes of appropriation are or are not harmful to various groups without any input from those groups. In this study I provide a space for racial groups whose creations or expressions are habitually appropriated to tell us which modes of appropriation they consider to be harmful. I use a dual qualitative method—music video content analysis and focus group interviews with 61 participants—to investigate representations of nonwhite cultures and how audiences of color interpret the use of their cultures within popular music videos. Most generally, I ask: how do audiences interpret and discuss cultural representations within popular culture media? More specifically I ask: how do audiences of color come to understand and discuss the cultural appropriation of their own culture and other nonwhite cultures within popular culture? Ultimately I apply critical race and colorblind theories to theories of cultural appropriation to nuance the concept of cultural appropriation, give credence to using pop culture as a site for racial research, and highlight the importance of amplifying the voices of marginalized groups in order to unpack concepts of group identity, power, exploitation, and white domination. i ii Dedication This dissertation is dedicated, fist, to Jennie Davis Porter, who in 1928 became the first Black woman to receive a Doctorate of Philosophy from the University of Cincinnati. Second, it is dedicated to those Black women, known and unknown, who have sacrificed life, love, sanity, finances and more, so that I and others may more easily accomplish all that we ever dream. Last, this dissertation is dedicated to Trayvon Martin, Michael Brown, Tanisha Anderson, Eric Gardner, Sandra Bland, Tamir Rice, John Crawford, Alton Sterling, Samuel DuBose, Philando Castile, Keisha Wells and so many other people of color whose lives were stunted due to the workings of intertwined systems of oppression. iii Acknowledgements My mother always told me that I was a village-raised child. She raised me to believe that both my accomplishments are due in part to those who came before me and my failures will affect those who come after. She taught me that EVERYONE in my community deserved the same respect. Be it the mayor, the librarian, the mail carrier, the dope boy, the mean elderly neighbor, or the trash collector—they were all a part of shaping my perspective of the world and shaping who I become. Therefore, it was/is my job to be my best self, not only for myself, but for those in my community. The belief in the importance of community is something that I have carried with me everywhere I have gone in life, and I find that I have always (consciously or subconsciously) found a village of supporters who would go to the end of the Earth for me, and I for them. That is all due to early lessons from my mother, Linda D. L. Green. Mom, you have lived a life and survived circumstances that would have broken anyone else. My graduate school journey at times included me coming home to care for you during times of poor health, but that was nothing compared to the motivation, love, time, sacrifice, support, encouragement, and the occasional KITA (kick in the ass, as you like to call it) that you provided me during this journey. You somehow got a little Black girl from the poorest district in one of the poorest cities in the nation to believe that she was powerful beyond measure. I am, because you are. I carry you and your lessons with me everywhere, and I know that my accomplishments are actually OUR accomplishments because you are my rock. My biggest motivation to finish the race was to make you proud, and to know that I have done that is all I need to feel that this journey was worth it. I love you. To my family, the Lees and the Greens: I appreciate the support and the understanding. Thank you for allowing me to miss birthdays, holidays, family celebrations, gatherings, and iv more. Thank you for understanding that sometimes I had to say no even when I wanted to say yes. Thank you for believing in me and praying for me and never doubting that I could do it, even when I had given up on myself. I am the first doctor on both sides of the family, and I took on this difficult task so that our future generations can have an easier route to accessing their dreams, much like you all did for me. I could not have done this without all of you, namely the prayers of my grandmothers Shirley A. Lee and Thomsena Green. To my AACRC family: center kids and staff (Ewaniki, Tamar, Doug, Eric, Ms. Benita, and Brittany). I have no words. The love and support you have given was never wavering. You called me Dr. Green way before the finish line was in sight. You’ve seen me struggle and always had my back. You’ve seen me slacking and always gave me a push. I am not sure what I did to deserve the blessing of working in the AACRC, with this specific group of staff and students, but to be supported by you all is a blessing that I do not take for granted. I thank each one of you for all you have done to help me make it through and I am indebted to you all. To my Framily: Ainsley, Curtis, Alan, DeVonna, Rashad, Angelica, and Patrice. You each embody what friendship is. You have shown up for me when I least expected it. Although we were on this crazy road together you never once fell short of listening to, encouraging, uplifting, protecting, laughing with, or even feeding me. I am certain that without you I would have not made it. I thank you for your dedication to our friendship and I pray that I have been and will continue to return the favor. To my closest friends: Delanté, Vanessa, Lauren, Samantha, Danielle, Eboni, Krystal, Nicole and Chavone …and to my favorite guys: Carlos, Karim, Jermaine, Rickey, and Bryan. Thank you for the laughs, the love, the trips, the memories, and the support. From childhood, to v undergrad, to PhD, you all have been there, reminding me of who I am and where I started. I truly appreciate each of you. To East Cleveland, Ohio: Thank you for introducing me to real-life; for being a community despite the hardships and the less-than-ideal circumstances. It was with you where I first learned that the very real effects of racism, poverty, and disinvestment are still not strong enough to eradicate Black joy, community support, and determination. It is my goal to always represent the best that East Cleveland has to offer and to create a path for more of our own to supersede all expectations. No matter how far I go, you will forever be my home base. Last, thank you to my committee, the department of Sociology, the Kuntz Center for Family Research, and the Charles Taft Research Center for supporting this research. Thank you to my unofficial mentors and advisors, such as Dr. Littisha Bates, and so many other faculty and staff who have guided me as I completed all three of my degrees at the University of Cincinnati. My village now spans multiple states, countries, generations, and identities. To those mentioned above and for anyone who has had me in your thoughts, prayers, and hearts—Thank you. Amen and Ashé. vi Table of Contents LIST OF TABLES ................................................................................................................................................. VIII CHAPTER I: UNDERSTANDING RACE, POP CULTURE, AND APPROPRIAITON .................................... 7 FRAMING THE STUDY: CRITICAL RACE THEORY AND COLORBLIND IDEOLOGY ........................................................ 9 COLORBLIND IDEOLOGY .......................................................................................................................................... 12 POPULAR CULTURE AND RACE ................................................................................................................................ 15 COLORBLINDNESS, POPULAR CULTURE, AND HEGEMONY ........................................................................................ 20 OPPORTUNITIES FOR RESISTANCE ............................................................................................................................ 21 CONCEPTUALIZING APPROPRIATION ........................................................................................................................ 22 RESEARCHING APPROPRIATION AND COLORBLINDNESS .......................................................................................... 28 OPPOSING CULTURAL APPROPRIATION ..................................................................................................................
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