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- From: irwinke@storm.CS.ORST.EDU (Keith Irwin)
- Newsgroups: rec.arts.books
- Subject: Re: Cultural Appropriation and the New Age
- Date: 24 Dec 1992 06:35:09 GMT
- Organization: Computer Science Department, Oregon State University
- Lines: 32
- Message-ID: <1hblmtINNaph@flop.ENGR.ORST.EDU>
- References: <18844@mindlink.bc.ca> <1992Dec23.192222.10975@netcom.com>
- NNTP-Posting-Host: storm.cs.orst.edu
-
- tmaddox@netcom.com (Tom Maddox) writes:
-
- > The work is usually divorced entirely from its original context and
- > is in fact being offered for the esthetic pleasure of the urban dweller with
- > (often significant) disposable income.
-
- > Next year, or the year after, I imagine these relics will no longer
- > be chic.
-
- More than likely, most consumers of 'ethnic/tribal' art are indeed using
- their disposable income to purchase these items for their esthetic
- pleasure. There is, however, another kind of consumer, or rather, another
- motivation behind the consumption. I have talked to several small time
- collectors and a couple of shop-owners who state that the primary reason
- they sell/buy the art of the 'Exotic Other' is because of its 'spiritual
- content.'
-
- Buyers assume that small-scale, indigenous cultures have some kind of
- premium on 'real' spirituality. Everything they say, do, or make is seen as
- being infused with a deep, spiritual significance which is lacking in
- White Bread Euroamerican culture. Therefore, some American--and
- European--consumers buy these 'spiritually infused' articles in order to
- possess something meaningful. To paraphrase a shop-owner, this ethnic
- stuff is desirable because it's more real.
-
- I guess it's a story of spiritualizing consumption, and consumerizing
- spirituality. So, what may be no longer chic next year is accessing the
- spiritual realm through the Other, though I doubt it.
-
-
- Mary Smith-Nolan
- (using irwinke@storm.cs.orst.edu)
-