As of recently, there has been a trend in the use of Native American and Aboriginal symbols and customs in the mainstream media and fashion. Within the past few years especially, there has been a huge incline of traditional objects such as cowichan sweaters, fashion headdresses, dream catchers and feather accessories, worn and used by many. The issue surrounding this is the misappropriation of these items, which are typically very sacred to the tribes from which they originate. One particularly offensive example of this misuse of cultural customs by the media is the 2004 Grammy performance of the song “Hey Ya” by Outkast. The performance begins with the group emerging from a Teepee, wearing highly sexualized and stereotypical traditional native attire. They begin by dancing in a way that mocks the style of dance that originates from the Powwow ceremony, whilst mimicking the recognizable chants also heard during these spiritual gatherings. Similarly, in a recent performance, musician Ke$ha chose to don the headdress, which again, has nothing to do with the song in particular. The headdress is an item with deep symbolic significance to Native Americans and is of spiritual value to its people. Traditionally, and to this day, it is worn by individuals of high status and important community leaders who have earned the their position and its accompanied right to wear the headdress. Also known as a War Bonnete, these pieces are traditionally reserved for men. Women who then wear them for the sake of fashion, as Ke$ha did, are showing their disregard for the values tied to this custom.
The use of these symbolic elements in the performances perpetuates a stereotype that began shortly after the colonization of North America and has been prevalent in all forms of media throughout history. The stereotype is one of a primitive and backwards Native American, which was fueled by Disney cartoons such as Pocahontas, made its way into all forms of media. Not only does this stereotype force a limited view of Native American groups, categorizing them all into one, but it also contributes to the continued suppression of these groups. The reuse of media is mentioned by Novak, who states that “contemporary media and their subjects are made to be detached, circulated and recontextualized, creating a tension between “tribute” and “mockery”” (Novak, 64). With their out-of-context use of symbolism, Outkast does not honor or pay tribute to aboriginal communities but rather, undermines them. By mocking and dismissing their cultural values and practices, the group feeds into the cycle of diminished power, which native groups have struggled with since the beginning of colonization.
In contrast to this example, we can look to Shakira’s song and video titled “Waka Waka” which was written and performed specifically in promotion of the World Cup in Africa. Shakira incorporates the lyrics and tune from the popular song Zangalewa, which was created by a group from Cameroon in honor of WWII skirmishers. The song was redone by Shakira, using traditional African instruments and dance routines, however, rather than simply copying these forms, she is able to incorporate her own Columbian culture. The lyrics are inspirational and supportive of African culture in a tasteful manner, rather than simply exploiting it. By integrating aspects her own culture into the performance, and creatively blending them into the original African theme, the piece exemplifies the positive outcomes of cultural diversity, while paying respect to the traditions of the separate cultures.
Sources:
http://www.gsusignal.com/opinions/mockery-of-native-heritage-only-perpetuates-native-issues-1.2231674
http://nativeappropriations.blogspot.com/2010/03/keha-headdress-and-trend-that-wont-go.html
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