Introduction
Cultural appropriation is the practice of adopting or using elements of one culture without proper understanding or respect for the original culture’s values and traditions. This, in turn, may be harmful to marginalized communities and undermine national authenticity. As an example of the controversy of such a practice, I can cite borrowing the Maggunju and Mwaga dances from Uganda as a person whose culture is in no way associated with these dances.
Certainly, this type of activity is unlikely to carry an offensive context and is considered nothing more than a manifestation of interest in another ethnic group. However, this form of appropriation may not be acceptable from the perspective of indigenous Ugandans whose history and cultural background uniquely inform these dances and reflect features specific to their national identity.
Humiliating Another Culture
Despite the fact that the form of cultural appropriation itself is not illegal, this concept is associated with acute moral and ethical issues. As a member of a different ethnicity and race, I, as a student with a distinctive cultural background, cannot fully realize the purpose and nature of the dances mentioned. Native Ugandans, on the other hand, are well aware of what Maggunju and Mwaga dances are.
Delving into the context would reveal that Maggunju is a special form of art characterized by a special ritual performed during festive events (Mabingo, “Music as a Pedagogic Tool” 240). Mwaga, in turn, is a royal dance that dates back many years and reflects the traditions of the Baganda monarchy (Mabingo, “Reimagining and Reimaging” 54). As someone who has nothing to do with these traditions, I do not realize how important these dances can be for people directly connected to this culture. As a result, due to my ignorance, I can humiliate the representatives of that nationality, demonstrating my indifference to the nature of the dance and, therefore, humiliating their national identity.
Globalization as a Negative Driver
One of the reasons why appropriation has become a common problem is socio-cultural globalization. Interest in the ethnocultural practices of other nationalities has led to widespread borrowing, often thoughtless. For me, the situation is clear if I demonstrate a dance to others without realizing the prerequisites for its emergence and original purpose. However, as practice shows, many people are not inclined to reflect on this topic, which leads to cultural conflicts.
For instance, an open demonstration of Maggunju or Mwaga dances in front of an audience on the street can be extremely unpleasant for those who know what these ritual dances are used for and who have the right to engage in them. Moreover, with free media access to the cultural values of others, people are not inclined to consider whether their behavior may humiliate others or not (Lenard and Balint 331). I understand that such behavior cannot be considered absolutely justified. Nonetheless, given the availability of cultural content, it is impossible to limit it. That is why the issue under consideration is controversial and may even require settlement at a more sustainable level than the moral and ethical one.
Conclusion
Cultural appropriation, even when seemingly innocuous, can have deep implications for the communities whose traditions are being borrowed. It is critical to practice cultural exchange with sensitivity and respect for the feelings and perspectives of the cultures involved. The example of utilizing Maggunju and Mwaga dances confirms the controversies surrounding this issue. Realizing the significance of cultural practices and seeking consent is crucial to fostering mutual respect and appreciation across diverse communities.
Works Cited
Lenard, Patti Tamara, and Peter Balint. “What Is (the Wrong of) Cultural Appropriation?” Ethnicities, vol. 20, no. 2, 2020, pp. 331-352. Web.
Mabingo, Alfdaniels. “Music as a Pedagogic Tool and Co-Teacher in African Dances: Dissecting the Reflections and Practices of Teachers of Cultural Heritage Dances in Uganda.” Research Studies in Music Education, vol. 42, no. 2, 2020, pp. 231-247. Web.
—. “Reimagining and Reimaging Indigenous Dances and their Contexts of Practice in Postcolonial African Environments.” Critical Arts, vol. 35, no. 3, 2021, pp. 52-68. Web.