I first heard the phrase “Stay in your lane” a few years ago, in a writing workshop I was teaching. We were talking about a story that a student in the group, an Asian-American man, had written about an African-American family.
There was a lot to criticize about the story, including an abundance of clichés about the lives of Black Americans. I had expected the class to offer suggestions for improvement. What I hadn’t expected was that some students would tell the writer that he shouldn’t have written the story at all. As one of them put it, if a member of a relatively privileged group writes a story about a member of a marginalized group, this is an act of cultural appropriation and therefore does harm.
Arguments about cultural appropriation make the news every month or two. Two women from Portland, after enjoying the food during a trip to Mexico, open a burrito cart when they return home but, assailed by online activists, close their business within months. A yoga class at a university in Canada is shut down by student protests. The author of a young-adult novel, criticized for writing about characters from backgrounds different from his own, apologizes and withdraws his book from circulation. Such a wide variety of acts and practices is condemned as cultural appropriation that it can be hard to tell what cultural appropriation is.
Much of the literature on cultural appropriation is spectacularly unhelpful on this score. LeRhonda S. Manigault-Bryant, a professor of Africana studies at Williams College, says that the term “refers to taking someone else’s culture—intellectual property, artifacts, style, art form, etc.—without permission.” Similarly, Susan Scafidi, a professor of law at Fordham and the author of Who Owns Culture? Appropriation and Authenticity in American Law, defines it as “Taking intellectual property, traditional knowledge, cultural expressions, or artifacts from someone else’s culture without permission. This can include unauthorized use of another culture’s dance, dress, music, language, folklore, cuisine, traditional medicine, religious symbols, etc.”
These definitions seem enlightening, until you think about them. For one thing, the idea of “taking” something from another culture is so broad as to be incoherent: there’s nothing in these definitions that would prevent us from condemning someone for learning another language. For another, they rely on an idea—“permission”—that doesn’t, in this context, have any meaning.
Permission to use another group’s cultural expressions isn’t something that it’s possible to receive, because ethnicities, gender identities, and other such groups don’t have representatives authorized to grant it. When novelists, for example, write outside their own experience, publishing houses now routinely enlist “sensitiv...
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