“Not every culture has chosen to open itself up to being adopted by outsiders.”
-Jarune Uwujaren, 2013
I recently read a blog post regarding the difference between cultural exchange and cultural appropriation. The author, Uwujaren, argues that using someone else’s culture to satisfy a personal need for self-expression is an exercise in privilege, and this is because of the pressure that demands other cultures assimilate to Western ideals. She also argues that valid cultural exchange requires elements of mutual understanding, equality, and respect. Otherwise, is it really an exchange?
Considering this, I chose to do some research on the henna community and try to see how often cultural appropriation takes place within it. As a henna artist myself, I enjoy following other henna artists for inspiration in my work. When I was first learning how to do henna, I specifically focused on searching for artists based in the Seattle area. Unfortunately, I was only able to find one professional artist. As time has gone on, I have been able to find more henna artists based in the Seattle area, but this original artist I found has boosted in popularity since then. She has been featured on BBC, People, and Buzzfeed. Typically, I would not have an issue with fellow artists getting exposure for their work. However, in this case I wanted to understand why this particular artist was getting more exposure than other artists in the area. My answer? I think it’s because she is white.
In an article by Sunaina Maira, we are introduced to the concept of Late Capitalist Orientalism. Maira argues that in the United States, henna has become a symbol for exoticized feminitiy. Henna being marketed as a “temporary tattoo” compared to a traditional ritual shows how henna is being reconstructed to fulfill Western desires. Considering the fact that many Western artists seem to associate henna with Orientalist ideologies, it is strange to see that the sacred ritual is being appropriated by many in the West. The historical context behind this appropriation is what makes the issue problematic. “Eastern” culture was considered to be filled with savagery, but now it has become a trend?
Another issue that Maira brings up is how these artists “perform” mehndi, and charge for it. While one should support local businesses and pay for people’s art, it becomes a different issue when the art is a culture that is being appropriated. I emailed the henna artist mentioned above to learn more about her pricing, and I was shocked to find that she charges up to $1250 for bridal packages. I emailed another local South Asian artist to see if her bridal package was comparable, and I found that she only charged up to $570. Why is it okay for the white henna artist to profit so much more from a culture that is not her own?
I feel that I could be more forgiving towards this artist if it was the case that she was teaching clients about the sacredness and importance of henna in various cultures, but in my time keeping up with her work I have not seen any posts that focus on educating clients about the cultural significance of henna. The lack of effort in educating clients falls under Uwujaren’s argument that this is not a valid cultural exchange because there is no inclusion of mutual understanding or respect.
References:
Maira, S. (2002). Temporary Tattoos: Indo-Chic Fantasies and Late Capitalist Orientalism. Meridians, 3(1), 134-160. Retrieved from: http://www.jstor.org/stable/40338549
Uwujaren, J. (2013). The Difference Between Cultural Exchange and Cultural Appropriation. Everyday Feminism Magazine. Retrieved from: https://everydayfeminism.com/2013/09/cultural-exchange-and-cultural-appropriation/?fbclid=IwAR1GRMlz2g9jxRumuI_MlQnPOJqqPMbaaxwVMv9998SkImhIDlX9L4L34eQ
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