Junkanoo: Celebrating Authenticity in Appropriation exhibition was the second part to my thesis final project. The first part consisted of a formal dissertation paper, titled “Something Borrowed or Stolen? Understanding Cultural Appropriation through the Lens of Power, Privilege and Race,” a search for the underlying potential causes of/reason for cultural appropriation in the fashion industry, based on historical, theoretical and anthropological research.
Based on research and a clear understanding of the topic, I realized that there was not much positive connotations toward the topic. So I began to imagine the message of my exhibition. I knew that I wanted it to be a positive one, that I was clear about. Months later Bahamian designer Theodore Elyett showed up on the scene (with the gangsta lean) in Beijing, China with a collection that spoke to the Bahamian Junkanoo culture while giving slight nods to the Asian culture in his 'Bahamian Opulence' Collection. It was perfect! Theodore's collection spoke to me (see pics below), and I knew I had to showcase it in Atlanta.
With much anticipation, preparation and attention to detail the opening night, April 5th, was a success. A special added feature to the evening was that guest were able to see Theodore via a live Skype artist talk. The conversation was most intriguing as Theodore and I chat about cultural appropriation, the collection, and the discovery of our mutual love affair with the Junkanoo culture. The evening left most in admiration as I received feedback on how the exhibition was a learning experience for many. Which secretly, was one of my goals for the exhibition. I wanted folks to be so intrigued that they would return home wanting to know more about Junkanoo.
For those that missed it, the exhibition told the story of the ‘other’ in its cultural context, which had inspired the creation of the contemporary fashion collection that was showcased. The culture in the historical context of Junkanoo was celebrated, counter-arguing Edward Said’s position of orientalism. Historical photographs juxtaposed past and present representations of Junkanoo. The intent was that viewers would explore the actual cultural object that is being appropriated with an open mind and a clear understanding of the appropriated object itself, free of ethnocentrism and the view of exoticism with mere admiration.
I've discovered that it is inevitable that elements of traditional ethno-cultural dress will be scene as inspiration. As my friend Theodore said the the exotic is attractive simply because, "people want what they don't have." And so you will find people that want to exploit it and use for personal gain. But what can not be forgotten is that these sacred things have deep rooted meanings, with stories that deserve to be told. I encourage designers and creatives alike to take the time to disclose the true narrative of their ethno-cultural inspirations for their collections. And based on my exhibition, everyone loves an amazing story!
Photo Credit: Kaya Faery aka AD
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