Cultural appropriation and appreciation: rethinking creativity and coloniality in the world of textile fashion through two Central American ethnographic case studies

Abstract

The article focuses on creativity in relation to practices of cultural appreciation and appropriation in textile fashion. Two cases, the Guna textile compositions called molas (Panama and Colombia) and the Mayan textiles (Guatemala), illustrate the complexity of the creative process, the claims for protection of indigenous collective creations and the practices of the world of design and fashion regarding indigenous peoples. From an anthropological perspective, the article approaches the individualistic and extractivist vision of creativity, contrasting it with the dominant one in indigenous contexts, where it is seen as a collective and dynamic process, mediated by socialisation and relationship with elements of other worlds and temporalities. Then, the concepts of cultural appropriation - taking elements from a minority culture without authorisation, recognition or compensation - and cultural appreciation - valuing and considering indigenous creations - are discussed. Examples of appropriation include the use of indigenous designs without consent, while appreciation involves the purchase and recognition of products produced by indigenous groups. The conclusion is that if creativity is not recognised as a collaborative process that includes both humans and non-humans, it is not possible to end practices of cultural exploitation and appropriation. Following the new trends proposed by researchers such as Timothy Morton (2021) and Karen Barad (2023), we open the door to a less anthropocentric and colonial relationship between objects and human beings.