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This could be very important in showing that good and respectful historical costuming CAN BE DONE. and can be done very well when the right people are in charge, this will be a great way to round out the end of my information as a look toward all media being this good at the art of costuming.

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This article evaluates the costuming of the musical Hamilton and what it does right about bringing historical costuming to a modern age. This includes referencing both historical accounts and modern takes in fabric and cut as well as changing the costume as the time period progresses in the show.

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This is a trade source as it comes from a blog made specifically by and for customers. It had references in it to other historical articles and uses wording that is important to the trade.

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The Costumes of Hamilton: How An 18th Century Silhouette Tells a Story, Mariana Sandoval, Trade source

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The Costumes of Hamilton: How An 18th Century Silhouette Tells a Story, Mariana Sandoval, Trade source

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Hamilton, Broadway's 2015 boundary-crossing musical phenomenon, with 11 Tony Awards, 1 Pulitzer Prize, and 1 Grammy Award, is a cultural and theatrical revolution. Written by Lin Manuel Miranda, and directed by Thomas Kail, it tells the story of Alexander Hamilton, one of the Founding Fathers of The United States of America. With some elements being hip-hop, R&B, and soul, as well as a cast that breaks cultural stereotypes but maintaining an 18th-century design, this musical is causing great impact throughout the globe. Miranda was inspired to write it after reading Hamilton's biography by Ron Chernow, and that Hip-Hop was the only way to tell the story.

"America then, as told by America now"
Lin Manuel Miranda

The play starts with Hamilton arriving in New York as an immigrant, and slowly rising to the top. By getting involved in politics, becoming the first secretary of the Treasury, fighting battles with George Washington and Thomas Jefferson, marrying Eliza Schuyler, and giving it all for his country until his death. What makes this play so outstanding and acclaimed is the way Lin Manuel Miranda is able to merge modern and period elements and tell Hamilton's story using rap as a language of revolution.

"The entire crew had one only goal: make Hamilton the best production EVER", shared Paul Tazewell, the brilliant costume designer of the musical. Tazewell has designed costumes for theatre, film, tv, dance, and opera. Among these, he has designed costumes for Broadway more than a dozen times. Throughout his career, he has worked in various African American and Latino productions. Some of them being: In The Heights, The Color Purple, The Immortal Life of Henrietta Lacks, and Harriet. Paul has always been characterized by delivering a flawless job, where the importance of character interpretation, period research, and attention to detail is present in every single piece he makes. Hamilton, being one of his more acclaimed pieces, gave him a Tony Award and Lucille Lortel Award for Best Costume Design.

"I think basic theatregoers realize when a costume is sparkly and glamorous, and they realize when it's wrong. But if it's right, then it should get out of the way. It shouldn't go away, but it should get out of the way so you can be in the moment and experience this world" - Paul Tazewell

As mentioned above, Hamilton is telling history, and therefore, real paintings and illustrations of the characters are already in the audience's head. But on the other hand, we are living in a critical moment where art is transforming the way people see the world, and people need to change urgently. So, Miranda and Tazewell took this opportunity to tell history in their own way, which ended up being a total success.

During the creation of any period costume, research plays a critical role. This will not only define fabrics and colors used during that time period, but also shape, silhouette, and the evolution of garments through a certain timespan. In Hamilton, the storyline takes place from the 1780s to 1810, approximately, which is a beautiful period full of colorful and elegant costumes. As time goes by, costumes transform throughout the musical from frock coats to tailcoats, and from ballgowns to regency dresses. One of the few things that Lin Manuel Miranda asked Paul for Alexander Hamilton's costume was that he be represented in green, because "green is the color of money" and it worked perfectly for the first secretary of the Treasury.

All of these elements present in Tazewell's designs; not only tell the story and represent each character but also merge that modern and period vision that Miranda proposed from the beginning.

Paul Tazewell shared the research process involved in "Designing Hamilton", an interview done by the National Arts Club earlier this month. He told the audience that he started taking reference paintings from the period to understand what people wore and how they wore it. Then, he looked at different inspirations from the modern world taking elements from the past and transforming them. This included paintings from artists like Kehinde Wiley and photoshoots of John Galliano and Alexander McQueen.

A very critical step during his process was the moment when he decided to define the silhouette and color palette for each of the characters. To do this, he dressed the whole cast in 18th-century silhouettes using costumes from several productions. This helped him "merge all the ideas visually and hold the cast together as a group", he said. Besides being as accurate to the period as he wanted, Paul had to think that the ensemble needed comfort to make certain movements, at the same time had quick changes that needed to be made, and last but not least, visuals had to be very precise for the audience to understand what was going on. These three elements will make period accuracy change a little bit, but at the end of the day, the costumes worked absolutely perfect for the musical and the cast.

Due to the extreme detail and care required, every single costume was custom made by master tailors and seamstresses, which is evident in the flawless work delivered. Also, since this musical was going to be filmed ( now available on Disney +), every detail had to be impeccable, or else, what people in the audience wouldn't notice, the rest of the world watching through their screens, would.

One of Paul's (and the audience's) favorite costumes are the Schuyler sister's costumes. These gowns have an accurate 18th-century silhouette known as robe a l'anglaise, which was identified by a stiff bodice, with a pointed waistline, low neckline, 3/4 length sleeves, and wide pleated skirt. The undergarments worn underneath were petticoats and a bump pad, which create volume in the skirt, chemise, and stays. The latter seems not to be part of the costume, since the most convenient idea for comfort (actresses never stop dancing and singing) was to have boned bodices, instead of a stiff pair of stays. The fabric used is also absolutely accurate, silk being the most popular fabric among high-class women and men during the 18th century. The colors for each one of the sisters show their personality and at the same time work together as a whole.

As a result, Tazewell's contribution to the musical was a complete success. He interprets each character in accordance with the director's point of view, he gives a little modern touch to each costume (not wearing wigs is one of the most notable and amazing decisions he made), and he respects the overall silhouette that 18th-century costumes have by also telling a story through the years it encompasses. By the end, Paul was able to dress the entire cast in period costumes, allowing them to dance, sing and rap as if they were performing in a 21st-century revolutionary bar. That, I call success.

"I wouldn't have been able to design it without everything that came before... All the productions I have done and the experience with period research and character interpretation came together to be able to make Hamilton"
Paul Tazewell

If you haven't yet watched Hamilton, please go and do so! You are not going to regret it. Be prepared to have lots of fun, get very excited, heart broken, and last but not least, inspired.
Other references: Dress Historians discuss Hamilton's Costumes (highly recommended if you are a period nerd, like me) :

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The Costumes of Hamilton: How An 18th Century Silhouette Tells a Story

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Hamilton, Broadway's 2015 boundary-crossing musical phenomenon, with 11 Tony Awards, 1 Pulitzer Prize, and 1 Grammy Award, is a cultural and theatrical revolution. Written by Lin Manuel Miranda, and directed by Thomas Kail, it tells the story of Alexander Hamilton, one of the Founding Fathers of The United States of America.

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This shows the inappropriate treatment of Mexican cultural dress in Disney movies of old. This is helpful to my topic by showing an inappropriate choice in representing a culture through costuming

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I am using a section of this article that speaks about how Walt Disney shows the cultural appropriation of Mexico in their old movies through costuming. They discuss the over-done up women in Mexican dresses They play dreamy music and have blurred backgrounds showing the place as a dream state. This is a white-washed, inaccurate, and sectioned part of Mexico.

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This is a scholarly article because it is written as a dissertation for an art history degree. It is formatted as an article with an abstract and a table of contents and uses language that is part of the degree.

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Unmasking the Mouse: Cultural Appropriation in Disney Films

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Unmasking the Mouse: Cultural Appropriation in Disney Films

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Unmasking the Mouse_ Cultural Appropriation in Disney Films

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Historical dramas have been a very important part of the last decade in media in TV, movies, and on stage. In this, we see references to the past through historical costuming. But have we ever considered that designers of the past culturally appropriated so long ago that we now think of this as the origin of a certain style. This will help me explore the history of cultural appropriation and its effects on our views today

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This article is a LONG research paper into the influence of Ottoman culture. I am interested in particular in the history of cultural appropriation of the clothing of the Ottoman empire by the English Monarchy. King Henry VIII had a large interest in the Ottoman empire and adapted some of their clothing into his style. This caused many aspects of Ottoman and Turkish influences to be given to English monarchs in history

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This is a scholarly source because it is a dissertation for the completion of a degree. It is written in the style of a basic article including an abstract a table of contents and lots of referenced sources. The language used to write is educated and you must have knowledge of the field to understand it.

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TRAVELLING SEXUALITIES, CIRCULATING BODIES, AND EARLY MODERNANGLO-OTTOMAN ENCOUNTERS, Abdulhamit Arvas, Scholarly Source

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TRAVELLING SEXUALITIES, CIRCULATING BODIES, AND EARLY MODERNANGLO-OTTOMAN ENCOUNTERS, Abdulhamit Arvas, Scholarly Source

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How has cultural appropriation changed how we see historical costuming?

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How has cultural appropriation changed how we see historical costuming?

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This article shows what a good representation of culture is in costuming showing the Ottoman Doulamas as a respected and honored piece of clothing that the artist worked hard to replicate with complete accuracy and respect.

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The main point of the article is to briefly describe and give understanding to the artist Ioanna Papantoniou and her interest in the Ottoman Doulamas. This may be helpful in providing comtext to the museum exhibit and encouraging people to attend. She concludes explaining that the exhibit is a masterclass in costuming and is a great resource for anyone who is interested

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This is a scholarly source because it shows an informed evaluation. It is written as a part of a scholarly study into museum exhibits and is not a google-able article. The language used to write is educated and you must have knowledge of the field to understand it. The source is long and isn't formatted pretty.

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IOANNA PAPANTONIOU: 'DOULAMAS' THE MAGNIFICENT: AN EXCEPTIONAL OVERCOAT, BENAKI MUSEUM (2019) Myrsini Pichou Scholarly Source

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IOANNA PAPANTONIOU: 'DOULAMAS' THE MAGNIFICENT: AN EXCEPTIONAL OVERCOAT, BENAKI MUSEUM (2019) Myrsini Pichou Scholarly Source

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IOANNA PAPANTONIOU: 'DOULAMAS' THE MAGNIFICENT: AN EXCEPTIONAL OVERCOAT, BENAKI MUSEUM (2019) 138, Pireos Street, Athens, Greece, 7 March-26 May

Ioanna Papantoniou (b. 1936) is one of the most important Greek costume and set designers having designed costume and scenery for more than 100 productions. She studied set and costume design at Wimbledon School of Art in London, and she is also a renowned dress historian and an acknowledged authority in the field of Greek regional costume, on which she has published extensively. She started her career in 1971 and was the first woman set and costume designer to work for the National Theatre and at Epidaurus Theatre. She is one of the few Greek designers who specially studied set and costume design. She has incorporated her deep knowledge and interest in Greek regional costume into her work for the stage and screen, and in that way she renewed the visual aspect of a theatrical performance in Greek theatre proposing an original aesthetic combining 'tradition and modernity' (Fessa-Emmanouil 1999: 58). Throughout her design career, she never stopped exploring the different possibilities that regional costumes can offer when used as a source of inspiration for theatrical costume, whether for the characters of Euripides or Bertolt Brecht.

The exhibition Ioanna Papantoniou: 'Doulamas' the Magnificent: An Exceptional Overcoat narrated the long relationship and fascination of Ioanna Papantoniou with the doulamas, a men's overcoat with spectacular decoration, which, along with its female equivalent, the pirpiri, were worn in the Balkans during the Ottoman Occupation period. Both these garments have been depicted in paintings by artists or travellers of the early nineteenth century in artistic representations of regional costumes and these works provide important source of information concerning both articles of clothing. The exhibition was organized by the Peloponnesian Folklore Foundation (PFF), founded in 1974, in collaboration with the Benaki Museum. Many exhibits originated from the PFF collection, which is 'the most complete and most systematic costume collection in Greece' (Politou 2010: 30).

This exhibition had been a long wish of the PFF's founder and president, Ioanna Papantoniou and as she explains in the catalogue her aim was:

to analyze the terminological variations in pattern, materials and
decorations of the doulamas, and finally to propose new ways of its use
in fashion and theatre, in the same way that I was accustomed to create
patterns for the costumes I designed for many theatrical productions.
                                                              (2019: 12)

When asked why she thinks the doulamas is 'magnificent', Papantoniou says that it is because of 'the diversity offered by the pattern cut. The use of the two semi-circular side panels creates an unbelievable variety of effects. The choice of materials, the decoration, their placement of the semicircles, can create "fingerprint" variations even in white' (2019: 17).

The exhibition was divided into five units. The first unit deployed on the main wall laid out the context and development of the garments' usage, providing texts that explained their history and analyzed the theme of the exhibition alongside photographs of garments, patterns and artworks--like a visual 'chronology'. The second unit exhibited historical doulamas and pirpiri garments from the PFF and other collections. The third unit was dedicated to Papantoniou's experimentation with the garments' pattern for the theatre and included a selection of theatrical costumes designed by her. The fourth unit featured thirteen contemporary creations inspired by the garments commissioned by Papantoniou from present-day Greek fashion designers. Finally, the fifth unit presented eighteen white garments--different variations of the costumes under investigation. The latter were commissioned by Papantoniou from Aristides Tzonevrakis, a renowned local costume maker, with the aim of presenting the various pattern possibilities the doulamas and pirpiri garments may offer.

The exhibition was shown in a quite large space with neutral lighting and followed an easy flow. All units with costumes were organized in a circular way and the mannequins were positioned in a 'theatrical' manner; as if the exhibits were talking to each other. Papantoniou often presents the exhibits in this circular and theatrical format, so that the three-dimensional quality of the costume can be understood by the visitor, and to try to give 'life' to the garments on display. Papantoniou collaborated with Stamatis Zannos, the exhibition designer, to create a decorative print of the pattern of the exhibited costumes that stretches across the floor and over the wall. In this way, the visitor is constantly exploring the construction of the garment. It would have been more helpful if the photographs from the theatrical productions were placed closer to the garments on display, instead of being presented in the introductory unit. In that way, the visitor would have been able to understand more easily the qualities of the garments as part of the theatrical performance and worn by the 'roles' they were created for. Additionally, what was not conveyed to the public is the effect of movement on the doulamas and the pirpiri--key characteristics and advantages of these garments that add to their theatricality when used onstage. Perhaps videos with excerpts from the performances would have been more useful. The labels and texts were quite helpful and even visitors with little knowledge on costume design and/or garment construction were able to enjoy the exhibition and learn. The exhibition catalogue was especially explanatory and rich in visual material, with a descriptive introduction by Papantoniou. Papantoniou gave few guided tours herself and shared her deep knowledge on Greek dress history as well as her fascination for the doulamas and the pirpiri.

Each unit of the exhibition was remarkable in colour and concept and explored different aspects not only of costume making/designing but also research and history, covering almost 200 years of dress history in Greece. The historical garments were particularly astonishing, demonstrating the high degree of human craftsmanship in their making, particularly in their decoration. Additionally, the unit with the white garments by Aristides Tzonevrakis was very atmospheric because of the simplicity of the colour of the garments that were produced to be worn. Designed by Ioanna Papantoniou and executed by Aristides Tzonevrakis, these white garments, which at first glance felt as if they had been created in the concept of toile garments, enabled the visitor to observe closely the differences and similarities of the patterns of the doulamas and the pirpiri.

Finally, in the unit with the present-day creations, it is interesting how each designer chose something different to explore in the historical garments, from material, such as jeans or plastic, to the addition of elements, such as trains, which transformed every garment into a unique creation consistent with the signature style of every designer. The designers who participated are: Angelos Bratis, Dimitris Dassios, Deux Hommes, Tina Karageorgi, Sophia Kokosalaki, Loukia, Maison Faliakos, Mi-Ro, Markellos Nyktas, Parthenis, Daphne Valente, Zeus+Aione and Vassilis Zoulias. This collaboration had as example the Dries Van Noten exhibition Inspirations held at the Mode Museum in Antwerp in 2015. The nucleus of the exhibits in this unit, however, originated from a 2017 initiative by Papantoniou, when she took the opportunity of her participation in the 2017 ICOM Costume Committee meeting in London to propose to a number of Greek designers an experimental exhibition, held at the PFF's 'Kanari 4' cultural space in Athens. Overall, the exhibition fulfilled its main aim, introducing the visitor to the 'magnificence' of the doulamas and the pirpiri through Papantoniou's deep understanding and enthrallment with the garments in question. The visitor would leave in awe this very personal exhibition, which also presented the dedication and the sharp eye with which Papantoniou has addressed her research on regional costume, as well as her unique creativity on theatrical costume. In one word, the exhibition could be described as a 'masterclass', not only to young theatre and costume designers, but also to all researchers and artists alike that research never ends. Exhibition general supervisor--concept: Ioanna Papantoniou. Collaborators: Maria Papadopoulou, Angeliki Roumelioti, Nikos Saridakis.

Bilingual catalogue: printed by the Peloponnesian Folklore Foundation 2019, preface and main text by Ioanna Papantoniou, catalogue entries written by Maria Papadopoulou and Angeliki Roumelioti.

Fessa-Emmanouil, E. (ed.) (1999), Ellines Skinographoi--Endymatologoi kai Arhaio Drama (Greek Set and Costume Designers and Ancient Drama), exhibition catalogue, Theatre Studies Department of the University of Athens and Hellenic Ministry of Culture, Athens, 31 March-30 April.

Papantoniou, I. (ed.) (2019), Ioanna Papantoniou: 'Doulamas' The Magnificent: An Exceptional Overcoat, exhibition catalogue, Peloponnesian Folklore Foundation, Nafplion, 7 March-26 May.

Politou, X. (2010), 'From designer to customer and from wardrobe to museum: A proposed collection policy for a costume culture museum', in I. Papantoniou (ed.), Endyesthai (To Dress), exhibition catalogue, Nafplion: Peloponnesian Folklore Foundation, pp. 29-37.

Reviewed by Myrsini Pichou, Athens University History Museum

Pichou, Myrsini

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IOANNA PAPANTONIOU: 'DOULAMAS' THE MAGNIFICENT: AN EXCEPTIONAL OVERCOAT, BENAKI MUSEUM (2019).

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IOANNA PAPANTONIOU: 'DOULAMAS' THE MAGNIFICENT: AN EXCEPTIONAL OVERCOAT, BENAKI MUSEUM (2019) 138, Pireos Street, Athens, Greece, 7 March-26 May Ioanna Papantoniou (b. 1936) is one of the most important Greek costume and set designers having designed costume and scenery for more than 100 productions.

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It has become apparent in recent years that Halloween is being put on the radar as an example of bad cultural appropriation. It is important to keep this in mind when looking at costuming in media as well.

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Halloween costumes are large contributors to cultural appropriation as seen in titles such as 'pow wow princess'. Cultural appropriation is also about power so wearing these costumes as a white person shows that you know you have power over another. These also have issues with hypersexualization of cultures causing real-life targets to be placed on the people of the targeted cultures.

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This is a popular source because it doesn't have many scholarly references and is formatted like a blog post. This also comes from a school's newspaper as a source which makes it popular.

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Professor discusses why many popular Halloween costumes are examples of cultural misappropriation, Contributing Writer, Popular source

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Professor discusses why many popular Halloween costumes are examples of cultural misappropriation, Contributing Writer, Popular source

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By Elizabeth Scarbrough

It's the most wonderful time of the year - Halloween! Hopefully, by now, you've planned your costume and a COVID-safe way to celebrate. But if not, I'm here to discuss the issue of cultural appropriation and Halloween costumes. You've probably heard people say, "it's a culture, not a costume" - but what does that mean? What is cultural appropriation and why should I care?

The term cultural appropriation covers a range of conduct - from stealing tangible cultural property (for example, the buying of looted artifacts) to stealing ideas (for example, passing off another culture's ideas as your own), or using another culture's voice or style as your own. Philosopher Erich Hatala Matthes refers to these three types of cultural appropriation as theft, misuse, and misrepresentation. When discussing Halloween costumes, we're discussing the last of these three - misrepresentation.

Examples of culturally appropriative Halloween costumes are - unfortunately - everywhere. Just look at your local Halloween stores (like Spirit) which advertise pre-packaged sets with names like "pow wow princess" or "tequila shooter guy" or "geisha lady." These costumes trade on a feature of cultural appropriation - outsiders of a particular culture use the resources (e.g., traditional clothing or perceived traditional clothing) of a culture that is not their own. But this alone doesn't get us all the way to cultural appropriation.

Cultural appropriation is also about power. Notice that the Halloween costumes I mentioned earlier depict minoritized groups - this isn't accidental. Problematic cultural appropriation is a result of power imbalances. And in the United States, these imbalances often fall on racial lines. A White American dressing up as "pow wow princess" can be interpreted only within the context of settler colonialism. But (mis)appropriation is not always about race or ethnicity. There is a growing movement against wearing costumes that depict prison inmates, houseless folks, and people with mental illness as these costumes also trade on an imbalance of power. As Matthes (cited earlier) states "fix the power problem, fix the appropriation problem."

The University of Denver's "We're a culture, not a costume" campaign posted flyers across campus that depicted a White woman wearing a headdress and carrying a tomahawk. The poster read, "You think it's harmless, but you're not the target." The harm here is in stereotyping a culture (misrepresentation). Wearing this type of costume displays morally culpable ignorance about indigenous peoples and their practices. In our ignorance, we might also be wearing religious iconography in a flippant or disrespectful way (sacrilegious appropriation). We also run the risk of not just essentializing their culture but representing a living culture as a "something out of the past."

Additionally, many of these costumes hypersexualize identities. This reaffirms pernicious stereotypes with tangible consequences. Shannon Speed, the director of American Indian Studies at UCLA (and a member of the Chickasaw Nation of Oklahoma) says, "If there were any consciousness in this country of the huge problem of violence against Native women and the thousands of missing and murdered Indigenous women in this country, they'd have to stop and think about what putting on a sexy Indian costume might mean."

Ghouls just wanna have fun so I'll be creepin' it real this Halloween dressing up in a spooktacular costume. If you stop to think of the most creative Halloween costume you've ever encountered, I doubt you'll think of the ones discussed in this article. Culturally appropriative costumes are at best lazy, and at worst racist. So give 'em something to talk about with a creative, non-appropriative costume. Don't be a jerk-o-lantern this Halloween and let's get this party startled!

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Professor discusses why many popular Halloween costumes are examples of cultural misappropriation

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By Elizabeth Scarbrough It's the most wonderful time of the year - Halloween! Hopefully, by now, you've planned your costume and a COVID-safe way to celebrate. But if not, I'm here to discuss the issue of cultural appropriation and Halloween costumes. You've probably heard people say, "it's a culture, not a costume" - but what does that mean?

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How is cultural appropriation seen in costuming?

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How is cultural appropriation seen in costuming?

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Cultural appropriation is an issue that has become more prevalent in recent years and it's important to figure out its definition of it so it can be understood in context. This source provides a wide and general definition that allows the concept to be easily understood by students which is extremely important in wrapping the heads of the audience around my big concept.

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-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. It's most likely to be harmful when the source community is a minority group that has been oppressed or exploited in other ways or when the object of appropriation is particularly sensitive, e.g. sacred objects.
-Appreciation comes with understanding while appropriation is taking for your own gain
-teach students about cultural appropriation

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This is a trade source because it is written by an organization that provides resources to teachers, The National Conference for Community and Justice is an American social justice organization focused on fighting biases and promoting understanding between people of different races and cultures. This specific article provides information for teachers to teach about cultural appropriation through links and activities.

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What is Cultural Appropriation? NCCJ, trade source.

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What is Cultural Appropriation? NCCJ, trade source.

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In this bulletin, we will be discussing the topic of Cultural Appropriation. Included in this bulletin are definitions, general information, history, articles/handouts, videos, and resources for teaching about this issue. This bulletin can be used in clubs, classes, and companies, or shared with friends and family.

DEFINITIONS

Cultural Appropriation: "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. It's most likely to be harmful when the source community is a minority group that has been oppressed or exploited in other ways or when the object of appropriation is particularly sensitive, e.g. sacred objects." (Who Owns Culture? Appropriation and Authenticity in American Law; Susan Scafidi)

Appropriation: The act of taking something for one's own use, typically without the owner's permission.

Exploitation: The action of making use and benefiting from sources.

Internalized Dominance: When members of the agent group accept their group's socially superior status as normal and deserved.

Internalized Oppression: When a member of an oppressed group believes, and acts out imposed stereotypes.

Assimilation: The process of a person or group's culture, language, and/or customs resembling those of another person or group.

Appreciation Versus Appropriation
After going over basic terms and definitions associated with cultural appropriation, explain to students the difference between appreciating a culture and appropriating it to provide better context for the conversation.

Although some colleges and universities are being proactive about this Halloween costumes this year, not everyone understands the importance of avoiding culturally appropriated costumes. In 2011 Ohio University did a poster campaign called "We're a Culture, Not a Costume," that quickly took off in social media and has been updated by the university a few times. This campaign highlights the importance of understanding how wearing a "costume" for just one night can have a negative impact. In 2012 the posters read, "You wear a costume for one night. I wear the stigma for life."

The next step is not shying away from the challenging conversations that may occur from the sometimes politically charged attitudes that are often met within these conversations and the nature of the content. Make sure that the students are ready to move the conversation forward by finding active solutions to the complicated problems that cultural appropriation creates while bringing light to the misconceptions around them.

You can offer up some of these questions and conversation starters to help open up the classroom dialogue:

How do you appreciate a culture you are not part of? And can you?
Appreciation comes from sincere understanding, and understanding means going beyond books. Go over the details that this includes, such as social and emotional connections to culture that students experience in their own lives. Follow up with connecting their experiences to the idea of cultural appropriation, and then look for students to provide examples from their own lives or media sources. Remind students that just because someone understands a culture, it doesn't give them the right to claim it as their own.

Is the culture inviting you to celebrate it?
There isn't a fine line between culture appropriation and internalized domination/oppression. Americans have a sense of entitlement around the concept of "the melting pot," which often carries with it the assumption that because we have a diverse amount of cultures in our country, that all of them belong to all of us. Within the classroom dialogue, look for examples of what types of behaviors could come from appropriating a culture in everyday life, including but not limited to fashion, accents, vocal inflections, and art amongst other artifacts. Ask them to only speak about their experiences and own cultural identities, not anyone else's.

You can explore and be fascinated or engulfed by a culture and not appropriate it. It becomes appropriation when you change a part of your personal identity to "match" or "claim" that culture.
Choose some examples of cultural appropriation to give. Then move the discussion toward how some may express or have a preference for one or a few cultures within their interests, and that having a fascination doesn't qualify as a personal bias. Have students share their own cultural experiences, and make sure that questions can be asked within a safe environment about their own cultural identities and their interests in other cultures. If comfortable, allow people that are part of a target group that is appropriated (e.g., students of color, religious minorities) to talk about their experiences. It shouldn't be a space dominated by agent groups, nor should it only be target groups. Make sure to find balance within your classroom population. If possible, have students invite a parent or other relative in for a day centered around stories of personal experience that explore culture, societal biases, and other unique aspects of that cultural identity within the United States.

Halloween is a time of spooky fun, excitement and unfortunately cultural appropriation. While most Halloween costumes are harmless, some are not. The conversation around Halloween costumes and cultural appropriation has been happening for at least the last decade. Due to bad press in the past some colleges and Universities take a proactive approach in addressing culturally appropriated costumes:

Clearing Up Misconceptions

Is your costume offensive?

Think outside of the box:

Whether students are aware of it or not, all of them at some point have been placed by society within a box of preconceived notions based on their cultural identity, which is usually perceived from their outward appearance. Have students work as a group to combat this issue at varying levels of scale, whether it's dealing with prejudice or simple misconceptions. Ask them to provide a detailed outline of what a plan would be that incorporates a written and visual element of their choice.

Celebrating other cultures while respecting their linguistic identity and traditions:

Look at how language and inflection spans race as well as different socioeconomic classes, and how the intentions behind how certain words, phrases, vocal patterns, and false accents can make seemingly innocent conversations into atmospheres for harmful environments. Go through personal and vicarious experiences of this behavior with the class by having students share stories.

Looking at the reality behind media representation:

Students should examine film, literature, music, and other art forms with a strong emphasis on language, as well as the ways popular fashion has impacted their perception of cultural appropriation. Then encourage curiosity with a discussion exploring how different cultures are represented in all forms of media, followed by an analysis that includes historical context and personal reflection.

Discuss the impact of media and pop culture as an influence on and perpetuator of the misconceptions many see around cultural identity and where cultural appropriation is modeled and taught to society. After showing students the videos below, select some direct examples of cultural appropriations and create a Venn diagram to compare and contrast perpetuated stereotypes and cultural theft versus the reality of the societal and personal experiences that center around cultural appropriation.

VIDEOS

Consider This

Assessment within a group discussion can often depend on participation points and other areas of interaction. Use the following discussion questions to encourage a deeper level of thinking on these issues.

Can students identify cultural appropriation?

What cultural appropriation have you witnessed in the media (television, magazines, music, etc.)?

If you saw someone wearing or doing something that was culturally offensive, what would you do?

Is what I am doing or wearing perpetuating any racial or religious stereotype? Am I reducing anyone or any culture down to a caricature?

When shopping ask yourself if what you want to buy is tied to a culture. Is it accurately representing that culture or stereotyping it?

Think about your favorite artist and whether or not you have ever seen them wearing or doing something that was cultural appropriation. Think about the popularity of this person and the impact they have on their fans. Many will assume that if they do it, it is okay. Question this notion. (CAN YOU GIVE AN EXAMPLE HERE?)

Have you ever worn anything just because you were trying to make a "fashion statement" without realizing it is from another culture and is cultural appropriation?

Are you really appreciating a culture when it is represented from something bought from stores like Target, Wal-Mart, or another commercialized chain stores?

Questions to have students ask themselves on whether or not what they're doing/wearing is okay:

Is it offensive to any race, religion, culture, belief, group of people, etc.?

Does it mock/make fun of/or represent a certain group of people/culture/belief/etc. in any way?

Does it reinforce stereotypes?

Did people from the other culture endure negative experiences that people from your culture have not?

Are you wearing it just because it "looks cute?"

Do you think that because your favorite celebrity/icon/whoever is wearing it, it makes it okay?

Did your friend, who is part of the culture it originated from, tell you that they don't care if you wear it because it doesn't offend them? Does this mean it doesn't matter?

To all of these questions, if a student answers "yes," then they shouldn't do it. Even if one person isn't offended, it doesn't mean others won't be. Gently remind students to take caution and be thoughtful.

NEED A CONCLUSION: Could go back to why it is important to address this in the classroom.

After-Discussion Articles and Handouts:

Other Resources:

Culturally Appropriated Halloween Costumes Are Offensive to the Groups They Depict

It's Time We Have A Real Talk About Culture-Based Halloween Costumes

I Was That Girl On Halloween - Here's How I Learned My Lesson

Portions of the piece were used, with full permission, from the NCCJ Monthly Bulletin Series' "Cultural Appropriation" resource.

This resource also appears as a blogpost on EdWeek's Global Learning blog.

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In this bulletin, we will be discussing the topic of Cultural Appropriation. Included in this bulletin are definitions, general information, history, articles/handouts, videos, and resources for teaching about this issue. This bulletin can be used in clubs, classes, and companies, or shared with friends and family.

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Appreciation Appropriation and Influence