2.4 Ricardo Pitts-Wiley on the Ethics of Appropriation
Throughout this project, we have used Ricardo Pitts-Wiley and his play, Moby-Dick: Then and Now, as our primary example of how contemporary artists have reworked and remixed material from Melville's classic novel. It is striking in this video to hear Pitts-Wiley talk about his ambivalence, even dismay, over the use of the term, "appropriation," to describe his creative practices.
For this African-American playwright, the term, appropriation, evokes a history of the ways that racial inequalities have asserted themselves into the arts: "I am a product of a culture where so much of what we have created has been appropriated and not necessarily for our benefit... Our dance forms, our music, our lingo, all of those things have been appropriated many many times and not necessarily in a way in which we have profited." Many of the most important musical innovations in 20th century music originated within minority communities. In most cases, these musical forms, from early jazz to the Delta blues to hip hop as they were performed by white performers, have informed popular consciousness. Music could cross color lines in American society far more easily than the performers could. As a result, white jazz performers, such as the Paul Whiteman, gained a prestige and visibility that were denied to those who had created the musical genres. As you watch this segment, think about the various strategies used to elevate jazz from its origins in the bars and brothels of black New Orleans and make it safe for white consumption.
For this African-American playwright, the term, appropriation, evokes a history of the ways that racial inequalities have asserted themselves into the arts: "I am a product of a culture where so much of what we have created has been appropriated and not necessarily for our benefit... Our dance forms, our music, our lingo, all of those things have been appropriated many many times and not necessarily in a way in which we have profited." Many of the most important musical innovations in 20th century music originated within minority communities. In most cases, these musical forms, from early jazz to the Delta blues to hip hop as they were performed by white performers, have informed popular consciousness. Music could cross color lines in American society far more easily than the performers could. As a result, white jazz performers, such as the Paul Whiteman, gained a prestige and visibility that were denied to those who had created the musical genres. As you watch this segment, think about the various strategies used to elevate jazz from its origins in the bars and brothels of black New Orleans and make it safe for white consumption.
This video offers a picture of the ways Elvis Pressley's music was caught up in the racial politics of the 1960s. He has been attacked by white critics for adopting a style of performance (blues, soul) they associated with black music and by minority critics for making money for "steal in' the black music and making it white." Appropriation was considered exploitation because performers could buy the rights to the songs at very low rates and make significant profits from their performance.
In some cases, black speech, dress, and performance styles were caricatured for the amusement of white audiences. The treatment of Cab Calloway, a gifted black jazz performer, by Hollywood has been the subject of much debate through the years. Calloway's highly stylized approach was further exaggerated and amplified when it was incorporated into this Betty Boop cartoon, which also caricatures the culture of New York's Jewish immigrant community. Betty's friend, Bosko, with his black face, big mouth, and wide eyed terror, relates to the Minstrel Show tradition.
Stylization is an inevitable part of animation, which involves simplification of reality for expressive purposes. For that reason, cartoons are highly susceptible to stereotyping. The history of American animation includes many examples of demeaning representations of people of different racial and ethnic groups. In many cases, these stereotypes start with appropriation since stereotyping is most effective when the audience recognizes some aspect of the culture depicted, but turned against the depicted group. As you watch the Betty Boop cartoon, ask yourself what aspects of black and Jewish culture are being appropriated by whom and to what effect.
Some critics argue that nerdcore, such as the songs produced by MC Lars, may be another example of white appropriation of black music. Others have celebrated the ways hip hop has moved from the streets of New York and Los Angeles to become a shared universal vernacular for young people of all races. How might we distinguish between legitimate and illegitimate forms of appropriation? When does appropriation constitute the highest form of flattery and when is it exploitation?
"Does that mean that everything is fair game [for appropriation], whether you understand it or not?," Pitts-Wiley asks, "Can you just use whatever you want because it's out there?" For Pitts-Wiley, this is a question that goes beyond issues of fair use and intellectual property. It has to do with the ethical relations between artists, with what the new generation of creators owes to the generations that came before it.
"Does that mean that everything is fair game [for appropriation], whether you understand it or not?," Pitts-Wiley asks, "Can you just use whatever you want because it's out there?" For Pitts-Wiley, this is a question that goes beyond issues of fair use and intellectual property. It has to do with the ethical relations between artists, with what the new generation of creators owes to the generations that came before it.
In response to this question, Pitts-Wiley outlines ethical standards for remix artists that pay attention to and respect the original sources and the cultural contexts where they originate. He describes his own efforts to be appropriate in the ways he represents the cultures and histories of Africa. He stresses that anyone, regardless of their background, is entitled to build on their culture. However, they should not appropriate and remix other cultural traditions ignorant of the original meanings they communicated for the people who created them. He advises young artists, "Before you take something and use it, understand it. What does it mean to the people? Where was it born?... Don't just assume that because you have a computer and you can download a Polynesian rhythm, an African rhythm, and a Norweigan rhythm that I do not have a responsibility to understand from whence they came. If I am going to use gospel music, I have a responsibility to understand that it is born of a people and a condition that must be acknowledged."
In that way, Moby-Dick: Then and Now helps us understand the ways remix practices draw upon the habit of close reading. Ricardo Pitts-Wiley tells us that remix starts from a respect for the original, from readers trying to understand as fully as possible what the author wanted to say and identifying the historical contexts that shaped the work being sampled. Remix also involves creative re-visioning and repurposing of the original, recognizing hidden potentials in the material that may only become clear when it is juxtaposed with ideas and images borrowed from elsewhere. Remix doesn't preserve the purity of the original, but it does grow out of creative and insightful engagement with what comes before. This respectful reading distinguishes a rich and meaningful remix from one that is superficial. This segment from the 1960s vintage cartoon series, Moby Dick and the Mighty Mightor, borrows almost nothing of value from Melville's novel; all that remains of the rich story is a white whale, which is anthropomorphized and transformed into an underwater action hero.
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