Misuse and Appropriation of Native American Symbols

Bella Lamartina

May 5, 2017

Integrative Seminar 2

Emma Bowen

Popular culture’s dependence on personal devices to communicate virtually with others has

created a new culture that is lacking in one of the basic human needs: connection. Whether it is

connection to others, connection to the environment, or connection to the self, with mankind facing

new challenges, socially, politically, and environmentally, society has started to search for something

greater, something that has more than simply nominal value. In an effort to fill the void created, the

fashion industry has introduced Native American symbols, that inherently embody the sacred

relationship Native American culture has with creation. Unfortunately, with the continual use of these

symbols in an unsuitable context the greater historical meaning behind them is being diluted, and just

as in the past, the white man continues to degrade Native American culture and tradition. Using

examples such as the Urban Outfitters “Navajo” product line, the Michelle Williams AnOther

Magazine Spring/ Summer 2013 cover, the Native American feather headdress, and the Native Fashion

Now museum exhibition, this paper will explore how, because the United States has neglected to admit

fault in the way Native Americans have been treated, doors have remained opened allowing the fashion

industry to appropriate Native American symbols and in consequence reinforce harmful stereotypes

about the Native American culture.

Symbols are the clearest, most concise method used to communicate meaning without

extraneous words or details, and for this reason they have become extremely popular in various

applications. In result of constantly being bombarded with symbols, individuals have learned to

respond to visual cues unconsciously, without thinking twice. The issue is that when religious symbols

are continuously used out of context, to the point at which the perception of the symbol moves from

the conscious mind to the unconsciousness mind, they lose their deeper meaning. Symbols of high 1

cultural and religious importance are contextual, and they exist because they are collectively

1Steven D. Nouriani, "The Defensive Misappropriation and Corruption of Cultural Symbols," Jung Journal 5, no.1 (2011): 20, ProQuest, accessed March 16, 2017.

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acknowledged as a representation of a concept or an idea. When a single symbol is removed from the

others it exists amongst, only small parts of the meaning are preserved. In result just as in a game of 2

telephone, the meanings of the symbols become garbled, and the significance they once held is lost. 3

With sacred symbols being taken from cultures and used in unrelated contexts for enjoyment and

profitability of those outside of the culture, the issue of cultural appropriation, or the unauthorized use

of “intellectual property, cultural expressions or artifacts, history, and ways of knowledge” by a group

that is not belonging to the culture of interest, becomes a relevant and controversial issue. 4

As Native American symbols are being appropriated in fashion, not only are the sacred

meanings behind the symbols being lost, but stereotypes that are offensive and ultimately harmful

towards Native American culture are being created. One example includes the Urban Outfitters 2011

line, “Navajo,” featuring products such as the“Navajo Print Wrapped Flasks” and “Navajo Hipster

Panties, that contains Native American looking motifs and uses the Navajo name without permission

from the Navajo Nation (fig.1). As a tribal spokespersons stated, “For some of our Navajo or Native 5

artisans, that’s [the Navajo Name] what sells their products. Attaching the name Navajo to their item

generates income... We don’t want our name to be associated with anything that isn’t Navajo.” 6

Although the unwarranted use of Navajo name and design motifs is an issue, the bigger controversy is

the actual products the Navajo name is being used on. With alcohol abuse and sexual assault being of

major issue on many reservations, it is extremely inappropriate to place Native American looking

prints on flasks and underwear. As bad, Urban Outfitters refuses to admit fault claiming that “Navajo” 7

2Jaco Beyers, "Can Symbols Be 'Promoted' or 'Demoted'?: Symbols as Religious Phenomena," Hervormde Teologiese Studies 69, no. 1 (March 2013): 5-9, EBSCOhost, accessed March 16, 2017. 3Karen Kramer, et al., Native Fashion Now: North American Indian Style. Munich: Delmonico Books- Prestel, 2015, 18. 4Angela R. Riley and Kristen A. Carpenter, “Owning Red: A Theory of Indian (Cultural) Appropriation,” Texas Law Review 94 (2016):851- 865, accessed April 3, 2016. 5Ibid., 862. 6Ibid., 903. 7Franklin Sage, “Comparing the Environmental Attitudes and Behaviors of Native Americans and Non-Native Americans,” Order No. 1514596, The University of North Dakota, 2012, 18 ProQuest, accessed April 3.

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is a generic term used for items of that particular style, and it is within their rights to use it. There is 8

extreme responsibility that comes with producing and selling items, and with large, influential

businesses not caring about the implications of their actions, the misinformation the public receives

about a group only intensifies prejudicial thoughts about that culture.

Another symbol commonly borrowed from Native American Culture is the feather headdress.

With high profile individuals such as Pharrell Williams, wearing a Native American headdress on the

July cover of Elle Magazine Uk, or Karlie Kloss, walking in Victoria's Secret Fashion show in a

floor-length headdress and leopard-print underwear, individuals are being given the idea that it is

acceptable if they also model one (figs. 2, 3). What many fail to realize is that in Native American 9

culture the feather headdress, worn by Northern and Southern Plains tribe members, has deep spiritual

significance, and it is representative of “power, respect, and responsibility.” After a headdress is 10

hand-crafted it is gifted to a distinguished chief, warrior, or medicine man as a protective omen and a

symbol of his service to his tribe or, in the case of a soldier, his courage and bravery in battle. As 11

Native American Jancita Warrington explains, "you have to be given the right to wear feathers. You

can't just wear them." The headdress is further used inappropriately in fashion because in the Native 12

American culture women are rarely allowed to wear feather headdresses. To truly appreciate 13

something it takes understanding of what went into the creation of it, but with fashion designers,

8Riley and Carpenter, “Owning Red: A Theory of Indian (Cultural) Appropriation,” 914. 9Lisa Gutierrez. "Native Americans Take a Stand; Cultural Misappropriation of Headdresses, Names, Customs Increasingly Frowned upon," Times - Colonist, Aug 30, 2014, Proquest, accessed April 3, 2017.; Riley and Carpenter, “Owning Red: A Theory of Indian (Cultural) Appropriation,” 861. 10 Gutierrez, "Native Americans Take a Stand; Cultural Misappropriation of Headdresses, Names, Customs Increasingly Frowned upon;" Owning Red: A Theory of Indian (Cultural) Appropriation,” 903. 11 Gutierrez, "Native Americans Take a Stand; Cultural Misappropriation of Headdresses, Names, Customs Increasingly Frowned upon." 12Ibid. 13Ibid.

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celebrities, and others constantly using the feather headdress solely because of its beautiful aesthetic

qualities, this becoming evermore difficult. 14

Furthermore, with the practice of dressing up as Native Americans, an unwanted and inaccurate

sexualized image of specifically the Native American women is created. Several costumes have been

sold bearing names such as “Sexy Indian Costume” that as stated in “Owning Red: A Theory of Indian

(Cultural) Appropriation,” 2016, “seductively portray the ravished Indian maiden, while real Indian

women experience extreme rates of domestic violence and sexual assault.” Actress Michelle 15

Williams appeared on the cover of AnOther magazine in the Spring/ Summer 2013 publication dressed

as a Native American woman (fig. 4). The barely recognizable Michelle Williams modeled a jet-black

wig with two long braids, a feather in her hair, beads around her neck, darkened eyebrows, and

contoured makeup all of which making her appear as if she is of Native American ancestry, which she

is not. By dressing up in costume the entirety of Native American culture is boiled down to one 16

inaccurate depiction defined by the provocative clothing on the individual modeling it. As a result, the

illusion of a half-dressed Native woman dancing in a circle, riding a horse, wearing feathers, and living

in a tepee has helped to further sexualize the women within the culture. To those who have the

privilege Native American culture is becoming something that can literally be tried on and taken off

when desired. Members that identify as a part of the culture cannot simply stop being who they are

when good turns to bad. Everyday Native American communities must face high levels of sexual

assault, and by forcibly projecting an unwanted image onto the culture, the severity of the issue is

being vulgarized and disrespected. 17

14Paul Bloom. Interview with Ira Flatow, “Why Do We Like What We Like?” Science Friday, NPR, July 23, 2010. 15Riley and Carpenter, “Owning Red: A Theory of Indian (Cultural) Appropriation,” 863. 16Willy Vanderperre, “Michelle Williams,” 24th Issue Spring/ Summer, 2013, In AnOther Magazine, London: Dazed Group, 2013. 17 Riley and Carpenter, “Owning Red: A Theory of Indian (Cultural) Appropriation,” 863.

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As illustrated above, there are several examples of Native American symbols being

decontextualized and appropriated by the fashion industry, but these cases do not shed light on the

reasons as to why, even though the use of them is extremely harmful to the group, popular culture is

attracted to Native American inspired fashions. It is acknowledged that we tend to like things because

of what we perceive them to be, and what we perceive Native American culture to be is at one with

nature. Native Americans view the earth as if it were a living, powerful being, and they believe in a 18

mutual respect: if you respect and take care of something, it will, in return, respect and provide for you.

As Paula Gunn Allen of the Laguna Pueblo tribe states, “We are the land... that is the fundamental 19

idea embedded in Native American life... the earth is the mind of the people as we are the mind of the

earth.” In contrary, in an American individualist culture dominated by profit and competition, it is a 20

commonly held belief that there is a physical separation between human, animals, and land. To fill 21

the void created by this disconnect, we have turned towards Native American symbolism, that

inherently embodies the sacred relationship Native Americans have with the land and all of its living

creatures. Although, on the surface, it appears to be positive that non-Native American society is 22

emulating the Native American connection to creation, there is an implausible amount of irony present.

While individuals are adopting the Native American’s connection to their surroundings, for hundreds

of years the United States has been destroying “Indian lands, artifacts, bodies, religions, identities, and

beliefs.” From the removal of Native Americans from their sacred lands, to anti-Indian wars, to the 23

systematic killing, imprisonment, and rape of Native Americans, the white man has never hesitated to

enforced their will upon Native Americans, and just as in the Urban Outfitters case, the United States

18Bloom, Interview with Ira Flatow, “Why Do We Like What We Like?” 19Sage, “Comparing the Environmental Attitudes and Behaviors of Native Americans and Non-Native Americans,” 2-19. 20Ibid., 18. 21Kramer, et al., Native Fashion Now: North American Indian Style, 8; Sage, “Comparing the Environmental Attitudes and Behaviors of Native Americans and Non-Native Americans,” 8. 22Sage, “Comparing the Environmental Attitudes and Behaviors of Native Americans and Non-Native Americans,” 15-16. 23Riley and Carpenter, “Owning Red: A Theory of Indian (Cultural) Appropriation,” 851.

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government has refused to admit fault in their actions. The Holocaust Museum in Washington, D.C.,

commemorates the execution of Jews by the Nazis in World War II, but there is not an American

Indian Holocaust Museum to document the horrible mass-murder of Native Americans that occurred

directly on American soil. The United States even memorializes Andrew Jackson, the man infamous 24

for the removal and murder of Native Americans, on the twenty-dollar bill. The United States thinks

itself of high moral standing and is the first to call out the wrongdoings of other nations, but when it

comes to the atrocities it has committed, they are so often swept under the rug. With the ignorance 25

the problem occurring at such a high level, individuals are not aware of the effect of, for example,

wearing a feather headdress to a music festival has on a community of people whose voice has been for

muted for hundreds of years. In result, instead of becoming more connected to each other an entire

culture continues to be alienated and made to appear as inferior.

Thus far the only negative implications of using Native American symbolism have been

discussed, but the traveling museum exhibition, Native Fashion Now, that features the fashion and

accessory designs of Native American artists from North America, is a present-day example of an

effort being made to combat the all too common perception that Native American culture is a static,

unmoving, thing of the past . Drawing inspiration from their specific tribes, personal experiences, 26

and the world around them, the artists featured in Native Fashion Now, design garments and

accessories that reimagine culture and tradition while simultaneously preserving and honoring it. 27

Bethany Yellowtail, designer of one of the exhibitions feature garments, The Old Time Floral Elk

24 Peter D’Errico, “The U.S. Has a Holocaust Museum, But Why no American Indian Holocaust Museum?” Indian Country, September 5, 2012, accessed May 2, 2017, https://indiancountrymedianetwork.com/news/opinions/the-us-has-a-holocaust-museum-but- why-no-american-indian-holocaust-museum/ 25D’Errico, “The U.S. Has a Holocaust Museum, But Why no American Indian Holocaust Museum?” 26Kramer, et al., Native Fashion Now: North American Indian Style, 7. 27Ibid.,16.

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Tooth dress, works to “embrace, authentic, indigenous design.” though her fashions (fig. 5). When 28

speaking on her motives Bethany Yellowtail stated:

For me, my mission is not about trying to combat cultural appropriation. I simply want to carve out a space where an authentic voice and an authentic representation of Native America exists and thrives. If that means we’re combating cultural appropriation while just being true to ourselves, then that’s a bonus. 29

As the misuse of Native American symbolism becomes a more prevalent issue, the creative works of

the many Native artists featured in this specific exhibit serve as a medium to combat and break down

stereotypes, reinvent the way in which Native American Culture is perceived, and display the richness

of Native American culture. Ultimately, experiences such as Native Fashion Now work to mend the

gap between different peoples and cultures, helping individuals to understand and respect the beauty in

diversity.

What we are communicating through visuals, most specifically in fashion, is the message we

are sending; what we wear reflects who we are. Although it is extremely difficult to establish a line

between the degrading misuse of symbols and the respectful use of symbols, it is our responsibility to

make personal efforts that reflect a sensitivity towards the issue. Maybe instead of using sacred cultural

symbols without knowledge of their meaning one can take the time to learn about them for there is no

better way to enhance the amount of pleasure one receives from something then from learning more

about it. Perhaps in knowing the importance of sacred symbols individuals will be less inclined to 30

use them for personal benefit. Just as with everything it is a balancing act, and although we cannot go

back in time and undo the wrongs of our ancestors, we can do our best to be aware of our present

action. No matter what culture we are affiliated with, we all have one thing in common, we are humans

28Riley and Carpenter, “Owning Red: A Theory of Indian (Cultural) Appropriation,” 916. 29Ibid., 916-917. 30Bloom. Interview with Ira Flatow, “Why Do We Like What We Like?”

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and humans need to respect humans. Hopefully with this idea in mind humankind can move towards

implementing a new global attitude that embraces creation at the collective level.

Bibliography

Beyers, Jaco. "Can Symbols Be 'Promoted' or 'Demoted'?: Symbols as Religious Phenomena."

Hervormde Teologiese Studies 69, no. 1 (March 2013): 1-10. EBSCOhost. Accessed

March 16, 2017.

Bloom, Paul. Interview with Ira Flatow. “Why Do We Like What We Like?” Science Friday.

NPR, July 23, 2010.

8

D’Errico, Peter. “The U.S. Has a Holocaust Museum, But Why no American Indian Holocaust

Museum?” Indian Country, September 5, 2012. Accessed May 2, 2017.

https://indiancountrymedianetwork.com/news/opinions/the-us-has-a-holocaust-museum-but-

why-no-american-indian-holocaust-museum/

Gutierrez, Lisa. "Native Americans Take a Stand; Cultural Misappropriation of Headdresses,

Names, Customs Increasingly Frowned upon." Times - Colonist, Aug 30, 2014.

Proquest. Accessed April 3, 2017.

Kramer, Karen, et al. Native Fashion Now: North American Indian Style. Munich: Delmonico

Books- Prestel, 2015.

Nouriani, Steven D. "The Defensive Misappropriation and Corruption of Cultural Symbols."

Jung Journal 5, no.1 (2011): 19-30. ProQuest. Accessed March 16, 2017.

Riley, Angela R. and Kristen A. Carpenter. “Owning Red: A Theory of Indian (Cultural)

Appropriation.” Texas Law Review 94 (2016): 859- 931. Accessed April 3, 2016.

Sage, Franklin, “Comparing the Environmental Attitudes and Behaviors of Native Americans

and Non-Native Americans.” Order No. 1514596, The University of North Dakota,

2012. 1-44. ProQuest. Accessed April 3.

Vanderperre, Willy. “Michelle Williams.” 24th Issue Spring/ Summer, 2013. In AnOther

Magazine. London: Dazed Group, 2013.

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Figures

Figure 1: Navajo Line. Urban Outfitters. 2011.

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Figure 2: Pharrell Williams in Native American headdress. Elle Magazine Uk. July 2014.

Figure 3: Karlie Kloss in War Bonnet. Victoria's Secret

17th Annual Fashion Show. 2012.

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Figure 4: “Michelle Williams.” AnOther Magazine. 24th Issue Spring/ Summer, 2013. London.

Figure 5: The Old Time Floral Elk Tooth dress.

Bethany Yellowtail. 2014. Museum of the

American Indian, New York, NY.

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