Cultural Appropriation in Advertising, Governments and Fashion
CULTURAL APPROPRIATION IN ADVERTISING, GOVERNMENTS AND FASHION
TABLE OF CONTENTS
CONTENTS: Page
LIST OF ILLUSTRATIONS i.
INTRODUCTION 1.
CHAPTER 1: Cultural ownership- taboo. 2.
CHAPTER 2: Freedom, Liberty and war inside a government. 3.
CHAPTER 3: Native American for just a day. 4.
CONCLUSION 5.
LIST OF SOURCES 6.
LIST OF ILLUSTRATIONS
FIGURE: Page
Fig. 1. Howard Zieff, You don’t have to be Jewish to love Levy’s (1967).
Print, Advertising campaign.
(Illustration: Available at: www.posterplease.com/posterblog
/wp-content/uploads/2009/03/277.jpg). 2.
Fig. 2. Jacqueline Band, Wake Up America! (2008).
Print, Competition entry.
(Illustration: Available at: http://blog.oregonlive.com
/ent_impact_performance/2008/02/large_wakeup.JPG). 3.
Fig. 3. Unknown artist, No, it’s cool, it’s not like your ancestors killed them all or anything (N/A).
(Illustration: Available at: http://25.media.tumblr.com
/tumblr_ku2w1neBzC1qzvu^ro1_500.jpg). 4.
INTRODUCTION
Cultural Appropriation has many ways of interpretation. It contrasts the original ideas with the new non-traditional ways, it mocks, hurts and damages cultures and beliefs.
CHAPTER 1: Cultural ownership- taboo.
Fig. 1. Howard Zieff, You don’t have to be Jewish to love Levy’s (1967)
Henry S. Levy and Sons, a Jewish bakery based in Brooklyn, New York, first produced the special Levy’s rye bread. They supplied this rye bread as well as other breads, but focused mainly on the Jewish population in New York. We assume that Levy and his sons were European Jews, therefore the use of Jewish Rye bread. Research show that Middle East and North African Jews mostly used Pita bread and not rye, and Ethiopian Jews had puffy Flat bread. Through this it is clear that the Jewish culture had been influenced by many other cultures, like the American European. With these influences
TABLE OF CONTENTS
CONTENTS: Page
LIST OF ILLUSTRATIONS i.
INTRODUCTION 1.
CHAPTER 1: Cultural ownership- taboo. 2.
CHAPTER 2: Freedom, Liberty and war inside a government. 3.
CHAPTER 3: Native American for just a day. 4.
CONCLUSION 5.
LIST OF SOURCES 6.
LIST OF ILLUSTRATIONS
FIGURE: Page
Fig. 1. Howard Zieff, You don’t have to be Jewish to love Levy’s (1967).
Print, Advertising campaign.
(Illustration: Available at: www.posterplease.com/posterblog
/wp-content/uploads/2009/03/277.jpg). 2.
Fig. 2. Jacqueline Band, Wake Up America! (2008).
Print, Competition entry.
(Illustration: Available at: http://blog.oregonlive.com
/ent_impact_performance/2008/02/large_wakeup.JPG). 3.
Fig. 3. Unknown artist, No, it’s cool, it’s not like your ancestors killed them all or anything (N/A).
(Illustration: Available at: http://25.media.tumblr.com
/tumblr_ku2w1neBzC1qzvu^ro1_500.jpg). 4.
INTRODUCTION
Cultural Appropriation has many ways of interpretation. It contrasts the original ideas with the new non-traditional ways, it mocks, hurts and damages cultures and beliefs.
CHAPTER 1: Cultural ownership- taboo.
Fig. 1. Howard Zieff, You don’t have to be Jewish to love Levy’s (1967)
Henry S. Levy and Sons, a Jewish bakery based in Brooklyn, New York, first produced the special Levy’s rye bread. They supplied this rye bread as well as other breads, but focused mainly on the Jewish population in New York. We assume that Levy and his sons were European Jews, therefore the use of Jewish Rye bread. Research show that Middle East and North African Jews mostly used Pita bread and not rye, and Ethiopian Jews had puffy Flat bread. Through this it is clear that the Jewish culture had been influenced by many other cultures, like the American European. With these influences