RobF -> RE: Cultural appropriation (Jul. 21 2020 3:38:46)
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I have a story to relate that falls within the boundaries of this topic as I’ve recently been involved in some discussions regarding appropriation with a Gitano player in Granada for whom I’m building a guitar. Due to some aspects of the build, we’ve had to give the issue some thought. The story is a little long though, so apologies in advance. When we first started discussing the guitar at the conceptual stage he had a number of ideas for personalization, all which related to his heritage. Because of this, the concept of cultural appropriation came forward, I think I was the one who brought it up, and we discussed the implications. We ultimately agreed that any gypsy symbolism I might incorporate into the guitar could be considered acceptable because he was Gitano and the items were placed there at his request. We also agreed that I held the final say on the aesthetics of one of my instruments, and that I had the prerogative to over-ride or alter any request as I felt fit. One of his requests was to write a phrase in Romani on the label. I wasn’t against the idea, but after I showed him a sample of my handwriting we agreed it might be better if I discretely wrote it on the inside of the top, a hidden message, so to speak. This was done, although one would need a mirror to see it. Next he wanted the star and moon of Camarón inlayed into the headstock. I said no, in part because I didn’t want to be accused of copying from one of Andy’s recent builds. I said I’d consider inlaying it on the heel cap, but wasn’t sure. We finally agreed to discard the idea, as he could tell I didn’t really want to do it. Then he hoped I could somehow inlay the Bandera de los Gitanos somewhere on the guitar. I liked that idea quite a bit and could visualize a couple of ways to do it. First, I had really liked the way John Ray had done the border for the rosette of a flamenco guitar he recently built and posted here on the Foro, so I thought I’d try my hand at using his technique in the border of the rosette for this guitar. I spent quite a few days working on it and finally had a purfling strip containing multiple miniature flags alternating with black squares bordered in white, all side grain, basically done in the style of John’s border. It was a great learning experience but, problem was, when I inlayed it into a mock-up rosette it reminded me too much of a string of flags not unlike what can be seen dangling from the bleachers in stadiums during games of fútbol. So, we had a conference call and I explained it was a no go, but I had an idea for the rosette that abstracted the flag throughout its design that I wanted to try. So, now that the flag was going to be abstracted into the rosette, I thought that it might look nice if a truer representation was inlayed into the bone of the bridge tie block. I can still picture this in my mind, and it still looks great inside there, lol, but in practice after making a mock-up, I thought it was a little too blatant. So...another conference call, where I explained I would still include the Bandera in the tie block, but it would also be an abstraction. Here’s the result. The bridge might look a little rough as it’s in the grain fill phase of French Polishing. I haven’t started polishing the guitar yet. When I showed this to the recipient he was happy, he saw what I was getting at right away, said it was “Muy Gitano”, and the matter was closed. The story continues after the picture intermission... Now, this is where it gets interesting, at least to me. A lot of this guitar borrows heavily from a 1934 Santos. The head design is one of my own, however, and the original intent and drawings I did for this particular head incorporated a ribbon hole, as seen on many old flamenco guitars, where a ribbon could be threaded through the hole so the guitar could be hung on the wall when not in use. The abstracted rueda in the tie block is made of red jasper, which has a bunch of symbolism that the owner and I discussed. I thought inlaying a jasper dot where I was originally going to drill the ribbon hole could be a cool idea, and would balance with the wheel on the bridge. The thing was, on the day I attached the back to the guitar we had a little ceremony via video call where I placed my phone inside the guitar so he could say a few words to welcome his new instrument into the world. I noticed that during the blessing, he was holding a Hindu icon in one of his hands. So, after mulling this over, another call, this time to discuss my concern that the inlayed red jasper dot in the head could also be interpreted to represent a Bindi, and was he comfortable with that? He has voyaged to India a number of times in the past, in part due the ancestral connection he feels exists between India and gitanos. We had a fairly involved discussion about this and still haven’t settled the matter. My original conception was more a nod to the history of the flamenco guitar rather than to any connection with India, so in many ways I think it’s a non-issue. His idea was to compromise by putting it on the back of the headstock, but I’m not sure I like the aesthetics of that. I’ll probably do a mock-up with it on the front and run it by him again before making any final decision. If we can’t come to something we both feel comfortable with, I just won’t do it, it’s kind of non-standard anyways. I don’t really have much of an opinion concerning all this, beyond that my intent is to always try do the right thing, and even if I don’t always hit the mark dead on, at least try to follow my heart which, as we all know, is pure, and thus provides me with the strength of ten (I wish). The rosette and tie block are so abstracted that I don’t think it would occur to anyone, save possibly another gitano, that they represent gypsy iconography. Because of the abstraction, I don’t think it’s out of the question to use it on a guitar not intended for a gitano, but I’m still not sure I’d do so. One thing is certain, the decision wouldn’t be motivated by money, I simply don’t work that way. Probably, I’ll just end up doing what feels right to me. I’m kind of proud of the rosette and tie block, so I wouldn’t mind using the concept again. He has no problem with me doing that either, in fact, he suggested it. What I’ve found interesting about this whole exercise is being able to have had sincere and involved discussions about appropriation with a member of a group that is often considered to be the victim of it, in particular the part of having to consider that the implication of representing a bindi on the guitar suggested the issue wasn’t necessarily a one way street. The project is ongoing and I can hardly wait until this crisis is over so I can return. We’re planning to have a huge fiesta, lots of good food and cold cerveza, and for certain some great music, too. Some of the dancers in their social circle are originally from Mexico, so maybe we can convince them to contribute some recipes from there, too, as part of the feast. Cheers!
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