Campaigns against cultural appropriation reveal the changing meaning of what it is to challenge racism. Once, it was a demand for equal treatment for all. Now it calls for cultures to be walled off and boundaries to be policed.But who does the policing? Every society has its gatekeepers, whose role is to protect certain institutions, maintain the privileges of particular groups and cordon off some beliefs from challenge. Such gatekeepers protect not the marginalized but the powerful. Racism itself is a form of gatekeeping, a means of denying racialized groups equal rights, access and opportunities.In minority communities, the gatekeepers are usually self-appointed guardians whose power rests on their ability to define what is acceptable and what is beyond the bounds. They appropriate for themselves the authority to license certain forms of cultural engagement, and in doing so, entrench their power.The most potent form of gatekeeping is religion. When certain beliefs are deemed sacred, they are put beyond questioning. To challenge such beliefs is to commit blasphemy.
The accusation of cultural appropriation is a secular version of the charge of blasphemy. It’s the insistence that certain beliefs and images are so important to particular cultures that they may not appropriated by others.
Earlier in the op-ed Malik had mentioned several current examples of protests against such "appropriation", including:
Earlier this year, controversy erupted when New York’s Whitney Museum picked for its Biennial Exhibition Dana Schutz’s painting of the mutilated corpse of Emmett Till, a 14-year-old African-American murdered by two white men in Mississippi in 1955. Many objected to a white painter like Ms. Schutz depicting such a traumatic moment in black history. The British artist Hannah Black organized a petition to have the work destroyed.
Malik's penultimate paragraph:
To suggest that [Schutz], as a white painter, should not depict images of black suffering is as troubling as the demand by some Muslims that Salman Rushdie’s novel “The Satanic Verses” should be censored because of supposed blasphemies in its depiction of Islam. In fact, it’s more troubling because, as the critic Adam Shatz has observed, the campaign against Ms. Schutz’s work contains an “implicit disavowal that acts of radical sympathy, and imaginative identification, are possible across racial lines.”