Cultural appropriation can be understood as involving members of one culture taking or adopting objects or practices which ‘belong’ to another culture in the sense of being affiliated or connected to that other culture in a unique or special way. But what constitutes this ‘belonging’ precisely? This paper proposes that belonging, in the targeted sense, is determined by meaningful connections between an object or practice and the relevant culture—in other words, connections that could be described as the thing’s ‘meanings’. Such (...) meanings primarily include relations of causality, teleology, and symbolic representation. After expounding this account, the paper closes with a word of caution. The term ‘belongs’ is sometimes ambiguous, indicating both affiliation and legal or moral property rights. Despite this, belonging as affiliation or meaningful connectedness is not equivalent to rightful ownership. Nor does the former, by itself, entail the latter. (shrink)

I reconsider and enhance a somewhat neglected argument within the domains of reparations for slavery and black reparations. That argument is for compensating present-day descendants of enslaved per...

‘Heritage’ is a concept that often carries significant normative weight in moral and political argument. In this article, I present and critique a prevalent conception according to which heritage must have a positive valence. I argue that this view of heritage leads to two moral problems: Disowning Injustice and Embracing Injustice. In response, I argue for an alternative conception of heritage that promises superior moral and political consequences. In particular, this alternative jettisons the traditional focus on heritage as a primarily (...) positive relationship to the past, and thus offers resources for coming to terms with histories of injustice. (shrink)

Museums are home to millions of artworks and cultural artifacts, some of which have made their way to these institutions through unjust means. Some argue that these objects should be repatriated (i.e. returned to their country or culture of origin). However, these arguments face a series of philosophical challenges. In particular, repatriation, even if justified, is often portrayed as contrary to the aims and values of museums. However, in this paper, I argue that some of the very considerations museums appeal (...) to in order to oppose repatriation claims can be turned on their heads and marshaled in favor of the practice. In addition to defending against objections to repatriation, this argument yields the surprising conclusion that the redistribution of cultural goods should be much more radical than is typically supposed. (shrink)

In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its official inscription on the UNESCO (...) register. A place is included as part of our heritage primarily because it matters to us. People live in, form relationships with, and derive existential and affective meanings from it. Above and beyond its official significance, a heritage site is thus a living dimension that plays a vital role in the everyday life and social practices of people, who transform it into a place of human significance. (shrink)

Art is saturated with cultural significance. Considering the full spectrum of ways in which art is colored by cultural associations raises a variety of difficult and fascinating philosophical questions. This curriculum guide focuses in particular on questions that arise when we consider art as a form of cultural heritage. Organized into four modules, readings explore core questions about art and ethics, aesthetic value, museum practice, and art practice. They are designed to be suitable for use in an introduction to philosophy (...) of art, as well as in more topically focused courses, particularly on topics concerning the ethics and politics of art. (shrink)