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ELG: I find it provocative to think about the "other worlds" that arise through attempts to represent Otherness. They are neither temporally here nor there, but a third element.

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Morally speaking, they problematically lack the license of fiction to tell untrue things in order to construct a higher truth. What we were forced to construct in this concert became at best a shaky mirror that reveals our own habits of thought. The shakiness and discomfort attending that mirror are difficult things to deal with in the context of a formal concert, especially because concerts require that we subsume everything under the imperative of "being convincing. RK: In her analysis of cultural ownership, law scholar Susan Scafidi distinguishes between appreciation and appropriation.

She notes that cultural borrowing, if conducted with permission, can be beneficial to both the source community and the borrower.

However, appropriation damages a community more often than it helps. Scafidi draws out a number of instances of misappropriation, many of them case studies involving Indigenous peoples.

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For example, in , a photographer for the Santa Fe New Mexican newspaper photographed a private Pueblo of Santo Domingo ceremonial dance from the vantage of a low-flying plane. In addition to trespass, violation of the Pueblo's ban on photography, and invasion of privacy, this act represented a worst-case scenario of cultural appropriation, wherein the external use or copying of a cultural product harms or destroys the intangible aspects of the original Scafidi As with most American Indian sacred repertoires, outsider access—especially uninformed outsider access—may weaken or destroy the meanings of the event.