Does the ever present popularity and cross over of 'ethnic crafts' and Essay

Does the ever present popularity and cross over of 'ethnic crafts' and products signify a new aesthetic interchange or simply another form of cultural appropria - Essay Example stance the African Period of Picasso (between 1907-1909) when he was heavily influenced by African Sculptures that was also engendered by an interest in the present interest in Africa (French colonial exposure of Africa brought forth â€Å"exotic† news of African animals, tribes, cannibalism and overall primitivism) gave his work a historical as well as commercial value. Hence, I shall explore why and how cultural appropriation (if at all we can call it that) is actually a philistine way of assuming that ethnic craft representation to a Western audience shall always be somewhat mysterious, unknown, open to manipulation by Western thoughts and practices and is also somewhat full of â€Å"untouched† variety. These assumptions are almost always taken into account when representing ethnic art and thus represent another idea of the â€Å"white man’s burden† still on the run and notions of â€Å"Orientalism† isn’t over as yet, even in the age of Gl obalization. It is not so much an aesthetic interchange as much a thirst for giving the art a new dimension unknown to most western eye. When the question of appropriation comes into the picture, the questions of artistic intentions too follow. With it comes the speculation of the vanguard of exchange – where and how it happens. Does it follow any trend or does it depend on a single artists quest for something beyond the discipline of Western Aesthetics? Or is it just another form of responding to current socio-historical or political trends? I guess it is all of the above and more! Let us explore why and how. Previously the influence in art forms at least before the beginning and formation of the Imperialistic Discourse, was somewhat beyond the scope of this â€Å"Self† and the â€Å"Other† demarcation. With new discovery during the Renaissance, the Islamic tin-glazed pottery and lusterware became the most dominant form of ceramics in Spain. It continued from a period of 13th Century till the very beginning of 16th century,