A letter to Emma Smith CBC: The Segregation of Art and Culture


Re: Emma Smith article Nov. 20th

Re: Protesting Viola Desmond’s protest.

Considering the response from the  artist.

Why should artists mentally segregate themselves from issues of racism because someone claims cultural ownership of a certain historical event?


What message does that send to children of diverse ethnic backgrounds that are being educated in the history and tradition of protest art, who are learning how it adds value to their community dialogue, and may want a better community where they live?

It could say “what’s the use,” and only expand an already existing divide rather than help bridge that divide.

What seems to be missing from the recent article of November 20th is the art and the message - all of it strongly made through the spirit of Viola Desmond. Perhaps social advocates of any ethnic background should be wary of using the term “Cultural Appropriation” since the heated controversy at the Whitney Biennial 2017, where artist Dana Schutz was denounced amid calls to see her painting of Emmit Till removed from the exhibit and destroyed. Censorship in art is likewise a controversial issue. Yet, like it or not, the curators did not acquiesce and as a result the discourse regarding racism has become central to the contemporary museum experience today.

 Today, the term “cultural appropriation” is embedded in racial discourse. Yet, no one owns historical discourse. And it can’t be suppressed in art. When it is, it’s called censorship. This may be the first time I can recall that the art of Atlantic Canadian youth has been censored from future exhibitions because it protested racism on all levels. To the many young aspiring students of art and varied ethnic backgrounds that submitted their work, they must be wondering why their protest art which calls for the end of racism is being protested as cultural appropriation - and that they apparently have no stake in the freedom of expression, let alone African Canadian history. It must be doubly confusing for African Nova Scotians that may have made submissions to see their art considered cultural appropriation.

Now that that’s happened, is it still possible to see the contest and future art exhibitions celebrating the stand Viola Desmond took as possible, rather than as merely the site of struggles for ownership of a historical event and public discourse? How will this play out now that public voting on the art has been suspended and future shows cancelled? It isn’t easy. And what further message does it send to young artists when the mere mention of the term cultural appropriation can suppress and silence their art and vision? 

What this project was really about was protest art and ideas - and this celebration of Viola Desmond and ideas should be displayed and contested and seen, It’s a place where conversations can happen if we can let go of the struggle for power for even a brief spell and just consider what the art is about, not just who owns the story, or the ethnicity of the artist. Many of which are children and young adults who may very well be the future leaders in our communities and help bridge the divide.

Postscript: Emma Smith and the CBC were not available for comment.

Steven Rhude Wolfville, NS

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