Sponsored Panel

I suppose we also can assume that the deadline for the sponsored panel proposal would be the same as for our business meeting: Monday, June 7, at 11:59 pm EDT: https://cccc.ncte.org/cccc/call-2022.

 

Speaking of the business meeting, if there will be a Legal and Legislative Developments table, I’d be glad to be one of the co-leaders.

 

Kim

 

 

 

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Do people have specific topics of interest for the coming year? Would we want to focus on whatever Students’ Rights to their own IP becomes/is becoming? I know that that stalled slightly after the conference (https://docs.google.com/document/d/1KrvPX9I75B6h4I-os0DiL94ciIsNNLWBWbQEQBFzBNA/edit?usp=sharing) but we could return to it and utilize it as a starting point.

-A

To view this discussion on the web visit https://groups.google.com/d/msgid/intellectual-property-caucus/BN8PR02MB5924630DEA66E0816D77F758B5279%40BN8PR02MB5924.namprd02.prod.outlook.com.

 The fact that Georgia State was declared the prevailing party based on 10 of 99 works being deemed violations, did not convince the judge to award GA State attorney fees. In the end, the publishers did not get most of the overreached monitoring and control they wanted. And the Defendants were told they had to inform all professors of the outcomes from this case and make sure to maintain a copyright policy that follows the direction of the court, which is what it already does.  

Both parties won some things and lost some things. But fair use lives on, albeit without decisive ways to confirm fair use practices.  

cheers,

jrg

Alex, I like the idea of focusing on students' rights as authors and creators. I am available to speak about cultural appropriation as well, a topic that I think we should concentrate more on in rhetoric and composition studies. This case is one example: https://www.insider.com/magazine-posts-reading-black-woman-essay-by-white-man-2020-11 see also https://www.essence.com/culture/regina-bradley-fireside-fiction-outkast-essay/

I can talk about any of the material from the introduction to the IP Annual, which I've attached here. Hopefully it'll be up on CCCC's website this week; Kristen Ritchie has everything now.

I think this is a great entry point. I'm happy to host the panel but would love to see other dedicated speakers this year. Do we have a general list of interested participants?

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From: intellectual-p...@googlegroups.com <intellectual-p...@googlegroups.com> on behalf of Clancy Ratliff <clancy....@gmail.com>
Sent: Tuesday, June 1, 2021 10:20:09 PM
To: intellectual-p...@googlegroups.com <intellectual-p...@googlegroups.com>
Subject: Re: Sponsored Panel

To view this discussion on the web visit https://groups.google.com/d/msgid/intellectual-property-caucus/CAPBEbZyO5K811RB_RTbOxj5oOyAQ%2BK1X%2Bu2VNPFTX9qh8kwq_A%40mail.gmail.com.

I’d be available to discuss cultural appropriation as well. I contributed a piece to a previous IP Annual on that subject, which led to an invite this past February to the symposium “Reclaiming What’s Ours: Exploring the Realms of Intellectual Property Protections for Black Creators” sponsored by the William and Mary Black Law Student Association. (I was there as the devil’s advocate, I think.)  

 

Best,

Sent from my iPhone

On Jun 6, 2021, at 5:09 PM, Clancy Ratliff <clancy....@gmail.com> wrote:

Proposed Title for Sponsored Panel: Whose Culture? The Peril and Promise of Appropriation

 

Speaker 1: Clancy Ratliff (Primary Presenter)

Speaker 2: Laurie Cubbison (Co-Presenter)

Speaker 3: Wendy Warren Austin (Co-Presenter)

Speaker 4: Kim Gainer (Co-Presenter)

 

Proposal, with 42 characters to spare. Comments, including from each speaker as to whether I captured key element from your emails and worked them into something coherent with the proposal overall?

 

The history of writing is one of appropriation. Early written texts show traces of preceding oral traditions; later written texts incorporate and reinvent earlier ones. The same is true of music, dance, painting, fashion, architecture-indeed, of all the plastic and performative arts. It may be neither possible nor desirable to read a text, listen to a song, or watch a movie without being aware of its relationship to a previous one. Intellectual property issues may come into play whenever an appropriated work is under copyright, but accusations of misappropriation may be made in cases of works derived from content not under copyright. The phrase "cultural appropriation" is applied when members of one group use elements claimed by members of another group as integral to their culture even when not subject to copyright under current law. Frequently a power imbalance exists, with dominant groups appropriating or colonizing cultures of marginalized groups. According to Richard A. Rogers ("From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropriation), cultural appropriation can be "defined broadly as the use of a culture's symbols, artifacts, genres, rituals, or technologies by members of another culture" (474). Rogers identifies four types of cultural appropriation. One, cultural exchange, takes place within the context of reciprocity, an interaction “between cultures with roughly equal levels of power." A second type, transculturation, is characterized by intermingled contributions from several groups that make it impossible to identify a source culture—and power imbalance—in any meaningful sense. However, two types of cultural appropriation do entail power imbalances. In cultural dominance, one culture forces another to adopt foreign elements, e.g., the forced removal of Native American children from their families to boarding schools in which they were forbidden to speak their native languages, wear traditional garb, or celebrate indigenous religious practices. Finally, cultural exploitation is "the appropriation of elements of a subordinated culture by a dominant culture without substantive reciprocity, permission, and/or compensation" (Rogers 477). The phrase cultural appropriation now in common usage usually signals that appropriation is viewed as exploitative. This panel will discuss examples of cultural exploitation in the context of debate over what is meant by cultural ownership and how policy and pedagogy are impacted when one group’s culture may have been appropriated by another. Speaker 1 will discuss the implications when one group’s creations are performed by members of another group. Such performances may stereotype or denigrate the creators’ cultures, e.g., a white male adopting a supposed African-American dialect to read aloud a female African-American writer’s essay. Speaker 2 will address a different performative issue: casting decisions. This speaker will discuss how non-white or non-binary populations pushed back against decisions by corporate media to cast white or cis-gendered actors for characters from racial or gender minorities, followed by pushback from white fan communities objecting to the casting of minority actors as characters fans perceived, often incorrectly, as white. Speaker 3 will discuss ownership of supposed common culture. Given the multiplicity of World Englishes, each embedded in a specific culture, who, if anyone, determines what is ‘common knowledge’ and what protocols must be followed for documentation practices in composition, business, or technical writing? Speaker 4 will address current and proposed legal protections for cultural property but also the question of whether the legal approach is viable or desirable, as well as raise questions about the role educators can play in helping students navigate the tension between remix culture and respect for cultural elements that are not their own.