Reviewed by: Incorporating Culture: How Indigenous People are Reshaping the Northwest Coast Art Industry by Solen Roth Ellen A. Ahlness Solen Roth. Incorporating Culture: How Indigenous People are Reshaping the Northwest Coast Art Industry. Vancouver: University of British Colombia Press, 2018. 228 pp. Notes. Bibliography. Index. $32.95 sc. Consider a truth of appropriation and colonial insertions into native and cultural industries: practices affect people differently depending on whether they claim a direct connection to the expressions being commodified. The driving intent behind Incorporating Culture is to examine how and why Northwest Coast art industry norms are slowly shifting to the greater incorporation of Indigenous individuals and a greater implementation of respect for Indigenous law and economic principles, as well as what this shift could mean in the broader Native art market and beyond. Coming from a background in cultural anthropology with training in constructing sustainable models for cultural heritage preservation, Incorporating Culture comes from Roth’s doctoral fieldwork as a descriptive and philosophical study of a novel stage for Indigenous self-determination efforts: the artware industry. In the acknowledgements of Incorporating Culture, the author shares that the book is “not an attempt to have a final word on issues hotly debated…[but a] contribution to these debates” (x). This honest introduction to an exploration of the Native art industry in the Northwest prepares readers for an examination of the systemic challenges facing the Northwest art industry, including controversies, the de-economization of the term ‘stakeholders’, and confronting symptoms of larger dynamics privileging non-Indigenous peoples even in a Natively-rooted industry. On a personal level, Incorporating Culture tells the story of an industry’s transformation from a capitalist market to a system that has greater recognition of cultural and economic sovereignty, though this process has not necessarily been linear. Art is like any other natural resource; its communities, ecosystems, and people that foster and contribute to it must be maintained. Thus, in this work, Roth demonstrates how discourses affect actual business practices in this industry as individuals construct culturally modified capital structures. The book’s organization moves from examining the roots of the Northwest coast’s culture and industry to elaborating the role of trust in artware industries. From there, Roth provides cases and process-tracing explorations of cultural and behavioral shifts in the artware industry, considering how these shifts have been prompted by Indigenous participants and ‘stakeholders’ (a term which Roth pays [End Page 119] careful attention to, given the economic roots and problematic connotations of this label). Central to Roth’s analysis is an industry need to support local approaches to sustainable resource harvesting. Producers and consumers need to nurture, rather than exploit, cultural resources. The Northwest coast is arguably a very studied region, with Vancouver as the hub. Consequently, scholars must distinguish themselves through their focus, methodological approach, or engagement with readers. Roth writes like a historian, giving considerable attention and page space to detailing the pathways and processes that have led to contemporary features in the Pacific Northwest’s Native art industry. In the area Roth lives, it is common to see art containing Native stylistics, therefore, as both a guest and witness to these artware spaces, Roth nuances activities that are traditionally understood as capitalist ventures, while elaborating challenges to art and cultural practices as commodities. It is because there are more Indigenous people in this industry that values of property, relationships, and economic principles are shifting to more accurately reflect the histories that inform the contemporary market. Through the first half of the book, Roth presents a new framework for understanding native artware industries: the interplay between Indigenous and capitalist models of economics led to concentrated and intentional efforts to create culturally modified capitalism (CMC) wherein Indigenous peoples use capitalism in value-imbued ways. CMC is not an alternative to capitalism, but presented as more of a compromise—that if one is to engage in capitalism, he or she could harness it to better reflect his or her way of life. The strongest elements of Incorporating Culture manifest throughout the text. Roth is careful to not gloss over the different styles in Northwest coast art. Terminological clarification is also communicated very well with...
Read full abstract