CIMB Artober conundrum: Can brands respectfully engage with the indigenous community?

The Mah Meri tribe in Malaysia is a significant indigenous community with uniquely woven crafts that bear a UNESCO seal of excellence. However, a fashion show by Anuar Faizal at CIMB’s Artober Fashion Week raised discussions about how brands can be inspired by, and incorporate elements of indigenous culture while being respectful towards it.

The show allegedly made a mockery of the Mah Meri indigenous community in Malaysia in the show according to a petition that Gerimis Art Project and other artists initiated, seen by A+M.

The petition has been reportedly signed by Azman Sap, village chairperson for the Mah Meri Orang Asli community in Sungai Bumbun and the Centre for Orang Asli Concerns (COAC), amongst others. In fact, it was confirmed to A+M that the Mah Meri Orang Asli community in Sungai Bumbun has lodged a police report against Faizal.

As Mah Meri spirit masks hold profound significance as symbols of respect for one's ancestors, there is a deeply emotional and reverential aspect to these symbols that should not be taken lightly, explained Joey Joey Gan, country manager, PRecious Comms Malaysia.

Where the show went wrong was how it displayed these cultural symbols alongside topless models which may be perceived as disrespectful by the Mah Meri community, Gan added.

Don’t miss: CIMB Artober week fashion show accused of culturally appropriating Mah Meri community

However, this is not the first time an indigenous culture has been used in ads. In August this year, in conjunction with Malaysia’s national month, Etiqa released a patriotic web film called "Pokok Oh Pokok" to cultivate Nationalism among Malaysians.

"Pokok Oh Pokok" tells the story of two indigenous children named Yam and Jemah who decide to skip school due to Yam’s injured leg while practising a cultural dance in their village, according to a statement by the brand.

What to keep in mind when paying homage to indigenous communities

As brands look to pay homage to the indigenous communities in Malaysia, how can they do so without being accused of cultural appropriation?

The answer, it seems, lies in thorough consultation with the right members of the community and mutually beneficial terms, according to Colin Nicholas, co-ordinator of the Centre for Orang Asli Concerns Malaysia.

In a conversation with A+M, Nicholas said that Faizal may have worked with a middleman who claimed to represent the Mah Meri community which explains why a report was lodged against Faizal despite promotional material for the show stating he worked with the tribe and their leader for three years.

He added that even if cultural symbols from a community are commercially acquired, marketers must think about their intentions and consider the dignity of the people they are advertising. This means engaging with indigenous communities without demeaning their cultural identity.

Agreeing with Nicholas is Gan who highlights that if if the sole reason for the engagement is for publicity, something will be amiss.

“But if you're working to bring about change, improvements, and betterment for the community, then, by all means, go for it,” she said. “If there aren't substantial efforts beyond art expression, it might appear as though the appreciation for the culture is merely tokenistic.”

Gan also says that when brands engage with communities in need, they have to consider that their efforts are sustainable, empower the community and if they are willing to make a long-term commitment as meaningful changes take time.

Where does the line between appropriation and appreciation lie?

When marketers engage with the right stakeholders of a community, they must pay careful attention to cultural intricacies as misunderstanding often arises from a lack of mutual understanding, adds Gan.

“While creativity has no limits, designers frequently fall short when it comes to truly comprehending cultures that are vastly different from their own,” she said. “It really depends on where the heart is, whether you're giving or receiving.”

On the other hand, Nicholas explains that in Faizal’s case the collection’s name ‘Mah Meri by Anuar Faizal’, was an inappropriate naming convention that usurps the community’s rights. This would be akin to saying ‘Malay by a designer’ or variations of that, he added.

When it comes to how marketers name their campaigns, Nicholas also said that just because one works with a few people from the community, they do not have the right to represent the whole group.

In addition, Nicholas added that the Mah Meri community is open to engaging with brands but to show an appreciation of the culture, marketers must gain prior consent and be sensitive to both the material and spiritual aspects of a culture.

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