In a complex process spanning multiple centuries, Appalachian artistic heritage became a commodity for outsiders to enjoy. This process began with the influx of Christian missionaries to the region who sought to impose their own morals on Appalachians, as they believed standardization and assimilation into the hegemonic American culture would rid the region of poverty. Following the introduction of these missionaries, settlement schools — and later universities like Berea College — institutionalized the Appalachian artistic identity that missionaries created. This institutionalization led to the monetization of this falsified Appalachian culture, ultimately cementing this new identity into the national conscience while transforming Appalachian artistic traditions. This paper argues that the colonial-motivated commodification of Appalachian artistic heritage allowed outsiders to define authenticity, resulting in the loss of Appalachian authority over their own artistic heritage. By comparing basketry, coverlet weaving, and quilting traditions with their commodified counterparts, this paper concludes that ethical engagement with Appalachian artistic heritage requires an understanding of the colonial systems that have historically disenfranchised the region.
Ella Rosenberg (Fri,) studied this question.