Beading is often viewed as a universal craft, a form of artistic expression that transcends borders and cultures. It has existed for centuries in many different societies, from Indigenous nations in North America to African, South Asian, and European traditions. While the beading community can be a space for creativity, collaboration, and cultural appreciation, it is not immune to the systemic issues that exist in the broader world. Racism and discrimination within beading communities manifest in various ways, from cultural appropriation and exclusionary practices to the erasure of marginalized voices and unequal economic opportunities. These issues create barriers that prevent many beaders from fully participating and being recognized for their work.
One of the most persistent problems in the beading world is the appropriation of cultural beadwork by individuals and companies that do not belong to the communities that originated these traditions. Indigenous beadwork, for example, has deep spiritual, historical, and cultural significance, with certain patterns and colors carrying specific meanings. Despite this, many non-Indigenous beaders and businesses create and sell beadwork inspired by Indigenous designs without crediting or compensating the communities they borrow from. Some go even further by profiting from these designs while Indigenous artists struggle to gain visibility and economic stability. The same pattern occurs with African beadwork, where traditional styles and techniques are imitated in commercial markets without acknowledgment of their origins or the artisans who have carried these traditions forward for generations. The failure to credit and support these communities is a form of discrimination that devalues their artistry and contributions.
Discrimination also appears in the way certain beaders are treated within online and in-person beading spaces. Many Black, Indigenous, and people of color in the beading world have reported experiencing microaggressions, exclusion from mainstream craft events, and a lack of representation in major beading publications and businesses. While white beaders often find it easier to gain recognition, access high-profile collaborations, or be featured in major craft magazines, beaders of color frequently struggle to receive the same opportunities. This imbalance is not just a coincidence but a reflection of the systemic biases that exist across the art and craft industries.
The policing of who is considered an expert in beading is another way discrimination surfaces. When people from marginalized backgrounds share their knowledge or cultural traditions, they are sometimes met with skepticism or dismissed as being less skilled than their white counterparts, even when they come from lineages with deep-rooted beading traditions. Meanwhile, white beaders who incorporate elements of these traditions are often praised as innovative or skilled without facing the same scrutiny or expectations. This double standard reinforces the idea that the artistic and cultural contributions of marginalized groups are only valuable when filtered through a more socially accepted, often white, lens.
Social media and online marketplaces have further exposed inequalities within the beading world. Many beaders rely on platforms like Instagram, Etsy, and TikTok to showcase and sell their work, but algorithms and consumer biases often favor white artists and businesses. Beaders of color frequently find their work overlooked or undervalued, while non-Indigenous sellers profit from selling “Native-inspired” designs or mass-produced copies of traditional beadwork. The economic impact of these disparities is significant, making it harder for authentic artists to sustain their craft while others capitalize on their cultural heritage without accountability.
The issue of racism in beading communities also extends to how discussions of discrimination are handled. When beaders from marginalized backgrounds speak out about these issues, they are often met with defensiveness or hostility. Many within the craft community prefer to believe that beading is an inclusive space free from social and political concerns, dismissing conversations about race as unnecessary or divisive. However, ignoring these realities does not make them disappear. The unwillingness of some members of the beading community to confront racism and discrimination only allows these problems to persist and continue to harm those affected.
Efforts to address these issues require meaningful changes, including greater recognition of Indigenous, Black, and other marginalized artists, active efforts to credit and support cultural beading traditions, and the creation of more inclusive spaces where all beaders can share their work without fear of exclusion or exploitation. Supporting artists from historically excluded communities, learning the histories behind beading traditions, and holding large companies accountable for ethical sourcing and representation are steps toward dismantling the discriminatory structures that exist within the beading world.
Beading, at its core, is about storytelling, identity, and connection. It has the power to bring people together, but only if all artists are given the respect, space, and recognition they deserve. By acknowledging and addressing the racism and discrimination that exist within beading communities, the craft can become a truly inclusive and equitable space where everyone’s artistry is valued on its own merits, rather than filtered through systems of privilege and exclusion.