What is often decried as “cultural appropriation” is not something I am generally prepared to always avoid or disapprove of. Indeed in a world of interacting nations every culture is build from a mish-mash of others that came from before or afar. One particularly silly example of a complaint is the case of the American girl of European ancestry who wore a dress of a style that was once popular in China where its tight-fitting style actually was adopted in imitation of the tailoring styles and techniques then current in Europe – as opposed to the looser fits of traditional Chinese culture.
Of course, if the appropriation has an overt or covert demeaning intent or effect then I am prepared to consider that it might be unacceptable. Unacceptable appropriations might include copying a style of special cultural significance and using it in a context which the originating culture would find offensive, (but I might also be prepared to do that if I thought that giving such offense was for some reason necessary). They also include copying a style of no special significance if done in form of a caricature, and use of the word “woke” does have that kind of a feel for me. It seems a bit like the use of “blackface” in the context of a “minstrel show” with exaggerated gestures – as opposed to the (imo perfectly legitimate) use of makeup to honestly portray a character of different skin colour.
Sometimes (as with English tea drinking) an incorporated element becomes truly “appropriated” as a distinctive element of the appropriating culture, but this does nothing to diminish the value of the practice to its earlier adopters. There may be situations where such appropriation does negatively impact the source culture by stealing its market. This is arguably the case for some indigenous art styles, but it is hard to tell for sure whether the imitators reduce or increase the market for originals so the only cases I might accept restriction of are those involving a specific image class (as opposed to a more general style).
This brings us to the case of cultural documentation (which is how I interpret much of the early work of Emily Carr).