I responded to the context that was presented in the OP:
Synsensa explicitly describes this as an insufficient definition of "cultural appropriation". He doesn't take this definition as authoritative and universal, or that the issue is whether "cultural appropriation", so defined, is real or imagined. I took your usage to be a little more general.
But what are we talking about here? Hollywood productions? The representation of those cultures in TV? Sure, for companies you can do that, but the large part of the process is just individual people living their daily lives, I don't see how you could possibly expect them to "make members of the minority culture participants in the process". They don't have the power to do that, they themselves are just fish in an endless ocean.
I mean, if you're arguing that capitalism makes equity impossible, I'm not going to disagree.
I actually thought about gaming culture. Should I have a say in how today's gaming culture evolves just because I was there at times when the C64 was still around? Should the people who entered gaming and changed it as it became more popular have asked for my permission to do what they did? I don't think so, even though I feel like their presence, and the fact that it has been dragged out of its nerdy origins and into the middle of society, has damaged traditional gaming culture.
"Gaming culture" is something marketing teams invented to convince you that the next
God of Assassin's Duty are cultural necessities rather than elaborate toys, so I don't there's a very strong analogy, there. (Do gaming
cultures exist? Yes, they're scattered, esoteric things, built up around or a handful of games, especially around modding or multiplayer play- that is, among fundamentally player-driven processes. They distinguished above all else by their independence from an indifference to the shifting fortunes of the triple A studios and legacy franchises who are so often taken to represent "gamer culture".)
A better analogy would be something like punk rock, and, yeah, I would absolutely say that some tween who's been in the scene for all of six months has a stronger claim to the legacy of Black Flag or The Clash than some marketing exec, because that legacy is in practical terms constituted by people like him, at least to the extent that the legacy is a living scene and not just the hazy nostalgia of greying Gen Xers.