Culture Vulture
Let's workshop this poem about how, despite what safe-space universities so often insist, the artifacts of any culture are gifts for all of humankind!
Culture Vulture Denial grows (oddly, often in uni-vers-ities) of a plain truth: anyone ample in empathy, in respect and curiosity, can incarnate any culture—besting most Maori in war-dance even; painting Maori- kind in fire tales that move wizened elders to weep in recognition.
This poem is unpublished
Photo: nzherald.co.nz/nz/ngapuhi-elder-kingi-taurua-dies-at-80-after-cancer-battle/Q6EFORDGFWHKG3KEHSD2Q5XRVQ/
SAFE SPACE REPORT
The poem "Culture Vulture" challenges the notion that cultural artifacts belong exclusively to the people of the originating culture. The speaker asserts that anyone with empathy, respect, and curiosity can embody any culture, and that such embodiment can even surpass that of members of the originating culture. The poem also suggests that the denial of this truth is most prevalent in universities, where there is a tendency to overemphasize the importance of cultural ownership.
The use of hyphens in “uni-vers-ities” underscores the Latin etymology of the word and thereby the supposed irony of such gatekeeping being promoted in universities. The prefix “uni” means “one,” while “versus” “turned towards or into.” Breaking the word into two parts emphasizes the idea--albeit a false one, a white supremacist one--that a university is a place where diverse people can come together to share knowledge and learn from one another, where the shared humanity—the oneness between all humans—comes to the fore.
The use of Maori culture in the poem is significant because the Maori people have a rich history of cultural expression through the haka, which is often associated with war dance. The poem suggests that even in this area of cultural expression, those who embody the culture with empathy, respect, and curiosity can excel beyond even the most skilled members of the originating culture. The poem also implies that the wise elders of Maori culture would recognize the authenticity and power of such embodiment, regardless of the cultural background of the person embodying it.
Unfortunately, and whatever there might be to recommend the poem, we have here another piece by Istvan that is unsafe for classrooms. Most will find the poem triggering because it challenges the commonly held notion of cultural authenticity and gatekeeping, which can be seen as a form of resistance to cultural appropriation. The poem suggests that anyone can embody and express a culture through empathy and wonder, which may be seen by some as a threat to the authenticity and ownership of cultural traditions.
Furthermore, the poem's use of the term "culture vulture" can be seen as a loaded term that implies a negative connotation towards individuals who call out people for being “culture vultures.” Many black students and their allies mock culture vultures with slogans like “stay in your lane.” Since so many now regard it as axiomatic that cultures are not to be shared—or at least that cultures are not to be shared with white people—this poems is too provocative and iconoclastic to be allowed in classrooms. Too many people, especially the most vulnerable people (black Americans), will feel attacked by this poem.