multicolored culturalism

Walter Barrett Monday, May 23, 2011 11:17:07 AM HST 00:25:bc:e2:b1:ba

Table of Contents

Introduction

Kepa Barrett: Original Poetry

I walk this life

I walk this Life Commentary

Concrete Poem

Concrete Poem Commentary

Robert Sullivan: Indigenous Poetry

Robert Sullivan Biography

No

Hooked

Waka 66 Hokuleʻa

Waka 57 El Nino Waka

2140AD

2149AD Analysis

Robert Burns: World Poetry

Robert Burns Biography

Lines Written on a Bank Note

The Farewell

In Vain would Prudence

Tho’ cruel Fate

The Cares o’ Love

The Cares o’ Love Analysis

Bibliography


Introduction

Life was never simply black and white. Nowadays we have colors like Aqua,

Fuchsia, and Razzmatazz. Everywhere we look we see different colors. Colors can

represent a place, a person, and especially a culture. Every nation has a culture and

colors that represent them. In order to become educated in this world we must

learn about each culture and be multicultural.

While I was coming up with a title for my collection of poetry, I evaluated the

poetry I chose and the word “Multicultural” came to mind, meaning a representation

of several different cultures or cultural elements. It was as if, subconsciously, I was

blending a variety of different cultures throughout my collection. However, I

personally didn’t think this word would be an appropriate title for my collection. I

felt that the poetry in my book not only showed the importance of appreciating

different cultures, but I could also visualize the colors of each culture while reading

each poem. This is the reason why I chose Multicolored Culturalism as my title

because of the imagery of colors combined with an appreciation of diversity.

My concrete poem and my original poem both express my ethnic

background. As a young child, I acknowledged that I possessed a multitude of

ethnicities. I was always proud to be Hawaiian, however, I now appreciate and have

pride for all my ethnicities. My concrete poem creates a stark juxtaposition between

the Hawaiian and Portuguese nations. I chose to combine their colors to represent a

blending of two distinct yet very similar cultures. In my original poem I revealed the

story behind my name. My full name combines the French, Hawaiian, and

Portuguese cultures to form the multicultural story of my life.


I chose Robert Sullivan as my indigenous poet because he is a well-‐

established and intellectual writer. Sullivan embodies multiculturalism within his

work. “2140AD” was the first poem I chose, it had a unique feel to it and I could

visualize the imagery it produced along with the political and social issues exposed.

I believe “No” was a very interesting poem, and I appreciated the way Sullivan

alluded to how some aspects of a culture can never be duplicated artificially. When I

read “Hooked” and “Hokuleʻa” my mind was trying to process the metaphorical

aspects of each poem, because each poem is only a few lines long, I was astonished

by how so much meaning Sullivan conveyed within each poem. Lastly, I chose “Waka

57 El Nino Waka” because it reveals how the sea is no longer reliable for life, and the

poem surrounds different issues facing all human beings.

I wanted to have a different feel of poetry for my world poet. I decided I

wanted a Scottish world poet, as it is an ethnicity of mine that I don’t know much

about. When I found Robert Burns I immediately liked his style of writing because

he explores different social issues, observes the flaws of human nature, and the

affairs of love. “Lines Written On A Bank Note” was the first poem I chose because

Burns writes about how he was never wealthy and he expressed that money was an

evil oppressor. When I read “The Farewell” I automatically had a connection

because the poem is about saying goodbye to your loved ones. My older sister lives

on the mainland and my uncle John passed away 2 years ago on Christmas so I had a

connection with this poem. I also enjoyed the message conveyed in the poem “In

Vain Would Prudence” because judging others by their flaws often make the judge

feel better about themselves by downgrading others. “Tho’ Cruel Fate” is a love


poem between Burns and his wife Jean so I believed it was appropriate to show the

“love” aspects of this poet. Lastly, I chose “The Cares o’ Love” because of the way

Burns expressed the different perspectives on love.

My entire collection of poetry revolves around Multiculturalism, and the way

Sullivan and Burns write their poetry gives a broad image of different colors

representing each culture of Europe and Oceania. If the reader analyzes each poem

well enough they will be able to imagine the different colors that will educate them

about different cultures in today’s society.


Kepa Barrett


I walk this life I walk this life, a life that is loving, an honorable story, one of a skipped generation, of haole descent. He is the great Walter of the heavens, citizen of the French missionary architect of his moʻopuna. Therefore, a heavenly one a heavenly son, born of Pele and the Moʻo of the Pueo, the Manō, reason for the first sight of love on a common island, in a little wooden church having been baptized after his namesake, Iokepaokalani. I am of the white man, the brown man, of the “red” and “green.” I walk this life of the French, the Hawaiian, and the Portuguese.


“I Walk This Life” Commentary

My original poem compares three of my five different ethnicities with the use

of my full name Walter Iokepaokalani Barrett. My full name consists of three

different names and three different ethnicities. My first name, Walter, is French, my

middle name Iokepaokalani is Hawaiian, and my last name Barrett is Portuguese.

The title of my original poem is “I Walk This Life,” meaning that I walk this life with

my name that is basically my life story.

The first stanza is about my first name, Walter. I was named Walter after my

grandfather who is of French and Hawaiian descent. I describe my grandfather’s

generation as the “skipped generation” because their generation was thrown into

colonization and never learned how to speak ‘Ōlelo Hawaiʻi. Also, I describe my

grandfather as an “architect of his moʻopuna.” I used this description because my

grandfather is my kupuna so he is like the foudation of my life so he is part of who I

am, and that is why my first name honors him and my French bloodline.

The second stanza speaks of my middle name Iokepaokalani. Since it is my

Hawaiian name I make a reference to all my aumakua: Pele, the shark, the lizard,

and the owl. The literal meaning of Iokepaokalani is “Son of the Heaven,” and I was

named after the man who is responsible for how my mother and father met. His

name is father Joseph Priestly and his Hawaiian name is Iokepaokalani. He was a

friend of both my mother and father’s families and he invited them to a service. My

father first caught site of my mother because she was dancing hula for the church

service in Waiheʻe, Maui. I make an allusion to father Joseph in my poem in the line

“reason for the first sight of love.” This line describes him as the reason for my


mother and father’s first sight of each other. Father Joseph is also the priest that

baptized me and I honor him everyday carrying his name as my own.

The last three lines of the second stanza make a reference to my full name:

Walter being of the white man, Iokepaokalani being of the brown man, and Barrett

being of “red” and “green” for the national flag. Unfortunately, my last name doesn’t

have much of a long and deep story to it; however, it is a name that has been carried

down for generations and each of my kupuna has a different story to tell from their

life experiences with their name.

I walk this life of the French, the Hawaiian, and the Portuguese. Each name

represents a different ethnicity and it illustrates my life story of where I come from.

Therefore, since I know where I come from and whom I honor, it helps me to make

the right choices in my life to make my kupuna and my family proud.


Concrete Poem Commentary

I chose to do a stark juxtaposition between two different nationalities for my

concrete poem. The name of my poem is Ka Ihe verses Canhões. The literal translation of

this name is “The spears verses Canons.” My concrete poem contrasts the Hawaiian and

Portuguese nations by utilizing their national flags and parts of their national anthems.

While my poem shows many differences between the Hawaiian and Portuguese nations,

it also shows the similarities within each nation’s existence. The flags contrast with each

other in an ornate manner, the blending of the flags contrasts the cultures, and the words

of both national anthems create a powerful interpretation.

First, I wanted to create an obvious contrast between the Hawaiian and

Portuguese flag. I placed the Hawaiian flag in front of the Portuguese and flag used

Microsoft Word to make it transparent so that both flags were visible. This shows

significant contrast between each nation because both flags are represented and are

plainly shown. Also, the colors of the flags blend to create other colors. This represents

how there is a significant amount of Portuguese and other nationalities living in Hawaiʻi.

However, there is also a reason why I placed the Hawaiian flag in the front of the

portuguese flag and made it transparent. The Hawaiian people were the first to come to

Hawaiʻi and were the first to establish themselves. Over the centuries the Hawaiian

nation has begun to fade and crumble much like how the paper is crumbled in my

concrete poem. The Portuguese seal, like many other nationalities, is taking over the

Hawaiian nation. Therefore, the ornate manner of the flags creates a blending of cultures.

Second the blending of cultures is also what makes a stark difference between

both nations. I chose to compare the Hawaiian and Portuguese nations because they were


so different from each other. Portugal is a continental nation in Western Europe that

border’s the Atlantic Ocean and is primarily made up of Caucasians. HawaiʻI, on the

other hand, is an island nation in the middle of the Pacific and is made up of Polynesians.

These differences are acknowledged in my concrete poem, and they are the foundation

for the similarity within each nation’s anthem.

Lastly the words of both the Portuguese and Hawaiian national anthems create a

powerful interpretation within this poem. At first I wanted to present the chorus of each

national anthem next to each other on the flags, however, I looked up the meanings for

each chorus and I was astonished at the similarities between them. The chorus for the

national anthem of Portugal, A Portuguesa, is Às armas! Às armas! Sobre a terra e

sobre o mar! Às armas! Às armas! Pela Pa'tria lutar! Contra os canhões, marchar,

marchar! the translation means “To arms! To arms! On land and sea! To arms! To arms!

To fight for our Homeland! Against canons, march, march!” Afterwards I realized that

Hawaiʻi Ponoʻī had a similar meaning. The Hawaiian national anthem calls upon the

royal father, Kamehameha, who shall defend in war with spears. So I decided to take

excerpts from each anthem to create a powerful interpretation. The approximate meaning

is “Royal father to arms to arms, shall defend in war to fight for our Homeland! With

spears, against cannons, march, march!” This combination of the anthems creates an

interpretation that Kamehameha is going against enemy canons with spears. Therefore, I

decided to make the title of my poem Ka Ihe verses Canhões.

While my concrete poem shows many differences between the Hawaiian and

Portuguese nations, it also shows the similarities within each nation’s existence. The

comparing and contrasting flags show a deep allusion to the Hawaiian culture fading, the


blending of the flags represent a contrast between each culture, and the combination of

Hawaiʻi Ponoʻī and A Portuguesa create a powerful interpretation for each nation’s

morals. I am proud of my Hawaiian and Portuguese ancestry, and this poem shows just

how different a person’s ethnic background can be.


Robert Sullivan


Robert Sullivan

Known as one of the most intellectual Maori poets in modern times, Robert

Sullivan creates poems that blend modern and traditional aspects of Maori culture

within his style of literature. He was born in 1967 as a member of the Nga Puhi iwi

tribe. Since 1986 he has published four books of poetry including the book Star

Waka, which consists of 101 poems and was shortlisted in the poetry section of the

2000 Montana New Zealand book awards. Sullivan lives in Auckland and is the

Maori Services Manager at the University of Auckland Library (New Zealand Book

Council).

Sullivan grew up in the northlands of New Zealand as a son of a mother from

Karetu and a father from Kilbirnie, Wellington (aenjournal). He graduated from the

University of Auckland where he took a course in modern American history. A

significant amount of Sullivan’s poems create a stark juxtaposition between Maori

and Western cultures. One of Sullivan’s most influential poets is Frank O'Hara

because of his style of writing. He incorporates a unique blending within his writing

much like how Sullivan does in his poems. One example of Frank O’Hara’s unique

writing is from a poem he wrote called “A Quiet Poem” comparing many aspects of

imagery and metaphorical references. “The cloud is then so subtly dragged/ away

by the silver flying machine/ that the thought of it alone echoes” (O’Hara 2003). The

reader may imagine this line as a cloud that is peacefully floating through the sky

and is suddenly dragged away by a quite plane passing by and the thought of the

cloud being dragged away echoes in ones mind like a subtle sound emanating from

the heavens.


One powerful poem Sullivan wrote called “Waka 99” expresses how, if

traditional canoes were resurrected from the past, and then they would come from

the blood of the people in the pacific. Sullivan writes that the waka would not come

out of the museums, or they wouldn’t just come out of the mountains as if liquefied

from a frozen state. Also, Sullivan illustrates that it wouldn’t simply come out of the

“South Island wood,” waiting for canoe making practitioners to show up and build.

Sullivan concludes this powerful poem stating that the resurrection of waka would

come from the blood of the Pacific. Sullivan writes: “the resurrection would

happen/ in the blood of the men and women/ the boys and girls/ who are blood

relations” (Sullivan 1999:109). This line may be interpreted as the waka

representing the Maori culture, and the only way to restore and continue their

culture is through the Maori people. The men and women must pass down their

knowledge to the children so that they can pass their knowledge to future

generations, thereby, resurrecting their waka and culture.

Sullivan’s blend of poetry is refined by his awareness of Maori, religious, and

social issues. Sullivan is a multicultural man and is proud of all his bloodlines. From

New Zealand to Hawaiʻi he worked as an assistant professor of English at the

University of Mānoa, where he taught a creative writing and Pacific literature class.

He won or was nominated in several national literary awards. His unique urban

style of writing focuses on social, racial, and cultural issues. Sullivan expresses

different messages of importance through is poetry, which is something that many

poets wish to achieve.


“2140AD” Analysis

In Star Waka, Robert Sullivan wrote a very powerful poem called “2140AD.”

Of the 101 poems in the book this particular poem had a distinctive feel to it where

it blends modern and traditional aspects of society. The literary techniques Sullivan

used in this poem gave it a myriad amount of hidden messages. Although some of

the metaphors behind this poem are a mystery, some of these messages compare

and contrast waka with modern technology, religious beliefs, and political issues.

Sullivan incorporates all his skills into this poem.

“2140AD” begins with this line: “Waka reaches for stars – mission control

clears us for launch/ and we are off to check the guidance system personally”

(Sullivan 1999:7). The author used a New Zealand canoe as a metaphor for a

modern day rocket. The crew of the canoe is the crew of the rocket ship asking for

mission control to clear them for launch. Similarly to how rocket crews check the

guidance system, so does the crew of a canoe to make sure everything is prepared

and in good condition. This is one of the most special metaphors hidden in this

poem because both the waka and a rocket reach for the stars and are a mechanism

of knowledge and discovery.

The following line exposes religious controversy: “Some gods are Greek to us

Polynesians” (Sullivan 1999:7). This shows how the Maori culture has lost a

significant amount of their religious traditions and identities. Much like the

Hawaiian culture, other nations tried to colonize New Zealand, and the Maori people

were severely influenced by foreign cultures. Although it is not well known why

Sullivan alludes to Greek gods, the message is clear, that the religious identity of the


Polynesians are significantly influenced by foreign cultures. Also if some gods are

Greek to the Polynesians then that means they are clueless as to which deity they

worship, therefore, loss of religious identity is reached.

The last two lines of this poem express a political cultural issue: “They

confiscate the rocket ship, the only thing/ all the iwi agreed to purchase with the last

down payment” (Sullivan 1999:7). These lines could be interpreted as a foreign

culture taking away one of the most precious aspects of the Maori people. “They”

could refer to the foreign influence on the Maori people and the “rocket ship” as I

mentioned in my first paragraph refers to the waka of the Maori culture. These lines

could possibly allude to the colonization of New Zealand and the aspects of Maori

traditions that were lost. Ironically, the Maori people wanted sovereignty, however,

they decided to purchase their waka, which is ironic because purchasing an aspect

of their culture is contrastive to actually practicing and nurturing the traditions of

their culture.

The literary techniques Sullivan used in this poem gave it a myriad amount of

hidden messages that weave waka with modern technology, religious beliefs, and

political issues. Although there are still many metaphors to decipher from this

poem, Sullivan uses all his poetic skills to express each metaphor in different and

creative ways. He compares waka to modern technology, exposes religious

controversy, and lastly he unveils the political issues surrounding the waka and the

aspects of the Maori culture. Sullivan wishes to convey the issues facing the Maori

people in the present in order to for people to obtain a solution to these issues in the

future.


Robert Burns


Robert Burns

Hailed as one of the most influential and creative poets of Scotland, Robert

Burns created classic poetry that has lived on for centuries. He was born in Alloway,

Ayrshire Scotland on January 25, 1759 in a thatched cottage. His father, William

Burns, was a tenant farmer who built the cottage with his bear hands, and it still

stands today as a mark of Burns birthplace. Burns’ mother, Agnes Brown, gave birth

to Robert as the first of seven children. Burns had very humble beginnings. Living as

a Scot peasant was a hard life with reduced amounts of food in a two-‐room clay

house. Although times were harsh, William Burns did the very best he could to

educate Burns and his other children (Henley 1897:xiv).

Burns acquired the majority of his education from reading. Every chance his

father got he would give Burns and his siblings books to read. Burns worked along

side his father while farming, however, he remained literate in his Scottish tongue

and in English as well. Burns worked on the family farm until his father died and he

failed to maintain it. Once his father died Burns became exceptional in expressing

his deep emotions through poetry and music (Henley 1897:xv).

Burns was never a rich man therefore he had to work in order to make a

living. He expresses his frustration with money in one of his poems entitled “Lines

Written on a Bank Note.” This poem compares money to being a “cursed leaf” and it

is the source of Burns’ grief. He goes on to write about how much money he didn’t

have growing up, which contributed to the death of his father and brother. He then

foresees the future of his children being afflicted by his lack of money: “I see the

children of affliction/ Unaided, through thy curs’d restriction” (Burns 1778:172).


Basically, Burns expresses his feelings towards money and how it has affected his

life similar to how it has affected society for decades.

Although Burns was primarily a poet, he was also an excellent composer of

music. In 1787 Burns was hired to collect and compose Scottish songs for the Scots

Musical Museum. One of his most famous songs, Auld Lang Syne, continues to be sung

by the Scots today each New Year’s eve. This shows the impact that Burns made on

Scottish society within his brief time on this earth (heartoscotland.com).

After Burns published his first book of poems with surprising success he

attempted to invest in the family farm once again. Unfortunately he failed and the

investments to the farms were used up. Having been disappointed and depressed,

on July 21, 1796 Burns died of a heart failure at the age of 37. Although his life was

short, his impact on the world made Burns achieve immortality. His goal to

rejuvenate and rescue hundreds of Scottish folk songs was achieved, and every year

the Unitarians of Scotland celebrates his birthday in honor of one of the greatest

Scottish poets in history.


LINES WRITTEN ON A BANK NOTE

WAE worth thy power, thou cursed leaf ! Fell source of a’ my woe and grief, For lack o’ thee I’ve lost my lass, For lack o’ thee I scrimp my glass ! I see the children of affliction Unaided, through thy curs’d restriction. I’ve seen the oppressor’s cruel smile Amid his hapless victims’ spoil; And for thy potence vainly wish’d To crush the villain in the dust. For lack o’ thee I leave this much-lov’d shore, Never, perhaps, to greet old Scotland more. R.B.


THE FAREWELL FAREWELL, old Scotia’s bleak domains, Far dearer than the torrid plains, Where rich ananas blow ! Farewell, a mother’s blessing dear, A brother’s sigh, a sister’s tear, My Jean’s heart-rending throe ! Farewell, my Bess ! Tho’ thou ’rt bereft Of my paternal care, A faithful brother I have left, My part in him thou ’lt share ! Adieu too, to you too, My Smith, my bosom frien’; When kindly you mind me, O, then befriend my Jean !


IN VAIN WOULD PRUDENCE

IN vain would Prudence with decorous sneer Point out a censuring world, and bid me fear: Above that world on wings of love I rise, I know its worst, and can that worst de- spise. “ Wrong’d, injur’d, shunn’d, unpitied, un- redrest, The mock’d quotation of the scorner’s jest,”


THO’ CRUEL FATE

THO’ cruel fate should bid us part Far as the pole and line, Her dear idea round my heart Should tenderly entwine. Tho’ mountains rise, and deserts howl, And oceans roar between, Yet dearer than my deathless soul I still would love my Jean.


THE CARES O’ LOVE HE

THE cares o’ Love are sweeter far Than onie other pleasure; And if sae dear its sorrows are, Enjoyment, what a treasure ! SHE I fear to try, I dare na try

A passion sae ensnaring ; For light’s her heart and blythe’s her song That for nae man is caring.


“The Cares o’ Love” Analysis

Robert Burns wrote hundreds of songs and poems, but of all those poems

“The Cares o’ Love” fascinated me the most. This poem expresses what young men

and women care about in love. Being a flirtatious young man himself, Burns

understands the cares of love for both genders. This poem consists of two stanzas,

the first reveals the men’s point of view, and the second expresses the women’s

point of view. Young males want to have fun in love, while young women want to

have passion and care.

The first stanza starts with “The cares o’ Love are sweeter far/ Than onie

other pleasure” (Burns 1788:183). One could interpret this line meaning that men

view love as the greatest pleasure. Burns realized that young men only want one

thing, sex. It is true that sex is one of the biggest motivations for men and women,

and reproduction is an enormous part of life. Also, the fact that Burns placed the

men’s point of view first could be a reference as to how the man in a relationship

has the upper hand. Finally, this stanza concludes with men seeking enjoyment as a

treasure in love, thereby supporting how enjoyment is what they search for in love.

The last stanza expresses a women’s point of view on love. In relationships,

passion and a caring man motivate women. However, the way that Burns conveys a

woman’s emotions seems like women are often overcome with emotions in love. “I

fear to try, I dare na try/ A passion sae ensnaring” (Burns 1788:183). This line can

be interpreted as women are often pressured by men to fulfill the men’s desires and

they feel that they are trapped by passion. The poem continues to express women’s

emotions as if they are controlled by love and are blind by it. Women are often taken


advantage of by men and they do not stand up for themselves because they are “in

love” with their partner. Burns also uses a powerful metaphor to describe how light

is a woman’s heart and her song is “blythe.” This means that her heart is light and it

shines with the beauty and integrity that all women possess, however, the way that

her heart beats could represent the song of her heart. “Blythe” is defined as a sort of

doll, which could allude to how women are often controlled in love by men. This

word could also mean joyous, which could mean that women actually enjoy being

controlled by their lover.

The very last line of this poem is powerful: “That for nae man is caring”

(Burns 1788:183). Burns was a very flirtatious young man, however, he didn’t care

about the women he fancied and in this poem it is as if he admits that men don’t care

about women and their feelings. Although it might not be accurate for all men, it is

what Burns believed was true. It is because Burns believed that men don’t care

about the emotional aspects of love that this poem was written.


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multicolored culturalism

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hooked waka