BirreD@mail01.dnr.state.wi.us wrote:
>
> Replying to Bill Harris in Talking Stick Circle LO13999:
>
> I agree that we need to be sensitive to the cultural and spiritual
> foundations of the practices we borrow (and often bastardize). But does
> this mean that we can't use a helpful practice outside its original
> context?
If you understand the process then you can use it.
> This question is at the root of much conflict we see in the area
> of workplace diversity. I believe a learning organization will try to
> find ways to honor the many cultures within it, while drawing from sources
> that help it continue to learn.
I agree
> People who grow up in a particular culture are often offended when someone
> else partakes of their practices, whether it's because the foreigner lacks
> social standing, doesn't know the full scope of the cultural context, or
> doesn't care about the sensibilities of the natives.
We all wear pants but this doesn't mean that if you imitate my particular
version that its my pants. The problem is in understanding "pantsness."
> Some Jews are
> horrified at Gentiles doing the Passover Seder.
The Seder was replaced by the Eucharist. Christianity has assumed the
ceremonies of a great many people who no longer exist. It is that issue
of genocide through assimilation that bothers all groups who struggle to
maintain the integrity of their cultural institutions and style of
existance.
Some Native Americans may
> be offended at children doing "Indian" dances in school (Bill's example),
> etc.
We are not offended that children dance, only that they dance without the
understanding behind the dance. No one can dance your dance or mine.
That is the truth that makes stereotypes a problem. It is the journey of
self discovery and personal discipline as well as the pleasure that makes
us dance and share with each other. The first two are crucial for the
existance of the third.
> The fact is that when cultures collide, they borrow from each other,
Agreed. I drive an automobile and play the piano.
> and it's been going on for tens of millenia. It seems to me the answer is
> simple, and has two parts:
>
> 1. Those who borrow cultural practices should respect the culture from
> which they're drawing, provided that they're even aware of it.
There is no borrowing. There is only inhabiting. Like I sing French,
German and Italian. And I teach those songs sometimes even to people from
those places, but they have them in their genes, I have them in my head.
I will always be the gardener while even the least of them own the house.
They are generous and allow me to share with them my perspective on their
traditions. Art should not only take you to another place but it should
make you find the same processes within yourself. After that you should
find your own voice within those processes. We say "Let your being sing
the song of life to yourself."
> 2. Those whose cultures are the source of borrowed practices should
> recognize that what they've developed may be useful outside its original
> context, and that the borrowers may not be aware of the broader
> background.
It is not the same to us. You can't borrow. You don't borrow a language,
you speak it. Concepts that add to our individual cultures are always
useful but we should remember that we don't play around with the symbols
at the center of each others identities. Certain symbols are so powerful
within our being (sacred) that to use them in an improper way is profane.
We should all be careful of this. If something is given to you, you must
remember that it is alive and is for your growth and development. When
you have done that you may pass it back, redefine it for yourself or teach
it to your children. That is being respectful. But the key is to always
remember to be humble about it. Don't go tell someone that you know more
about their identity then they do. That is a kind of psychological
scalping and is not helpful.
> These are simple, but not easy to do, because they involve taking others
> seriously but not taking oneself *too* seriously. It's just one form of
> the balancing act that is so difficult to do when faced with dualism.
I agree with you and appreciate the care that you show in exploring these
things. Same as always Dave, it is a pleasure.
Stay Strong,
Ray Evans Harrell, artistic director
The Magic Circle Chamber Opera of New York
mcore@idt.net
--Ray Evans Harrell <mcore@IDT.NET>
Learning-org -- An Internet Dialog on Learning Organizations For info: <rkarash@karash.com> -or- <http://world.std.com/~lo/>