Going by what little I know about him, Invercargill mayor Nobby Clark doesn’t strike me as a man likely to back down in a fight.
And neither should he. Meng Foon’s call on him to apologise for using the n-word should be brushed aside as the grandstanding it is. The Race Relations Commissioner should pull his head in.
It would be different if Clark had casually used the word in circumstances indicating he approved of it, but the reverse is true. He says he finds it abhorrent, would never use to refer to anyone and is offended when he hears it used in rap music.
His purpose in using it was to ask how far artistic licence should be allowed to go in tolerating words that cause offence. He cited other examples including the phrase “f*** you, Bitch”, which the poet Tusiata Avia uses in a poem that appears to relish the idea of exacting revenge on the descendants of white colonisers such as James Cook.
Avia’s poem, parts of which ape the jargon of American rap culture, drips with allusions to violence against white people. But far from her work being condemned by the Race Relations Commissioner (no one would be so naïve as to expect that), $107,000 of taxpayers’ money has been spent through Creative New Zealand on a stage show called The Savage Coloniser, which is based on the book the poem comes from.
ACT recently called for the funding to be withdrawn, accusing the government of supporting a work that incites racially motivated violence, but Creative NZ says one of its functions is to uphold people’s right to freedom in the practice of the arts.
As it happens, that’s exactly the subject Clark was exploring. He asked whether poetic expression overrides social norms – a perfectly legitimate question. We need to have these tough debates, he says. But the same right of expression that Creative NZ invokes in defence of Avia is one that Meng Foon apparently wants to deny Clark.
The striking thing here is that it’s not Avia’s provocative and mostly incomprehensible poem that attracted the mainstream media’s attention, despite its references to shoving a knife between Captain Cook’s white ribs (aren’t everyone’s ribs white?) and a car full of brown girls driving around looking for his descendants, with the suggestion that a pig-hunting knife might be used. On the contrary, Stuff’s Sunday magazine carried a long article by Michelle Duff purring with approval.
Neither was it the spending of public money on a stage show based on Avia’s work that generated headlines.
No, what got the media fired up was Clark using the n-word in the course of a discussion about how far artistic licence goes and who controls it – fair and reasonable questions.
Fortunately, it’s true as a general rule that the further you get from the epicentre of the culture wars in Wellington, the more impervious people become to the posturing of people like Meng Foon.
Demands that people apologise for speaking their mind may work elsewhere; in fact they work far too often, much to the gratification of the bullying class. But they carry less weight in places like Invercargill.
In any case, Clark is not answerable to Meng Foon; he’s answerable to the laws of New Zealand (none of which he has broken) and to the people of Invercargill. If they don’t like the things he says, they can vote him out at the next election.
Sadly the same can’t be said of Meng Foon, safe in his highly paid (and unelected) sinecure.
