Classic and Contemporary Poetry: Explained

Charlotte DeClue’s "MMMMM...Whiteman's Powwow" delivers a sharp, observational critique of cultural appropriation and the commercialization of Native traditions, particularly through the lens of a powwow—a space traditionally sacred and communal, now tinged with outsider influence and misunderstanding. Through vivid imagery, sardonic tone, and fragmented narrative, DeClue contrasts the authenticity of Indigenous identity with the superficial engagement of non-Native participants, revealing tensions within cultural spaces that are meant to honor heritage but often become diluted by commodification and misunderstanding.

The poem opens with the striking image of a "Star quilt / hanging above empty chutes mirrors sky." The star quilt, a significant symbol in many Native cultures, often represents honor, respect, and connection to both community and the cosmos. Its placement above empty chutes immediately sets up a visual juxtaposition of tradition against vacancy or exploitation—the sacred hung over something hollow. The quilt reflecting the sky suggests a longing for genuine spiritual connection, but the emptiness beneath foreshadows the superficiality that permeates the rest of the scene.

DeClue situates the setting geographically and culturally with references to "Kansas farms to the south, big city blur to the north," and "Misty river roads, tailgates & 6. beer." These details ground the powwow in a Midwestern, rural environment, where communities "scratch for work & a little bit of ground." This economic struggle, tied to land and livelihood, reflects the historical and ongoing displacement of Native peoples. The phrase "scratch for work" evokes both physical labor and the broader struggle for survival and recognition in a society that often overlooks Indigenous contributions and existence.

The poem’s tone sharpens with the introduction of outsiders, particularly in the lines: '"Mountain men," an Osage girl says, even smell like weasels, pose beside backward teepee.' Here, DeClue uses humor and irony to expose the ignorance and pretension of non-Native participants attempting to engage with Native culture. The "mountain men," likely referencing white reenactors or hobbyists, are mocked for their lack of authenticity—posing beside a "backward teepee," a symbol of their failure to understand or respect the culture they are imitating. The comparison to "weasels" further underscores their disingenuousness and slyness, reducing their attempts at participation to something laughable and slightly predatory.

The critique continues with the "small town Missouri woman," adorned with "camera, beads & feathers around her neck," who "whines / about Oklahoma people walking away / with all the competition money." This woman embodies the commodification of Native culture—adopting its aesthetic without understanding its significance, and focusing on monetary gain rather than cultural respect. Her superficial engagement is further highlighted when she is "consoled / by the red, white & blue blanket / she wins in a raffle." The patriotic colors of the blanket contrast sharply with the Indigenous context of the powwow, symbolizing how American nationalism and consumerism often overshadow and trivialize Native traditions. The raffle itself, a symbol of random chance, mirrors the arbitrary ways in which cultural artifacts and traditions are distributed and misunderstood in such spaces.

DeClue’s language becomes more fragmented and chaotic as she describes the "Suburban boys with water-filled condoms & plastic M-16's / aim for my new white straw Bradford / to find a 'mama' under the brim." This imagery introduces elements of violence, immaturity, and objectification. The suburban boys, armed with childish weapons, represent a trivialization of both violence and cultural space. Their actions—aiming at the speaker’s "white straw Bradford," a type of hat—suggest both mock aggression and an invasive search for something maternal or nurturing ("to find a 'mama' under the brim"). This invasion of personal and cultural space highlights the discomfort and hostility faced by Indigenous people when their traditions are turned into playgrounds for outsiders.

The poem’s final lines introduce a more introspective tone, as the speaker notes, "signals me to listen. / Bright yellow half-face, smile like a rattler snag corner of my mouth. / when the dance turns RED." The "signals me to listen" suggests an internal or ancestral voice urging the speaker to pay attention, perhaps to the deeper cultural or spiritual truths beneath the surface chaos. The "bright yellow half-face" with a "smile like a rattler" evokes both danger and cunning—the rattlesnake symbolizing both a warning and a connection to the natural world in many Native cultures. The smile "snag[ging] the corner of my mouth" indicates a complex mix of emotions—perhaps bitterness, irony, or even reluctant amusement.

The phrase "when the dance turns RED" serves as a powerful conclusion, layered with multiple interpretations. The color red is significant in many Indigenous traditions, symbolizing life, blood, and the earth, but also violence and resistance. Here, it may represent the reclaiming of the powwow space by its original cultural significance, the rising anger beneath the surface, or the bloodlines that connect the speaker to her heritage despite the commodification surrounding her. The dance turning red could signify a shift from mere performance to something more visceral and authentic, a reminder of the cultural and historical struggles embedded in these gatherings.

Structurally, DeClue employs a free verse form, with enjambment and fragmentation that mirror the chaotic, overlapping interactions at the powwow. The lack of punctuation creates a stream-of-consciousness flow, reflecting the speaker’s shifting observations and emotions as she navigates the space. The poem’s title, "MMMMM...Whiteman's Powwow," itself carries a sardonic tone, with the prolonged "MMMMM..." suggesting either reluctant acceptance, bemusement, or simmering frustration, while "Whiteman's Powwow" directly critiques the appropriation and distortion of Indigenous cultural practices by non-Native participants.

In "MMMMM...Whiteman's Powwow," Charlotte DeClue crafts a vivid, critical portrait of cultural appropriation and the complexities of identity in shared spaces. Through sharp imagery, biting humor, and layered symbolism, the poem exposes the tensions between authenticity and commodification, heritage and exploitation. DeClue’s work challenges readers to consider the ways in which Indigenous traditions are often misunderstood, trivialized, and co-opted, while also asserting the resilience and enduring presence of Native identity amidst such challenges.

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