Showing posts with label Non-Western. Show all posts
Showing posts with label Non-Western. Show all posts

Tuesday, May 15, 2018

Invocation of the Ancestors


Moon Wall Hanging: Gibbous-Crescent
Call in the energy of the moon and grounding in the cycles of change. Waxing Gibbous Moon opens up expression, growth, and creativity, while Waning Gibbous opens up inspiration and service. The moon is the powerful manifestor of cycles and transitions. [Source of image and text: Soma Ayurveda + Integrative Wellness]



The Art Gallery of Mississauga is hosting a workshop to guide participants:
"...on an energetic journey of time travel, meditative creation process, and opportunities for intentional connection to ancestors and ancestral lands through the process of designing a sacred healing object."

Here is the announcement on AGM's current main page:
Contemplative Design: Speaking to Ancestors through Sacred Object Creation | Thursday, May 10, 5:30 - 8:30 PM | Glass Pavilion | REGISTRATION

Using a process that we call Contemplative Design*, together we connect through ceremony. Facilitated by MeLisa (Jet Feather) Moore and nisha of SOMA Ayurveda + Integrative Wellness, participants will be guided on an energetic journey of time travel, meditative creation process, and opportunities for intentional connection to ancestors and ancestral lands through the process of designing a sacred healing object.
And here (also posted below) is a more complete biography of the two "facilitators":
MeLisa (Jet Feather) Moore is the co-founder and co-director of Soma Ayurveda and Integrative Wellness. She is an integrative health and wellness practitioner, Earth-based medicine woman, facilitator, writer, multi-disciplinary designer/inventor and sacred sound musician. Her work is rooted in the intersectionality of spirituality, futurism, synergetics, traditional healing practices, racial-economic equity and unity, and Transpersonal + Buddhist Psychology. She is also a researcher/designer of alternative education and economic models and loves using design and STEM for social entrepreneurship development. Her life, root Tibetan master guides, Peruvian Elders, her West African + Cherokee ancestors, Mother Earth, animal allies, main collaborator nisha ahuja, and former classroom students, along with many others, have been invaluable supports in her journey and development. She loves to support people in going deep in their healing and spiritual journeys along with re-uniting people with their gifts and personal power. She does this through Deep Racial Healing Coaching, Spiritual Healing Guidance, Earth-based Energy Work, Therapeutic Sound, Creative Coaching, and Shamanic Healing. MeLisa (Jet) is author of Love Notes to Everyone: Healing Contemplations for Deeper Living, Loving, and Liberation and children’s book Adventures of Bun Bun: Design, Play, Meditate.

nisha has supported hundreds with Ayurvedic Medicine + Bodywork, Therapuetic Yoga, Attmic Energy Healing + Reiki, Sound Healing, ancestral healing, creative movement + theatre creation, and a range of wellness and equity-centered workshops. nisha is co-director of Soma Ayurveda + Integrative Wellness, a social enterprise for wellness, education + equity, co-founded alongside MeLisa (Jet) Moore who has contributed to nisha’s spiritual journey and understandings of social equity immensely. nisha is graduate of the Centre for Ayurveda and Indian Systems of Healing (Toronto) and York University Theatre and International Development (Toronto), and has trained in a Reiki (Master Level) with Varsha & Ravi Hooja (Bombay), Attmic Healing with Manav Ji Sahaj (India), and Yogic Medicine at Swami Vivekanada Ashram (Bangalore India). As a theatre artist nisha has worked internationally and her plays include Yoga Cannibal, Un-Settling (Canadian Theatre Review, January 2016), Cycle of a Sari (excerpt in Refractions: Solo, Playwright Canada Press, 2014), and 30 People Watching co-written with Amelia Sargisson (ReView: an anthology of plays committed to social justice, 2016). nisha’s practice is dedicated to dissolving the boundaries between art, traditional medicines, ceremony and spirituality, and social equity and believes healing practices are revolutionary and fundamental to our collective liberation.

Monday, May 14, 2018

Belly Dance and Genuflections

Disclosure:

I used to be part of a belly dance group. I was good. I spent about two years learning the ropes. Near the end of my time there, after some of our regular recitals, people would come up to me telling me how much they enjoyed my dancing.


I am the one "in focus" in the back row, far right

But the woman who ran the show, Hilary Shaw, who gave herself an Arabic name, Yasmina Ramzy, never quite liked me.

Perhaps it is because she knew I was an Ethiopian Christian. Or maybe because I never really behaved like a lackey - I was quiet and reserved.

Yasmina, despite her "Egyptian" name, was not really into Islam. She preferred the pagans of the pre-Islam cultures. She would dance to Ishtar and other goddesses.


Yasmina Ramzy in an invocation of the Moon Goddess



One day, I just up and quit. I had had enough: of being delegated to the back row, of dancing to godheads I didn't know, and of my final admittance (to myself) that this was an inferior dance: not like the ballet I spent years mastering during my pre-teen years, nor like the various American folk (square) and ballroom dances I performed in later years. And certainly not like the structured modern dances (where I also gained audience fans) while studying at the University of Connecticut in my mid-twenties and where I joined a community dance group.

Now, many years later, Yasmina Ramzy, aka Hilary Shaw, continues to genuflect to pagan goddesses, which my spiritual instincts had naturally abhorred and rejected.

Paganism is here to stay. It has been mulling around our culture for decades. Now "multiculturalism" and a covert dismissal of Christ are allowing it to germinate. It, along with its protector Satan, has (almost) come out into the open.

Which it will do unless we stop it.

"While you certainly have the right to freedom of speech..."

The contradictions of the Canadian Soviet Left is endlessly hypocritical, and hilarious.

Here is a line from the recent email I received from Mandy Salter, the director and curator of the Art Gallery of Mississauga.

While you certainly have the right to freedom of speech, the AGM also has the right to not be defamed and or the recipient of hate propaganda.
Of course they don't "believe" in "freedom of speech." If Salter truthfully and genuinely believed this statement, then why is she, on behalf of the publicly funded, Canadian and Ontario government grant receiving agency, not only banning me from the AGM, but criminalizing my very entrance into the AGM with a latent warrant for my arrest by the Peel Region Police. Where are my "freedom of speech" rights as a citizen of Mississauga, which is receiving a portion of its an annual $350,000 from public funds through my coerced tax contributions?

Sunday, May 13, 2018

Activism In The Name of Our God

Ephesians 6:10-17

10 Finally, my brethren, be strong in the Lord, and in the power of his might.
11 Put on the whole armour of God, that ye may be able to stand against the wiles of the devil.
12 For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.
13 Wherefore take unto you the whole armour of God, that ye may be able to withstand in the evil day, and having done all, to stand.
14 Stand therefore, having your loins girt about with truth, and having on the breastplate of righteousness;
15 And your feet shod with the preparation of the gospel of peace;
16 Above all, taking the shield of faith, wherewith ye shall be able to quench all the fiery darts of the wicked.
17 And take the helmet of salvation, and the sword of the Spirit, which is the word of God:
18 Praying always with all prayer and supplication in the Spirit, and watching thereunto with all perseverance and supplication for all saints;
19 Put on the whole armor of God, that you may be able to stand against the wiles of the devil.



From: reclaimbeauty@gmail.com
To: nando.iannicca@mississauga.ca, mayor@mississauga.ca, carolyn.parrish@mississauga.ca, 12div.communitystation@peelpolice.ca, john.kovac@mississauga.ca, stan.zigelstein@StanzLaw.ca
May 13 at 6:30 AM

--------------------------------------

To the parties concerned:

This email is concerning my article:
Covert Satanic Imagery in the New Art Gallery of Mississauga Exhibit at the website Reclaiming Beauty.

I recently emailed you (please see below my email) about the difficulties I had in entering the Art Gallery of Mississauga and in viewing their exhibitions in recent months. As I explained in the email, I was perceived a "threat" to the gallery simply for being critical towards some of the gallery's exhibits and artists.

As an artist myself, I have been following contemporary art culture for over a decade, I have written my observations both on my blog and in national and international journals. And I have presented my ideas in prestigious international conferences and groups.

I don't mince words, as I believe direct truth is the best approach. And for this reason, I was given a warning by the Art Gallery of Mississauga's director Mandy Salter that my observations on Reclaiming Beauty are a "threat" to the gallery and to its staff, and that I was no longer to attend its exhibitions and functions. If I do enter the gallery, I would be removed from its premises by the Peel police.

I wasn't concerned by this antagonistic communication since thanks to modern media, I am able to view close to 100% of the AGM's exhibits and other activities online.

And similarly, I am able to make my observations and reach a far wider audience through my own online forum rather than attending the infrequent AGM panels.

It is for this reason that I have posted an article on the approach that the AGM is taking in its current exhibition (and recent exhibitions - dating back about a year and a half).

I find that the AGM has been covertly soliciting and exhibiting material related to Satanic and witchcraft aligned artists, and that perhaps some of its staff are indeed members of such nefarious groups.

The Canadian culture, despite multiculturalism, is based on the Western Christian cultural and societal heritage. Part of the AGM's agenda is to subvert this Judeo Christian heritage and introduce other gods and belief systems into our society.

Art is one of the first platforms where new ideas and subversive belief systems are introduced.

Please pay attention to the AGM's future actives. If they (and you) insist on multiculturalism, then our Christian God and heritage should have equal presence in the AGM's activities.

So far we have none.

Thank you. And God bless you.

Kidist Paulos Asrat
Artist, Activist, and Writer
Reclaiming Beauty



On Thursday, May 10, 2018, 4:59:42 AM EDT, reclaimbeauty@gmail.com wrote:


Dear concerned parties,

Please view the email correspondence I had with the Art Gallery of Mississauga after I visited their recent exhibition. have forwarded the emails at the end of this letter.

On Tuesday May 8th around 11am, I went to the Art Gallery of Mississauga to view the exhibition seeping upwards, rupturing the surface by Daniele Dennis, as well as the XIT-RM installation Jahez | Dowery by Mariam Magsi.

I followed all the gallery's basic protocol, and spent about 40 minutes studying the exhibition while taking notes on my notepad. At the end of my tour, I had a couple of questions to ask the staff and I approached the reception desk. Both my questions were on the musical scores which accompanied Daniele Dennis' and Lotte Meret Effinger's videos.

An assistant came over and said she didn't know, and would ask Mandy Salter, the gallery's director and curator. Ms. Salter came through and, after some pleasant greetings, she accompanied me to the back of the gallery to Effinger's video and pointed out to me the music composer (Florian Meyer). She said that she wasn't involved in the curation of Dennis' piece and gave me the email for Kendra Ainsworth, who is the curator for contemporary.

I thanked her, made a brief final tour, and left the gallery, thanking the receptionist on my way out. I went next door to the C-Cafe for a short while before resuming my other activities.

Once home late that afternoon I composed a careful email to Ms. Ainsworth so that my technical question was clearly worded, and I was expectantly waiting her reply. I also left a Facebook message to Daniele Dennis since her website has no way to contact her.

As an artist, I am curious and interested about many aspects of art exhibitions: their subject matter, the methods used, the technical details of the pieces, and the artists' backgrounds and training.

Artists approach and depict difficult topics, such as Dennis covering her face with pink cotton candy, and Meyer videotaping various aspects of bodily fluids. And they often provide little explanation. I understand this, since I prefer that audiences come out their own explanations and thoughts. But I always welcome questions and even opinions, ready to tackle the difficult, technical queries as well as the unpleasant negative feedback. That is par for the course for artists. We come many times critiquing society through our art, but society also has that same right to critique our work (and even us!) especially if we exhibited in public, and in publicly funded organizations like the AGM.

Ms. Salter remarks about "the nature" of my reviews of some (of course not all) of the works exhibited at the AGM are simply a way of silencing what she determines to be unfavourable criticism of the AGM's programs. Any posts I have printed on individual members of her staff are related to the work they present, and the manner in which they present the gallery's work, and are not personal.

She has defamed me without trial or jury, as promoting "hate propaganda," which she has determined to be a criminal act. And with this, arbitrary, judgment, she has criminalized my person, and tainted my citizenship in Mississauga, for simply making educated and expert (I am an artist!) observations about the gallery.

There is some irony in that!

But that is the least of my worries. What concerns me is that artistic progress cannot occur if open discussion and observation, presented boldly and honestly, and in person, before all the parties involved is curtailed. If artists cannot critique each other within their own communities, and those who are critiqued cannot accept these critiques at face value, then all we will have is a group of people who assemble because they agree with each other, and those who do not agree wth that pervasive (or pre-determined) viewpoint are criminalized and silenced as "haters."

The only place where this was acceptable was Soviet Russia.

My task as an artist is to do exactly what Ms. Salter "allows" me to do on my blog but not in the real world, where such actions are much more useful for everyone concerned: the critics, the ones being critiqued, and the administrative and managing bodies of art institutions, and the institutions themselves.

I have been doing so for about fifteen years now, providing some lucid and insightful contributions to the art world through my blogs, my longer published articles, and my presentations to large academic audiences. And I will continue to do so.

Sincerely,
Kidist Paulos Asrat

- Reclaiming Beauty
- Society for the Reclamation of Western Beauty
- Reclaiming Beauty Designs
- Reclaiming Beauty Photographs
- Reclaiming Beauty Articles


---------- Forwarded message ----------
From: Mandy Salter
Date: Wed, May 9, 2018 at 12:00 PM
Subject: Kidist Asrat - no longer permitted entry to the AGM premises or events
To: Kidist Paulos Asrat
Cc: Ryerson Maybee , Susan Legge , Sadaf Zuberi


Hello Ms. Asrat,

I had emailed you some months back expressing the AGM’s concern with the nature of your reviews and commentary for the AGM’s programmes, staff, artists and community. I had clearly articulated at the time that if the hateful and insulting tone of many of your blog posts, in regards to AGM content, staff and or community did not cease, you would be no longer welcome at the AGM. While you certainly have the right to freedom of speech, the AGM also has the right to not be defamed and or the recipient of hate propaganda.

As you have continued to criticize, defame and generally create an unsafe space for many at the AGM, you will no longer be permitted to enter the AGM premises under the Trespass to Property Act, RSO 1990, c. T.21 - Ontario.ca

If you are to enter the AGM premises at any time in the future, you will be escorted off the property immediately by City Security.

Mandy Salter

Mandy Salter MA ISA

Director/Curator


T. (905) 896 5507

E. mandy.salter@mississauga.ca

______________________________ ______________________________ ____


From: Kidist Paulos Asrat [mailto:eighthpictures@gmail. com]

Sent: 2018/05/09 3:53 AM
To: Kendra Ainsworth
Cc: Mandy Salter
Subject: Daniele Dennis



Hi Kendra,



I was at the AGM yesterday afternoon and saw Daniele Dennis' video. I asked the staff a couple of questions and they said that you might have the answers.

- I understand that the video was about 10 minutes long and that it was looped (set to replay).

The accompanying music was a Verdi piece according to Mandy:
- What was the actual piece, and the movement

- Were the images set to the music, i.e. the music ended as the images ended and was re-looped accordingly

- Or was the music simply following the images and it re-looped before they ended.

The main question is: what is the technical (editing) relationship between the video's images and sound (music).

Thanks,

Kidist

Monday, February 19, 2018

Portrait of a Chinese Canadian


Portrait of Elaine "Lainey" Lui, co-host of CTV's The Social
Shots from TV Screen of February 8, 2018 episode
Watch it here
There are 12 signs on the Chinese calendar, and every sign has an opposition. I was born in the Year of the Ox. The mortal enemy of the Ox is the Sheep or the Goat (for superstition purposes, they’re basically the same). I guess the Chinese elders who came up with this business had to create drama between certain farm animals with four legs. Anyway, we are currently halfway through the Year of the Sheep/ Goat. Which means that it’s been six months of sh-t for the Ox. That’s me. And now my mother and my dog have cancer. Is this what religion feels like? Clinging to an intangible belief to manage the unpredictable? Or am I making it all about me?
From

Elaine "Lainey" Lui
Chinese-Canadian
Professional Gossip
Canadian Television Personality
CTV (Canadian Television) Co-Host of The Social
Memoirist: Listen to the Squawking Chicken: When Mother Knows Best, What's A Daughter to Do? A Memoir (Sort Of)
(April 1, 2014)
Blogging Enterprise: Lainey Gossip
Celebrity Reporter on CTV's etalkn
Former employee at Covenant House, Vancouver: Shelter for "homeless youth"
Marital Status: Married, although debatable (No links to spouse at all on any web search)
Spouse(?): Jacek Szenowicz (m. 2001), white, Polish-Canadian(?)
Business Manager: Jacek Szenowicz(?)
Children: None ("By Choice")
Age: 44 years



--------------------------------------------------------------------------------------------

Elaine Lui is a co-host on CTV's The Social, which appears to model itself on the American show The View.

There is ample information on her here, here, and here.

But I will provide my (brief) observations.

There is no doubt that Lui made it this far in the television media through hard work and some ingenuity. But is that enough, and is she really that good?

Her shtick is "gossip," which she promotes through her website and enterprise: Lainey Gossip.

For all its exuberant title, the website is really an unimaginative version of Entertainment News or People Magazine. Lainey ain't no Cindy Adams.

Here is a sample of a recent article by Ms. Adams:
Husbands, headlines, kids and awards ago, Angelina Jolie was Miss “Tomb Raider.” No more. In its new incarnation, that Lara Croft role is Alicia Vikander.
And another:
Gripe desk
I have been inundated with letters. One female decrying outfits on award shows. Another upset about language now used as everyday speak.

A former “Girl Scout leader” calls the “see-through wardrobe a disgraceful show of body parts that should not be exposed.”

Another’s appalled by “the disgraceful display of the F-word numerous times a famous actor used in describing our president.” The handwriting adds: “In some countries, that person would be imprisoned.”

Statistics show that 10 percent of men over 80 use Viagra for sex twice a week. One problem — they can’t remember with whom.
And here is Lui's postmodern foul mouthed vocabulary.
There are so many articles that I’ve banked about Black Panther [the new move that's out] that I can’t wait to read until I see it.

[...]

For now then…let’s enjoy the photos. And the style porn. The Black Panther European premiere was last night in London. Can we start with Danai Gurira? Because this dress, holy sh-t motherf-cker (Quincy Jones’s favourite word). It’s Jean Louis Sabaji. And it’s a design that feels like it’s taking place in real time. Doesn’t it look like those feathers are spreading across her body right now? As you’re looking at it? Kind of like the way Mystique’s body transforms in X-Men?
Cindy Adams will be turning in her grave.

Leave asde Lui's demons (and she does have a handful), I wonder what is the societal reason that makes her present herself like this?

It is my ongoing theory that non-Whites are always, and always will be, uncomfortable in their own skin in a Western country.

They cannot (or will not) follow the predominant historical white culture partly because it is their profound belief that it is a RACIST culture.

And partly (here is the zinger) they will never feel that they quite add up.

And they cannot ignore or abandon it because without it, well, they have nothing.

Try going to China to start a gossip website! Who cares about Chinese movie stars, even the Chinese themselves? It will always be about Hollywood, and White Hollywood, even with the Black, Asian and Hispanic stars that appear in the movies and the runways.

I think it is this love/hate split with her own culture, race and country, that produces the demonic outrages that Lui blurts out even with non-controversial, or simply "fun," topics.

Lui, of course, like most children of immigrant Asians, is married to a White man, who at one point was some kind of manager for her gossip enterprise. But he has been out of the radar for the past few weeks. He is not on her recent Facebook/Twitter page posts, nor in her updated Instagram photos. He used to have his own website, but that has also been removed, and cannot be found through search engines.

Trouble in the henhouse?

My theory is that Lui, who had spoken vociferously about not wanting children, and has written about it also, no longer has her husband on her side. She is forty four years old and with diminishing chances of having children from now on, even if she changes her mind.

Meanwhile, her husband, like all red-blooded males, will certainly want his own children. And he will have to start finding ways to make that become a reality before he becomes (way) too old.

And who wants to stick around with a ranter that hates whites (i.e.: him?) and kids?

The collage above is what I put together from shots directly from tv of the The Social last February 8. It is a discussion about lottery money and big prize winners who want to keep their anonymity. Her flap is that since their multi-million dollar wins are from money ticket purchases by the public, they lose this anonymity and become part of the news (gossip) for this public. Fair enough, although I disagree (Lui would lose her slinging sources otherwise - that hick from Alabama who bought ten year's worth of of Chitos who could figure in an "I Hate Whitey" column could bring her much needed revenue).

Watch her here at the ....... point (and probably to f you're up to t).

Watch how she sneaks in the word: entitlement...

The really strange thing that her co-hosts look to her as some kind of (buddhist) sage. True enough she sits benignly, and almost motionless, through their attempts at telling us how the world works, and as the final word of wisdom, they all turn to her.

And they get this.

But why do these women follow her lead? Well all are some non-White amalgam.

- Cynthia Loyst presents herself as half German/ half Italian. But she looks Middle Eastern and possibly Greek to me. I read a long time ago that she followed Greek traditions. Many "Germans" have Greek or Turkish identity from the workforce that Germans allowed through the years from these regions, German citizenship doesn't mean German blood.

Loyst is also somewhat known for her "Sex" columns, and now her "Sex" enterprise. But she ain't no Dr. Ruth and is in fact somewhat lewd perhaps to promote her business.

She is lives with her "partner," and they have with one child. Her "partner" is part Hungarian, part Malaysian. Their son looks Asian, and has a Malaysian name, Jaya.

- Melissa Grelo is half Filipino, half Portuguese. She is married to an Italian man, but he looks somewhat Middle Eastern to me. Grelo dyes her black hair variations of light brown. And cakes her eyes with makeup, including long fake eyelashes. With her black hair and subdued makeup, she looks Asian and not the Mediterranean image she promotes.

Catholic http://thismomloves.ca/2014/07/melissa-grelo-behind-scenes-at-socia.html

- Marcia Ien is perhaps the most authentic of these four. But Blacks are always allowed to be authentic, and even looked up to for that. Still, Ien promotes her "Caribbean" background even though she has spent her life in Canada, of course as an antidote to the "white" society she is "forced" to live in.

Ien is married with two children.

Prior to this marriage she was engaged to a Black rapper Maestro Fresh-Wes, and has a tattoo on her foot to show for those days. Here's a (one line) sample of Maestro Fresh-Wes' rap:
I burn my green, I put suckers on the guillotine
I'm not sure how much leopards can change their spots, but Ien seems to have "moved on" from all of that.

None of these women Grelo and en who clearly have Christian heritages seem to accept unconditionally the Lui's ("by choice") childlessness, and Loyst's unchristian cohabitation.

And then there s .....

She is the only "blue blood" white of the group.

And she is the resident joker.








Friday, December 1, 2017

The Art Gallery of Mississauga: Unmasked

The Art Gallery of Mississauga is a small gallery hidden within the City Centre's City Hall.

It has been persistently following an agenda, which is now out in the open.

Read below (also at the AGM's website here) the extraordinary statement, made publicly on the AGM's website, on the exhibition Unmasked now on display (which is a "satellite" exhibition coordinated with the Mississauga Central Library, across the City Centre grounds, a short five minute walk from the AGM). Below that, I will quote from Tau Lewis' writing, one of the artists presenting in this exhibition, and how she has assimilated the AGM's very language which was designed to lure her into projects such as "Unmasked," a language that the AGM has become an expert in constructing, with words and phrases such as "European colonialism" and "appropriated" (and of course many other similar words and phrases.) The European "colonizers," according to the AGM, continue their nefarious behavior of appropriating the works of their (former) colonies, "bringing great wealth and status to [white] artists and institutions who did so." By exhibiting works by Tau Lewis and other non-white artists, the AGM's mostly white managers and administrators are on a mission of re-appropriating those stolen goods and ideas back to their owners.

Here is the full statement on the AGM's webste on Unmasked :
The contemporary artists presented within this exhibition have responded to selected works held within the AGM’s Permanent Collection, and work to reclaim agency over their representations. They aim to expand upon and subvert a dialogue that was so rigidly enforced and perpetuated by problematic historical images, aesthetics and politics.

For over a century people of colour, and the cultural objects they have created, have been positioned as a tool by western artists to convey a more “simple” and “pure” culture. These peoples and their aesthetics have been romanticized and even fetishized in an attempt to indicate an idealized independence from the problems that plagued “civilized societies” — while their own cultures were being annihilated under European colonialism.

The aesthetic of art produced within colonized nations has been and continues to be appropriated and misrepresented to further these ideas — o, while the works of Black artists have historically been plundered and relegated to the vitrines of natural history museums. Even in Canada, the history of collections and collecting practices is fraught with violence and erasure.

This exhibition aims to bring to light the fact that not only do these attitudes still persist, they are maintained literally and symbolically within galleries and museums. The AGM commits to unmasking these harmful and persistent ideologies, and to highlighting alternative voices in order to actively decolonize the Permanent Art Collection.
And here is a one line quote from the exhibition's notes which succinctly presents the AGM's worldview:
For over a century people of colour, and the cultural objects they have created, have been positioned as a tool by western artists to convey a more “simple” and “pure” culture.


The figure above is a mask from Tau Lewis' collections. Lewis is presenting her works at the exhibition Unmasked.

The mask is not carved or sculpted, but a profile of the artist's face through a simple and common (but unpleasant) method used by sculptors usually for mock-up masks, or for entertainment such and masked balls. Similar structures can be constructed of the whole body or parts of the body such as a hand.

Below are images from Lewis' videos showing her technique.





And from this, a mask is formed which the artist then decorates according to her designs:



A photograph of the mask sells for $800 at this site!

The irony (or hypocrisy) here of course is that the exhibition is opening up a "safe place" where "non-western art" will not be "exploited" by western artists, and can resume its "authentic" primitive voice, which according to the AGM's notes is
...to convey a more “simple” and “pure” culture.
Since when, in our contemporary art world, have non-whites ever made to feel threatened or exploited? The bigger, nefarious, purpose is to dislocate and disband white and Western artists through attack words like "appropriation" and "colonization" in order that they are intimidated and made to feel guilty, and spend their precious energy, time and talent giving credence to mediocre Third World artists like Lewis.

The other irony (hypocrisy) of course is that Lewis would never be making such "art," nor would she have such a profile at institutions like the AGM, if white artists, white cultural leaders, and the white AGM troupe didn't give her such a "space" to present her work, but as long as she channels back to her heredity and race, and manages to instill some guilt inducing material into her works to pulling at the strings of her white Canadians with her primitive,“simple” and “pure” tribal art.

But who wants sophistication if one gets something "pure?"

Looking at Lewis' work, it is clear that she has fallen into the trap of the contemporary artist (no matter who the artist is - black/white/Asian/male/female/gay/transgender) and she explains this lucidly and "proudly." (I've added my own notes as commentary):
A self-taught [Note: almost all artists now loudly declare that they are self-taught. This isn't some grandiose declaration, but a rejection of centuries of western art and western methods] sculptor, Lewis combines natural and synthetic materials to create simulations of living things. She considers the history and symbolism of each material, exploring the political [Note: political now s a loaded word to mean discrimination and even in some cases racism as experienced by the artist from the "white" culture under which he (she) works) There s never any valid or substantial demonstration of that accusation by the artists] boundaries of nature, identity [Note: "identity" means racial identity, and can be expressed only by non-whites. Whites have been expressing their "identity" for centuries, and more recently at at the "discriminated" expense of blacks and other non-whites.] and authenticity. Her work is bodily and organic, with an explicit strangeness and subtle morbidity [Note: This is not specific to black/non-western artists, but a new and disturbing trend (more disturbing than false accusation of racism) is the appearance of alien forces - alien god-heads - in contemporary art. This is a serous rejection of God and a willing introduction of Satanic/Evil forces. These artists have NO idea what they're delving into]. Her current practice relies heavily on her surrounding environment; she constructs sculptural portraits using found objects, repurposed materials and live plants sourced from urban and rural landscapes [Note: I.e. she works with material she never "created."]. She connects these acts of repurposing and collecting with diasporic experience and black bodies. Her portraits are recuperative gestures that counter persistent tendencies to erase or peripheralize black artists and narratives within Canadian art and history.

Lewis has exhibited at the Art Gallery of Ontario, the Spring Break Art Fair in New York and New Museum, New York. She has received support from Toronto Arts Council and Ontario Arts Council [Note: The various Canadian governmental bodes distribute huge sums of money to mediocre and even talentless non-white artists who are bold enough to present their art through a "racialized" commentary. The purpose of these funds is to support non-white and non-Western (and non-Christian) artists and bring then out into the mainstream society. This way, Canadian art will be inundated by such art (which would otherwise remain n obscure corners of ethnic organizations) and the (white) public can be pushed into thinking of art as something which is/was hijacked by white society to the detriment of non-whites.]. Recent and forthcoming exhibition sites include: Night Gallery, Los Angeles, USA; COOPER COLE, Art Gallery of York University, Toronto, Oakville Galleries, Toronto, and Plug In ICA, Winnipeg.
These irresponsible and callous "cultural representatives" are short-changing young people like Lewis, who may have some talent as a plaster mask creator for theaters and entertainment projects (e.g. masked balls), and dug her into a hole where posterity will not be kind towards her.

One day, it will be "racialized" communities which will rise in mutiny against the AGM and its coven of artist "representatives."

But there is an underlying spiritual theme to all art. Lewis, who has rejected Western art, which still has at its historical base Christianity (however much modernists have rejected that), is delving into her own spiritual base and core. This piece below, on her Instagram page, shows the horned head of Lucifer. And an astute commentor tells her so approvingly:

Thursday, June 29, 2017

150 Year Old Canada Experiencing Highest Levels of Immigration Update on Comments

I wrote the followng response to the comment on the article 150 Year Old Canada Experiencing Highest Levels of Immigration Ever , by Ricardo Duchesne on the website Council of European Canadians (I've also posted the article here):

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Jakob Scheffer • 20 hours ago
We should not use free-standing figures, but put them in perspective. In a link you gave, it is revealed that the total net cost of non-Western immigrants in Denmark is 33 billion kroner. That is 6.6 billion CAD, or about 1,200 CAD per capita. Better is to see what this 33 billion kroner is as a percentage of Danish GDP expressed in kroner. Denmark's GDP is about 2 trillion kroner, so those 33 billion kroner are 1.65% of Danish GDP. That is not a very high percentage.

A Swedish economist said it best when he stated that immigration has not brought any net economic benefits to Sweden, but that it hasn't been an economic calamity either. The problem of course is that it will become a calamity if it continues undiminished.

Regards. JS

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Kidist Paulos Asrat Jakob Scheffer • 16 minutes ago

It is people like you who make wonderful pro and con pronouncements sitting from, no doubt, a comfortable perch, who haven't the God-given human (and humane) common sense to extrapolate on the consequences. These immigrants are not stupid. They know they cannot kill the goose which lays the golden eggs. Instead they cleverly cull and accumulate what they would need when THEIR time comes.

Of course they can do this because the structures are sound and solid and whites still continue to make the big and important societal (science, art, technology, medicine, community, etc. etc.) contributions.

But go to certain locations, both in the US and in Canada, and you will see what happens, and much sooner than you think.

Immigration has been sugar-coated by elitist intellectual language for so long now that these elitist intellectuals actually BELIEVE what they say.

Have some grit and take a stand. I challenge you.

Kidist Paulos Asrat

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MoxNix Kidist Paulos Asrat • 8 hours ago
"They know they cannot kill the goose which lays the golden eggs."

Could've fooled me.

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Kidist Paulos Asrat MoxNix • 5 hours ago
LOL. I meant to say that the intelligent ones know that. But eventually they have to destroy (are destroying) in order to set up their worlds.

By the way, Steve Paikin of The Agenda has a fascinating program this evening on diversity and multiculturalism. It will be on his website by the end of the day. Please watch.

The language of multiculturalism has entered fully into our language. It is astonishing.




150 Year Old Canada Experiencing Highest Levels of Immigration Ever by Ricardo Duchesne

International immigrants to Canada
The dishonest Canadian establishment wants us to believe that the incredibly high levels of immigration we have been experiencing since the early 1990s, ranging from 225-000 to 320,000 immigrants per year, are not historically unprecedented but part of a normal pattern in our "nation of immigrants." Century Initiative says
Historically, Canada has successfully supported very high levels of immigration. In 1913, 400,000 immigrants arrived in Canada, representing over 5.2% of the population at the time.
On the surface this may seem like an honest statistic. Stats Canada is even more emphatic that "record numbers of immigrants were admitted in the early 1900s...The highest number ever recorded was in 1913, when more than 400,000 immigrants arrived."


Ethnic Composition of Immigrants Today Is Fundamentally Different



However, as Stats Canada notes, before the 1970s, immigrants "were mainly from European countries." As I also observed in a widely read article

Over the 400 years before Confederation, there were only "two quite limited periods" of substantial arrivals of immigrants: from 1783 to 1812, and from 1830 to 1850. In these two periods, the immigrants were "overwhelmingly of British origin." [...] Between 1896 and 1914, Canada experienced high immigration levels with more than 3 million arriving within this period. However, the ethnic composition of the nation remained 84 percent of British and French origin, while the European component rose to 9 percent. Between 1900 and 1915, the high mark in "Asian immigration" before the 1960s, 50,000 immigrants of Japanese, East Indian and Chinese descent arrived, but this number comprised less than 2 percent of the total immigration flow. In contrast, in 1914, there were nearly 400,000 Germans in Canada, the largest ethnic group apart from the British (which includes the Irish and Scots) and French.
Facing these facts, the personnel of Century Initiative, and the academic establishment which has an inherent incapacity for critical thinking, would likely reply that their point has nothing to do with race but with the numbers of immigrants, as well as how "successfully" Canada integrated these high numbers in the past.

But this is a simplistic reply. For it matters a lot that the Canada that accepted high numbers in the early 1900s was a Canada determined to maintain the Anglo-European character of the nation. Ninety percent of the immigrants who came to Canada before 1961 were from Britain. In stark contrast, the top three sources countries for immigration in the last 10 years have been China, India, and the Philippines.

It is rather lazy to extrapolate that our current majority non-Western immigrants are bound to be "successfully" integrated because the Anglo-European immigrants before 1961 were so integrated. There is abundant research showing that Europeans are more individualistic in their values, whereas non-Europeans are more collectivist. Due to complex historical reasons, Whites have a greater inclination to value the individuality and rights of each person, whereas Asians, and non-Whites generally, have a stronger inclination to think in terms of the interests of their ethnic in-group members.

Here are some links to studies corroborating the individualist values of Europeans versus the collectivist values of non-Europeans: 
Therefore, one cannot use the White-only immigration numbers of the early 1900s to justify the current majority Asian numbers. What we are witnessing today, with our historically high immigration numbers, is an extreme experiment aimed at the destruction of the ethnic identity of White-created countries in the name of an idea written on paper about the superiority of race-mixed nations. There is absolutely zero evidence that this experience has been "successful" anywhere in the world since it has never been tried before. History shows that those nations with historically-inherited diverse populations have been the most divided and conflict ridden (Joan Esteban and Debraj Ray, "On the Salience of Ethnic Conflict," The American Economic Review, Vol. 98, No. 5, 2008).

History is also showing that the ever more diversified nations of the West are now experiencing continuous terrorist attracts, massive welfare expenditures for immigrants, and systematic raping of White girls by members of collectivist cultures.

Historically Highest Number of Immigrants Since Early 1990s

Citizenship ceremony
Moreover, the fact is that, strictly in terms of the numbers alone, the period between 1896 and 1914, which is the period that diversity hacks say experienced the "highest levels of immigration," has been surpassed by the longer period from 1990 to 2017. We have been experiencing since 1990 the longest period of high immigration in Canada. Between 1991 and 2000, about 2.2 million immigrants were admitted to Canada, and between 2001 and 2006 an annual average of 242,000 individuals were welcome with open arms. During the five year period from 2006 to 2011, Canada welcomed over 1,162,900 immigrants, an average above 250,000 per year. The trend has been upwards. In 2012, it admitted 257,905 immigrants; in 2013, it welcomed 259,024, and in 2014 it admitted 260,411. In 2015, the number was increased to 271,660, and in 2016 to 300,000. It is estimated that as many as 320,000 new immigrants will be welcomed in 2017.

In contrast, only for the singular years of 1907, 1908, and 1911 to 1914, that is a mere 4 years, did the number of immigrants to Canada stood above 200,000, whereas since the early 1990s, the number has remained at an average of approximately 235,000 new immigrants per year. We have everything reason to mistrust the "experts" who tell us with a smug attitude that Canada had higher levels in the early 1900s. Let them know that during the last 25 years or so we have been experiencing the highest levels of immigration.

The Century Initiative plan to bring 450,000 per year until the end of this century has no parallels whatsoever in the history of any nation since the origins of humans. It is a malicious act of deception, therefore, to justify current immigration levels by referring to the "historically" high levels of immigration of the early 1900s.

Immigration numbers today are fast destroying the ethnic and cultural identity of the founding peoples of Canada. The prediction is that by the end of this century White Canadians will constituted only 20 percent of the population inside a nation controlled by 80 percent non-Whites lusting to eliminate what they will happily identify as the "White trash" leftovers.

If you don't want your children to live in this impending dystopia, support CEC.

 Research the anti-Canadian Century Initiative.

Small Town Delicacies and Canada's 150 Birthday


Canada 150th and Port Stanley's Shawarma
The Chordekars via Israel and India


CTV News had yesterday a "Canada 150 success story" (150 years of Canada's confederation) about a family that came from Tel Aviv to Port Stanley, a town on the shores of Lake Eerie. They are touted as immigrants who shunned the big city lights of Toronto and got themselves to a smaller town instead. Well they were in Toronto for several years before they made it to Port Stanley, so they are not the Third-World-Country-to-Small-Town-Canada type at all. Their move is really not much different from immigrants who slowly move their way out of congested cities to other more pleasant locations, which they once again exit to other more secluded, pleasant small towns.

Below is the television story:



So, they opened up a "shwarma" place in this pretty town. Not some fancy French restaurant, or a lively Irish pub, or a menu-rich American Diner.

No. It's just another meat-wrapped-in-a-pita place. That is, a Middle Eastern fast-food joint.

And modesty runs shallow as they talk about opening another place:
The Chordekars are working on plans to expand their business and hire locals to work at their restaurant
says the eulogizing CTV reporter.

Of course all this money comes from government subsidized new business (and immigrant business) start-up funds, which means the ordinary Canadian tax payer is invested in yet another corner shop "venture" whether he wants to or not.

They appear to be professional re-locators. They stress their Tel Aviv connection (they lived there eight years ago) but they originally came from India (Mumbai, as Bombay is now called). They give no concrete reason for why they left India or Israel. The Israeli relocation seems more for financial reasons than personal safety, as does their move to Canada. The CTV news narrator says cryptically:
Living in Tel Aviv, Mumbai before that, the family longed for a country where safety wasn't a concern. Canada promised good education and opportunity. Eight years ago they moved...
They met in Israel where:
Gabriel had experience in the Hotel industry in Eilat, a resort city on the Red Sea with hotels and beaches packed with thousands of tourists from around the world, where Gabriel and Doris Chordekar met and married in Israel before emigrating to Canada.
I believe that the ultimate goal for both of them has always been to get to North America (Canada, the United States, it's all the same). Like most Third World immigrants, they will have a plethora of connections on both sides of the border which they will use constantly - for travel for business an even for future re-locations.

Here is a 2017 reprt which describes their business thus:
Shebaz’s Shawarma & Falafel is owned and operated by Gabriel and Doris Chordekar. Gabriel and Doris had previously resided in the Greater Toronto Area and settled in Port Stanley in 2012. They arrived in Port Stanley armed with a master’s degree in business, training in Middle Eastern Cuisine, and a passion for customer service. It was not long before they decided to follow their dream and open a Middle Eastern themed take-out restaurant. The local community quickly embraced this venture and continues to support the business. The Elgin Business Resource Centre and the County of Elgin Economic Development team are proud to have supported these entrepreneurs through the planning and launch phases of their business. Not only have the Chordekars enhanced the culinary landscape of Port Stanley but their young family has been a great addition to the community.
Well they made it.

If you listen to them talking, it is clear that they are not destitute refugees who might have genuine reasons for running across the globe. They clearly come from some kind reasonably secure segment of their native society where, among other things, they have learned to speak good English and procured an MBA between them.


William Road in Port Stanley:
From left to right:
- Shebaz Shwarma and Falafel "[has] delicious Middle Eastern flavours awaiting you, just minutes away from the main beach."
- Succs On The Beach "is all about showcasing succulents in natural and/or reclaimed vessels, put together with skill and love."
- Sushi Punk "is a hip new sushi/noodle bar & coffee house located in Port Stanley. There's a lounge for you to kick back in with a latte, bubble tea or smoothie and dig the vibes." (Sushi Punk is more an "eclectic" place run by what looks like a former punkrocker-type who is now into food, coffee and antiques). No Japanese there.

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Sushi Punk


Emily Sheeler from Sushi Punk
From an ad for a cooking (sushi) presentation at Pepper Tree Spice Co.,this past May.

NEW! SUSHI WORKSHOP

Thurs. May. 18th , 6:00 pm - 8:00 pm, $60

We are positively thrilled to have Sushi Punk join us in Port and we want to share! Welcome Emily Sheerer from Sushi Punk to our kitchen as she leads you in this fun sushi workshop. Prepare to roll up your sleeves and learn the secret to making perfect Sushi Rice, Futomaki (Sushi rolls with multiple fillings, seaweed on the outside),

Uramaki (Inside out sushi rolls, seaweed on the outside), Nigiri (individual hand formed sushi pieces) and finally Chirashi, scattered sushi. In addition you will all be taking home your own Sushi making tool kit ($20 Value). Vegetarian & Vegan options are a cinch to create once you have the basics.
Sheeler is clearly an expert. But she doesn't just stop there. Her vintage furniture bring some history into this shopping block, and "Canada 150" would do well to visit her collections.

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Succs on the Beach



Elgin County Tourism:
[Succs on the Beach]...is a magical nature filled Artisan Gift Shop, abundant with locally handmade crafts and an array of beautiful Succulent arrangements.
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