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Alis deutsches Dhimmi Dienstmädchen Ankazulma ist so intelligent wie Brot und gehorcht auch deshalb jedem Muslim und jeder Muslima aufs Wort. Außerdem hat Ali sie auch gut erzogen.
"This Video Shows Indoor & Out Door Rehearsals And The Premier Of The Show Live @ The Kazimier, Liverpool..."
" DiAsFRICA Is A Touring Performance Group That Brings Together Music, Movement And Visuals, Tracing The Journey Of The African Diaspora Through The Main Ports Of The Slave Trade (West Africa, Brazil,North America, Caribbean and The United Kingdom)..."
Alis deutsches Dhimmi Dienstmädchen Ankazulma ist so intelligent wie Brot und gehorcht auch deshalb jedem Muslim und jeder Muslima aufs Wort. Außerdem hat Ali sie auch gut erzogen.
Habibs Dhimmi Dienstmädchen Brainlessa hat das Standardtraining deutscher Dienstmädchen für arabische Haushalte durchlaufen und kann
vollständig in allen Bereichen verwendet werden. Die Dhimmi Dienstmagd Brainlessa ist in der erstklassigen Dhimmi Dienstädchenschule für arabische Haushalte in Duisburg ("DDarabH,Duisburg") Marzahn ausgebildet worden. Dienstmädchen der "DDarabH,Duisburg" genügen sogar den strengen Anforderungen Saudi Arabiens!
Just in case one has to be 21+ to admire an artwork made from liquor bottle caps...;-)
I first saw an artwork by El Anatsui at the MOMA in New York City last August, and now I ran into this one at the Fowler Museum on the UCLA campus. [Looks better if you’re not too close to the screen.]
El Anatsui (°1944), Versatility (2006), aluminum and copper wire, detail.
From the Smithsonian website:
As Anatsui notes, his metal cloths “encapsulate the essence of the alcoholic drinks which were brought to Africa by Europeans as trade items at the time of the earliest contact between the two peoples.” To create these cloths, Anatsui uses labels from local Nigerian brands of whiskey, rum, vodka, brandy and other potent libations with names such as Chairman, Dark Sailor, King Solomon, Makossa, 007, Top Squad and Ecomog (named after the multilateral, though largely Nigerian, armed force established in 1990 to intervene in the Liberian civil war). A motif that appears in both adinkra and kente cloths is visible in the patterning of this work and is referenced in its title, Versatility, which according to the artist, suggests the notion of adaptability and the twists and turns of human existence.
Kente is a strip-woven cloth that is made by the Asante peoples of Ghana and the Ewe peoples of Ghana and Togo. It is a festive dress for special occasions — traditionally worn by men as a kind of toga and by women as an upper and lower wrapper. Adinkra is a system of graphic symbols that appear as two-dimensional designs on dyed and stamped textiles and as three-dimensional motifs ornamenting carved and cast objects, including jewelry. Dark-colored adinkra cloths are funerary attire, while those of brighter hues may be worn on other special occasions. Both kente and adinkra patterns communicate cultural and philosophical meanings, social codes of conduct, religious beliefs, political thought and aesthetic principles. On a global level, kente cloth has become an overriding symbol for African-ness.
Looking back at his work over the course of his artistic career, Anatsui recalls that his father and his brothers wove the more muted kente of the Ewe peoples, and he speculates about the unconscious influence of family and cultural history upon him, “I have discovered only much later ... that cloth has been a recurring theme or leitmotif, and it is featured in so many dimensions.”
This spectacular metallic “cloth”, whose surface suggests a woven structure, is constructed from thousands of flattened and sewn strips of pliable aluminum that once wrapped the necks of discarded liquor bottles.