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Let Them Eat "N*gg*r" Cake!

by Tanya Steele
April 23, 2012 10:00 AM
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Swedish N Cake

When I first saw this "performance Art" piece, I was horrified. Here we go again, another irresponsible product that uses the black female body as a playground. And then, a Facebook friend gave me a link to the Artist's work.

As an Artist, I needed to understand Makode Linde's context. After seeing him, I became most curious.

In 2000, I was in Venice, Italy, checking out a retrospective of Jean-Michel Basquiat's work. I was the ONLY black person in the room. I sat down and stared at the European onlookers as they gazed at Basquiat's work. I had never felt so protective of anything, let alone a person I never knew. Or, an Artist whose work I could not, fully, embrace at the time. What was this squiggly, misshapen, incomplete representation of blackness? I was pissed.

I watched Europeans looking with fascination and curiosity at, what I felt was, a private expression of our pain. I caught myself. I wondered why I was so consumed with the response of the 'white' onlookers. Why did I give them so much importance? What mattered was the connection I felt to the work. So, I unfolded my arms, stopped looking at them and went in on Basquiat's work. That was the first moment I became deeply connected to Basquiat.

Similar to this work, I was horrified by the response of the onlookers. There is something that happens when we see "white people" gazing and delighting, peering at our bodies, even as Art. It's visceral. We are frightened, protective and f***ing pissed. That is what happened when I first viewed this work by Makode Linde. And, where I don't believe that he is in Basquiat's realm, I do think this is an important 'performance piece'.

Female genital mutilation is a horror. It is the one thing I have to turn the channel on whenever there is a documentary about it on television. Forcing anyone, especially a child, to undergo something that, well, it exceeds the word pain, is too damn much.

F*** any conversation about not understanding African culture - pain is pain - wrong is wrong. Period.

So, my initial take on this work of Art is changing. Yes, Moolaade by Ousmane Sembene is a must see film. And, Alice Walker's "Possessing The Secret of Joy," is a pivotal work. Adding Linde's absurdist voice to the mix is a good thing.

Lately, I've been thinking long and hard about how to confront racism, sexism, you know, the awful isms. I'm always mulling this over with my playwriting buddy. Everything feels too stodgy, predictable and restrained. Few things get at the feeling of what it means to suffer through racism, to suffer through rape, what it feels like, what it looks like.

The same can be said for FGM. The conversations are so reasonable, or pretentious, or sanitized. We must get at the horror of what it feels like to occupy a traumatized (black) female body (especially a child), that is being genitally mutilated, or raped, or otherwise defiled. I say this is an explosive continuation of a conversation.

Honestly, I think this cake could be served at any rapper's listening party where "bitch" or "ho", or the aggressive serving of lyrics that promote violence against women, is in the air. Apart from putting a live body on the table, this is as close as we'll get to seeing the results of the damage. What image comes to your mind when you think of violence against women? Does that image, truly, capture the horror? The importance of the 'red' interior. The lower region of the body being eaten away (alive). The commentary on the 'white gaze' as the black body suffers. The title,"Weeping In The Playtime Of Others", comes to mind.

It's an Absurdist, provocative piece. I say, yes, about damn time. More please!

The act of female genital mutilation is horrifying. And, framing it within the context of "carefree colonizers", is a good thing. Europeans feeding off the pain of Africa. The scream of the adult/child becoming fodder for the onlookers. The adult/child's cries being overlooked, laughed at and ignored. The confused scream of the adult/child, attempting to conform, rebel or suffer. All of the questioning I do with myself. Am I a rebel in the horror show of the defilement of the black female body? Or, are my rebel cries, merely, fanning the flames?

So, I'm changing my mind about this piece. I think it's important, difficult, horrifying and imprecise, yes. Makode Linde created a work that surpasses his ability and intention. If you think this is horrifying, have you looked at an image of a little girl being genitally mutilated, lately?!

The video and the artist's own words below, startng with the footage of the performance piece: 

How did this idea come about as an art installation? 

Was the Minister of Culture aware of your art installation or was it a surprise?

How have people responded to you and the art installation?

Why did you choose female circumcision as the subject?

Do you expect to do something like this in the future, after the reactions?

How did social media impact the way the art installation was perceived?

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  • kat | April 30, 2012 10:04 AMReply

    This is pretty sick. Whether the artist is of african descent or not doesn't really matter imho. Judging by the way he went about it, he has no knowledge of his 'artistic' subject in the least. If I was in that room I would consider toppling the table over. This is not some important statement about african women's rights, this is an unimaginative artist trying to be 'provocative' (a.k.a. as offensive as possible) in order to gain attention from the 'artistic community'. I can't guarantee that I know any more on the subject than the artist (and no offense, but judging by his artsy hair and mannerisms, I'd say I probably do). He's of at least partial african descent. Then again, he's also male. Is it wrong for someone to portray something so graphically when they can't possibly have full, comprehensible knowledge of the subject? That's debatable and depends on the historical importance of the work, as well as people's reactions. In my mind this is not art. This is a sick person taking advantage of his ethnic background to 'be allowed' to do this - to gain fame. Taking advantage of the disgusting side of the artistic community that would call a snuff video 'art'. If those weren't so-called artists in the room, I think they'd have about the same reaction as me.

  • Ms. November | April 29, 2012 7:14 PMReply

    I watched this video several times. I am disturbed by the screams and mostly disturbed that people actually cut into the cake while LAUGHING, SMILING and feigning TERROR (one caucasian woman raises her shaking hands after cutting into the cake). If I had been at this event, I would have calmly walked over, placed my scarf over the cake body and dared anyone else to cut the cake. My instinct, while watching this, was to protect the cake woman, not participate in the mutilation.

    BUT, this was the artist's intention. He WANTED people to cut into the cake, he NEEDED people to cut into the cake so he COULD scream and bring attention to FGM. This was his goal.

    As an artist, I understand this and believe this was successful. 1) it got our attention 2) it pissed most of us (those with a conscious) off 3) it broke my heart to imagine a real African girl or woman screaming while being forced into FGM.

    As an African-American woman, I HATE the black face and believe the artist could have achieved this goal without the over exaggerated mouth and eyes. Many black artists try to appropriate the black face image but it ALWAYS fails. This is an image, like Hitler, that can never be used artistically, for the history is so dark, disturbing and offensive that the audience will either never "get it" or will always "be offended" by it.


  • Leila | April 27, 2012 9:01 PMReply

    There is a beauty to true art and especially Black Art because it speaks to the soul and experiences of our folk. This however was not art but a sadistic ,evil and bizarre portrait imitation of a Black female body. It reminded me of what lynched and blungered Black bodies look like in the USA in the South when brutalizing Black people was the norm. You always had white people ready to rejoice , celebrate and make it a fun occasion.

  • BASQUAIT77 | April 26, 2012 10:58 PMReply



  • BASQUAIT77 | April 26, 2012 10:55 PMReply


  • WiseMocha | April 25, 2012 12:33 AMReply

    No, I'm not in the mood to watch all those videos of his explanation of his "work", but I am in a mood to comment. When I first saw these images, I don't know why I assumed the artist was some white European sicko, and I didn't do my homework to find out otherwise. Turn's out the sicko was Black, or at least part Black, and of course there is no reason to be surprised. Regardless of who is behind this "work", my feelings are still the same... it's an insensitive image of yet another example of the pain Black women have to endure in this world, and instead of bringing enlightenment, it comes off as a mockery of the issue. Of course, I don't believe that was the artist's intent, but I still believe artists, and particularly Black artists, need to realize that igniting shock does not equal having a POSITIVE impact concerning whatever message their trying to convey. Sometimes shock is exactly where the message is lost, and I definitely feel that summarizes what happened with that horrid cake.

  • WiseMocha | April 25, 2012 12:35 AM

    Typo: message they're trying to convey.

  • Melissa | April 24, 2012 12:27 PMReply

    I'm an African woman and huh?!!!

    The patronization continues. Oh well, whatever helps you sleep at night. Most of us are not suffering and if we're not considered full women (whatever that mean) then stop letting the middle-aged white men come and sleep with our daughters, fgm or not. Now that's a topic.

  • CareyCarey | April 24, 2012 12:20 PMReply

    "It's often easy to forget how limited anyone's experiences can be, regardless of race. Which reinforces why works like this are needed" by Charles Judson | April 24, 2012 5:55 AM. Hello Charles, as much as I enjoy your posts, I cringed when I read that comment. In the context of this discussion... this subject... this form of artistic expression... it's terribly insensitive, and to a large degree shortsighted to say works "like this" are needed. Listen, if I can draw a parallel, would you say works like the following ARE NEEDED? **WARNING! The following examples are graphic** ... Picture an artistic expression in the form of an African American image hanging from a tree, tangling by a noose made of barb wire. Extending from this much needed work of art, there's a cord or electrical device that allows the audience to munipulate said structure. Lets say, instead of cutting a cake, as in Makode Linde's "much needed work of art", the person at the end of the cord can push buttons on a control box. The red button, which is a symbol for blood, tightens the noose and then the image starts laughing and singing "I wish I was in Dixie". But wait, it gets much more "needed". The black button... which is a symbol for African's resilience and preseverance... when triggered, the penis of the naked male figure falls to the floor and the scrotum releases it's testicles. The testicles are shaped in the form of eyeballs. The eyes of the "much needed" artistic expression blinks and bucks while singing the old school song "Do Me, Baby". But this exhibit does not cut corners. Heck, if one visual display of insightful thought provoking banter is needed, then 2 is better. Now, at the other end of the gallery there's a brown buttocks of what appears to be a senior citizen. It's sits atop a bed of soft white cotton. The fluffy cotton ( in the mind of the artist) symbolises purity and innocence... reminiscent of a child's heart. Directly behind the protruding much need imagery, there's a box decorated with candy canes and lollipops. Yet again, when another button is pushed (no knife needed to cut this birthday cake) a large male DI*K leaps from the box and rams the buttock. Of course the naked image laughs (to keep from crying) and the world laughs with them. The buttock cake splits open. The parting of the cake and the red tecture inside, is a symbol of lost innocence and blood vessels of ripped veins and torn skin. In short Charles, some things... in laymen's terms... are simply not right, nor are they "needed". And therefore should never be justified... not ever, no never!

  • CareyCarey | April 24, 2012 5:13 PM

    Charles, reference your followup... go for it! I'm feeling that whole vibe. In fact, to a large degree you're championing the thoughts and words of a great African American who said "Many people fear nothing more terribly than to take a position which stands out sharply and clearly from the prevailing opinion. The tendency of most is to adopt a view that is so ambiguous that it will include everything and so popular that it will include everybody. Not a few men who cherish lofty and noble ideals hide them under a bushel for fear of being called different" --Martin Luther King Jr. So Charles, stand tall and do the damn thang. I'd love to hear your opinion.

  • Charles Judson | April 24, 2012 4:22 PM

    As a followup, this reminds me of something I'm working on and hope to post. But, I find reactions of work like this indicative of why it feels African American filmmaking as a whole has progressed in fits and starts and so slowly. There's both an underlying fear of being offensive, what will White viewers think, and a near pathological adherence to defining ourselves using 400 years of imagery that's not primarily of our own making that pops up time and time again. It's only on the stage and the art world we appear willing to take risks with subject matter. In film, we still seem to be collectively risk averse. We only seem to want to fight back with our art, or humanize African Americans and folks of African descent by channeling into the safest and most standard routes artistically. Which is ironic, because our most dynamic filmmakers Spike Lee, Charles Burnett, etc, at their best, have not been afraid to go into some dark places, or take chances artistically. If we want to see a real cinematic revolution we have to dig deeper. Some of us have to be bold and care less about what the rest of us think is right.

  • Charles Judson | April 24, 2012 4:02 PM

    We're having a conversation about FGM, Black Female representation and how that should or could be addressed by someone who is male, even if he's of African descent. It's also raising questions and discussion about how non-Blacks are responding to the work and what does that mean (although I think that's impossible to do with a 49 second clip). Needed doesn't mean comfortable. Needed doesn't mean you agree with how the conversation started either. Nor does it mean that on it's own, that the art is successful. It's a tricky space for sure, but what you say isn't right, may just be thing that starts a chain reaction to things you would say are.

  • Green Eyes | April 24, 2012 1:17 PM

    EYE OPENER! I wonder if your insightful comment will force some to recant their opinions? Personally, I agree that some forms of expression should never fly and hide under the banner of "art". It's unreasonable to believe that erudite & witty conversation trumps insensitivity to pain.

  • Ava | April 24, 2012 7:04 AMReply

    I wondered what would the expressions look like if the room had been predominantly Black or a 'browner' environment. Would anyone willingly cut the cake? Did amusement or discomfort belie those slight smiles?
    I see your point Charles when you mention how much easier it is for the West (Blacks included) to see someone seemingly a world away as a sexual savage than to confront it in their own backyard. Which reminds me of the positive reception Moolade had among many of my African (West and East alike) friends, colleagues and teachers and why my African female professor can roll her eyes, in turn, whenever Alice Walker's 'Possessing the Secret of Joy' is mentioned.
    And yes, for some reason that image of the cake did hearken to images of the Welfare Queen, cut up and sliced for purposes of political rhetoric. And in this election cycle, the Republicans and their dissection of the lower income woman (who is now white, Latino as well as Black) as they seek to 'cut' social programs that have become the lifeblood to many struggling families (many of whom are working poor--and many have always been), many of which are, indeed, female headed house (funny how conservatives encourage 'stable' family values, yet if you are a family with a wife and husband who is poor, just see how much 'help' you get!). Africans are increasingly looking to the West and saying "Physician, heal thyself".
    On a slightly separate, but related note: I heard that the Museum dedicated to (Lynching and) Racism opens this year.

  • Charles Judson | April 24, 2012 5:40 AMReply

    Actually, it seems very cohesive. By using a Female Sambo, he's not so much criticizing FGM, or just FGM alone, he's also pointing out the hypocrisy of Europeans and those in the West. It's very easy to look at Africa and say "hey look at those savages" we've got to help these poor women. But, many of those same people don't vehemently apply that same outrage to the homophobia, sexism or the exploitation of women in their own countries. Even here in the states, the (White) Christian Right will go on and on about saving girls and women in Africa from FGM or in Middle Eastern countries from Islamic Rule. However, they can't acknowledge that the abortion issue is just as much about telling women what they can or can't do with their bodies as it is about the sanctity of life. Nor, can they admit that abstinence only education is dangerous. And then there's the Republican legislators who want to label rape victims as a accusers and not victims, which is what even people who have been mugged have been called. It's much easier for people in the West (Black folk included) to see someone else as the sexual savage than it is to see it in their own societies. To make her a real woman would imply that people see women in Africa as women first and not simply symbols. Symbols that can be either racist, or devoid of out right racist undertones, but still fallen short of identify these women as having political and social identity or power. I find much of this discussion, here and elsewhere, curious. The amount of times African American commentators have called something Black face or attributed something as being a manifestation of old stereotypes that can be traced back to Sambo imagery, it's strange to not finding more of those same people praising Makode Linde's work. Or at least on some minimal level connecting those past comments and observations with their takes on Linde's work, even if they disagree. Lastly, it seems weird to point out that he didn't understand that the FGM happens to mostly girls and young women, but he created an adult cake. The cake is supposed to be a Birthday cake. That was the unfying theme for all for the cakes. Seems the link between youth and adulthood would be natural.

  • JMac | April 25, 2012 9:42 PM

    If I could like this comment I would. A friend of mine lamented about incident when she was watching "Imitation of Life" being shown at a local theater a while back - in Atlanta of all places. When the little girl rejected the black doll, half the audience started laughing - black and white. College age black and white. Lack of exposure I don't know but something's wrong. Also not sure why the artist here created an adult cake except he didn't want to deal with the additional issue of using a young girl to simulate the screams.

  • Charles Judson | April 24, 2012 5:55 AM

    Damn, I wish I could go back in edit that. Oh well, that's I get for posting at 5 in the morning. Oh, and to those who wonder why people don't recoil when cutting into the cake, instead of laughing. It's more common for people to react when they have no natural connection or affinity with a particular subject. Hell, I remember sitting in a room full of Black folk at a play when I was 12. It was a special performance for Atlanta City employees and their families at the Alliance theatre here in Atlanta. When one of the characters had an epileptic episode on stage, half the audience started laughing. Even at that age, I was embarrassed that grown ass Black folk still couldn't recognize 1) that it was medical condition and 2) in a dramatic play, not meant to be funny. However, for many of those folks, it was the first time they had been to play and the first time they had been confronted with something like that in that manner. There was more inappropriate laughter, before and after, but it was a reminder at that age of how lucky I was that I had already been exposed to plays like that. Many of those employees were in their 30s, 40s and 50s. It's often easy to forget how limited anyone's experiences can be, regardless of race. Which reinforces why works like this are needed.

  • Rog in Miami | April 24, 2012 12:29 AMReply

    I still don't get it EVEN WITH his so-called half-baked (no pun intended) explanations in the video clips. His concepts just seem to lack cohesive thought. He has a lot more growing up to do artistically.

    I am not impressed.

  • Sis. Marpessa | April 24, 2012 12:23 AMReply

    An Open Letter from African women to the Minister of Culture: The Venus Hottentot Cake

  • JMac | April 23, 2012 11:30 PMReply

    I'm glad someone is trying to see the artist's viewpoint to this piece. I never saw it as mockery and I didn't see his screams as being comedic. The first time I watched this and heard the screams it made me sick to my stomach and disturbed - not from shame or anger but from the realization, the physical representation, of the cruelty of FGM. S&A posted last year about a documentary where an African woman was trying to prevent being deported from the US because her daughter would be subjected to this act. It juxtaposed the little girl's life to the girls in the mother's village (or close by.) The village girls, ages 7 -10 I think, were being marched down a path to get incised. The cameras were shut off when the event happened (the women performing the cutting asked for the cameras to be shut off), the next scene showed those same little girl's screaming, wailing, in horrendous pain, barely able to walk, yet they were being forced to parade back into the village which was a few miles away. One girl was in so much agony an older woman relented and picked her up to carry her part of the way. That's where my mind went when I heard the cake scream. It filled that missing scene. I think his piece was successful. It was not funny and I don't think he intended it to be funny or exploitive. Now the whites stood there and laughed and to me that seemed fitting and made the piece even more poignant. The correct reaction should have been disgust, discomfort, anger even. You're cutting into a body! Not just a body, but a vagina of a living being. What's to laugh at? They were the ones who took it as comedy and thus showed their true colors: that they don't really care and it's not all that important. I believe the cake being black face and exuding exaggerated "blackness" was a good choice. It's the 21st century and this is still how many whites around the world see and regard black Africans. If it looked like a genuine body, it would have dampened the honest response. It shouldn't have mattered what the cake looked like - the proper response of a reasonable person would have been the same. Black face is not funny. If they thought it was after all this time and knowing the history of it, then that indicates deeper issues in themselves with race and racial perceptions. I liken this piece to a common scenario I've been in: sitting with a group of peers (not necessarily friends) at a table. All of them are white. Someone mentions a racially tinged incident, we'll say the Trayvon issue since it's still a hot button. People at the table will probably all agree on a certain viewpoint - as a white person. No one will feel the urge to express or defend the "minority" viewpoint. They may even say some stupid racists things or make inappropriate jokes but as no one is challenging them and no blacks are around to overhear, it's okay. Now, if a black person was sitting among them, would the conversation change? Of course! Some of the whites will keep their mouths shut. Some will give more sensitive responses. They're the same damn people but since the black person is there, they suddenly discover empathy - at least temporarily. The people cutting the cake who laughed were presented with a challenge (or an opportunity) but they failed. Would you rather see how they really feel or watch them pantomime a politically correct response because some negro might be watching? That was part of the point and purpose of the piece. It definitely wasn't lost on me. If anything, just reconfirmed and drove the point home.

  • Daynebry | April 23, 2012 3:29 PMReply


    "F*** any conversation about not understanding African culture - pain is pain - wrong is wrong. Period." ........

    Some things just don't warrant debate or psycho-analysis. Your point is succinct and germane to my thoughts on this. Zero-tolerance on FGM.

  • Nemesis | April 23, 2012 1:40 PMReply

    I'm not even sure the artist understands the issue he claims to be highlighting, or if FGM was something he tacked on as a theme after the fact. If he'd said it represented the slicing of African for European gain, I'd get it. But FMG? Really? As someone mentioned below, did he even consult ANY African women about this? Women who've actually undergone the rite? If he had, he'd know that the cake should have been a young girl, no later than puberty (in some cases not even having reached puberty), not an adult woman, especially not a caricature of an adult African woman. If shock/provocation was the point of the piece, then surely a cake of an innocent young African child being mutilated would have proved shocking enough for him and his audience... or maybe not. As Carey mentioned below, check out the Kola Boof piece. One really gets sick and tired of non-Africans (even if they're black) highlighting issues they know nothing about and obfuscating what is a really serious issue with their ignorance and opportunism.

  • Nikki Star | April 23, 2012 12:31 PMReply

    The issue here for me is the comedic lightness that was taken on by the audience. This should have never been a cake. Art is art, but when you are screaming in black face as white people giggle and slice at an area that is supposed to be your vagina, your point of view and purpose is lost. Honestly had the audience been of any other race I would have been offended as well. Great idea, terrible execution.

  • Nadine | April 23, 2012 1:23 PM

    I think we witnessed uncomfortable laughter which then progressed into how uncomfortable this would be for the Minister of Culture. Every time someone cut into the cake, he, the artist, would scream bloody murder, but somehow, his screams did not sound serious further making the audience laugh. I think there is some truth in the comfort level (if it were a White girl cake they would have been up in arms, likely, because they could claim "her" identity, but there is this restraint and uncertainty when it comes to "race". Curbing the artists voice and not supporting it would be, for the audience, seen as their not supporting a Black Artist about a Black issue, there was a solution, but they weren't seasoned enough to handle it, so I see a lot of discomfort in the audience and attempts to make light of a serious situation because they find it difficult to truly acknowledge how horrifying the imagery is. IMO.

  • Sheba | April 23, 2012 12:55 PM

    I think the comedic lightness that was taken on by the audience IS part of the point! If I can speak for Tanya I think what she's saying is that the artist unwittingly makes a point he probably didn't set out to, which is to point out the gaze white people take at issues like the one being addressed in the piece. Even though he didn't set out to, he's actually making fun of them. He's holding a mirror up.

    This paragraph in Tanya's piece helped me see her viewpoint: "The act of female genital mutilation is horrifying. And, framing it within the context of "carefree colonizers", is a good thing. Europeans feeding off the pain of Africa. The scream of the adult/child becoming fodder for the onlookers. The adult/child's cries being overlooked, laughed at and ignored. The confused scream of the adult/child, attempting to conform, rebel or suffer. All of the questioning I do with myself. Am I a rebel in the horror show of the defilement of the black female body? Or, are my rebel cries, merely, fanning the flames?" Yes! I can "see" all that here. Is it ugly and disconcerting? Yes! But it should be.

  • Vanessa | April 23, 2012 12:41 PM


  • CareyCarey | April 23, 2012 11:48 AMReply

    I was wondering if anyone else felt this way ---> "F*ck him and his viewpoint!". Actually, just yesterday I read a guest post by an author I am very familiar with. Some of you have probably heard of her... KOLA BOOF. Well, she is a victim of this cruel act. Her words--> The Cake Is Baked

  • jacquetta szathmari | April 24, 2012 2:06 PM

    Yes. I do and after reading Kola's post (thanks for putting that up) and seeing this "Why was dreadlock-wearing Linde so insensitive to how his ‘African woman’ looked? My belief is that he never expected video of the party to reach the entire planet. He thought the ‘feel-good racist imagery’ would create a bonding experience between his lonely Biracial shell and the Superior Swedes he’s most likely sought acceptance and solidarity from all his life. Like so many new age Racists of Color, Makode Linde thought this display and all reaction to it would be confined to the upper class and their few ethnic puppets—kept in town, like most of his other art works."- YES, even louder.

  • CareyCarey | April 23, 2012 5:05 PM

    Tyrone, I am a thrill seeker who has been many places in my life which has forced me to be very cautious of men bearing gifts. I checked out your name and the only Tyrone Tackett I was able to find any "news" on was a gentleman who murdered his wife in 2007. He said she had walked away from their home, but things started to unravel. Seriously, it was big news. So now here you are offering ol'CareyCarey a multimedia opportunitie. Well, I am not in need of "oppurtunities" but as I said, I do love a new adventure. But look, I am not in the habit of hitting "gmail" addresses. So, show me yours and I'll show you mine. Just google CareyCarey and I think you'll find my email address (with a minimal amount of effort). But yeah, in reference to this post and my comment, I've known Kola for over 12 years. She's not afraid of controversy, nor is she afraid to tell the truth, regardless of who's on the opposing side.

  • tyrone tackett | April 23, 2012 4:30 PM

    Great piece you brought to the discussion. As mentioned in my previous posts, I'm serious about discussing some multimedia opportunities...hit me up@yonipirate at

  • donnadara | April 23, 2012 11:23 AMReply

    F*ck him and his viewpoint! Did he consult any African women who were subject to FGM before he created his so-called art? Did he consult any African women period? He is just exploiting African women for fame. I say he hates black women. Is his mother black?

  • Nadine | April 23, 2012 1:12 PM

    ...there are a lot of "men" making names for themselves off of the afflictions of Black women... Dark Girls, Yellow Brick Road, Precious, Norbit and so on... but never reflect on their own issues outside of their "manhood". I wonder what else this artist has done to bring recognition to FGM. Just curious.

  • IS black art becoming too kitschy? | April 23, 2012 10:46 AMReply

    Interesting compliment/critique of such works.

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