Douglas Mercer
December 6 2024
The great William Pierce was under no illusion that Kenneth Clark was any kind of racial thinker; but nevertheless he was a great admirer of Clark’s landmark show Civilization (1969). Why? Because Pierce suspected that even though Clark was too much of an establishment figure to say anything as “gauche” as the fact that White Culture was superior to all others he seemed to believe it. According to Pierce what Clark would do was juxtapose a beautiful white statue of the Greeks with a squat ugly totem that the negros had come up with and let the viewer decide. Of course anyone rational would see the marvelous wonder of what the Greeks created and the Lovecraftian horror show that the blacks had made, replete with nappy hair, hideously staring and bulging eyes and fat bulbous lips. And Pierce knew that when Clark did this the deed was done, that without words to that effect he had unassailably made the case that when it comes to White and black culture never the twain shall meet, and the latter is to the former as a satyr is to Hyperion.
“In 2021, 26 treasures that French colonial troops had pillaged from the African kingdom of Dahomey in 1892 made the long journey home from a museum in Paris to what is now the Republic of Benin. Their repatriation is the subject of Mati Diop's Dahomey, which juxtaposes the historical account of the artifacts' restitution and the Beninese reaction to it with imagined narration from those artifacts. The French-Senegalese filmmaker's Dahomey is a hybrid (non)fiction film that grapples with the tragic legacy of colonialism. It won the Golden Bear in Berlin and is Senegal's Oscar submission for best international film.”
Now returning these “treasures” was a non-event, it would be like returning used dish rags to your neighbor who had helped you out in a pinch; it should have been something which went without saying so inconsequential are these “pieces.” (See Giving It Back, White Biocentrism, March 31 2023). But in our age of White Genocide and “de-colonization” all the gargoyles and tarantulas are out in full force to celebrate this return and make of it something which the facts will never bear out in a million years. They say that Mati Diop is a “French actress” but nothing could be further from the truth. Her mother was French but it turns out she was a race mixing slag who bedded down with the dark as night Senegalese Wassis Diop (Wassup Diop?). They say that this Wassis fellow is a musician of international renown but I know that can’t be true because until five minutes ago I had never heard of this talentless hack. The daughter in this case is a light skinned spook who in the era of towering nonentities has taken her place at the kiddies table of culture which is what passes for civilization in these degraded times. The tragic lessons of colonialism are said to be learned but that can’t be true either; the tragic lesson of colonialism is that when the White man turned tail on Africa whatever chance the countries there had of partaking in an artistically and technologically sophisticated society went down the drain faster than shit goes through a goose. And as for as the artifacts (which is way too highfalutin a word for what are after all carvings that look like what I threw out last Wednesday) speaking, well as for them speaking if there were any verisimilitude in the process they would say, variously, ooga booga and sheeeeeit and would say them in all of their possible combinations.
“The mythical aspect was definitely important, but not more important than the political gesture -- to create a space for certain African voices to be heard on the topic of restitution and the return of their own artifacts. The film could create a space for a dialogue among the Beninese youth that has been raised without the presence of these artifacts. One of the legacies of colonialism is invisibility. So for me, the film was also a meditation on what it is to have lived in a reality where your country's history has no physical existence, when you are told, even in an indirect way, that your history did not really happen, that it has less value than the story of Western civilization. And that's deeply alienating.”
Notice how this jumped up jive taking turkey uses the phrase “create space” two times within the first half minute; when an “artist” says she is “creating space” feel free to reach for your revolver and shoot from the hip when need be; when an artist says she is “creating space” you can rest assured she is a waste of space and is creating anti civilizational trash fit for the fly ridden dung heap. And the invisibility of the black man on the dark continent has nothing to do with colonialism, it has to do with the utter and complete worthlessness of the black man, a worthlessness so massive that one glance at them and you see there is nothing to see. But this “film” will be given the big awards and the self-lacerating beau monde in gay Paree will ooh and ahh over it and they will morally masochistically pillory themselves in a manner that would make a Mediaeval monk given to auto flagellation blush. And then as if the pretentiousness of this was not already sky high off the charts she will call her “artwork” a “medication” but that only reminds you that those Jews in mid 20th century America who painted blue blobs were prone to call the blob “meditation in blue” which translated into proper English means disease ridden garbage suitable only for the flame.
“I wanted to give them back their power. It was important to de-folklorize them, decolonize them. A lot of spaces and symbols have been reduced to stereotypes by the colonial eye, such as our traditions, our ancestors, our ceremonies -- everything has been reduced to folklore exoticism. The way you make these stereotypes die is to reinvent a new form that is inspiring and gives power back to the African. And I think that it's important also to kill the idea that ancestors should be enclosed in the space of the past. Ancestors shouldn't be an image of the past. Ancestors have to be revitalized by the present and spread into the future. It's a force we have to embrace for ourselves as Afro-descendants.”
It has not been reduced to folklore exoticism except among the haute bourgeois who deem themselves magpies and connoisseurs of what they call taste but which is really an appalling lack of judgment. For what her ancestors’ traditions amount to is stirring the cannibal’s pot, weird voodoo witchcraft, and digging up albino bones to smoke or eat as the day may dictate. It was a bunch of half-naked savages dancing a weird and dervish like jig around a campfire to appeal to their nonexistent gods. It’s a sad state of affairs when such cheap and tawdry agitprop can vault to the heights of the culture scene, and the maker be feted in high society like she was Leonardo come back to life. But as for the dim brown statues they can keep them and if they think these eyesores put them on par with the White man then that only proves that they are as stupid as the look.
***
On the other hand a rather much more interesting and worthwhile tale of the return of art is going on in England currently where they are debating giving back the famous and marvelous Elgin Marbles to Greece. One look at the Elgin Marbles and you know you are the in the vicinity of greatness, and that this art emanates from the heart of a great race. Indeed, compared to these perfect White beauties the Benin stumps are cultural flotsam and jetsam better jettisoned thought about.
“The deal that could see the Elgin Marbles returned to Greece is "close", a former adviser to the country's government has told the BBC. Prof Irene Stamatoudi said it seems negotiations have gone forward" over relocating the antiquities, which were taken from Athens more than 200 years ago and are displayed in the British Museum. She said the Greek government has proposed a cultural, strategic partnership which would involve other antiquities being sent to the British Museum to fill the gallery which would be left vacant by any return. A Greek official involved in the negotiations told The Times: We are working on a broad and lengthy cultural agreement that would include an interchange and rotation of historical artifacts between Greece and the British Museum.”
Let’s hope that there is not too much rancor among these governments. The Greeks are racially a far cry from the men who made these marbles, but then in England now the White man is a falling off in themselves and in Albion they are not about to produce another Shakespeare any time soon. But in any event these are art objects pure and simple, and of tremendous value and magnitude, and are worth the palm and worth the prestige and fanfare. And even if the leaders in these counties are only the trustees of the racial and artistic greatness of the past let them be that; and let our people know that these two counties stem from the veritable root of Promethean power and greatness, and that this is a legacy that needs to be preserved. So let them come to equitable terms as befits the Aryans of old and guard them with their lives and with as much majesty and magnanimity as they can muster. And whatever stray tchotchkes any historically White counties have laying around in the odd museum tell the negroes they can come and get it, or just toss it in the lime pit, whichever is easier at the moment.
