[Debate] (Fwd) That racist Swedish cake(cutter): thoughts of Shailja Patel, Johan Palme, Makode Linde

[Patrick Bond]

    The missing ingredient in Sweden's racist-misogynist cake


        Shailja Patel


        2012-04-19, Issue 581 <http://www.pambazuka.org/en/issue/581>


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/cc R A/ <http://www.flickr.com/photos/rufaiajala/5202299572/>What makes 
the cake episode so deeply offensive is the appropriation, by both 
artist and his audience, of African women's bodies and experiences, 
while completely excluding real African women from the discourse. It is 
a pornography of violence.

TOP LAYER

The scene is Stockholm's Museum of Modern Art, on Sunday, April 15th. 
The event is the celebration of World Art Day, and the 75th birthday of 
the Swedish Artists Organisation. Five artists have been asked to create 
birthday cakes for the occasion.

This is what the world will see, in photos and on video, the next morning.

On the table, a huge cake, with a smooth shiny black surface, in the 
form of a caricatured African female body, sans legs. Naked, splayed on 
its back, it is composed of crotch, belly mound, large pendulous breasts 
held by truncated stick arms, a row of neck rings. Where the neck rings 
end, a living human head rears up through a hole in the table. The head 
belongs to the kneeling body of a man. It is tricked out in exaggerated 
blackface --large white circles around the eyes, drawn-on cartoon red 
mouth and pointed teeth.

Sweden's female Minister of Culture, Lena Adelsohn-Liljeroth, approaches 
the cake with a knife in her hand. She performs a simulated 
clitoridectomy, cutting the first slice from the crotch, to reveal a 
moist spongy red interior. The head of the body moans and shrieks with 
pain. A roomful of white Swedes, men and women, laugh and applaud. 
Cameras flash. In the photographs, faces appear alive, avidly 
entertained, as the minister feeds the slice she has cut to the grinning 
head. More people cut and eat slices of the cake body, dismembering it. 
The head moans, yells, screams with each knife-stroke.

There are no people of colour in the room. There are no black women in 
the room.

The images go viral. The African Swedish National Association demands 
the Minister's resignation, as do hundreds of viewers across the world. 
Hundreds more register outrage and disgust on social media. It is 
unacceptable that the body of an African woman can be represented this 
way, as an object for violation and consumption. It is unacceptable that 
a government minister of Sweden can publicly enact the violation and 
consumption of that body, and laugh as she does it.

SECOND LAYER

The artist who created this cake-installation, Makode Linde, is a 
biracial Swedish man, of mixed black and white heritage. He refers to 
himself as an Afro-Swede. It was he who knelt under the table, playing 
the head of the cake-woman.

"Within my art I try to raise a discussion and awareness about black 
identity and the diversity of it," Linde says on Al-Jazeera. "The 
[recent] discussions [about my cake piece] have been mostly if I or the 
culture minister are racist or not. I think it is a shallow analysis of 
the work. It's easy to take any image and put it in the wrong context."

His intention, he says, was to prompt action against the female genital 
mutilation (FGM) practiced by certain African communities. The 
performance "went off the exact way I wanted it."

"It's sad if people feel offended, but considering the low number of 
artists in Sweden who identify as Afro-Swedish I find it sad that the 
Afro-Swedish Association haven't followed my artistry and do not 
understand what my work is about."

And he continues:

"If people can get this upset from a woman cutting a cake, can't they 
use that energy towards the real battle against female genital mutilation?"

He displays no ambivalence about his appropriation of the body and 
experience of an African woman. There is no suggestion that he has ever 
spoken to women from communities which practice FGM, the ones his 
installation is supposedly intended to benefit, or that he has invited 
their feedback on this piece.

THIRD LAYER

The plot thickens.

Swedish arts blogger Johan Palme frames the incident as a 'very 
efficient mousetrap' for the Minister of Culture.

Apparently, Lena Adelsohn-Liljeroth, the culture minister, "is reviled 
by large parts of the art world for her culture-sceptic stance and for 
previously condemning provocative art in what many see as a kind of 
censorship."

Therefore, she arrived at the event acutely conscious of the need to 
repair her tattered image and dissolve the perception that she is a 
threat to freedom of expression in Sweden. Handed a knife, and asked to 
cut into the crotch of the cake-woman, she knew that if she balked or 
questioned, she risked being pilloried as an enemy of provocative art.

" Lena Adelsohn-Liljeroth tries to play along as best she can in what 
she sees as a "bizarre" situation, reciprocating the laughter." writes 
Palme. "And on the other side of the cake, placed in the narrow space in 
front of a glass wall, stands one of the minister's fiercest critics, 
visual artist and provocateur Marianne Lindberg De Geer, camera at the 
ready. And she snaps pictures of the whole series of events, as the 
minister is egged into doing more outrageous things, performing for the 
crowd."

Palme also reveals that artist Makode Linde's has another life: "he's a 
club promoter and DJ, one of Sweden's most successful, who knows exactly 
how to manipulate crowds and their emotions."

Following the global outcry the Minister releases a statement 
<http://www.sweden.gov.se/sb/d/14099/a/190909>:

/Our national cultural policy assumes that culture shall be an 
independent force based on the freedom of expression. Art must therefore 
be allowed room to provoke and pose uncomfortable questions. As I 
emphasised in my speech on Sunday, it is therefore imperative that we 
defend freedom of expression and freedom of art ---even when it causes 
offence.

I am the first to agree that Makode Linde's piece is highly provocative 
since it deliberately reflects a racist stereotype. But the actual 
intent of the piece --- and Makode Linde's artistry --- is to challenge 
the traditional image of racism, abuse and oppression through 
provocation. While the symbolism in the piece is despicable, it is 
unfortunate and highly regrettable that the presentation has been 
interpreted as an expression of racism by some. The artistic intent was 
the exact opposite./ /

It is perfectly obvious that my role as minister differs from that of 
the artist. Provocation can not and should not be an expression for 
those who have the trust and responsibility of Government 
representative. I therefore feel it is my responsibility to clarify that 
I am sincerely sorry if anyone has misinterpreted my participation and I 
welcome talks with the African Swedish National Association on how we 
can counter intolerance, racism and discrimination./

Still missing: the voice of any black woman. I wonder why Nyamko Sabuni, 
Sweden's dynamic Minister for Integration and Gender Equality, and the 
only black woman in Sweden's cabinet, has not been asked to comment. In 
2006, Sabuni created a storm of controversy when she called for 
mandatory gynecological examinations of all schoolgirls in Sweden in 
order to prevent genital mutilation. If she had been the speaker at this 
event, would she have been asked to cut the cake? Could her absence from 
the debate be because the inconvenient fact of a live articulate 
powerful black Swedish woman, who actually makes policy on FGM, shows up 
Linde's shock art for the puerile nonsense it is?

THE BASE LAYER

Nothing about me, without me has been the rallying cry of numerous 
movements for justice and representation at the tables of power.

It's tragic that in 2012, this basic tenet of any political art or 
advocacy is continually ignored by the entitled. And never more so than 
when it comes to African women and girls, the world's favourite target 
for rescue, the population everyone loves to speak for and speak about, 
but rarely cares to listen to. What makes this cake episode so deeply 
offensive is the appropriation, by both Linde and his audience, of 
African women's bodies and experiences, while completely excluding real 
African women from the discourse. It is a pornography of violence.

Jiwon Chung, leading theorist of Boal's Theater Of The Oppressed, offers 
a useful set of questions to apply to any art that claims to address the 
suffering of a particular group or class of human beings. Let's apply 
them to Linde's cake installation, and the argument of his supporters 
that it somehow serves women and girls from communities that practice FGM.

1) Cui bono? Who benefits?

Linde has achieved overnight global fame from this exercise -- the kind 
of exposure and media spotlight artists dream of. Sweden's Culture 
Minister, Lena Adelsohn-Liljeroth has established herself as a champion 
of provocative art. It's not clear how any woman who has had FGM, or any 
girl at risk of FGM, is materially better off.

2) How do those whose suffering / body / experience is depicted feel? Do 
they feel they've been done justice?

A brief survey of comments on media sites and facebook postings about 
this event suggest that the overwhelming majority of African women feel 
'outraged', 'violated', 'furious', 'sick'.

3) Are you speaking for them (because you have a voice, and they don't), 
or are they speaking for you, because what they have to say is so much 
more compelling than you?

The only one vocalizing anything in Linde's art is -- Makonde Linde. His 
caricature of an African woman doesn't even vocalize words, just sounds 
of pain.

The next five questions, only Linde can answer.

4) Are you attributing clearly (giving clear credit?)

5) Are you dialectical?

6) Is your I a we? Is your we an I?

7) If their suffering were to disappear, would you be truly happy? Or 
would you have to look for something else onto which to glom your 
dissatisfaction?

8) Do you belong, do you truly claim solidarity with the suffering -- or 
do you do it only when it fits in with your concerns and schedule? How 
do you support them outside your art?

Here's an idea for truly provocative art. No more male artists, black or 
white, speaking for African women. No more ever-more-graphic 
ever-more-voyeuristic art on the suffering of African women. Stop using 
the female African body as raw material to be worked -- unless you 
happen to live in one. Then, notice that African women are making their 
own work about their lives and struggles. Look. Listen. Learn.

* BROUGHT TO YOU BY PAMBAZUKA NEWS

* Please do not take Pambazuka for granted! Become a Friend of Pambazuka 
<http://www.pambazuka.org/en/friends.php> and make a donation NOW to 
help keep Pambazuka FREE and INDEPENDENT!

* Kenyan artist and activist Shailja Patel is the author of Migritude 
(Kaya Press, 2010), and a founding member of Kenyans for Peace, Truth 
and Justice. She has just been selected to represent Kenya at the 2012 
Cultural Olympiad in London.
* Please send comments to editor[at]pambazuka[dot]org 
<mailto:editor at pambazuka.org> or comment online at Pambazuka News 
<http://www.pambazuka.org/>.




***

http://africasacountry.com/2012/04/24/africa-is-a-country-interview-with-makode-linde/


  Makode Linde--the 'Swedish Cake' artist--explains himself

April 24, 2012 By Tom Devriendt 
<http://africasacountry.com/author/tomdevriendt/> 1 Comment 
<http://africasacountry.com/2012/04/24/africa-is-a-country-interview-with-makode-linde/#comments> 


<http://africasacountry.com/2012/04/24/africa-is-a-country-interview-with-makode-linde/makode-lindes-cake/>
*Guest Post by Johan Palme**
Makode Linde seems more bemused than irritated when we discuss the huge, 
worldwide storm that his cake has stirred. "People are talking about 
this in Africa, in South America," he says, "there are so many different 
interpretations of what it means, and I don't want to take away any of 
that. But it also really seems to have driven all the trolls out of the 
woodwork."  Strange to think that before last weekend, it was just 
another Afromantic. '

Afromantics' is Makode Linde's line of artworks that use the blackface 
figure that has now become so infamous. The name, he says, reflects on 
the romanticized, supposedly positive stereotype of the happy, grinning 
'pickaninny' (a caricature of black children) that appears on all the 
artworks, and is meant to show the connection between those stereotypes 
and the more vicious ones, all connected in the same system of oppression.

Each Afromantic is based on taking an item from Eurocentric art or 
popular culture and painting stereotypical blackface on top of it. "The 
outlines, the specific features of the faces of these items are 
completely obscured," Makode Linde says, "their character is completely 
removed, and they have this new, supposedly 'African' character imposed 
on them." It's an almost painfully symbolic reproduction of the process 
of Othering, diverse individuals being forcibly assigned a simplistic 
shared identity.

When Pontus Raud of the Swedish Artists' Organisation called in asking 
for the cake, Makode knew he wanted to make it an Afromantic. (Though he 
did briefly toy with the idea of making a chocolate Naomi Campbell 
<http://www.popeater.com/2011/06/04/naomi-campbell-racist-chocolate-ad/>.) 
Since the cake was to go on display in a museum, he wanted to work with 
something from the Eurocentric discipline of Art History, and so chose 
the body of the ultimate canonical classic, Venus from Willendorf 
<http://en.wikipedia.org/wiki/Venus_of_Willendorf>, the supposed origin 
of a story that has always excluded African or African-bodied voices. 
(An accusation subtly imparted by the painted blackface.) The faceless 
Venus was also ideal to paint in the stereotypical looks of the 
Afromantic series, and to make the work more brutal and more relational 
he included himself as the head.

Marianne Lindberg De Geer took the picture that made the cake known, 
worldwide. She is also an artist, one of Sweden's best known, and like 
Makode Linde's, her work is based on identity and identification, the 
experience of being Othered, in her case as a woman. (In one recurring 
work, both like and fundamentally unlike Makode Linde, she enters into 
the experience of others by painting her own face over stereotypical 
depictions 
<http://www.artvalue.com/photos/auction/0/40/40356/lindberg-de-geer-marianne-1946-jag-tanker-pa-mig-sjalv-1523144.jpg>.) 
She knew something was about to happen, and readied her camera, pushing 
herself through the crowd. When the Culture minister started cutting the 
cake, she snapped "perhaps 25 or 30" pictures, and caught the second 
time the minister leans over to feed the artist, "like a mother feeding 
a crying child."

<http://africasacountry.com/2012/04/24/africa-is-a-country-interview-with-makode-linde/makode-linde-3/>

"It all happened so quickly. It was horrifying, so aggressive, the 
scream," Marianne Lindberg De Geer says. And for almost an hour, Makode 
Linde screams and screams as person after person cuts into the cake. 
People laugh. Some react negatively and back away. Some try to check if 
Makode Linde is okay, lying there in his cramped box. Some cut with 
happy abandon. Everyone seems to have a different reaction in the room. 
But no-one tried to stop it. "We were all complicit," Marianne Lindberg 
De Geer says.

Me too, snapping away. We were all assured that it was alright, that it 
was art, that this was part of the performance. It was like the Milgram 
electric shock experiment 
<http://en.wikipedia.org/wiki/Milgram_experiment>, no-one stepped in to 
prevent the simulated pain from happening. I think it was a very good 
work of art. I feel I should probably apologise to Makode for ruining 
his work by spreading that picture.

The idea that it was a conspiracy meant to trap the Culture minister, as 
we first suggested in our first take on Linde's performance 
<http://africasacountry.com/2012/04/18/swedish-cake/>, can probably be 
abandoned. None of the people I speak to--Makode Linde, Marianne 
Lindberg De Geer or organiser Pontus Raud--claim they knew what the 
other parties were going to do. Marianne Lindberg De Geer does say, 
though, that she probably wouldn't have sold the picture if it hadn't 
been the intensely disliked, neo-liberal Culture minister in it. "She 
has tried to force us all into becoming entrepreneurs," Marianne 
Lindberg De Geer says, "so I decided to try to boost my income as a 
freelancer at her expense."

Lying in the box was extremely uncomfortable for Makode Linde. Both 
physically and emotionally. "It was an experience of total 
objectification," he says.

Imagine people standing half a metre from your head and talking about 
you as if you weren't there. As a relational artwork, it was an artistic 
experience for me too.

It's something he has experimented with before.

For a party that was also a relational performance last year 
<http://www.facebook.com/events/132125350198004/>, he painted twenty of 
his friends in blackface, and charted their reactions during the party 
and afterwards, when many had drunkenly forgotten their make-up and were 
surprised at random strangers attacking them in the street. Everyone's 
experience of being inside the blackface (he describes it as if it were 
a shell, an item of clothing) was different, and in a way it was an 
artwork directed at them.

They got to experience race in a way they hadn't before. And the aim was 
also to get them to experience what it's like being Makode Linde. All of 
the Afromantics, whatever you think of it, are to a certain extent his 
self-portrait.

People always want to put me in a box. I've got a white mother and an 
African father. Whites always think of me as black. Blacks seem to 
always think of me as white. The media calls me Afro-Swedish, but I 
didn't know what that was until last week! People seem to have trouble 
with the idea that you can identify with traits of both black and white, 
and with both male and female gender roles. There's this categorization 
that frustrates me incredibly.

When I mention that he's being accused of not being in conversation with 
the African diaspora, of only talking to whites, he replies:

Well, I am white. [Long pause.] And black. But I seem to have to be 
constructed as one of two. I don't talk about black experience, I don't 
know very much about what the 'genuine African' experience, in 
quotations, is like. I've grown up in the privileged inner city. What is 
my supposed group? Inner city mulattoes? They're a handful. I'm not 
joking when I say I know them all ... and they support me!

"One reason I do this," Makode Linde adds, "is because there's no 
obvious correspondence between who I am and what people think I'm 
supposed to be." Thus the focus on the stereotypes, on what he talks 
about as "the prejudice cloud": a collection of traits his supposed 
blackness, that he doesn't feel he shares, is meant to impart upon him. 
That includes the blackface, the idea of "rhythm in the blood"... traits 
that "his race" are supposed to share. "And one thing no-one has 
mentioned about the cake," he says, "are the neck rings. They're not 
even African, they're Burmese! And yet they just get assumed as an 
'African thing'. They're part of the prejudice cloud too, people don't 
reflect. I've got nothing to do with these things, nothing, and yet 
people expect me to relate to them."

That, too, was the reason female genital mutilation (FGM) became part of 
the cake. Someone brought up the angle when they discussed the fact that 
the cake was to be cut up, and Makode Linde jumped on it. "It's another 
part of the prejudice cloud. The idea of savages mutilating their own 
people." And yet, it's become the focus of so much of the debate 
surrounding the piece. "The media asks me what I think of FGM," Makode 
Linde says, "what am I supposed to say? I'm against it, I tell them of 
course." And suddenly it has become the aim of the artwork.

Perhaps that's unfortunate. There is what seems to be a highly 
legitimate feminist critique of the piece 
<http://www.thelocal.se/40390/>, focused on the symbolic cutting-up of 
the woman and the voicelessness of female African artists, that gets 
wrapped up in a wider discussion about the construction of FGM that 
Makode Linde seems to know or care little about. The Kenyan artist 
Shailja Patel's much circulated article 
<http://www.pambazuka.org/en/category/features/81491>, for instance, has 
many valid points, but there's a definite sense that she and the artist 
are speaking at complete cross purposes. I pose the questions that 
Shailja Patel, in her piece at Pambazuka News, derived from theorist 
Jiwon Chungto, to Makode Linde and his replies are probably illustrative 
of this:

*Cui bono? Who benefits?*
"The debate benefits! If female genital mutilation is the topic that 
should be discussed, well, it seems to have been brought up a lot. Look 
at Google Trends 
<http://www.google.com/trends/?q=female+genital+mutilation&ctab=0&geo=all&date=2012-4&sort=0>, 
the search volume has increased steadily since the debate started."

*How do those whose suffering / body / experience is depicted feel? Do 
they feel they've been done justice?*
"The experience depicted is mine, and I do."

*Are you speaking for them (because you have a voice, and they don't), 
or are they speaking for you, because what they have to say is so much 
more compelling than you?*
"I speak for myself. Who am I supposed to speak for? I don't represent 
anyone. I think the idea that an entire group that I supposedly belong 
to speaks with the same voice is kind of racist, too. It's ironic that 
supposed anti-racists seem to be lumping people together like this."

*Are you attributing clearly (giving clear credit)?*
"I'm not. I thought art was supposed to be speaking for itself. Someone 
on Facebook thought I should put in a disclaimer, explaining the history 
of blackface and why I use it, but I think if people were really 
interested in my art they'd think it out anyway."

*Are you dialectical?*
"Look, I've made over 40 interviews since this thing happened. I've 
never talked about my art this much before."

*Is your 'I' a 'we'? Is your 'we' an 'I'?*
"No. My I is an I."

*If their suffering were to disappear, would you be truly happy? Or 
would you have to look for something else onto which to glom your 
dissatisfaction?*
"I think it'd be fantastic if all of these stereotypes, this prejudice 
cloud disappeared. If this sort of thing could be presented, and no-one 
would even get the reference...then I could concentrate on making music."

*Do you belong, do you truly claim solidarity with the suffering --- or 
do you do it only when it fits in with your concerns and schedule? How 
do you support them outside your art?*
"If there's anything I don't tolerate, it's racism and homophobia. My 
whole life I've been constantly a victim of racism, homophobia and 
transphobia. It doesn't seem to matter how I define myself, people 
always do it for me. The types of categorisation, the types of attacks, 
seem to be the same, no matter what kind of prejudice."

<http://africasacountry.com/2012/04/24/africa-is-a-country-interview-with-makode-linde/makode-linde1/>
It's as if both Makode Linde and his feminist critics are speaking the 
same language of power, stereotype, intersectional oppression, and yet 
they don't seem to be connecting at all. For instance, when Makode Linde 
raises an issue with the way anti-racist groups act, it's one that 
feminists often raise too and that would be right at home in one of the 
articles:

I realise it's difficult to speak without resorting to categories like 
'black', 'white', 'male' and 'female'. It may be difficult to 
demonstrate oppression without them. But at the same it's so 
close-minded not to realize that placing people against their wishes in 
these categories is the same sort of valuation process racists use. Let 
people define themselves as they like. If I say I'm a white woman, let 
me be.

It's no surprise Marianne Lindberg DeGeer, who is one of Sweden's most 
famous feminist artists, talks along a similar track.

The more I work with identity and identification, the more I realise 
that people are essentially the same, that you can identify across 
groups. I think it's fantastic that Makode as a man takes on the role of 
a woman in this way, I don't see the problem at all. Makode is an Other too.

(He really is, in multiple, intersecting ways. You should listen to him 
talk about having dreadlocks and meeting homophobic Rastas.)

The peculiar context of Sweden's race relations is another thing that 
seems to strike a wedge between Makode Linde and his international 
critics. As several 
<http://www.theroot.com/buzz/nger-cake-lindes-race-does-not-void-outrage-0> 
articles 
<http://blogs.villagevoice.com/runninscared/2012/04/blackface_genital_cake_sweden.php> 
rightly point out, the reaction would have been considerably different 
had the cake gone on display in the United States for example. Some 
would argue that a nostalgic understanding of their own White goodness 
<http://www.eurozine.com/articles/2011-10-18-hubinette-en.html> makes 
Swedes blind to racism (hence the audience response), but Makode Linde 
has another take, too:

We don't have the same history here in Sweden of slavery, of colonialist 
oppression. Our colonies 
<http://en.wikipedia.org/wiki/Swedish_overseas_colonies> were barely 
there. We don't have the 'guilt quilt' big colonialist nations have, and 
yet we're constantly asked to relate to the same issues of slavery and 
segregation that, say, the United States does. It's as if our race 
relations are imported from the US, and the whole issue becomes almost a 
meta- or quasi-discussion.

Perhaps this is the reason blackface passes with less resistance in 
Sweden. But it's probably also the reason that institutions that think 
of themselves as non-racist don't deal with their own prejudice, because 
the general image is that Sweden doesn't have much racism. And yet, 
looking at the actual situation, there's staggering discrimination in 
healthcare, schools, in the justice system, in the labour market. And in 
higher education, as brought home with characteristic irony by Makode 
Linde in another of his artworks, where he comments on exposure, class 
and the over-representation of white students at the University College 
of Arts, Crafts and Design by baking oat balls in different colours.

<http://africasacountry.com/2012/04/24/africa-is-a-country-interview-with-makode-linde/freshman-2005-class-of-fine-art-konstfack-2006-2/>
He staged it at the school, and people laughed, until laughter "got 
stuck in their throats" once the realisation set in. "I think it's a 
very Swedish approach," says Makode Linde. "And a very effective one. 
Here it's always been considered strange to take yourself completely 
seriously. Gays and Jewish people, too, have been using humour about 
racism and homophobia as a defense mechanism for a long time. In 
stand-up comedy, the sort of thing I do would pass unnoticed. Yet in the 
art world, joking about certain things is considered taboo, even if the 
intent is not racist. If there's any problem I have with justice 
movements, it's their lack of this sense of humour." That, too, is 
perhaps an aspect of the cake that translates less well.

And yet Makode Linde has relished the debate and the different angles it 
has brought up. "People have so many interesting points of view on 
this," he says. "The debate really seems to have benefitted, and even 
stuff like other videos of mine and other artists working on similar 
themes have been given a boost. That's why I don't buy the argument that 
I'm silencing other artists, it's not like there's one---sorry for this 
one!---attention cake that I've taken too large a chunk out of." And he 
intends to keep working with the same themes, and the new things raised 
by the cake: "I'm following it all closely. And as a free artist I 
reserve the right to reinterpret my work and spin off new things in the 
future."

* Johan Palme blogs as Birdseeding <http://birdseeding.tumblr.com/>.


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