In the drive for Scandinavian culture to utterly annihilate itself as fast as possible, let it never be said that art galleries and institutions failed to do their part.
Oslo’s “New Nordic Art” website (as an example) reveals that “Nordic” has evolved to mean any person with absolutely no genetic, historic, cultural or especially religious connection to the region itself. Proof of the native purge is the list of artists from “Costa Rica, China, Israel, France, Palestine, Haiti/Switzerland, USA, UK, Lebanon and Japan.” Featured artists “reside” in Norway at some point, which is fine, but they seem to have entirely eclipsed anyone with a Norwegian grandmother.
Why the serious snub of indigenous Scandinavians?
The New Nordic art site is no anomaly, but part of a larger movement of “Nordic” self-loathing and debasement in favor of any fungible culture with the energy to restyle it. Scandinavian nations have already imported a ready and willing group of Islamic immigrants who are more than happy to replace traditional Nordic culture with their own and are not shy about vocalizing, legislating or rioting for it.
Norwegians, Swedes and Danes are openly questioning and legally redefining “Nordic” identity to no good end so far. Scandinavians can’t seem to resign all cultural pride or sense of nationality fast enough, and the evidence stretches across the region.
Why? Presumably to make things cozy for their immigrants, more like the home they left … say, Mogadishu. And there’s the myth of “diversity,” which strips all discernable culture and replaces it with a rough tabula rasa. While Nordic nations collectively cut their throats to appease immigrants, nothing of the sort is plaguing Islamic nations.
In Malmo, Sweden, you find the Malmo Arab Film Festival, arts programs specifically for Somalians, Egyptians and Pakistanis but “Nordic”? Not if you want to avoid a boycott.
Should this even matter to the rest of the world? I think so. Sweden, Norway and Denmark are case studies in failure to resist Islamic violence and threat to host nations. Political manipulation of art to that end is a microcosm of how to commit cultural suicide. Effectively.
Sweden’s “Malmo Nordic” art festival was boycotted last spring by galleries and groups because of the new “N” word. They considered the “Nordic” theme too “exclusive and nationalistic” for their show. Gallery owner Johan Berggren lectured that “Nordic” is “boring” and “risks becoming political.” Curator Elene Tzotzi in a display of stunning arrogance and ignorance of history claims the word “Nordic” must be “discussed and clearly defined” and that it is “arbitrary” – although it’s been used in some form for several hundred years. This from a city shooting to fame for their attacks on Jews and violent Islamic neighborhoods – not to imply a connection in any way.
Scandinavian culture is worth saving. Norway’s Nobel Committee pays the world for scientific, medical and literary geniuses, while many nations imprison them. Scandinavia embodies the best of modern, intelligent civilization; polite, generous, concerned for the poor and content to reside peacefully within their own borders. Nordic nations as a bloc stand for peace and diplomatic ending of hostilities without the incentive of making billions off banks (i.e. Switzerland). Who could forget the nobility of the Danish people in resisting the Nazis and protecting their Jewish neighbors?
Arguably Pakistani culture has not blessed the wider world with much in the arts or much else, particularly in the last few decades of war and terrorism. Strangely while attacking the West for not promoting Islam fast enough, artists from Islamic nations almost never suffer from these identity complexes. A majority promote or feature Islam, and the few who critique, do so carefully and fearfully.
They know exactly who they are and what they believe. Islamic majority nations make no concessions at all for minorities, often not even extending basic human rights
Karachi artist Naiza Khan’s take on women’s rights is revealing. Her metal sculptures of women’s clothing are presented as “female armor.” And her inspiration? A 2007 attack on Islamabad radical mosque Lal Masjid and the women in “black burqas” who fiercely repelled police with long poles. Khan never considers the these strong women she admires must please and obey men and male religious leaders or face death.
Somalis have rich history in poetry and music, but thanks to Islamic terrorism it is almost nonexistent there. Nordic countries bless Somalis through government agencies, funding and promotion of art. Still they blame the West for the shortcomings of their culture, which could be easily wrapped up in an old Somali proverb:
I against my brother,
My brother and I against our family,
Our family against our tribe,
Our tribe against other tribes,
All tribes against Somalia,
Somalia and Somalis against the world.
What better culture to replace Sweden? Apparently none of this matters or alarms Scandinavians in a bizarre imposition of “multiculturalism” in response to their newest residents from Pakistan and Somalia.
Rejection of nation and tradition are codified everywhere. Norway’s Lofoten International Art Festival insists that modern art be built on “instigating, designing or manufacturing some form of antagonism through its programming.” Generic “antagonism,” rather like “change” in the U.S. but with longer verbiage.
The Swedish Postcode Lottery paid for a production of “The Island,” which reflects “abuse” in Israeli prison systems but fails to mention any murderous rampages that landed the Palestinian prisoners there in the first place. Great use of state funds, Sweden, and your citizens will thank you as they are forced to pay for Islamic propaganda in place of Nordic culture.
Although more immigrants to Norway are from Poland and Sweden, neither of these groups are campaigning to substantially change Norwegian culture or statehood. Smaller but substantial numbers from Islamic Pakistan and Somalia are impossible to ignore and constantly demand legal and culture adjustments, including in the arts.
Further surrendering any sense of place or culture to appease relative strangers, Prime Minister Jens Stoltenberg appointed a 29-year-old Muslim Pakistani woman, Hadia Tajik, as minister of culture. Tajik is the youngest minister and the first Muslim in the Norwegian government. Tajik’s first edict as part of even more enforced diversity delights for Norway is to make certain Muslim women have the “right” to wear the veil in public.
What does this have to do with art? Absolutely nothing, and that’s the point and her job. Tajik’s post is a sham, a front to promote Islamic culture and oppress other women per Mohammed’s madness. In 2010 as advisor to the minister of justice, she pushed for the hijib as part of the official uniform for Norwegian police.
Tajik’s appointment is a sad joke on Norway and art, thanks to a government addicted to groveling. While bare headed and free, Tajik pushes her sisters to yield to misogyny and fear. I’d pay for a front-row seat to see it applied to her personally – especially if her next announcement is to embrace female genital mutilation.
In spite of her treachery toward her sisters and her apparent clout, woman like Tajik must walk circumspectly, remembering the fate of those who oppose Islam publicly even in Nordic nations. Oslo City Council Member Samira Munir was a young woman of Pakistani background with the effrontery to publicly oppose the hijab in Norway in 2005. Although a Norwegian citizen, she was constantly harassed and called to meet with Pakistani embassy members, targeted and threatened. When Ms. Munir didn’t comply, she somehow ended up beneath the wheels of a train in Oslo.
Nor are these paradoxes ever questioned in Scandinavian parliaments. Those who dare to question are branded intolerant or worse. Thanks to the deranged killer Anders Breivek, any resistance to enforced Scandinavian politicide is proof of genocidal intent. Breivik and his massacre were immediately mentioned after the announcement of Tajik’s appointment and is a clear threat – probably written by Tajik’s cousins.
Akhtar Chaudhry, the speaker of Norway’s Parliament since 2009, has been pushing to change Norway’s flag to better suit Muslims there who only account for at most 3.4 percent of the entire population. No one has inquired if a change would offend indigenous Norwegians, who apparently no longer have any political voice.
Symbolically Norway’s flag consist of a large cross alone, and to remove that would require a total revision. But what has this to do with art? Nothing. But if speaker Chaudhry gets his way there will undoubtedly be an art design contest for the new Norwegian flag, perhaps to be decided by the “new Nordic” artists.