As part of the well-planned Islamic invasion of the world, there is a movement (logically rising from the “diversity’ camp – where else?) to promote Islamic art and culture … and to use our tax dollars to do it.

Right here in Main Street USA and in similar European venues, Islamic artists, writers and apologists are popping up at universities, cultural centers, art galleries and museums. They are immensely aided and welcomed by utterly gullible and gushing academics, artists and bureaucrats who make it all possible.

In March 2010, Palestininian artist Kanaan Kanaan, showed a tribute to poet Mahmoud Darwish in Vancouver, Wash. At first glance this seems innocuous enough, highlighted by the artist’s statements advocating peace and goodwill.

Darwish made the same claims while he lived, yet was poet laureate for the violent Palestinian Liberation Organization, which claims Israel and Jerusalem for Arabs only, leaving Jews … somewhere in the Mediterranean.

Kanaan also plans on his website (as of this writing) to build a temporary, traveling mosque to “serve as an introduction to Islamic culture.” He intends to include “a video projector [with] a repeating loop of an Imam reciting a prayer. Also . . . ‘Kor’anic readings.'” He plans to show this in New York, Washington, D.C., Seattle and Chicago.

Many Muslim artists manifestly push their religion and politics as much as their art. Fe-Noon Ahmed Moustafa of The Research Centre for Arab Art and Design, for example, boasts he has “rediscovered his Islamic roots,” while Kanaan “is focusing on his faith and his community.”

Who are the movers and shakers behind this sudden interest in Islamic art? Public and private universities can’t do enough to welcome anything Islamic, transforming many Middle East departments into Islamic departments.

Over several decades now, millions of taxpayer dollars have been poured into their state universities to fund these diversity projects. But why? Muslims are a small minority in the U.S. and yet have a disproportionate presence and power on campuses around the country.

The money comes in from foreign sources as well. Harvard University, for example, accepts Saudi dough for the Prince Alwaleed Bin Talal Islamic Studies Program, which sponsors Islamic artists and musicians.

Is Harvard now a prestigious tax shelter for rich Muslims? This seems to be the case with many colleges and universities throughout the West, where Saudi donors call the shots in scholarship, political slant and now the arts.

You can also bet big money you won’t be seeing much openly Judeo-Christian art funded by the National Endowment for the Arts in this administration, but you will find writings by Helen Gerhardt, who works for the Pittsburgh chapter of Council on American-Islamic Relations.

Then there’s the 2010 proposal by the NEA, “The Muslim World and the Humanities,” which seeks scholars and teachers to devise “training strategies, education and dissemination methods for a nationwide or regional program … to expand public knowledge of the Muslim world.”

I don’t claim there is no legitimate or fine art from Muslim nations. There are artists, in spite of Islam, which in its full glory, oppresses artists. Under the Taliban and other hard-line Islamic states, almost all music is forbidden. Half the population – the women – are allowed no public contribution to the arts, but are compelled to quietly wear shrouds and serve men until they die. This contributes to immense creativity, as you may expect, in areas of Shariah law.

Once again I ask: Why is this happening, and why are we paying for it?

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