All posts by Toni Tileva
The Young And The Penniless: 25-35 Age Group Vulnerable To Poverty
My Article For Voice Of Russia
WASHINGTON (VOR)— Much ado has been made about the purportedly entitled Millenial generation, but the reality of most young people’s lives is more akin to an urban dystopia than an utopia.
Crossfade Roulette–My Weekly Music Column
God Loves Uganda Film Review
God Loves Uganda, a documentary by Roger Ross Williams, turns its lens onto a new kind of Western exploitation taking place in Africa. Spearheaded by American Evangelicals, the cultural exploitation is no less damaging or disturbing than the plundering of resources and people that has decimated Africa for centuries. The film is about much more than what caused Uganda to be the first country to introduce anti-gay legislation into Parliament that makes homosexuality punishable by death, although it makes the link between America’s hate-filled religious right rhetoric and the spread of homophobia in the country. God Loves Uganda is really about the insidious way in which something as seemingly well-meaning as missionary work has chilling implications for a country still attempting to shake the shackles of Western exploitation. It also is a very probing look into the workings of a mega church.
The film introduces us to International House Of Prayer, a.k.a. IHOP, a religion-in-a-box mega church that would surely match the pancake franchise in its customer outreach. Led by Lou Engle, IHOP is the prototype of the modern-day Christian fundamentalist mega church—in one word, a corporation no different in its methods, resources, and structure than a Fortune 500 company, except in that its media machine would surely be the envy of any corporation. Jono Hall, IHOP’s Media Director, explains he has over 1,000 full-time staff, split into 80 departments; IHOP broadcasts 1 million video hours a month to a 117 nations. No activity goes undocumented on film; millions of dollars go into messaging alone.
What exactly is the message, you might ask? Couched in nebulous and euphemistic terms like “spreading the good news,” or “The Call” campaign (12 hour pray-a-thons to put an end to abortion, for example), the message goes far beyond a merely religious one. This is where the genius of God Loves Uganda really comes through: it reveals the blatantly jingoist language used by the missionaries themselves. The missionaries in Africa keep referring to themselves as an “army” and this kind of rather violence-connoting ethos is scarily illustrated in the scene where firebrand anti-gay preacher Martin Ssempa is literally rolling on the ground, punching the floor, as his disciples all scream, “No to Obama!” for his “pro-gay stance.” A young missionary describes her mission as “imparting a DNA of prayer and worship,” and like DNA, she explains, she wants to “replicate values.” In another equally hair-raising quote, the missionaries explain how the fact that Uganda is nation where 50% of the people are under 15 years old would allow them to “multiply ourselves.” Words like “strategy” and other rather militaristic language only serve to dispel the myth that there is anything particularly spiritual or elevated about IHOP’s goals. At best, this is pure jingoism and all God Loves Uganda does is point a camera at it, without any commentary.
The jingoism also expresses itself in the way the missionaries hone in on specific communities. Engle calls Uganda, “a firepot of spiritual renewal and revival.” Reverend Kapya Kaoma, a priest and former Ugandan now residing in the U.S., who cannot return home because his research into the influence of the religious right there has made it dangerous for him to do so, calls it preying on vulnerable communities and enforcing values on them at the cost of receiving aid. Kaoma explains how the mega churches seek out especially neglected communities, ones unreached by anyone else, and turn them into “dumping places for extreme ideas.” By building schools, orphanages, and hospitals, the American Evangelicals are becoming all-powerful in Uganda and reliance on their help makes any sort of dissent an impossibility. As Kaoma very poignantly states about the young missionaries, “All they know are the Biblical verses they have memorized, but people listen to them because they are white and American.” And even worse, extremist preachers like “the gay agenda is to make your children gay and destroy the world” Scott Lively, who as Kaoma points out, is literally a nobody in the US got an audience in Uganda’s Parliament where he was directly instrumental in urging PM David Bahati to introduce the anti-gay bill. The damage is done in other areas too. During the Clinton administration, HIV reduction was hugely successful; with the advent of Bush’s abstinence-only programs, HIV rates once again began to creep up. Abstinence-only programs were the only ones receiving funding so adhering to the religious right party line was the only choice Uganda had.
God Loves Uganda is a daring film and a look into what happens when religion is used to fan the flames of hatred and violence. There is no “good news” to be found in the message of IHOP and others of its ilk; one either goes along with their message of intolerance or one is heading towards sure damnation. It’s a highly ironic given that the West has plundered Africa to the point of making it hell on Earth.
The Production Of Value–What Happens When Banksy Roils The Art World’s Waters Yet Again
My Blog for Ministers Of Design
Art collectors loudly bemoaned the fact that they missed the chance to acquire the much-coveted pieces that routinely fetch six figures at a ridiculously discounted price. And Banksy, as he is wont to do, got to make fun of the idea of what constitutes art and the pretentiousness of the “art market,” where value is conferred by exclusivity. Would we recognize art if it is not labeled as such? And what happens when graffiti, an art form that in its very execution flies in the face of concepts such as ownership and private space, gets a price tag and starts participating in the very machine it seeks to obviate?
Banksy might as well be one of the world’s most reluctant “successful gallery artists.” The Sunday Central Park stunt was a spectacle, a performance art piece like the many he has done before, and it flew in the face of the notion that exclusivity confers value. Sure, Banksy is now, willingly or inadvertently, in the business of selling rebellion. But that doesn’t mean that taking the “art world’s” money has caused him to sell out. Sunday’s stunt was Banksy’s thumbing his nose at the fact that we need art critics to tell us what art is and how much it is worth. Banksy has often made fun of the elitism, pretentiousness, and outright absurdity of the curating art and placing it in a museum. The art market, like any other capitalist cultural reproduction tool, works to equate ownership of art with culture and the mark of the “cultured,” as James Clifford explored in his seminal article On Collecting Art and Culture.
According to the video from last Sunday, more than four hours passed before the first sale was made, to a customer who bargained to get two paintings for $60. Later, a woman from New Zealand bought two. Finally, a man from Chicago stopped and said, “I just need something for the walls” of his new place. He bought four. 8 paintings sold in total.
In other words, if it is not labeled as such, would we know a Banksy? Does knowing that it is a Banksy somehow raise the value of the art just because it is now branded and hence ownable and usable as an identifiable and identity-conferring status symbol? Does art’s subjectivity not mesh particularly well with its object-ivity? You tell us.
Seize The Seizures: My Mom’s Book
A Geography Of Internet Popularity: Popular Sites On A World Map
My Blog Post for Ministers of Design
Baidu domines China and some neighboring countries. Noteworthy, Yahoo is top in Japan and Taiwan, perhaps in part to its longstanding partnership with Japan’s SoftBank and its purchase of Wretch, the Taiwanese social media site, which Yahoo is shutting down at the end of this year.
Yandex, a search engine, is Russia’s most popular site.
The countries where Google is the most visited website account for half of the entire Internet population, with over one billion people. Thanks to the large Internet population of China and South Korea (more than half a billion users), Baidu is second in this rank, and Facebook, with 280 million users, places third.
DeStabbata and Graham suggest that “the territories carved out now will have important implications for which companies end up controlling how we communicate and access information for many years to come.”
Crossfade Roulette–My Weekly Music Column
Public To Politicians: End The War On Drugs
Over the past 40 years, the War on Drugs has cost more than $1 trillion and accounted for more than 45 million arrests.
BYT Fall Movie Guide
Contribution to the BYT Fall Movie Guide:
Spark: A Burning Man Story (VOD-theatrical release TBD) – This documentary by Steve Brown rekindles the bright-eyed dreamer ethos that we want to believe is what the giant festival in the desert is all about. In recent years, Burning Man has been much maligned for its seeming descent into the dreaded c-word (commercialization) and for no longer being the counter-cultural celebration of a Mad Max-like dystopia it once was. Spark will make a believer out of you; a celebration of the artists who toil assiduously at making the giant sculptures that end up destroyed in a pyre of glory, it is a true roots revival of what Burning Man is still really about.
The Pervert’s Guide to Ideology (November 1) – If you don’t know who Slavoj Zizek is, well, he is probably the coolest academician around at present, even if you won’t find him giving TED Talks. The irreverent and brilliant Czech philosopher/ideology-unraveler follows up The Pervert’s Guide to Cinema with yet another thoroughly engrossing and entertaining film (and don’t call this a documentary…it’s a one-man show). Joining forces with filmmaker Sophie Fiennes, it runs like a cultural studies student’s wet dream, a parsing out of ideology in the most gloriously hilarious way.