Why is Japan racist

Asked times
This is how we see it with migration, racism and feminism!

Is everyday racism just becoming socially acceptable in Germany? We introduce six artists who, in their novels, videos, plays, with their installations and their music, take a crazy, wide awake and tough position.

Photo (detail): © Bradley Secker

Fatma Aydemir: elbows

In the H&M, we are met by a fresh air freshener. We walk straight to the back where the reduced clothes hang. We also have a branch on Müllerstrasse, but all good things are always sold out immediately. People are queuing up with their strollers in the morning before the shop even opens. Then they rush in and grab everything that isn't striped or orange. It's different in Mitte. In Mitte there is hardly anything going on at ten in the morning and the few women who are not at work at this time of day go through the store, super bored, and at most put on one or two dresses with their fingertips until they come back with a three-pack of socks walk out. They don't even look at the reduced items.

Excerpt from the novel elbow by Fatma Aydemir


“White feminists are often unaware of their own privileges. There are very specific boundaries in everyday life that exclude women of color from rooms. My heroine Hazal not only names them, she tries to resolve them again and again. This scene is about the economic and social barriers between the two Berlin districts of Mitte and Wedding. Two branches of the same textile company with exactly the same selection of products can have very different connotations, due to the purchasing power and social background of the customers. "
 

Fatma Aydemir, born 1986 in Karlsruhe. Studied German and American studies in Frankfurt am Main. Since 2012 editor at taz in Berlin. Her debut novel was published in 2017 elbow at Hanser Verlag.
Photo (detail): © Technocandy

Technocandy: My nose is running - your stars up close

i don't like victims
i like it when the country is loved
i love and love
i love women and children
whoever loves the country stays there
those who love the country collect rubbish from the hiking trails: love for the environment is love for home


“The video is the middle part of a three-part trailer series that we filmed for our first joint play. For My nose is running - your stars up close As a starting point, we analyzed various “new” right-wing movements and pointed out their parallels: for example the Identitarian Movement, which presents itself as close to the people, conscious of tradition and at the same time “hip”. In its appearance and rhetorical behavior, it presents itself with its actionism on the one hand as a "rebellious" right-wing youth movement and at the same time tries to bind the so-called middle class with image videos. "

“Right positions, opinions and actions are thus being normalized more and more and the limits of what can be said and what is feasible are shifted to the right. At the same time, so-called German vigilante groups formed during the preparatory phase for our 2015/2016 play. With their calls for vigilante justice, for the protection of the “people's body” and for the defense of “German women”, they spread right-wing, racist, anti-Semitic, populist, reactionary hate speech, which culminates in violent attacks against blacks, people of color and Jews. "

“On stage we play everyday racists who are anything but harmless despite candy-colored bomber jackets. As actors on the stage, the artistic confrontation with our own powerlessness in the face of the structural violence that strikes us daily and in many dimensions is an important concern. We break with the traditional narration in which the marginalized can only be victims: In the theater we realize a utopia in which the right-wing extremists the so-called 'new right-wing center', the racists in the end succumb to the marginalized. "

Technocandy are Frederik Müller, Golschan Ahmad Haschemi and Banafshe Hourmazdi. Banafshe and Frederik have been working together since 2013. Golschan has rounded up the group since 2016. She is a cultural scientist and thinks: The theater landscape in Germany is white. As white as the edelweiss, which has to be picked in every good Heimat film in order to convey the right feeling of longing. "We set the counterpoint as three artists who for biographical, artistic, political reasons do not correspond to the norm in the local theater landscape."
Photo (detail): © Studio Schramm Berlin

Nuray Demir: banner, installation, 600 x 140 CM, 2017

“In my installation banner I combine a multitude of feminist theories and types of text, both in terms of content and form, that have been circulating since the 1990s and have so far received little attention. For the installation banner, I fall back on the practice of making and using the demonstration banner and transfer it to the art field or the exhibition space. The pieces of text and quotations relate to demands that are still relevant and that make clear the need for action in art and culture. The aesthetic interplay of the heterogeneous types of text is therefore to be understood as an appeal to solidarity-based associations of isolated feminist practices that include racism, classicism and the demand to recognize migration as a normal state. By the way, feminism always means intersectional feminism for me. "
 

Nuray Demirstudied at the Ècole Supérieure des Beaux-Arts in Marseille, at the Academy of Fine Arts in Vienna and at the University of Fine Arts in Hamburg. She realized projects as an artist / curator at and with various institutions, including Kampnagel in Hamburg, the Sophiensaele in Berlin, the HAU / Hebbel am Ufer in Berlin and the Wiener Festwochen. Her transdisciplinary, research-based practice as an artist / curator takes shape in collaborative and time-based projects. She translates reflections on intersectional feminism, migration and postcolonialism into artistic / curatorial works in order to put them up for discussion.
Film still: hunters and gatherers © Tarik Tesfu

Tarik Tesfu: Suspicious of skin

For you, the “gang that can still be said”, I am the foreigner, the refugee, the Moor, the goat-fucker, the drug dealer, the negro, the chocolate cake, the other. And I thought I was just me Silly me!

“In times of AfD and Co. I often have the feeling that many people only now notice: Oops, Germany has a problem with racism. Racism has always been there, only it has now become “more socially acceptable”. And how do we solve the dilemma? With Femstream! Because racism and the ole patriarchy can only be kicked from the throne when feminism and mainstream hop hand in hand through life. Thanks to Femstream, the appreciation of all people will soon have arrived in the mainstream. Hooray!"

Fuzzy since 2015 Tarik Tesfu as part of his video column Tarik's gender crisis as a self-proclaimed gender messiah through the net. His message: Genderlove! In 2017 Tarik launched the video formatTarik's Tschau cocoa crisis. Of course, the new name does not change anything in its feminist mission: to put the finger on sexism, racism, homophobia and trans-hostility. On top of that, Tarik is one of the hosts ofHunter-gatherer, an investigative network project on Facebook and YouTube.
Photo (detail): © Ute Langkafel / Maifoto

Thandi Sebe, Amina Eisner: Young, poisonous and black

OLLE1: When I was younger, I always put on dark make-up because I really wanted to look like that.
POLLY: (slowly getting very annoyed) That's called blackfacing.
OLLE1: I'm also wearing black tights ... Is that blackfacing for the legs? Blackbeining, so to speak :) laughs
OLLE2: You meant that positively, like a homage to black people. No, that's not racist then.
LAELA: Blackfacing is always racist.
OLLE2: (to Polly) You know who you remember me fully? Beyoncé! You look very much like that!
POLLY: (grateful) really?
OLLE2: Yeah, really exaggerated, right? (to OLLE1. She agrees)
(to LAELA) And you look just like Tina Turner.

 

Excerpt from the play Young, poisonous and black by Thandi Sebe and Amina Eisner


“This is an important dialogue from our play Young, poisonous and blackthat appears as flashback in a video projected onto the stage. Two white women who meet the black main characters Polly and Laela in a club toilet try to involve the two in a conversation in which they are repeatedly reduced to their blackness and the associated perceived "coolness". "
 

The German-South African artist Thandi Sebe, (born 1988 in Berlin) works in an interdisciplinary manner in the fields of directing, acting and film as well as a playwright and singer. At the theater she most recently worked in the Ballhaus Naunynstraße as a writer, director and actress with the productionsYoung, poisonous and black (2015) andCall me queen (2017). In early 2017 she played her first leading role in the US feature film Empire of the Sharks.
Amina Eisner, Born in Berlin in 1990, studied acting and directing (drama) at Liverpool John Moores University. She wrote with Thandi SebeYoung, poisonous and black, together they directed and appeared on stage as Polly and Laela. She currently lives and works in London.
Photo (detail): © Magdalena Fischer

Ebow: Asylum

They all sound like this: asylum
And everyone sings like this: Asylum
Give me the visa.
asylum 

Ebow
Ebow: Asylum (from: Habibi's love and wars)

“It is important, especially as a feminist * in color, to express yourself with your art on political issues. My motivation for songs like asylum is to claim the space for me. In this, my opinion is just as important as that of journalists, specialists, politicians, etc. My texts do not analyze from the outside, but from the center. For me, rap music has always been an instrument to explain my perspective on different levels, be it provocative or humorous. "

Ebow is the stage name of Ebru Düzgün. Ebow was able to attract attention for the first time through guerrilla appearances in the Munich station district, followed by numerous live appearances on more conventional stages. With the self-produced half-hour video mixtape Habibi's love and wars Ebow positioned himself between hip hop and oriental sounds and packed social reality into aggressive texts that range from gender roles in the Turkish community, false patriotism to the arms trade.
  • Print article