I know, I know. I’ve been starving you of culture and refinement.

Allow me to correct that scandalous oversight:

The Western Europe you were talking about? 🫪😁

Two million euros spent on a dance performance by naked black people. “The Belgian government spent two million euros on an event aimed at protesting the era of colonization.” pic.twitter.com/lBXQ0Y4m1B

— Rusich 🇷🇺🇸🇪🇳🇴 (@Rusich7777) July 27, 2026

“I like it very much,” says one lady in the audience.

I knew you’d be intrigued.

The piece in question – by Davi Pontes and Wallace Ferreira, titled Repertório N.3, and performed during Ostend’s publicly funded Dansand! festival in 2025 – is, as I’m sure you spotted, a triumph of the political and profound.

Not only is the liveliness above “challenging and resisting the violence and oppression that black bodies face,” it’s a “brave elaboration of a queer black (self)-defense against physical and discursive violence,” and a “piece of queer Black Brazilian anti-colonial resistance.”

But you knew that, of course.

More specifically,

And then the aesthetic stuff really kicks in.

And what’s more,

It’s all deeply emotional. Very moving.

Reminds me of a club I was dragged to back in the Nineties.

Armed with a deep and radical knowledge of “postcolonial, gender and race studies,” and via the medium of nude side-shuffling, the performers are “finding new ways to represent the experiences of minorities.” Should any readers endowed with brownness care to elaborate on this point, preferably while dressed, by all means do.

For those of you craving more, highlights of another performance, from the ImPulsTanz Festival 2024, can be found here. Given the, um, nature of the piece, I’ve had to choose a screengrab with some care.

No, don’t thank me. All part of the service.

Update, via the comments:

As so often, questions are raised not by the mediocrities and grifters doing the, um, performing, but rather by the audience. The people who turn up and watch, as if they were beholding something of enormous importance, a feat of “anti-colonial resistance.”

As if “the experience of minorities” were somehow being epitomised – and defended against “discursive violence” – by two tiresome queens stomping about in the nude.

Daniel Ream quips,

While Dicentra adds,

The performance and its rather strained justifications do seem tailored to the kind of racial neuroticism favoured by progressives. Their hang-ups and affectations. An apparently inexhaustible resource to be exploited.

I fear we’ve been neglecting the arts. We must correct that immediately, lest we be mistaken for heathen savages. And so, via Mr Treesong, here’s Los Angeles choreographer Shoji Yamasaki and his mimetic convulsions:

Shoji Yamasakı is a pertormance artist behind the ongoing project Littered Mvmnts. He studies trash caught in the wind, and translates their erratic movement into precise, choreographed performances. pic.twitter.com/y7IpjgT2pC

— Interesting As Fuck (@interesting_aIl) January 24, 2026

Hey, you’ll get what you’re given and like it.

Mr Yamasaki describes himself as,

Which perhaps tells us much of what we need to know.

As the Littered Mvmnts project, of which the above is but a sample, is ongoing, additional convulsions can be had here.

Details of Mr Yamasaki’s other, less acclaimed works are also available.

Consider this an open thread. Share ye links and bicker.

Further to this, and also via Charlotte Gill, let’s visit the world of politically radical tableware. Specifically,

Because this is what you need to know when taking a class in ceramics:

We funded this.

But remember, universities need more money 😉 pic.twitter.com/gKEbweQsVG

— Charlotte Gill (@CharlotteCGill) July 29, 2024

For those deeply intrigued:

Well, obviously, you can’t just learn how to make plates.

And hey, who wouldn’t want some of that lovely racial awareness? Or, less coyly, practised question-begging and pretentious racial guilt. Or unearned racial resentment, depending on how brown you happen to be. I mean, you can’t just go through life interacting with people as individuals. You have to cultivate a neurotic habit of seeing people as avatars of some supposedly put-upon racial group. Or conversely, as oppressors, as proven by their pallor, their deplorable whiteness.

And a fragrant utopia will surely follow.

The creative titan behind the project – named, inevitably, Working With Whiteness – is Victoria Burgher, a self-styled “artist from a colonising country,” for whom pretentious, and rather invidious, racial agonising has been a path to many grants and awards. Ms Burgher, we’re told,

You see,

And,

Strained metaphors are very in, it seems. Along with teetering piles of assumptions. Also, Bad Whitey. It’s all terribly original. Very daring. Not at all conformist.

It occurs to me, however, that Ms Burgher’s contrived, modish waffle may make a kind of sense if you think of it as an attempt to add social heft to the otherwise pedestrian art that she actually produces.

For instance:

“From The River To The Sea… #2 (2023). Porcelain, cobalt, gold lustre and glaze, 27cm.”

And,

“White But Working On It (2022). Glazed porcelain ceramic badges, 5-6 cm.”

And,

“Whiteness (2018). Ink on bagasse (sugar cane fibre), fabric, pins, 14 x 14 cm.”

It would, I think, explain a few things. As it often does.

Update, via the comments:

Regarding the unattractive objects shown above, and others very much like them, Martin D adds,

A fair question. One worth pondering.

Ms Burgher approvingly cites Ms Robin DiAngelo, the peddler of neurosis mentioned here, the L Ron Hubbard of wokeness, and whose devotees, as we’ve seen, are often wildly unhinged and nakedly malevolent. Which probably tells us much of what we need to know about Ms Burgher and her racial affectations. The mindset she wishes to inflict on others. And by extension, those who succumb.

And so, Ms Burgher makes her unattractive tat, and calls it art, and treads on ceramic eggshells, and calls it performance art, while listing the hallucinatory evils of having pale skin. And while telling those sufficiently credulous that “whiteness is oppression,” the source of all that is wrong, a basis for eternal shame, and that white people should “not behave white.”

You see, we will purge the world of bigotry by embracing wholesale the mental habits of the bigot.

So, yes. Someone quite fucked up.

Consider this an open thread. Share ye links and bicker.

Attention, comrades. My fellow heroes, titans, thinkers of deep thoughts. It is time to map out the world of tomorrow:

There are no post revolution theatre troops, only post revolution mine troops, comrade. pic.twitter.com/ACIref7r9r

— Hegel Borg™️ (@xxclusionary) June 10, 2024

Because after the revolution, we will need accessible theatre.

Presumably, to take our minds off all the riots and ruin and burning cars. Earlier revolutionary rumblings can be found here and here. Topics covered include the pivotal importance of “artists and visionaries,” and the righteous washing of other people’s bin contents. Thereby enabling us to “eat from a revolutionary and resistance standpoint.”

Consider this an open thread. Share ye links and bicker.

Time, I think, to better ourselves. Come, let us peek at the culture pages of the Guardian:

That’s Perth, Scotland. Lest there be confusion.

Bear with me. I’m setting the scene. Stoking your anticipation.

White horse. Big horn.

Again, big horn.

Ah, tat.

Brace yourselves for a full-on face-blast of culture:

Such wonders you’ll behold. Memories to treasure forever.

Because the above is “a modern symbol of the LGBTQI+ community.” And so, while claiming to give exposure to the supposedly marginalised and unseen, the virtuous by default, the curators are expecting visitors to be enthralled by objects of mass-produced banality that are, by their own admission, utterly ubiquitous.

But wait. There’s more.

One of the above. Presumably the most photogenic.

I’m just going to leave this here, I think. Consider it an illustration of what can be done. A cultural benchmark for our times.

Regarding the aforementioned seldomness, I briefly scanned recent listings and found that the museums and galleries busily “queering” their content include the British Museum (“Desire, Love, Identity: Exploring LGBTQ Histories”), the Victoria and Albert Museum (“A Queer History of Art”), Tate Britain, Tate Kids, Queer Britain (“A riot of voices, objects, and images from the worlds of activism, art, culture, and social history”), Brighton Museum, the London Art Fair, the Glasgow Women’s Library, the Museum of Transology, the Museum of London, National Museums Liverpool, National Museums Scotland, and the National Portrait Gallery.

So seldom. So terribly seldom.

Other vigorously “queered” content can be found at New York’s Whitney Museum of American Art; the Rijksmuseum in Amsterdam; and the Wellcome Collection, London, which among other things offers a “queer life-drawing workshop… focussing on queer bodies.” I have, due to space concerns – and the fear that readers may lose the will to live – omitted many more.

Despite which, Ashleigh Hibbins, the head of audiences at the Perth Museum, where unicorns await, tells us,

Ah yes, those unheard voices. The dear downtrodden.

Via Julia.