Fire Dancing (by Tristan Savatier)
Since we able to control fire,ceremonial dances with flames has always been a part of old cultures in Samoa,Mexico,New Zealand and elsewhere. But now a days, you will rarely see someone doing a warrior dance around you, however the art form has continued to evolve and it’s been beautifully captured with today’s cameras.
:O omg I still want one
Hey! My friends and I do this :D
I love poi and other fire arts.
"American Royalty" by Sam Spratt commissioned by Childish Gambino
Sam Spratt’s commissioned illustrations for actor/rapper Donald Glover aka Childish Gambino.
"What began as cover art for his mixtape ‘Royalty’ evolved into a series of Rockwell-esque vignettes on Americana meant to highlight the side of hip-hop that tends to take a back seat to “money, cars, and jewelry” – where you come from.
The collection of 10 illustrations cover a wide-spectrum of the little moments – the struggles, the simple pleasures, the risks, the irony, the humor, the hopes, and the realities of the American life that maybe isn’t quite so cookie cutter.” Prints available at royalty.samspratt.com.
Musqueam Nation traditional canoers during Reconciliation Week
For the last three years, Disney has been prepping its musical adaptation of Aladdin for Broadway—without bothering to cast any Middle Eastern actors in any of its 34 roles.
Almost no one has noticed.
In 1942, Bing Crosby and Bob Hope bantered their way through the third and most famous of their popular Road pictures. As usual, The Road to Morocco found them hamming it up with the locals in an “exotic” locale—on this occasion the stereotype-filled North African desert. A jazz comedy featuring Anthony Quinn as a comically violent sheik, it was nominated for the 1943 Oscar for Best Screenplay. The hit title song, which describes Morocco as a place where “the men eat fire, sleep on nails, and saw their wives in half,” was voted one of the 100 greatest songs of all time by the American Film Institute in 2004.
Thankfully, in the 70 years since Hope and Crosby sang and danced across a sound stage made to look like a desert, we’ve moved away from garish stereotypes and actors in yellowface.
It marks a return to the authors’ original vision: a loving homage to the Hope-Crosby road pictures with a score invoking the jazz sound of stars like Cab Calloway and Fats Waller.
So reads the casting breakdown for the 2013 open casting call for the New York production of Aladdin. If the preview is anything to go by, it’s more of what we got in the original animated film: a return to vintage exoticism, sword-wielding barbarism, and cultural appropriation.
Aladdin first came to movie theatres in 1992. It included a dizzying array of racist stereotypes, including an opening number which riffed off “The Road to Morocco” with a line that incensed Middle Eastern viewers: the fictional land of Agrabah is a “barbaric” place “where they cut off your ear if they don’t like your face.” All in all, the film stayed true to its purpose: Aladdin could easily have been written in 1942.
Aladdin’s big hit, “A Whole New World,” was sung in the film by Filipino actress Lea Salonga. Salonga, a former child star, had exploded onto the U.S. musical scene the year before, in the latest extravaganza from the British theatre invasion, Miss Saigon.
Miss Saigon brought with it what was then the biggest production budget in Broadway history—as well as what remains its biggest casting controversy. Powerful theatre producer Cameron Mackintosh was determined to have star Jonathan Pryce reprise his role as a French-Vietnamese pimp alongside Salonga. Actors Equity, the theatre actors union, insisted that Mackintosh do a casting search for an Asian actor to play the part. Instead, Mackintosh threatened to cancel the whole production.
Equity ultimately backed down, and Jonathan Pryce won a Tony for the role, which he acted in literal yellowface—wearing bronzer.
Unlike Malala Yousafzai, Nabila Rehman did not receive a welcoming greeting in Washington DC.
Nov. 1 2013
On October 24, 2012 a Predator drone flying over North Waziristan came upon eight-year old Nabila Rehman, her siblings, and their grandmother as they worked in a field beside their village home. Her grandmother, Momina Bibi, was teaching the children how to pick okra as the family prepared for the coming Eid holiday. However on this day the terrible event would occur that would forever alter the course of this family’s life. In the sky the children suddenly heard the distinctive buzzing sound emitted by the CIA-operated drones - a familiar sound to those in the rural Pakistani villages which are stalked by them 24 hours a day - followed by two loud clicks. The unmanned aircraft released its deadly payload onto the Rehman family, and in an instant the lives of these children were transformed into a nightmare of pain, confusion and terror. Seven children were wounded, and Nabila’s grandmother was killed before her eyes, an act for which no apology, explanation or justification has ever been given.
This past week Nabila, her schoolteacher father, and her 12-year-old brother travelled to Washington DC to tell their story and to seek answers about the events of that day. However, despite overcoming incredible obstacles in order to travel from their remote village to the United States, Nabila and her family were roundly ignored. At the Congressional hearing where they gave testimony, only five out of 430 representatives showed up. In the words of Nabila’s father to those few who did attend: "My daughter does not have the face of a terrorist and neither did my mother. It just doesn’t make sense to me, why this happened… as a teacher, I wanted to educate Americans and let them know my children have been injured."
The translator broke down in tears while recounting their story, but the government made it a point to snub this family and ignore the tragedy it had caused to them. Nabila, a slight girl of nine with striking hazel eyes, asked a simple question in her testimony: “What did my grandmother do wrong?” There was no one to answer this question, and few who cared to even listen. Symbolic of the utter contempt in which the government holds the people it claims to be liberating, while the Rehmans recounted their plight, Barack Obama was spending the same time meeting with the CEO of weapons manufacturer Lockheed Martin.
It is useful to contrast the American response to Nabila Rehman with that of Malala Yousafzai, a young girl who was nearly assassinated by the Pakistani Taliban. While Malala was feted by Western media figures, politicians and civic leaders for her heroism, Nabila has become simply another one of the millions of nameless, faceless people who have had their lives destroyed over the past decade of American wars. The reason for this glaring discrepancy is obvious. Since Malala was a victim of the Taliban, she, despite her protestations, was seen as a potential tool of political propaganda to be utilized by war advocates. She could be used as the human face of their effort, a symbol of the purported decency of their cause, the type of little girl on behalf of whom the United States and its allies can say they have been unleashing such incredible bloodshed. Tellingly, many of those who took up her name and image as a symbol of the justness of American military action in the Muslim world did not even care enough to listen to her own words or feelings about the subject.
As described by the Washington Post's Max Fisher:
Western fawning over Malala has become less about her efforts to improve conditions for girls in Pakistan, or certainly about the struggles of millions of girls in Pakistan, and more about our own desire to make ourselves feel warm and fuzzy with a celebrity and an easy message. It’s a way of letting ourselves off the hook, convincing ourselves that it’s simple matter of good guys vs bad guys, that we’re on the right side and that everything is okay.
But where does Nabila fit into this picture? If extrajudicial killings, drone strikes and torture are in fact all part of a just-cause associated with the liberation of the people of Pakistan, Afghanistan and elsewhere, where is the sympathy or even simple recognition for the devastation this war has caused to countless little girls such as her? The answer is clear: The only people to be recognized for their suffering in this conflict are those who fall victim to the enemy. Malala for her struggles was to be made the face of the American war effort - against her own will if necessary - while innumerable little girls such as Nabila will continue to be terrorized and murdered as part of this war without end. There will be no celebrity appearances or awards ceremonies for Nabila. At her testimony almost no one even bothered to attend.
But if they had attended, they would’ve heard a nine year old girl asking the questions which millions of other innocent people who have had their lives thrown into chaos over the past decade have been asking: "When I hear that they are going after people who have done wrong to America, then what have I done wrong to them? What did my grandmother do wrong to them? I didn’t do anything wrong."
Murtaza Hussain is a Toronto-based writer and analyst focused on issues related to Middle Eastern politics.
Follow him on Twitter: @MazMHussain
nani was NINETEEN and such a fucking badass who was so protective of lilo and just ROLLED with aliens being a thing towards the end of the movie. #1 Disney relative of all time.
I have honestly been waiting AGES for the right gifset to express the wonderful perfection that is Nani. She is not only protective of Lilo, she respects the way Lilo’s imagination and quirkiness works.
Pudge the fish got a peanut butter sandwich every Thursday. Nani does not argue the logic of feeding him, only suggests an alternative sandwich when they are out of peanut butter. Lilo was allowed to take as many photos of whatever mundane or odd subjects as she wanted and Nani would get them developed. Nani recognized what were important habits for Lilo.
When Lilo asks for a pet lobster, Nani does not tell her that lobsters are not pets. She tells her, “We don’t have a lobster door, we have a dog door.” She makes sure the woman at the pound does not tell Lilo that “Stitch is not a real name”.
NANI SPENDS THE ENTIRE MOVIE MAKING SURE THAT LILO NEVER FEELS LIKE HER IDEAS ARE WRONG.
The only time we truly see Nani get angry with Lilo is when she is scared of Lilo being taken away. Nani spends the entire movie stressed out over taking care of her sister, trying to find a job, trying to make sure her sister has a friend, and yet she is always willing to put that extra effort, over and over again, to make sure that Lilo always believes that anything is possible.
Wow major big sister feels.
I don’t have a little sister, and I’m white-passing, but I’ve always tried to be a proponent of the Hawaiian culture without being appropriative (e.g. I’m a Hula dancer, which includes a lot of study of the language, lifestyles, history, etc.)
I do totally understand that many Hawaiians object to the simplification of the culture in this movie, of the simplification of “‘Ohana” particularly. I totally get that. Disney does have a way of watering cultures down and only telling froofy versions of stories, or outright lies (Pocahontas, anyone?)
But I also know some Hawaiian people who thought that at least some of this movie was spot on.
The use of Aloha ‘Oe always really touched me, because I felt like the movie really nailed it. Aloha ‘Oe was written by Queen Lili’uokalina. I remember hearing from a Kumu Hula this one time (I think it was Moon Kauakahi,) that the song, though written while she was watching two lovers say farewell, later came to symbolize a farewell to the old Hawaiian way of life, due to the American occupation. That they could no longer Malama ‘Aina in their own way.
Malama ‘aina means to take care of the land, (where your ancestors are,) but it also means to take care of the Hawaiian people as a whole, from what I understand, and particularly your family.
When Nani sings Aloha ‘oe to Lilo, it’s because she can no longer malama her ‘ohana. The movie makes a big deal out of the fact that Lilo is particularly difficult to malama because she’s such an outsider, with different views. Her imagination (and her pain, and her anger) set her apart from the other kids. Nani even says that no one else understands Lilo.
Apart from that, Nani is drawn with round hips and round features and doesn’t look like your typical Disneyfied female figure. When she loses her job, she tells her ex boss off about his “stupid fake lu’au,” which she was only working at so that she could keep her family together. Any crap that she takes is because she wants to keep Lilo with her. She puts off going on a date with the boy she likes because she has too much on her plate. Like, you know, fighting the system that is trying to break up the only family she has left.
Long story short, (too late,) Nani Pelekai is the baddest of badasses, and is absolutely my favorite Disney character.
An Indian child poses while giving final touches to a statue of Hindu Goddess Lakshmi, who represents wealth, at a roadside stall ahead of Diwali in Hyderabad on October 29, 2013.
[Credit : Noah Seelam/AFP/Getty Images]